A fabulous and most amazing experience and whereas a slight plot with limited dialogue will usually tend to encourage disengagement and a tendency towards sleep, here the complex and overwhelming visuals override that inclination and the lack of intellectual involvement is supplanted by and emotional overload of quite extraordinary proportions.
At times almost unbearable and frequently seriously frightening this wondrous cinematic onslaught races the viewer from one horror to another with barely any pause for respite. Our tender young heroine is under attack throughout and we suffer the pain and pleasure of all concerned in a most severe and visceral cinematic experience.
I had the privilege to catch this at a single BFI Southbank screening in London. I loved the introduction from Julian Marsh III, who told of how he discovered the last remaining print in his hallway and I loved his recorded telephone conversation with second male lead, Charles W. Pitt. The film itself starts very predictably in a graveyard at night in the rain. Inside a nearby dwelling the three lost students and their teacher are given some sort of…
This is a profound and engrossing film. Peter Strickland is clearly less a fan of cinema than a fanatic for film and there is a difference. He believes that film does not depict reality but is a reproduction of reality and therein lies his fascination. He is excited by this process and through his films similarly excites us. In this film, ostensibly about a couple of ladies living out a BDSM relationship in a rambling old mansion, his filmic inspiration…
I didn’t think much of this when I first saw it and don’t think much of it now. It’s terrible really because the girls are great and it looks good most of the time with plenty of sexy kills. The title, salacious though it is, is pretty accurate, but the predictable tale plods along and in the end produces a killer we have not only not seen but did not know existed! Distortion on the soundtrack doesn’t help this one.…