Breathless

I finally got through finishing Jean-Luc Godard’s Breathless. I originally attempted to watch the film a couple years ago and immediately felt disgusted with myself for actually watching 40 minutes into it. I didn’t remember much of Breathless and for good reason. Breathless is as soulless as the existentialist world view that inspired it.

Breathless obviously inspired many of the more recent "auteurs" directors. I am sure Richard Linklater, Jim Jarmusch, and Quentin Tarantino were schooled with it. Keep in mind I do like a couple films from each of these directors (including Godard). Godard helped to innovate the horribly contrived philosophical conversations new “Independent” directors consider the highest expression of art. I felt embarrassed to be human after watching Richard Linklater’s Before Sunset and Before Sunrise. Are honkies really that lame?

"Each cigarette is one step closer to death"

I honesty can’t think of one redeeming characteristic of Breathless. When French “badass” cop killer Michel finally is forced into closing his mouth via bullet, I did feel somewhat refreshed. But of course this wasn’t enough to save Breathless. I’m not surprised that Michel’s character was based on Humphrey Bogart. My hatred for this man cannot be accurately articulated.

Breathless appeals to the most pretentious of Marxist film fans. The reason for this is theres nothing in it to complain about. No racism, No sexism, No ageism, and No sign of life. Contrived sunglasses, half burnt cigarettes in mouths, and fancy hats make for the ideal COOL cosmopolitan criminal. But really, Michel seems more like the victim of a gang raping in Washington D.C.

"My sunglasses hide the inconceivable pain that my eyes reveal"

If you want to watch a film that features boring dialog about questions in life that are somehow supposed create the essence of their lives than Breathless is the film for you. Novelty intellectualism has been trendy for a while so this “masterpiece” hasn’t tarnished. Contempt is my favorite film from Godard and the title sums of my feelings for the New Wave auteur.


"I am the truest of auteurs. My films are my soul on celluloid."


Theres no doubt in my mind that Jean-Luc Godard truly feels cinema is dead. Breathless perfectly compliments that theory.

-Ty E

Sodoma's Ghost

Sodoma's Ghost or The Ghosts of Sodom is a rare Fulci film made in 1988 that has done nothing but collect dust. The story opens up inside a villa that was under Nazi power located in the middle of France. There were several Nazi's snorting cocaine and were involved in an orgy. Willie, played by Robert Egon, was walking around the room filming it going on. A drunken officer was playing pool with a passed out woman on the table. You can only imagine how that one goes. Right as he hits the middle pocket, we see stock footage of an air raid and with that whim, the building is destroyed.

We then cut to 5 college students studying in France. After getting lost, they wind up at the Villa. After coming to the conclusion that it is isolated, they go around back and find a key under a conviently placed door mat. Upon entering, they view a vividly red chamber with a fireplace, exquisite paintings, and a wine cellar that would make a grown man cry. They party it up then head to bed. At this time, one of the women has a dream that Willy appeared to them and seduced her in a masochistic manner.


They wake up and attempt to leave, but no matter where they turn, they always end up back at the villa and because he has no lights, they cannot drive at night. They recede back into the villa only to find they are locked in and normal windows are unbreakable. They begin to start envisioning the ghosts of Nazi soldiers and whores one by one. Lucio Fulci is considered worldwide to be "The Godfather of Gore". With such a boasting title, he doesn't dissapoint in this film. There is a rather violent scene in which a body melts and the rib cage begins to violently extrude.


Robert Egon plays a wonderful role in this film and balances all elements of the film. He plays the pretty boy Nazi with sparkling eyes and blonde hair. He appears to be the ringleader ghost. Not only featuring a little bit of gore and bad acting, We are treated to a very tense and well set up Russian Roulette scene involving Willy and one of the students. For being a Fulci film, it deserves some credit. Several characters make scenes of this become hilarious. Meanwhile, the film does a impeccable job at drawing you in. It also features a lot of that esteemed nudity and a scene of lesbianism.


You can actually feel Fulci behind the camera of this one. So far, I have only seen an all region version of this on xploitedcinema.com. I would say it was worth the price to pay. The only thing anybody should really have anything to complain about is the lack of gore and the ending. It is one of those endings that is extremely hokey and no one really wants to talk about. Sometimes i find myself denying that film even had an ending. An overall decent Fulci movie that exploits the natures of Nazi's and the skin of women.

-mAQ

Grand Illusion

Grand Illusion is French art royalty (son of Pierre-Auguste Renoir) Jean Renoir’s masterpiece. Joseph Goebbels declared the film "Cinematic Public Enemy No. 1.” and with good reason. Grand Illusion is a pacifist antiwar film that was released in 1937. The “Grand Illusion” is the war itself and the man made country borders surrounding it. Fascism was Nationalism in its most extreme form hitting its peak during this time period (in response to Bolshevism which promoted Internationalism). Renoir was able to accomplish showing similarities between nations and the absurdity of fanatic Nationalism. The end of the Second World War proved this to be true with the largest amount of deaths in both European and Human history.

Grand Illusion also represents the end of old Europe and European royalty. Legendary actor Erich von Stroheim plays the role of Captain von Rauffenstein, a German officer. Von discusses with French Captain de Boeldieu that they are no longer needed and are part of European history. These two officers acknowledge they have more in common with their international aristocratic counterparts than they do with their fellow countrymen. This is also the same for the proletarians. Renoir acknowledges the dividers aren’t the Nations but the classes (he may have had a Marxist fetish).

The wealthy Jew Rosenthal also brings up another interesting element going on in Europe. Rosenthal represents the famous Rothschild family. The Rothchild’s had a part in funding most of the wars in Europe and America over the past couple hundred years. Rosenthal brags of his wealth and many acquisitions for being a Frenchman for so little time. The other Frenchmen are unconcerned as Rosenthal is very generous with his food and other desired POW luxuries. The Rothchild’s would later go on to funding 80% of Israel.

Grand Illusion should be mandatory viewing for History classes as it is full of the true relevancies surrounding both the first and second war and European history in general. No film better identifies the fall of Europe and the irrational variables surrounding it. Shortly after Grand Illusion was released Jean Renoir decided he was no longer a pacifist. He came to America and made anti-Nazi propaganda films.

-Ty E

Gayniggers From Outer Space

Created by internet trolling group GNAA, this film is the first of its kind. A homosexual romp which greatly resembles any old science fiction film. It is a shitty, monotonous, misogynist film displaying the exploits of Gay Crusaders filmed in glorious Black & White with a running time of a horribly paced 24 minutes.

The storyline involves Captain B. Dick and his crew with such names as "THE GAY AMBASSADOR" and "SGT. SHAVED BALLS". They recently found out there are disgusting "FEMALES" on our wonderful planet and vow to free us men from the "FEMALES". Their computer copiously produces spelling inaccuracies which brings up the question if Gayniggers can spell at all.


When they find women in various countries, the master computer which talks in a Speak-N-Spell mannerism, gives them information on said country with racial themes attached. They travel to China, in which the women speak in a wonderfully racist dialect formed with "ching chong ching kings" and such. When they laser the women away, the man hugs the GAYNIGGER and looks so happy.

The Chinese man's voice is obviously someone speaking into a recorder than played backwards. Along the way, married men turn instantly homosexual and blow kisses. The soundtrack is composed of the all-to-familiar funk/blaxploitation theme. It seems to steal most of its cues from Isaac Haye's work on Shaft. I don't think i can ever see a Negro with a Mohawk and not laugh again.


The set design is just all aluminum foil. It's quite interesting due to all the reflections and the light tricks it plays. At the end of this film, when all women have been assimilated, you seem a collage of men in a pool deep-throating banana's and singing about being homosexual is the way to go. A bit of queer propaganda has never hurt anyone. The only thing i can really say about this film is it is funny, but for all the wrong reasons.

-Maq

The Redsin Tower

"Butchery and carnage will reign upon the holy"

I do not remember their being anyone considered "Holy" in this film. The newest film from TOETAG Pictures, creators of such nasties as August Underground and August Underground Mordum, is the mother of all over hyped cinema. This film started screening about a year ago in horror conventions around the globe. Many reviews brought back amazing results, one even going as far as to say it "re-invents the slasher genre".

You can imagine the average consumer being throttled for this film, but all hopes were shattered when the DVD release date was delayed in hopes of finding a company to release this film on DVD. Fans waited and waited and finally, they just released it themselves. I pre-ordered my copy without a second glance. The film has a simple and... familiar plot.

Mitch loves Kim. Kim loves Mitch. Kim wants more. Kim breaks up with Mitch. Mitch is pissed. He wants revenge. Kim wants drugs and alchohol and cheap sex. Mitch wants vengeance. Kim wants to party at a sleazy tower with all her "gothic" friends. Madness ensues. Now the acting, is a very mixed bag. We got Mitch, played by Perry Tiberio, who in all aspects is and can be a great actor. He needs some work on his sniffling though. Then we have Kim, who i am going to be a nice guy and say that her acting is horrid.


I cannot imagine anyone thinking the acting in this film is better than any of the other Vogel productions. The stoner guy was a good actor too. The cast seems very cliched and annoying. I dont view any of these characters as real people. We got the stud football jock, a Fat Joe look alike, Gothic sex fiend, and the stoner and company. I only sympathized for maybe 3 characters out of the entire running time.

One cool thing about this film though, is how they managed to mix a slasher film with supernatural climaxes. You never really know who to trust or who will get out in the end. The gore, which TOETAG is so famous for, is hardly there. We got a face slashed, maggot afterbirth, intestines, and etc. It looks good, but it could have used higher quantity.

Another thing that got me was how the film is titled "THE REDSIN TOWER" but there is only 1 floor. One floor that houses a flying lizard plant which reminded me of Full Moon pictures bad attempts at animatronics. The lighting in this film varies from too dark to see anything, but it is a tower, and really beautiful shots involving lots of cunning uses of shadows.

"The future of horror is BRIGHT FUCKING RED"

If they make any more films like this, it seems the future of horror is pretty fucking bland. Overall, this movie is just another notch in my mind of movies i have seen. Nothing too special, and it has all been seen before. All this coming from a TOETAG Pictures fan.

On a brighter note, i did get a really cool patch with the DVD.

-Maq

Boss Nigger

"They roll into a White Mans town....with Black Mans law"

An intense blaxploitation film with a spaghetti western outline, this film is teeming with racial tension and plenty of squibs. This film is a pretty decent non-violent violent movie. Fred Williamson plays Boss (Nigger, but don't let him hear you say that), a bounty hunter with a comical sidekick who are hunting down a man named Jed Clayton, a thief and womanizer who is their ticket to a high life.

They stumble upon a town that is sheriffless. Taking lead, Boss fills the role and brings a young woman and gives her a job in a bar. They quickly take reigns of this town, spreading black mans law, placing fines on anyone who uses the word "Nigger" or disrespects them. Along the way, Boss seduces a schoolteacher, and kills a lot of angry white men.

This film is surprisingly directed by Jack Arnold, Best known for Creature From The Black Lagoon, Tarantula, and many other science fiction classics. Fred Williamson wrote this film with his own production company in mind. He made this film to parody his many over-the-top violent films. Much like a plethora of Fred Williamson works, you won't find much on them. All cover art normally belongs to an entirely different film. See: Black Cobra, Warriors of the Wasteland, and G.I. Bro.



The design of the small town is near flawless. The town has its own slums littered with spanish mothers and other stereotypes. D'urville Martin is hilarious in his role as Amos. He is a fast talking uppity negro with a penchant for fat women. He has many quotable lines and a fast talking lip. A more noticeable role of his is Willie Green in fellow blaxploitation film Dolemite. He is also the director of that instant classic.

What didn't work for the film is some of the camera angles and the opening. They decided to cut the opening title card and original song. Cutting it from "He's Boss Nigger" to "He's Boss..." and changed the title to Boss, while still keeping all the "Niggers" in the film intact. In many scenes, the camera would swerve around characters attempting to catch the action, but the camera always felt blocked. It did work for the feel of a shoot-out though.

Perhaps my favorite thing about this film is its soundtrack. Blending old school funk with mellow beats that mix so perfectly with everyone's motion. Clearly a soundtrack with the film in mind. Boss Nigger is a perfect addition to the Blaxploitation genre as well as Spaghetti westerns.

-Maq

Crazy Love

I’m in love with Crazy Love. It was directed by Flemish director and obvious auteur Dominique Deruddere. It is no doubt he has a personal love for Crazy Love. It was one of the few masterworks of its decade (1987 release). Crazy Love is the kind of film that would most likely turnoff the most pretentious of film lovers before they even consider watching it. It makes the teen angst of a John Hughes film look like a collection of middle school pity parties. Barfly Charles Bukowski’s writings are the loose basis for Crazy Love’s story.

Masturbation instruction, puss filled zits, and necrophilia inspire feelings of the most forbidden love. The climax is an extremely wet one. In the end, everything still feels lighthearted despite the Crazy Love's progression into a life nihilism and nothingness. What a shame that Crazy Love hasn’t gotten the recognition it undeniably deserves.

Protagonist Harry Voss experiences temporary joy through something you generally wipe your ass with. This image and dance (as seen on the film’s cover art) stick out boldly. After that, life goes downhill. Harry Voss falls in love with a bottle of liquor and his path in life goes down from there.

Harry Voss swims with the stars with his crazy love. He has finally found his sleeping beauty with her unconditional love. Harry Voss from the beginning was a romantic. Eventually, he became a deity of love.

-Ty E

Naked Blood

I dont take much heart in exploitation films. I frequently enjoy the fruitful violence and depravity they offer, especially in a world so quick to judge, but the same formula is applied over and over again. Blood this. Sex that. It's overused in all sense of the word. Hisayasu Sato's film Naked Blood is a CAT III exploitation movie with some intelligence. Eiji is the only son of a widowed mother who is also a scientist. His father was lost at sea and never found.

Eiji is an aspiring scientist who just invented a new pain killer dubbed "My son". It's the recipe for eternal happiness, turning pain into pleasure (As demonstrated in Flowers of Flesh & Blood). Before his mother runs tests on 3 women, Eiji sneaks My son in with the drug his mother and intends on viewing them to watch for side effects. He runs into trouble when the women start mutilating themselves creating ecstasy out of delectable tortures.

The film itself travels through many genres and features many noticeable scenes. One being a sex scene the seems like it inspired some of Demolition Man or Tsukamoto's A Snake Of June. The most surprising element is the character development. Eiji's mother watches old reels of his father and through some interesting flashbacks, we witness the problem at its core. Sato filmed his vision of the transgression of pain and ecstasy deliriously creating an intelligent, yet nihilistic masterpiece.

Many bizarre situations accompany the scenes in this film. Rika suffers from an extreme case of insomnia and because of this and probably also due to some freakish accident with the scribes personal life, she has hyper sensitive hearing and can hear the plants talking. Her philosophy is that cactuses are always sleeping and for that, she shares an intimate bond with a cactus. Since she cannot sleep, she sits in a chair with a VR headset connected to the cactus which relaxes her into dreamlike situations.


The film is a gore extravaganza. Nipples are cutten off and consumed. Vagina's sawn off and eaten. Arteries slashed, gruesome piercings, and even the entrails exposed. This Japanese film has enough blood to please most gorehounds. This is a very solid psychological film with many disturbing scenes, a wicked twist ending, and frequent bloodshed. A great film that should be seen eventually although it does suffer from the casual imperfection.

-mAQ

The Red and the White

I have the horrible misfortune of generally holding Marxist films as the most important. Russian-Hungarian co-production The Red and the White directed by Miklós Jancsó is a fine example. Over the years, I have come to hate most War Films(especially American War films). I especially have no respect for so-called antiwar films like Platoon(Oliver Stone trying to prove he's a man) and All Quiet of the Western Front(good old Lewis Milestone AKA Lev Milstein). Milestone later went on to make pro-war American propaganda films such as A Walk in the Sun and Halls of Montezuma.

The Red and the White is not like the typical American war film(or War film in general). The film takes place during the Civil War of 1918 in central Russia at the height of Bolshevik barbarianism. The film takes a realist approach which ends up becoming surreal. The gathering of human cattle to be shot becomes especially interesting when decisions are made on who gets it first. The killings are repetitive but never boring. The Red and the White holds shots longer than even most Italian Neo-Realist films would. I always enjoy when I can actually get into a scene before almost having a seizure from a Vertov-Style split second shot.

One interesting and unconventional element of the film is its presentation of war as both absurd and redundant. Generally, most propaganda films (especially Bolshevik) have a completely one side view on hand. The Red and the White features a midget would-be rapist Bolshevik violating a young white Russian girl (she is stripped and then washed for Stalin's other Bloody Dwarf). The white army ends up blasting this Trotskyite away with a variety of bullets. Truly refreshing for both sides.

The White Army's elitism is not match for the global proletarian barbarians. In all honesty, its hard for me to decide who I like more. The Bolshevik obsession with fighting by any means necessary gets quite interesting. Some of the White Army POWs even end up converting to the Red Army. I guess that could be considered an all time low.

The conspiring of a woman with her diversion of the White Army via her naked body would be deemed misogynist by self loathing Emma Goldman would-be's. These type fighting techniques are very rarely seen from any type of war film. Its odd form of voyeurism becomes especially erotic.

I doubt "E.T. hands" Spielberg watched The Red and the White in preparation for his gore fest/sentimentalist Zio-fantasy Saving Private Ryan. It may have inspired thought on his part which could have ended in Jurassic chaos. After all, he is the master of fantasy and showmanship.

-Ty E

Mamma Roma

Mamma Roma is an Italian film written and directed by philosopher, linguist, novelist, playwright, filmmaker, newspaper and magazine columnist, actor, painter and political figure Pier Paolo Pasolini(March 5, 1922 – November 2, 1975). It came out in 1962 when World War II was still fresh in the mind of Italians and other Europeans. Mamma Roma follows the lives of a middle aged prostitute and her 16 year old son. They live in a poor area of Italy surrounded with pimps, prostitutes, and thieves. Essentially its about a single mother that is doing all she can just to support herself and her son.

Throughout the film, no one can be trusted. Mother and son truly only have each other. The son is beaten up by a gang of people that were supposed to be friends. He is also lead on and humiliated by a girl with a bad reputation. When the son finally makes friends with a group of boys, they end up being criminals that lead him into a life of theft. Eventually he is caught and imprisoned. While he’s incarcerated he becomes ill and eventually dies. His poor Mother has nothing left afterwards.

Writer and director Pasolini was a Marxist and many of his films dealt with proletarians. Mamma Roma exposed that in Capitalist Italy the poor faced a life of alienation, unemployment, economic instability, and crime. People could barely live on a day to day basis without being the victim or victimizer of a crime.

Pasolini mainly casted nonactors in Mamma Roma to give it a more realistic (bordering on cinéma vérité ) feel. Throughout the film the characters seemed authentic and almost documentary like. Mamma Roma is rich in a culture that is not very often exposed. Pasolini was able to give the proletarians a voice through cinema. I believe that cinema is the most effective way to get a glimpse into culture(without actually around culture) when done correctly. Pasolini was able to accomplish this due to the films realism. I’m personally against Marxism and can consider Mamma Roma among one of my favorite films. It has captured a time in history that has long past.

Communication in Mamma Roma can be unpleasant at times. Even friends turn on you in the end. Pasolini, being a Marxist and Collectivist sees Capitalism and Individualism as being deterioration of the exploited proletarian. In a world such as this, communication can be very unpredictable. Friends are constantly lying to you while talking to them. People can turn their back on you when you least expect it. Communication in poverty stricken Italy becomes completely unreliable. When communication becomes unreliable in a society, it starts to crumble. For the Mother and Son in Mamma Roma, they lose each other and everything else.

Pasolini was able to capture a varying types of communication. Whether it be the communication of dominance in a fight or men inquiring prostitutes, it generally resulted negatively. Pasolini had his own political views which influenced a lot of the negative types of communication in a Capitalist society. Despite the political agenda, I felt that Mamma Roma gave me a sense of a culturally rich ancient society. Very few films have impacted me. It has inspired me to watch more Italian films and a variety of films from around the world. When watching a foreign film, you feel like you are missing out on a part of the world. I at least felt that a culture was communicated to me after viewing Mamma Roma.

-Ty E

The Lost Boys

Hollywood “rebel” and self-proclaimed “Sexual Outlaw” Joel Schumacher has made a variety of failure films for all different genres. His masterpiece(which he stated himself) is the ambiguously gay The Lost boys. This film completely destroyed all vampire conventions and most likely had them rewritten by the ghost of Jim Morrison. Hollywood does have a couple of dark gems.

The gang of rebellious vampires in The Lost Boys call a cave located in a cliff as their home. I like to think that it’s the same cliff that Buzz drove off while playing chicken with Jim Stark(James Dean) in Nicholas Ray’s masterpiece Rebel Without a Cause. When the vampires in The Lost Boys take flight they offer some of the most aesthetically pleasing night shots that can’t be found in any other film. Thomas Newman’s score perfectly compliments these midnight flights.

The cast of The Lost Boys is easily recognizable. The two Coreys (Haim and Feldman) are in their best roles, before they fried their brains on various extra curricular activities. Haim’s character proudly displays posters of beefcake homos on his wall. Alex Winter (Bill and Ted’s Excellent Winter) plays a demon dwarf-like vampire before taking a stake in the heart. This scene is much more interesting than all of his film Freaked.

Schumacher’s The Lost Boys is obviously an allegory for a young mans transformation into a homosexual. Interesting, a bloodsucking gang of leather clad neo-Brando’s help him with the transformation. Was this Schumacher’s deepest and darkest fantasy? Was Corey Feldman’s army fatigues a conscious decision on the director’s part?

The money men at Warner Bros. have decided to make sequels to their franchise friendly films. Among them is The Lost Boys II: The Tribe. This would be a fantasy for me if I were still a child. Now I can expect it to be a piece of cold blooded garbage. Corey Haim has decided he is not having any part in it. On a positive note, coke head and special effects master Tom Savini has also been said to make an appearance as a surfer.

-Ty E

The Cook, The Thief, His Wife, Her Lover

I present to you a film with numerous bans and cuts, heavily censored around the world. Peter Greenaway directed the lush film which is indeed a "Black Comedy". The plot revolves around a restaurant named Le Hollandais which lays home to a bizarre kitchen crew. The co-owner is a despicable man named Albert who is married to a woman named Georgie. Throughout the film we realize that she is regularly abused as well as demeaned in publc. She is afraid of him, and for the fact, everyone else is too. This situation sets the story up real nice and rarely gets boring.

One thing that makes this film click so well within our heads is the set pieces. The slums outside of the restaurant are boorish and breathe life in this offbeat film. When this film was released it garnered an "X" Rating only to be later cut to "NC-17".

The stories Albert exchanges nearly challenge the perversion of The Marquis De Sade. Alberts character is loathsome. Michael Gambon did a wonderful job and so did his weird sidekick Tim Roth. Upon viewing this film, the costumes strike your eyes and speak their own story, but the real magic happens once you enter the kitchen. A bearded strong man, a falsetto churning young lad, and the head cook Richard are just the fore-runners to such a surreal cast. The score is composed by Michael Nyman and pumps the moods up and presents each individual intense moment with Brass and Percussion. The dialogue is brash and immersive and the humor is razor sharp.

The director uses the color red so vividly just as in his other masterpiece "The Baby Of Mâcon". In a short summary, this film is a taboo-shattering theatrical masterpiece with Cannablism, Necrophila, Human Waste Consumption, and Fork Stabs to please even the most jaded cinema go-er. A tragic Love story at heart, this film could be considered Georges Batailles's Romeo & Juliet. A four-star dessert.

-Maq

Trackman

"A dreadful foreign slasher film from Russia”. That should be the plot synopsis for this lame attempt of creating scares. Most American horror films have become garbage, incorporating jump tactics and shitty remakes. When I saw the poster for Trackman, I was hooked. Boasting dark colors and wicked weaponry, it seemed like a bashful blast in painfully executing Russian teenagers.

The water-thin plot follows a pack of bank robbers receding into the tunnels under Moscow to escape from the police and make their getaway. Armed with guns and two hostages, it seems like nothing could go wrong. They talk of rumors of a creature living down here affected by Chernobyl. This creature in fact plays victim as well. Victim to a unpredictable yet retarded twist that gives shame to all involved in creating the storyboard for nails-on-chalk film.

What they don’t realize is that it is actually the lamest attempt at creating a villain ever. My hopes normally stand tall for foreign movies because they do most things right such as creating an Eastern atmosphere, the mood, and setting the character development up a notch. The only thing I applaud this movie for is the set design and partial cinematography. They indeed got the look right for this film but it dragged on and on.

The villain, who looks like some failure-casting role for Hellboy, is armed with a cork opener (?) and a bad ass pickaxe. He barely uses the pickaxe and plays with the corkscrew to remove eyes. Didn't I see this in See No Evil? In a scene halfway through the film, Trackman actually picks up an automatic weapon and open fires, instantly destroying any fear you might have felt. The only tension you feel during its hour and a half running time is a bit of tangent claustrophobia. These are not even the worst parts. The absolute fatality to this film was:

1) Complete lack of appreciated violence except for a couple eyeballs here and there.

2) The worst twist ending I have ever seen in my life.

These are the ingredients to make a dodgy, bland Russian slasher film. If you are looking for claustrophobic horror, rent Creep or The Midnight Meat Train.

-mAQ