Five interlocking tales of terror follow the fates of a group of weary travellers who confront their worst nightmares - and darkest secrets - over one long night on a desolate stretch of desert highway.
Anna suffers from agoraphobia so crippling that when a trio of criminals break into her house, she cannot bring herself to flee. But what the intruders don't realize is that agoraphobia is not her only problem.
On a desolate stretch of desert highway, weary travelers - two men on the run from their past, a band on their way to the next gig, a man struggling to get home, a brother in search of his long-lost sister and a family on vacation - are forced to confront their worst fears and darkest secrets in a series of interwoven tales of terror and remorse on the open road.
When Mitch and Jack enter the truck stop, Sutter flips her magazine repeatedly and the word "FEAR" is visible on the top corner. See more »
Now I know that one shitty bar might look like any other. But here's some free advice. Get back on whatever road it was that brought you here and keep moving. Because I guarantee you that robbing this place is way more trouble than it's worth.
This is not a robbery!
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After watching Southbound, I was left with the sensation that I hadn't really been able to understand it. So, I decided to watch it again (something I rarely do before writing these reviews) and, effectively, the second visit helped me to fill in the holes and comprehend the intention of the movie better. I don't know whether to recommend that "double exposition" in order to appreciate the many pros of Southbound (even though there will probably be intelligent spectators who will understand it from the first time); I just wanted to mentioned it as a warning. Having cleared that out, let's focus on this anthology film itself. The first tale (The Way Out) is the briefest one, but it makes a pretty good job at establishing the cruel and disturbing tone of the whole movie, as well as a black sense of humor which reminded me of the endings of The Twilight Zone; the production design is very attractive, and even though some digital effects could have been better, it was definitely a good start. The second tale (Siren) is the most normal one, and I also found it interesting, with an ending which links it to the following tale in an efficient way. The third tale (The Accident) displays the most extreme gore of the anthology, and it's supported by the overwhelming anguish suffered by the main character, challenging us to think what we would do in his place. The fourth tale (Jailbreak) is the one I liked the least, but it's the one which offers the most clues to solve the big puzzle of Southbound. Finally, The Way Out retakes elements of the first tale in order to "close the circle"... even though we still have to deduct the rest of the enigma on our own. Oh, I forgot to mention the recurring element in all the tales: a radio DJ whose pseudo-existential monologues tell us about the consequences of sin and redemption. In conclusion, I liked Southbound pretty much mainly because of its global consistency, which made it a deeper narrative experience than the arbitrary parade of styles and techniques from other horror compilations. So, I recommend it due to its high ambition which makes us think, and because it proves the authentic potential of the anthology format, which is rarely taken advantage of like this. In the most literal sense, I found Southbound more than the sum of its parts.
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