Set in a future where a failed climate-change experiment kills all life on the planet except for a lucky few who boarded the Snowpiercer, a train that travels around the globe, where a class system emerges.
With the help of a mysterious pill that enables the user to access 100 percent of his brain abilities, a struggling writer becomes a financial wizard, but it also puts him in a new world with lots of dangers.
When a gang of masked, ax-wielding murderers descend upon the Davison family reunion, the hapless victims seem trapped... until an unlikely guest of the family proves to be the most talented killer of all. Written by
Premiered as part of Midnight Madness at the 2011 Toronto International Film Festival, where it was picked up by Lionsgate for distribution. However, even though the film subsequently played at other festivals, it was not given a wide release until August 2013. See more »
The production accountant's credit includes the misspelling "accountain". See more »
Grab anything that might make a good weapon.
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The actors in the end credits are listed next a picture of that character's dead body. See more »
More accomplished and satisfying than one might expect.
YOU'RE NEXT is, unabashedly, yet another "nuclear family and/or rich yuppies besieged by masked psycho killers at vacation home" slasher, right down to the obligatory "last girl" element. But while the movie's schema is completely typical, its executionsmart script, decent cast, solid direction by Adam Wingardis exemplary.
The major detail YOU'RE NEXT gets right is to provide actual motivation for both the villains' kill spree and for the heroine's ability to survive the abattoir (other than being yet another innocent virgin with gumption). This alone is enough to place the film at the pinnacle of its sub-genre. Moreover, director Wingard and screenwriter Simon Bennett demonstrate a talent for side-stepping annoying clichés. The assembled victims numbers ten instead of the usual half-dozen, with not one idiot teen in the lot; the squealing, screaming, helpless characters are winnowed out with audience-considerate dispatch so the more fit and bright can make the best of their situation. Meanwhile, refreshingly, the murderers are NOT portrayed as unstoppable killing machines until the final ten minutes: one even gets short of breath and needs a time- out!
The pacing and shock effects are crisp; the moments of black comedy are sparingly, intelligently planted.
All told, far more accomplished and satisfying than a genre fan has any right to expect.
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