Before being sent to serve in Vietnam, two brothers and their girlfriends take one last road trip, but when they get into an accident, a terrifying experience will take them to a secluded house of horrors, with a chainsaw-wielding killer.
A team of trainees of the National Guard brings supply to the New Mexico Desert for a group of soldiers and scientists that are installing a monitoring system in Sector 16. They do not find anybody in the camp, and they receive a blurred distress signal from the hills. Their sergeant gathers a rescue team, and they are attacked and trapped by deformed cannibals, having to fight to survive.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Wes Craven's initial inspiration for the film came during a casual conversation with producer Peter Locke. Craven envisioned that the previous films character Brenda (Emilie de Ravin) traumatized by her suffering joins the National Guard to overcome her fears. Barely finished with basic training, Brenda receives a call from her sergeant, who explains that they are sending a team back to the New Mexico desert to eradicate the remaining mutants. Her sergeant and the team need her, for she is the only one left alive who knows the mutants location. Because of de Ravin's involvement in the television show Lost (2004) her schedule was unable to accommodate the filming of the sequel. Wes Craven replaced her character, but retained much of the original concept, including the group of National Guard soldiers in training. See more »
The soldier characters frequently "flag their buddies" - i.e., point loaded weapons at one another. U.S. Army training strenuously makes the point for soldiers not to do this. See more »
Crank! Don't freak out. Don't freak out. Don't freak out.
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The unrated version is almost one minute longer than the theatrical version with mainly extended scenes of graphic violence and gore added. See more »
As one can see if they look at the writing credits, the script for this movie was written by Wes Craven and his son Jonathan. I was excited to see what the Son of the Professor of Horror could bring to the festivites.
The script was the best thing in the movie by far. It was a little rough, though...needed a bit of polish. A little more time in the writing stage, methinks. The story, on the whole, was well told and was only slightly predictable as far as who would die next/how exactly or when the next jump scare would be. The ending was satisfying...though I could certainly do without nearly every horror film released within the past few years having some pseudo-tough rock song during the end credits.
The script that the Mssrs. Craven gave to the film is what earned the score of five out of ten...but the script is not the only component to a movie.
The direction was lackluster, the score was like something rejected from a Nightmare on Elm Street sequel...one of the REALLY bad ones (like part five, two's score was much better than the movie deserved), the CGI was the worst I've seen in years, and the nail in the coffin (if you will)...this movie is one of the worst make-up jobs I have ever seen come out of KNB. Even some of the foley work was bad... The film felt rushed.
Why is that? Why were they so pressured as to say okay to a few poorly mixed foley tracks, for God's sakes? Why couldn't they film Flex Alexander and Daniella Alonso's close-ups out in the desert instead of in front of a green screen? Why would KNB, one of the greatest make-up effects houses out there, put out inferiour product? I fear that it's Fox Atomic's fault for intentionally forcing this movie out of the gates just to make the one-year mark and take in as much money as possible. Some productions can do that well, such as Saw...some cannot, such as this. The production suffered heavily because of Fox's greed. Hopefully, the box office take will suffer just as much.
11 of 22 people found this review helpful.
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