When Katie innocently accepts an offer to have new photos taken for her portfolio, the experience quickly turns into a nightmare of rape, torture and kidnapping. Now, she will have to find the strength to exact her brutal revenge.
Katie is trying to make it in the cutthroat world of modeling. When she innocently accepts an offer to have new photos taken for her portfolio, the experience quickly turns into an unthinkable nightmare of rape, torture, and kidnapping. When a twist of fate finally frees her from her captors - beaten, battered, bruised, and broken, she will have to tap into the darkest places of the human psyche to not only survive her ordeal, but to ultimately find the strength to exact her brutal revenge.Written by
Despite taking place in New York City in the United States, none of the main cast are Americans, including Jemma Dallender and Michael Dixon, who both are from the United Kingdom. See more »
After the electo-shock batton is put in Katie's mouth, it is placed on her right leg and she is shocked again, the camera moves away and back again and the batton is now on her left leg, however this was one continuous electro-shock. See more »
[as he walks in and sees the dead Nicolay by the toilet after Katie killed him]
Pathetic drunk asshole!
[his girlfriend runs up and sees the dead body; she screams loudly]
See more »
When initially seen by the British Board of Film Classification in a rough cut form, the Board stated that the film would be rejected unless 27 cuts were made to remove almost four minutes of footage. Upon a formal submission to the BBFC, a pre-cut version was classified with an 18 rating without further cuts. See more »
For his 2010 remake of Meir Zarchi's 70s rape/revenge classic I Spit On Your Grave, director Steven R.Monroe's aim was clearly to surpass the original movie in terms of nastiness; many might argue that he succeeded. For this sequel, he attempts to outdo his own remake, but in doing so, frequently verges on parody, the excessive sadism and violence perpetrated by ridiculous eastern European, Hostel-style stereotypes, and the plot taking several preposterous turns in order to prolong its protagonist's unimaginable suffering.
Monroe also makes the mistake of concentrating far more on the rape than on the revenge, with the latter half of the film feeling very rushed and consequently less satisfying, the sense of disappointment exacerbated by the lame manner in which several of the villains meet their fate (only Ivan's 'balls in a clamp' treatment seems truly befitting of his heinous crime).
From a technical point of view, Monroe's film is very impressive, with slick direction and editing, decent make-up effects work, and a bold and convincing central performance by Jemma Dallender—making it even more of a shame that in trying so hard to shock, the film fails to work in other departments.
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