Six months after the rage virus was inflicted on the population of Great Britain, the US Army helps to secure a small area of London for the survivors to repopulate and start again. But not everything goes to plan.
A loan officer who evicts an old woman from her home finds herself the recipient of a supernatural curse. Desperate, she turns to a seer to try and save her soul, while evil forces work to push her to a breaking point.
When Kimberly has a violent premonition of a highway pileup she blocks the freeway, keeping a few others meant to die, safe...Or are they? The survivors mysteriously start dying and it's up to Kimberly to stop it before she's next.
A group of friends whose leisurely Mexican holiday takes a turn for the worse when they, along with a fellow tourist embark on a remote archaeological dig in the jungle, where something evil lives among the ruins.
In the scene just before Tommy meets Francesca's father for the first time, he dresses himself sitting in the bed. You see him putting on a t-shirt, in the next shot the shirt is suddenly gone, then it's back on again. See more »
There is no chance. No destiny. No fate. There's only what you take from the world. And what the world takes from you.
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'Blackout' is one of those obscure little multinational affairs that can either be jaw-droppingly bad or a rare unearthed gem - happily, it's the latter. Three characters are trapped overnight in a stalled elevator, bickering and bitching as they try and find a way out while thinking back to the sequence of events that led them there. These 'Lost'-style flashbacks eventually reveal that one of their number is a vicious sociopath.
It's clear that Mexican director Castaneda is influenced more by the character driven horror of the sixties and seventies than by vapid eighties slashers, but his interest in people shouldn't be mistaken for squeamishness when it comes to ugly sexual violence - it's been a long time since I wanted to see a bad guy get what he deserves as much as I did watching 'Blackout'. Castaneda uses more than a few moves from the David Fincher play-book, with the camera squeezing through keyholes and cracks and plummeting down elevator shafts, and the whole thing is beautifully photographed, belying what was in truth a meager budget of only $4 million. A great psychological thriller from a director who deserves success.
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