Since I started this site I've been keeping myself to a bottom line of 4 out of 5 stars in order to review a film. It's a great way to determine whether a film is actually great (reviewing is time-consuming) or just plain old good. Still, there are always edge cases that are worth a look if you've nothing better planned. I'm going to list these films right here, providing a capsule review for each one of them.

Replace

date
November 13, 2017
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Replace poster

Even though sci-fi (especially the not so distant kind) has a natural ally in het horror genre, the two are rarely balanced with great effect. Director Norbert Keil set out to change that and produced a film that delivers on both accounts. Replace is an intriguing sci-fi/horror film with a healthy dash of mystery, a film that aims to dazzle but falls just a little short of its aspirations.

Keil is credited as writer/director of Replace, but co-writer Richard Stanley is probably the one who will pique people's interest. Stanley is a cult favorite, best known for Dust Devil and Hardware, both highly regarded early 90s genre films. Stanley worked with Keil on the script and his influence is clearly felt. That said, some of the sci-fi bits (the clinic in particular) do feel a little out-dated (and not in an acceptable retro sci-fi way).

I'm not going to spoil too much, as the film is set up in such a way that the audience joins the main character in her quest to uncover the mystery. I can say the film revolves around Kira Mabon, a young girl in her prime, who suddenly finds herself burdened with a strange skin disease. The condition spreads like crazy and things start spiraling out of control when Kira discovers she can treat it by assimilating skin from other people. This sets her on a murdering rampage in a desperate attempt to control her condition.

It's on a stylistic level that Replace really manages to shine. Use of color and lighting are exquisite and the sets look absolutely lush. The film doesn't sport an overly obvious sci-fi vibe (in fact, it takes a while before you even realize Replace is set in a not so distant future), but everything looks extremely cool, crisp and atmospheric. Sadly the camera work and editing aren't entirely up to par, which leaves a little untapped potential there, something Keil should try to figure out in his next film.

The music is notable in the sense that it's hard to ignore its presence. There are scenes where the score positively adds to the film, but there are also moments when it doesn't really work well with the visuals. The club scene in particular is a weird cut and paste job, where the music messes up the flow of the scene. Generally speaking, some scenes could've benefitted from a slower, more subtle approach, while others could've been a bit tighter and edgier.

While the film suffers from other minor problems (like the somewhat inconsistent acting), I felt that overall Keil succeeded in what he set out to do. Both horror and sci-fi elements are on point, the film sets up an intruiging mystery and unwraps itself at a steady and satisfying pace. It's an atmospheric trip from start to finish, showing lots of stylistic promise and hopefully it will pave the way for a second film, because there's no doubt that Keil deserves a second chance at greatness. And with a little tweaking left and right, that's definitely within reach.

Residue

date
September 11, 2017
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Residue poster

I bumped into Alex Garcia Lopez' Residue completely by accident. I was looking up some info on Rusty Nixon's Residue (2017) when I suddenly ended up with a trailer of Lopez' film. A happy coincidence, as Lopez' Residue turned out to be a sleek and well-directed genre effort. It may not be winning prizes for originality anytime soon, but Lopez more than makes up for it with stylish and headstrong direction.

Residue combines equal doses of mystery, horror and thriller, with some small extras of scifi and fantasy. That's quite a handful of genres, but at its core it's really just an outbreak film that shuffled some details around in order to avoid becoming yet another basic zombie flick. And with great success I should add, because Residue never feels like the 28 Days Later knock-off it could've been. Instead it reminded me more of Spectral, though a bit more low-key in execution.

The plot revolves around a New Years eve discotheque bombing that compromises an old military facility. A contamination spreads from the facility and a perimiter is set up around the distaster area, completely closing off the heart of the city. Time passes and normal life resumes, but for some reason the government has trouble clearing up the infected area. People are starting to suspect there's something the government isn't telling them and when a city photographer starts seeing weird shapes and shadows in her pictures, she vows to dig up the truth.

Residue is a film that lives through the atmosphere it conjures. It's a pretty dark and brooding film and the styling reflects that. Flashing neon signs are pretty much the only sources of color, the city looks bleak and abandoned and the contamination pushes people to pull off some pretty horrible stunts. The film also features a pretty banging soundtrack, with strong ambient and industrial influences, that only fortifies the desolate atmosphere. The underground club scene is a superb culmination of all these elements and stands as the highlight of the film.;

I guess some people were taken aback by the bleak atmosphere of Residue, on top of that Lopez leaves a lot to the imagination of the viewer. While the setting is properly established, the film offers little in the way of explanations. The source of the contamination is never revealed, neither is its exact nature. This may be because Lopez was planning to expand on his premise in a future TV series, but I actually believe that it works in favor of the film. It won't be easy coming up with a decent, let alone imaginative explanation for everything that's happening, so leaving it unresolved was probably the best solution.

If you like dark, moody outbreak films than Residue is a very easy recommend. If you demand closure and relief from a film though, it's probably best to skip this one. Still, I hope Lopez will return with a second film (though not necessarily a sequel), because he clearly has the talent to construct intriguing worlds that ooze atmosphere. Residue is a little gem that deserves to be seen by more people.

The Incident

date
July 17, 2017
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El Incidente poster

South-American genre cinema used to be a deep, dark void for me. We may live in a world where everything is just one Google search away, but that doesn't mean all our cultural boundaries have been torn down yet . Luckily services like Netflix are making it much easier to try less obvious films a la carte, hence how I stumbled upon Isaac Ezban, a Mexican director with a clear vision and an outspoken aesthetic. After seeing and liking The Similars, it was time to give The Incident [El Incidente] a run for its money.

The Incident was Ezban's first feature film, which isn't too much of a surprise when you look at the final result. It's a film that is high on concept, brimming with ideas and almost overflowing with potential. It may lack balance and refinement in places, but it makes up for that with plenty of energy and vitality. It's somewhat of an acquired taste though and if you're looking for more polished, mainstream genre entertainment it's probably best to go with The Similars first, but I tend to prefer these more rash and frivolous films.

That said, the first hour does feel a little derivative. Ezban takes his time to develop the setting, which is two-fold. The first story is about a cop chasing two criminals in a closed off stairway, the second one tells about a family on their way to the beach. Both get stuck in a time loop, which drives the protagonists to near-insanity. Both stories are told seperately and feel like familiar territory, so roughly halfway through you'd be forgiven for thinking that this is just a simple copy/paste affaire.

But then Ezban starts to switch things around. I've seen quite a few time loop films already, but none where characters are actually stuck for life. Seeing them 35 years later, still trapped in that same loop is a nifty and surprisingly disturbing novelty. On top of that, Ezban further expands his concept by giving a unique explanation for the loop phenomenon during his final act. By then the film is racing full force ahead and keeping up with all the craziness requires a little extra attention, so make sure you don't plan any toilet breaks during the second part of The Incident.

Stylistically the first half of the film is a little hit and miss. The are some interesing visual ideas and the soundtrack suits the atmosphere, but the timing feels a little off and some scenes look as if Ezban was hitting his budgetary limitations. Where that budget went becomes apparent during the second part, which features more elaborately constructed settings. It's a nice build-up that goes full crescendo towards the final act. Ezban delivers a nice spin on the explanatory montage and turns a cheesy film cliché into an emotional payoff, with all the right bells and whistles in place.

The Incident is a pretty cool film. The first half looks like classic genre fare, but once Ezban starts moving the pawns around it becomes much more than that. Between The Incident and The Similars, Ezban has already proven himself to be an interesting director who can bring a novel twist to dusty and chewed out concepts. I hope Netflix keeps track of him, because I have no idea how else I would have to keep up with his work. If you like a good mind trip and you don't mind Mexican cinema, The Incident is an easy recommendation.

Next Generation Patoreiba: Shuto Kessen

date
January 09, 2017
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The Next Generation Patlabor: Tokyo War poster

Some ten years ago I stopped looking at the films Japan was producing, instead focusing on Japanese films that were actually ready for Western consumption. I got tired of setting myself up for disappointment. That doesn't mean I'm completely unaware of what's happening over there though. When Oshii revealed his new Patlabor live action project, my Facebook wall lit up with trailers. I left it for what it was, well aware of the slim chance I'd ever get to see it. But lo and behold, sometimes luck is on my side and when the option to see Mamoru Oshii's latest Patlabor film presented itself I jumped at it right away.

The Next Generation Patoreiba: Shuto Kessen [The Next Generation Patlabor: Tokyo War] tails a 13-episode series, very much like the original setup of the franchise. In theory it's a sequel to Kido Keisatsu Patoreba: The Movie 2, but in reality it feels a lot more like a live action remake of said film. The plot is a continuation of the Tsuge storyline introduced in the second Patlabor feature, but Oshii revisits so many landmark moments of his '93 animation classic that it becomes impossible to look at it as a mere sequel. 

Oshii has been going through some rough patches the past couple of years and those struggles are still apparent in Tokyo War. Adapting anime to live action is no easy task, regardless the film has some problems with pacing and tone. Anime-specific comedy doesn't mix well with real-life actors and the jumps between comedy and contemplative moments come quite sudden. It just feels a little awkward at times, especially when comparing it to original film, where pacing and tone were stand-out elements.

That doesn't mean there isn't a lot to enjoy though. Once you get past the weirdness of seeing all those recognizable Patlabor 2 moments redone in live action, there's plenty of vintage Oshii to soak up. From the elaborate camera work to the excellent use of music and some exquisite action scenes, there's hardly ever a dull moment. And if all the Patlabor 2 nods weren't enough, Oshii is also referencing some of his other films (the Ash basketball and of course the famous basset shot - with Oshii's very own silhouette next to it if I'm not mistaken).

There are times when Oshii's genius shimmers through, but those moments are too often interrupted by short comic interludes. I did find out afterwards that I watched the short version (there's also a director's cut that lasts an extra 30 minutes), which is a bit of a bummer since those extra 30 minutes could go a long way towards fixing the pacing problems. Whether you should watch Patlabor 2 first is also a tough question. It's a direct sequel so knowing the plot of its predecessor is definitely helpful, but there are so many references to the original that you might get stuck comparing the two rather than enjoying this film for what it is. I'm sure to give it another go when I get my hands on the director's cut, but for now it isn't quite the masterpiece I'd hoped for. Still a very good film though, especially if you're partial to the work of Oshii.

Ubume no Natsu

date
August 16, 2016
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Ubume no Natsu poster

Akio Jissoji is somewhat of a cult figure. He started out as a director in the Ultraman franchise (both series and films) and ended his career directing obscure horror films. I've reviewed his segments in Rampo Jigoku and Yume Ju-ya, shorts that should give you a pretty good idea of what to expect from Ubume no Natsu [Summer of Ubume], his final standalone feature film. He died not long after, joining a prestigious list of directors who kept going right until their final breath.

Even though Ubume no Natsu was made in 2006, it has little to no ties to the Asian horror wave that was all the rage back then. This is no 'less is more' horror flick trying to mimic the success of Nakata or Shimizu, instead the film harks back to the classic Japanese horror stories of Edogawa Rampo. Dark, twisted and supernatural, but with a strong psychological core. Ubume no Natsu is an adaptation of the first novel in the Kyougokudou series, a novel that is also enjoying its own manga adaptation right now.

The film is set in the early 50s, following a detective who is called in to investigate the events surrounding a mysterious hospital. Patients, mostly children, keep disappearing on the hospital's premises. When members of the staff are also ending up dead, the neighborhood's imagination starts running rampant. Of course the case isn't so easily solved and several other people are brought in to try and explain the mysterious events.

If you care about a great cast, this film has you covered. An insane amount of familiar faces are featured, from the lead roles down to the smaller, secondary parts. Shin'ichi Tsutsumi and Masatoshi Nagase are probably the most prestigious names, with actors like Hiroshi Abe, Susumu Terajima, Suzuki Matsuo, Rena Tanaka and Yoshiyoshi Arakawa also on board you just know you're in for a treat. It's great to see all of these actors brought together in one film and it's pretty clear they had a lot of fun shooting Ubume no Natsu.

The presentation is top notch too. Even though Jissoji was already quite old when he shot this, the cinematography is quirky and playful. There are some great angles, the editing is fun and even though he uses the same visual tricks a few times too often, the film looks great throughout. The soundtrack is a bit more classic in nature, but goes well with the film. The two combined create a mysterious, dark and intriguing atmosphere, the kind you expect from a tale that could've been written by Rampo.

Don't expect any gore, don't expend a typical Japanese suspense flick. Ubume no Natsu is a film that relies more on intrigue and mystery, with some perversion and psychological horror thrown in for good measure. The presentation is great, the cast is impressive and even though the film is quite long, it never drags or becomes boring. There are better films in the genre, but that's hardly a critique on this film.

Jug Face

date
May 31, 2016
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Jug Face poster

After an unusually big peak in the late '00s, the horror genre is collapsing on itself once more. Less horror films are being made, less money is given to new and upcoming directors and safe a few big shots who survived the somewhat sudden implosion (I'm looking at you James Wan), it has become difficult to build a name for yourself directing horror films. But there's also an upside to all this doom and gloom. With all the mainstream attention moving away from the horror scene, room is being made for people that want to take the genre in new directions. Rather than retell the same story with more gore or better special effects, new talent is experimenting with new ideas and approaches, which will ultimately lead us to the next horror renaissance.

Jug Face is one of those interesting new horror films that shows a lot of promise. When it was first released I let it pass by because it came with quite a lot of negative criticism, but over the pass few months I've come to realize that it's better to trust he recommendations of a select few than the opinion of the masses, especially when horror cinema is involved. And so I gave Chad Crawford Kinkle' first-born a fair chance. I'm pretty glad I did.

While Jug Face is a unique film that stands well on its own, the link with producer Lucky McKee's most infamous work is still a good indication of what to expect. Not that it begs for direct comparisons with The Woman, but it seems to reside in that same corner of the horror spectrum. It's not easily classifiable as one of the common horror subgenres, but if you like the occult, mixed with some redneck weirdness and some general unpleasantness than Jug Face is definitely worth a gamble.

The film revolves around a mysterious pit. Local folk believe that the pit has healing powers, as long as they keep sacrificing people to keep it happy. Not just any random sacrifice will do though. The community is guided by the jug maker, a somewhat backwards guy who produces jugs in the form of the pit's next sacrifice. It's a rather unlikely setup, ripe with backwater superstition, but Kinkle makes it work.

There's a little gore and some freaky, semi-demonic action, but that's not where the true horror resides. The creepiest facet of Jug Face is its little community, which has built its entire universe around the pit lore. Regardless of the true nature of the pit, the eagerness of succumbing to the gruesome, ghastly rituals that surround it is what got to me the most. As freaky and outlandish as these people may look, there's a sense of realness that transcends classic horror tropes, making it that much scarier.

Technical credits deserve a thumbs up too. While you shouldn't expect a slick Hollywood-looking film, the editing is sharp, the setting is used to good effect, the gore is convincing and the few special effects that are used never feel cheap or out of place. The soundtrack adds a lot to the film too. Slow, distorted guitars give the film a dark, vibrant and uncomfortable atmosphere. And even the acting is far better than expected, with Carter and Fessenden performing well above genre standards.

Jug Face may lack a bit of finish here and there, but seeing this is Kinkle's first film that's hardly a big issue. Kinkle sculpted a dark, powerful and unsettling little horror film that keeps the tension high throughout its entire running time. The pacing is rather slow and those expecting a simple genre flick might be disappointed by Kinkle's less defined take on the horror genre, but fans with a deeper love for horror cinema that reaches further than the comfort of simple genre clichés should definitely give Jug Face a chance. It's films like this that make sure the genre still has a future.

The Arti: The Adventure Begins

date
April 26, 2016
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The Arti: The Adventure Begins poster

The cool thing about cinema is that even though you may have seen 6000+ films, from time to time something completely unexpected will cross your path. The Arti: The Adventure Begins is such a film. I wasn't at all aware that there was a puppet animation scene in Taiwan, let alone that they had made a film that set out to blend traditional puppet animation with CG. The result is a little uneven, but the good bits royally outweigh the bad ones.

Arti reminded me a little of Klarulund's Strings, though it never quite reaches that same level of quality. Both films are very successful in creating an intriguing lore though, bringing to life a sprawling world that is fun and exciting to explore. The Arti follows Mo, Tong and their wooden robot, Arti-C. Arti-C is a parting gift of their late father, who was murdered for creating the robot. He used a mysterious power called Origin to construct it, which Mo and Tong are trying to locate in order to keep their robot alive and kicking.

The puppet animation varies between somewhat flakey and downright impressive. Some of the shots, especially the ones where the puppets are running, look a little odd and awkward. But the fighting sequences and the more detailed close-ups are absolutely stunning and betray some superb craftsmanship. The use of CG is equally divisive. When used for backgrounds and smaller effects it's nice and effective, but the CG characters often clash with the traditional puppets. Those puppets are by far the main attraction of the film, meticulously sculpted and incredibly detailed, they are a joy to look at when brought to life.

The film faces some minor pacing issues, with certain scenes passing by a little too quickly. The soundtrack isn't quite up to par either, especially the Chinese pop songs can be a little unsettling considering the tone and setting of the film. On top of that, the dub could use some work too. Some voices are fine, others are a little too outspoken. It's the combination of these smaller issues that hold the film back just enough to keep it from being truly great.

But if the title is to be believed, this is only the beginning of a greater adventure. I for one would love to see a couple of sequels. I'm sure the team behind Arti learned a lot from shooting this film (just watch the end credits, it's pretty cool to see the behind the scenes footage), knowledge that can be put to good use to improve possible follow-ups. Even so, fans of puppet animation (or just people looking for something different) will have a blast with Arti. It's a great first effort with a lot going for it, it just lacks a little polish.

Darkness on the Edge of Town

date
February 01, 2016
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Darkness on the Edge of Town poster

The horror genre has been experiencing a small setback these past couple of years, but that doesn't mean there aren't any interesting films being made. Darkness on the Edge of Town is Patrick Ryan's first feature film and it shows a lot of promise. It's maybe a little too borderline horror for some, so hardcore gorehounds should probably think twice before sitting down for this one, but anyone with a soft spot for dark genre films would do well to at least give this film a chance.

The first five minutes are pretty indicative of what to expect, although things do get a little less abstract as the film progresses. There's no dialogue during those opening minutes, Ryan relies on seemingly disjointed images and dark, dreary soundscapes to paint a setting and then delves right into the core of the plot: a brutal murder in a public toilet. Ryan doesn't really care about the whodunit aspect of the story since he reveals the killer right away, instead he focuses on the relationship between the killer and the sister's victim.

Even though it wouldn't be wrong to categorize the film as horror, there's a hefty dose of drama running through Darkness on the Edge of Town. The close-knit relationship between the two girls, their hardships in life and their barren prospects fueled by a lack of possibilities in their home town make for ideal subjects to give the film a little extra depth. In that sense, Darkness on the Edge of Town reminded me of Ben Wheatley's take on horror. It's not so much about the supernatural, rather about the darkness within us.

Even though it's a small-scale project, the film packs a pretty decent audiovisual punch. Ryan makes excellent use of the Irish countryside, which is complemented by a grim and muddy color palette. The soundtrack is equally dark, with lots of gritty soundscapes and illbient sounds. And to top it off, the acting too is top notch. Usually this is a little less important for a horror flick, but because of the strong dramatic layer running underneath it's good to see some solid performances from the main characters.

I don't really have anything negative to say about Darkness on the Edge of Town, apart from the fact that it doesn't really excel at anything. It's good across the board, but it simply lacks something that makes it truly memorable. Since this is Ryan's first feature effort though, that's nothing to be ashamed of. If you're looking for a horror film with good performances, characteristic visuals and a little extra depth, you can't really go wrong with this one. Just know that it's not a full-blood horror feature and simply let the darkness wash over you.

The Visit

date
November 23, 2015
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The Visit poster

M. Night Shyamalan returns with a new film. Long ago that would've reason enough for considerable hype and pent-up anticipation. Nowadays his films are considered a success if they aren't tossed aside after their first week in theater (if they get there at all). The popular narrative is that it all went downhill after Unbreakable, each film worse than the one before. Personally I don't subscribe to that narrative, I like Shyamalan best when he's mixing horror and fantasy with some tongue in cheek thrown in for good measure. I consider Lady in the Water and The Happening to be his best films, so I was more than happy to see that The Visit was somewhat revisiting that territory.

The Visit is not your run of the mill found footage horror (and not because it's actually a faux documentary, I'm not that pedantic). Sure enough, most (if not all) of the footage is coming from a handycam operated by a little documentary director to be, but it never actually feels like it wants to be part of that niche. It feels more like a traditional horror film, with some slight 80s influences (mostly because the film is told from the perspective of two teens) and a stronger focus on the mysterious, rather than going for some quick jump scares.

The film follows Becca (15) and Tyler (13), who're on their way to visit their grandparents. Their mother ran away from home before they were born and this marks the first time they're going to see their grandma and grandpa. Becca is handy with a camera and decides to turn the trip into a documentary, hoping to uncover what happened on that faithful day when her mom eloped (and ultimately, to bring the family back together). Meanwhile, mom goes on a welcome holiday with her newest lover.

While the trip starts off well, it soon dawns on Becca and Tyler that their grandparents are a little odd. Grandma walks around at night and suffers from sundown syndrome while grandpa turns out to be incontinent, hiding his "little accidents" in the shed. Things get increasingly weirder though and what started as a fun and exciting trip is quickly turning into a restless nightmare.

Shyamalan includes a few jump scares and a few classic horror build-ups, but ultimately aims at a different kind of horror. Deanna Dunagan and Peter McRobbie shine as nana and pop pop, portraying two elderly people who are strange, a little creepy, but ultimately just old and alien-looking in the eyes of the two teens. This fear of ageing is what keeps the tension strong and lingering, even when Shyamalan throws around some goofy and quirky bits left and right (Jerry the police man being my favorite).

Yes, there is a little twist at the end and yes, it will make a second viewing a somewhat different experience, but in contrast to films like Signs, The Sixth Sense or Unbreakable, there is more to The Visit than just the twist. It's a strong mix of horror, tension and tongue in cheek fun. It's creepy when it needs to be, it's funny when it wants to be. The only point of critique I have is that the middle part is a little too slow due to some mediocre attempts at additional drama. Instead I would've preferred a little extra grandma and grandpa time.

The Visit is not a film that will appeal to the masses. It doesn't have the big twist, it's not laden with jump scares and there aren't any vampires or demons to spruce things up. On the other hand, it makes The Visit a unique experience that stands as one of the better, if not the best Shyamalan film I've seen so far. It's not an easy film to blindly recommend, but it's sure worth a try if you're in for a little gamble.

Circle

date
October 26, 2015
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Circle poster

I sat down for Circle, not really knowing what to expect. Based on the poster and a quick glance at the plot summary I hoped for a solid genre flick, but that's not exactly what I got. Circle is much more than a bag of slickly executed clichés, instead it sets out to turn things upside down, packing a few welcome surprises along the way.

You have to give the film a little time though, because the beginning makes it look like the umpteenth copy of Saw. A group of people waking up in a room, not knowing where they are or how they got there isn't exactly a novel concept, unless you've been ignoring horror cinema for the past 10 years. But that's where the comparison ends, Hann and Miscione have other things in store for Circle and once the initial setup is explained they quickly begin to shift their perspective.

Films like Saw have always been about overcoming oneself in order to survive. About solving puzzles and escaping perilous situations by crossing personal boundaries. Even though at first Circle seems to be going in that same direction, the captives quickly discover a more dire fate awaits them. 50 of them are lined up in a circle. Every two minutes someone dies and the next victim is always decided by vote. The interesting part is that there's no way to cheat the system, so rather than trying to beat the game, people are clinging on to an irrational hope that surviving the next two minutes might lead to some kind of solution.

Circle is equal parts mystery and thriller with a small slice of horror thrown in for good measure, but don't let that fool you. It's a very talkative film, shot in a single location and focusing on the group dynamic rather than introducing action elements. The key to the game is surviving in a group of 50 strangers, knowing every two minutes at least one person has to die. Hann and Miscione use this setup to explore how people make choices when they have little to no factual information to rely on, resulting in a film that shows more interest in the psychological aspect of the concept, rather than trying to arouse shock and tension through the killings.

Even though Circle is shot in a single location, the presentation is interesting enough (a bit Cube-like). Acting is decent and there are enough interesting angles to keep it engaging. Circle is really a perfect genre/author mash-up, save for that final minute. And it's not even the build-up that ruins it. Up until the last minute Hann and Miscione do everything perfect. The not-so final ending was absolute perfection too, but then they decided to stick on another minute that felt completely obsolete. It offers an explanation I could do very well without and it backtracks on the implied ending just seconds earlier. It's a shame they didn't just cut it off, but since it's there it's impossible to ignore. Not that it ruined the film for me, everything else is still very cool, but it's definitely a missed opportunity.

If you're looking for something a little different than Circle is a great little psychological thriller. It really messes with your expectations and serves you an impossible riddle with no solution. At least, if you're the type of film fan that doesn't freak out when the ending is more than a little disappointing. Here's to hoping Hann and Miscione get another chance to prove their worth.