Trapped in an isolated gas station by a voracious Splinter parasite that transforms its still-living victims into deadly hosts, a young couple and an escaped convict must find a way to work together to survive this primal terror.
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.
Desperate to repay his debt to his ex-wife, an ex-con plots a heist at his new employer's country home, unaware that a second criminal has also targeted the property, and rigged it with a series of deadly traps.
Lucas and Clementine live peacefully in their isolated country house, but one night they wake up to strange noise... they're not alone... and a group of hooded assailants begin to terrorize them throughout the night.
While camping in the woods, Polly Watt and her clumsy boyfriend Seth Belzer damage their tent. They decide to spend the night in a low-budget motel. Meanwhile the criminals, Lacey Belisle and Dennis Farell, have trouble with their runaway car while heading to Platt and they walk on the lonely road. When Polly passes by Lacey, she stops the car and the couple is rendered by Dennis. However, Polly hits something in the road and while replacing the tire, they are attacked by a weird splinter. The car overheats and they stop in a gas station, where they are trapped by zombies, victims of the splinter parasite.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Dennis Farell: (repeated line) "Firecracker." See more »
The cinder blocks which are in the background during the freezer scene are stacked side by side when first seen, but when seen again to break the bone in the arm of "Dennis" they are stacked one on top of the other. See more »
Splinter boasts solid performances, reasonable production values, and some delightfully nasty ideas (including the removal of an infected arm by Stanley knife!). It could have been good, but it isn't..
It doesn't matter in the slightest that the film never explains the precise nature of its threat—we don't necessarily need to know that in order to enjoy what is occurring—but for a film such as this to be truly effective, the viewer at least needs to be able to SEE what is going on; sadly, for much of the movie, it's nigh on impossible to follow what is happening to whom thanks to the dreadful wobbly-cam/rapid editing techniques employed by director Toby Wilkins.
The picture is all over the shop whenever anything potentially exciting happens, robbing the action of any tension and rendering shocks ineffective. I suspect that the use of such erratic camera-work was used to disguise sub-par effects, but all it does is make the whole affair extremely frustrating to watch.
Wilkins does at least get one thing right—he puts his lovely lead actress Jill Wagner in a tight vest for the duration—but even the ever-present eye-candy doesn't prevent this from feeling like a wasted opportunity.
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