Pierre_Kirby

Pride And Glory joins MR73 and The Chaser as the best Crime/Thriller's of 2008. The movie revolves around a family of cops and the issues they deal with. While the script is spot on for the most part, the movie suffers from an illogical third part that would've been best if it were left out.

Edward Norton joins a fine cast that consists of Jon Voight, Colin Farrel, Noah Emmerich, John Ortiz, and Jennifer Ehle. Basically, the acting is as effective as expected, with strong performances by Colin, Jennifer, Ortiz and Voight specifically. Edward Norton is pretty much playing another variation of the same character, but that is to be expected (whoops!).

Sorry about that Norton fans. Anyways, onwards. Joe Carnahan seemed to be trying to write another Narc with this one, and he almost succeeded. The twists and turns the movie makes are very well written, and the characters have depth to them. The problem is that the third part of the movie falls flat on itself. We have a generic fight to determine the happy ending of the movie, and an illogically written case of karma. The good thing is that the movie covers these failings by shooting them as realistically as possible, making them seem believable.

Even though I'm starting to detest hand-held cinematography, in Pride And Glory, it benefits the story somewhat. The movie is gritty, harsh, violent, and the hand-held cinematography creates a documentary feel to the experience that, ultimately, the movie benefits from it.

If you like your Cop Drama's, then there is really no reason to ignore this one. In fact, its the only good Cop Drama from Hollywood that came last year. That alone will warrant some curiosity.

7.9/10

1- Stephen Baldwin doesn't care about his involvement in Stephen Baldwin vehicles.

2- The acting in any Stephen Baldwin vehicle ranges from horrible to mildly passable.

3- Writers don't write Stephen Baldwin vehicles, children do.

4- Most of the Stephen Baldwin vehicles revolve around one genre- the Actionless Action genre. It basically consists of crappy action sequences made with little to no effort whatsoever.

5- The director doesn't care about Stephen Baldwin vehicles; he passes his job to an orangutan from time to time.

And now you know.

Bangkok Dangerous suffers from a lackluster romantic subplot that would've served better if it didn't exist. The reason I start mentioning this is because the amount of Action the movie is suppose to have is substituted for Drama, which is NOT GOOD if the movie doesn't even have well written Drama. Anyways, Bangkok is a clichéd Hit-man movie that you have probably read in a book, or watched in a film, time and time again. You know those movies where the deeply disturbed assassin gets a change of heart? Same exact thing happens here, with clichéd villains and plot points to boot.

Nic has seen better times, and has appeared in better films, but with Bangkok he proves that phoning it in is the ultimate way to make money. Hell, ask Sam Jackson. Nic narrates and broodingly grumbles an assortment of passages that are not only unnecessary, but tediously clichéd; All they do is lazily describe a character that has incredible potential to be something memorable, but isn't. He falls in love, and he changes his ways. He gets heartbroken, and he gets angry again. Pleeease. Besides this, the performances by Nic and the supporting cast are decent at best.

The Pang Brothers, aka, the guys that did The Messengers have a solid flair for tasty imagery. The problem is that they are working with a redundant script that provides everything but a well written story. My opinion- stay in China.

And ... I really don't have nothing else to say about Bangkok Dangerous. If you're an Action fan, then this will probably satisfy your rental needs (the movie is kept at a nice pace, whilst having three good Action sequences). If you aren't, then you will probably hate this. This latest Nic Cage movie is a mediocrity that serves only one purpose- letting you know that it is based on a supposedly superior film. That and Nicolas Cage's wig. It's entrancing.

4.7/10

Only images.

Please read all of the comments found here, because they are (for the most part) pretty much spot on. This film is to me one of the best of the year alongside the Wrestler, MR73, Chaser, JCVD, The Dark Knight, Benjamin Button, and Doubt, and I really can't add any other informative information alongside what has already been written. So this short comment will have to suffice.

This fantastic documentary follows filmmaker Ari Folman and his mission to remember his role in the Lebanon war, particularly his role in the massacre of Sabra and Shantila in '82. However, this isn't any ordinary documentary; it is an animated one.

With fantastic hand painted journeys that project both despair and beauty, backed up by fantastic music from Max Richter, this incredible story needs no words to be described; the film will describe itself.

If you love cinema and want to see an unusual, creative, original, near-masterpiece courtesy from Israel, then please try and catch this. Nominated for an Oscar for Best Foreign Film, Waltz With Bashir is a marvelous achievement that deserves all the success it is receiving.

9.6/10

Revolutionary Road is Sam Mendes fourth (or fifth?) film, and as you can expect, the film looks visually exquisite. But I'm not going to start talking about cinematography here. I'm going to start talking about how Revolutionary Road is Sam's weakest film. The praise and hate the movie is receiving puzzles me. For starters, Revolutionary Road is a movie that depends on performances, not story or script; What you mostly see for almost 2 hours is two good looking people duking it out over their unhappiness, their wasted lives, their BORING lives, the chances they missed and wished they had, etcetera, etcetera. It is definitely not a movie for everyone, but that doesn't mean that you have to 'get' the movie in order to hype it up for everyone else. As I said, the movie is about performances, nothing more, nothing less.

Two young people fall in love one night, get married, have children, and start to question if they really love each other. The premise of Revolutionary Road is based on a novel that I have no intention of reading, let alone comparing to the movie. Between infidelities and broken dreams, it is all about the 'realistic' aspect of the marriage between Leo and Kate, which is why I guess many people love this one. On the other hand, we have the requisite over-blown dramatic sequences which apparently turned off most of the professional critics and commenter's here in IMDb. I am in the middle.

I appreciate Sam's extreme attention and detail to the ups and downs of marriage, but what I don't appreciate is the little things in between. For some reason, we have Michael Shannon telling Leo and Kate the reality of the situation IN THEIR FACE, in order for them to understand what is really going on. Then we have an unnecessary love issue between the Wheeler's neighbor with Kate that goes on as subtle as Pink Floyd giving a free concert in Times Square. And an ending that teaches us that marriage is not what the magazines make you believe it is. Or the American Dream ads for that matter. After Jarhead, I really don't understand why Sam wanted to tackle this project in the first place. The script is incredibly simple, and it isn't as great as many people here are making you believe it is. What enhances the script, and the movie, are the performances, which are first-rate. I hate repeating myself, but it is the case I'm afraid.

Kate Winslet is the talk of town this year, and I can see why, at least in this movie. Her performance as bored and depressed April Wheeler is fantastic on almost all accounts. But as fantastic as Kate was, it was Leo who definitely made me turn my head. He completely stole Kate's thunder, COMPLETELY. And in Leo's quieter moments is where he shines the most. Why the hell did he get snubbed? What the hell are the Academy smoking? I mean, is it really that hard to nominate a great performance? Jeez. The supporting cast is forgettable except for of course Michael Shannon. Out of the four scenes he was in, he stole all four of them. Who the hell is Michael Shannon? Quite possibly one of the most underrated actors working today, who alongside Ryan Gosling will definitely go places in the near future. Thank the gods he has a much deserved nomination.

Revolutionary Road is like some of the movies released this year (Gran Torino, Seven Pounds)- loved by many people, hated by many critics. As a big fan of Sam Mendes, this was sort of let down. The script wasn't anything special, and the movie is basically there for you to see Leo, Kate's and Shannon's performances, which is alright I guess. Far from being a bad movie, but it is also far from being a masterpiece. It is just an above-average watch that you will either love or hate.

6.8/10

I'm very shocked to learn that The Wrestler wasn't nominated for Best Picture of 08 at the Globes. What the hell were they thinking? They weren't even thinking!

I hate to be the one to give more hype to the film, but The Wrestler deserves every bit of praise it is receiving. Darren Aronofsky redefines himself by working on something that is yet again, unexpected, but goes in hand with his other work. In case you haven't noticed, in all of Darren's films, the main character(s) are on the verge of breakdown. What happens before and after doesn't matter, what matters is that Darren likes creating and/or working with individuals that have nothing (but ultimately everything) to lose. Same case with The Wrestler.

What moved me in this film is the unprecedented realism of it all, and not just from Mickey, but from everything and everyone in the film. This film feels like something made by Werner Herzog.

The realism and honesty of the performances is a sight to cherish. And let me start off by praising Mickey Rourke, who has given here what I believe to be the best performance of 2008. Honest and heartwarming- all hidden under the main character's broken down exterior that isn't afraid of reaching the limit. Mickey's method acting is at full force here, and the fact that his life is so similar to Ram's makes it easier for him to know the character better than anyone; up close and personal. There are so many subtleties and nuances in his performance that deserve being written, but I won't spoil the good stuff.

Mickey is accompanied by two very beautiful and talented women who also got snubbed by the Globes- Evan Rachel Wood and Marisa Tomei. As with Mickey, these ladies bring everything to the platter, i.e., they bring the goods, and not just physically (Tomeihrmph). Fantastic acting thanks to the talent at hand and Darren's direction.

As with his other films, the performance are those of quality; Darren knows how to work with actors- Ellen Burstyn, Marlon Wayans and Hugh Jackman being prime examples. The visual direction is outstanding, but not in the way you might think. It is outstanding in the realism it presents, not in its flashy editing or cinematography tricks like those in Darren's other films. Also, Darren's longtime friend and collaborator Clint Mansell, created a score (with Slash from G&R) that accompanies the film beautifully and personally.

The script is nuanced, but slightly predictable. That being said, this film wasn't trying to reach the stratosphere like other movies out there, it knew what it was and you should expect nothing more from that. A simple story about an aging Wrestler with personal problems that discovers his one true love, and embraces it, despite of its consequences.

Most people are missing the subtlety in the Wrestler. Seeing Mickey's face before he jumps off the top rope at the end of the film is one of the many examples. A single image backed up by powerful acting speaks volumes; it doesn't trick you, it tells it like it is. Nothing is thrown at your face here, you just have to find out the meaning for yourself.

9.3/10, powerful cinema.

I really don't know why there are some people who defend remakes. I mean, for every good one, we get twenty crappy/mediocre ones.

Well! The good news is that The Day the Earth Stood Still has some pretty CGI, and decent performances by Keanu, Connelly, and Cleese. The bad news is that the script and direction is worthless.

The only reason why I wasted 5 dollars on this is because I haven't seen the original. I'm sorry, but if the original director handled the script as uninspired and as empty as the director in the remake did, then my hopes for seeing the original will definitely fade. Talk about taking every scene from every disaster movie ever, and implementing them (YET AGAIN) in the most boring way possible. And its loaded with even more bland sentimentality! The characters are cardboard cut outs of other characters from other movies. The scientific element in the movie started interesting when Klatuu reached Earth, but then became basic tripe all the way until the credits started.

Even if the acting is good, it doesn't change the fact that the characters were not well written. Jennifer Connelly and Keanu deliver effective performances, but to what purpose? We don't care about these one dimensional characters! And what about Big Willie Style's son you ask? Well, he is very annoying as f*ck. But what can you expect from a script as worthless as this? At least he played the part that was given to him well enough to make us wish he suffers from irreparable damage. I see bright things for Will's son, but this isn't the best way to showcase his talent, not in insipid movies such as this one. The only memorable thing in the acting department was John Cleese, who turned out a subtle, but effective performance as Professor Barnhardt (even if the screen time was minimal).

The only thing that worried me from this production isn't the constant product placement. Or its abundant use of clichés. Or its pathetic script. What worried me was that the director (Scott Derrickson) is working on Paradise Lost. On account of this, I conclude that the human race is definitely getting very close to extinction.

4.2/10

The last time we saw Will, he was saving a superhero movie from a sub-par script. Before that, he was saving a remake filled with horrible computer animation and mediocre writing. This time however, we see Smith re-teaming with Pursuit of Happiness director to tackle yet again, another heavy dramatic role that begs the question: where do we go from here?

For all its heavy handness and what have you, Seven Pounds isn't as bad as most critics would like you to believe. In fact, it isn't bad at all. There are worse movies out there, and Seven Pounds is far from being one of them. I was amazed that the critics hated it, I mean, it IS Will Smith after all. Maybe they're just tired of seeing him pull of the same expressions or something; or maybe they're just tired of seeing Will pull of the same expressions in a serious role.

In case you haven't been up to date in regards to the plot, here's a brief reminder- Will Smith is an IRS agent with a tragic, mysterious past and for some reason, he starts helping seven strangers with their problems.

Seven Pounds is basically Pay It Forward with a twist- no Haley Joel Osment. Seriously now, the movie tries very, VERY hard to keep you guessing as to what the hell is going on; it fills you in with little tidbits in between scenes. You'll probably be shocked at end, or you'll probably figure it out before the end. It doesn't really matter. What matters are the performances, for you see, the script isn't anything that special. Besides the fascinating, symbolical use of a Jellyfish, the movie's main purpose is for you to cry... A LOT.

Anyways, the performances. I have to admit that as fantastic as Will was, Rosario Dawson upstaged him. Yes, Rosario Dawson, the girl from Clerks 2 and the sex scene in Alexander (?). She was absolutely marvelous in this movie; a real, down to earth performance that was anything but showy. Will's performance is likely to get snubbed by the Academy, which is stupid because this will go down as the best performance of his career. It really is that good, and I think that it will be very hard for him to best it in the future.

The supporting cast is very efficient. You have veterans like Woody Harrelson and Barry Pepper doing their stuff, while Elpidia Carrillo (Anna from Predator) and Michael Early providing impressive performances. The Cinematography and musical score is noteworthy and thus, helps the movie along the way.

Gabriele Muccino has given Will the starting tools, but Will needs to expand if he ever wants to prove to these pompous critics that he is better than they think he is. And by expanding, I mean more choices that could be considered career suicide. As for Rosario Dawson, I see bright things for her if she continues doing something different from her usual repertoire of comedy and Action movies.

Seven Pounds is a good movie that knows its audience very well. Sadly, it isn't the masterpiece it thinks it is.

7.0/10

I will try to be as unbiased as I possibly can because Clint Eastwood is one of my personal heroes and quite frankly, it is impossible for me to hate any of his films, acting, singing, anything really. I haven't seen Changeling yet, but I have seen Gran Torino and let me tell you, it packs quite the punch. What Unforgiven was his to his career in Westerns, Gran Torino is his swan song to the Dirty Harry persona and perhaps his Acting career overall.

The National Board of Review saw it fit to award Clint in the Best Actor category a while back. While I'm not complaining, let me just say straight off the bat that Million Dollar Baby was his best performance. Gran Torino comes second. OK then.

As most of you know, Gran Torino presents a 'what-if' scenario- What if Dirty Harry was old and lived in a neighborhood crawling with dumbass gang members? But it isn't just that, because Clint manages to do a coming of age story as well. After his wife dies, an Asian family moves next door. It doesn't help with the fact that Clint is a racist living in a town filled with different nationalities (aside from the Asians). So in short, he hates everyone. When Clint mistakenly (or knowingly) saves the next door troubled teenager from being taken by Gang members, everything changes.

The film isn't just Clint kicking ass, its about Clint helping and teaching a fatherless, insecure, and lonely kid everything he knows on what it takes to be a 'real man'. You know those movies where the old, disgruntled man has a change of heart and decides to start helping those in need? Same thing here. Now before you kiddies start pressing the 'No' button, feel free to learn that the film uses the clichés to its advantage. We've seen it all before, but rarely with this amount of heart, which is of course provided by the amazing performance of Clint and his amazing grasp at directing.

Now here's the kicker- you won't see the end coming. As cliché as this film is, the ending will leave you dazed and confused, until you start putting everything in perspective. Its quite powerful the image that Clint creates and it won't leave your mind any time soon.

Clint basically carries the film on his shoulders (it is his vehicle after all). I mean what else could I say about his performance that hasn't already been said? It's funny, it's tragic, its menacing and it is funny. Did I mention it was funny? I can't say the same thing for the supporting cast however. Clint pulled a Bresson and decided to hire actors that aren't really actors. Its a shame that the most important role in the film, the role of Thao, was unintentionally funny. He composes himself in some scenes, but the rest just fall apart. Thankfully we have veteran actors like John Lynch pulling everything back together again.

Morally, this is as good as it gets. The tale is full of heart and you'll leave the theater happy if you aren't one of those boring, elitist types. And while Gran Torino is a great film, things like bad acting hurt it greatly (even more so than the script). Overall, even with all those mishaps, this is an instant must-see.

And please, don't expect the film to be an Unforgiven or a Million Dollar Baby, because it ain't.

8.3/10

What negative things can we say about Ron Howard? He narrated Arrested Development, he starred in Happy Days, he has Clint Howard as a brother, and he always makes good, solid and entertaining films. As such is the case with his latest biopic- Frost/Nixon. It treads mostly on requisite Howard ground, and some people might say this is just another 'Oscar Bait' film filled with Oscar Bait-ish principles. But you know what? Most of those people forgot that the film is actually pretty damn good.

The film basically follows the famous Frost and Nixon interview in the late 70's; what happened in and outside of said event. We get to see the overall preparation of the interview, the comedy bits between Rockwell and Oliver Platt (James Reston Jr and Bob Zelnick respectively), the drama involving David Frost and his near-impossible challenge, his love interest, Kevin Bacon insulting Frost's shoes, a drunk Nixon talking about cheeseburgers, and the third act which can be summed up as- a happy ending. All shot of course in stylized cinematography and editing, with gorgeous production design backing everything up. Now, there is a lot of hype with this film, and the reason isn't because of Michael Sheen.

Sad to say that while Sheen does admirably in most scenes, he is nothing compared to the towering performance of Frank Langella as Nixon. Hell, I thought it was going to be something resembling a parody; an over-hyped, average performance, just like George Clooney in Syriana, or Sandra Bullock in Erin Brokovich. And yes, ladies and gentleman, I WAS VERY F*CKING WRONG.

I underestimated Langella, which has proved himself better than Anthony Hopkins in my eyes. Because it isn't just about looking like Nixon, it is about emulating him and all of his subtle emotions, expressions, you name it. Langella nails it with intense precision and 'no-holds barred' aggression that I quite simply felt just like Sheen in the film- awe-struck. Which makes me wonder if Sheen was really awe-struck in his scenes with Langella...

In other news, the rest of the acting was efficient. Rockwell and Platt did their usual characters, Bacon was a no-nonsense military officer, and Rebecca Hall looked pretty. I think Howard didn't really bother with the other characters; I think he knew from the get-go that this was a going to be vehicle movie for Langella. Meh, I don't blame him.

The result of the equation is an 8.2 out of 10. But WAY?!, you may ask. Well, this film felt just like any other Howard Drama (there will be no surprises here), but the difference being that the supportive acting wasn't as memorable or as good as said Drama's. But what we get to see though, is one of the best performances of the year by Frank Langella, and that in itself is reason for admission.

8.2/10

Its interesting to note that in 2008 there are two critically successful vehicles of two old actors who are looking for a second chance in the film industry- The Wrestler with Mikey Rourke, and JCVD with Jean Claude Van Damme. It is also interesting to note that Jean and Mikey worked together in Double Team back in 1997. Interesting, is it not? Anyways, JCVD is one of the best films of 2008. Read on.

I personally didn't know all the trouble Van Damme was/is having with his daughter and wife, and the fact that the man isn't doing very good economically. The thing that I did know of is that Van Damme has been doing better STDVD action movies than Seagal, Snipes, and Lundgren. His Until Death was better than anything Seagal has done recently. But not because of the quality of the movie, but of the quality of Van Damme's performance as a junkie cop, which was astonishing. Anyways, JCVD is kinda like an autobiography mixed in with fake events. Van Damme is taken hostage at the bank, only to realize that he is mistaken as the robber by the police. I really don't want to get into details on the script, which in itself has many surprises, twists and parodies.

Van Damme's performance in this film is as real as it gets. There is no way of putting this lightly- this is one of the best performances of 2008. Van Damme the Action star? How about Van Damme the method actor? The supporting cast is mostly comedy relief, but they get the job done in every scene. Especially the people who play Van Damme's parents.

Thanks to JCVD, I have a newfound respect for the man behind the screen name. With one of the best performances of the year, a fresh and original screenplay, and interesting direction, JCVD is a must see of the year.

8.7/10

The Contract Killer is one of Jet Li's best films. Besides the cool action sequences, the movie has effective humor (courtesy of Eric Tsang), and well... more action sequences. Not to mention the movie has one of the most rubbish scripts ever in the history of Kung-Fu/Action cinema. The script is so bad, the sub-villain is a guy with lasers on the tip of his shoes. And the villain eats his diseased grandfather's ashes. Yeah.

Anyways, long story short, Jet and Eric must find the killer of old mafioso don Tsukamoto, in order to receive a 100 million dollar reward. Everything else is action and buddy comedy.

It is important to recognize the talent and agility Jet demonstrates in his fighting scenes. Although they are far from being his best, the work he puts in here is astounding; heavily inspired by most of Jackie Chan's work as a matter of fact. Jet isn't a killing machine here, or a spiritual white robbed man with a bad haircut. He is but a skillful martial artist that doesn't want to hurt anyone badly, therefore, he resorts to use his surroundings most of the time. Like Jackie in most of his films.

It is also important to recognize Eric Tsang. The man is very good in this one; funny, enjoyable and overacted (but in a tasteless way of course). I also liked the musical score and requisite Hip Hop soundtrack.

Statement: You are not a Jet Li purist if you haven't seen Contract Killer. I also highly recommended this to anyone that wants to laugh and see some large amounts of ass kicking at the same time.

5.3/10

Forfeit is one of those interesting/uninteresting/Psychological/Religious/Heist themed Crime Thriller's that usually come every year in some distant, intergalactic planet of Starfleet Delta 3132. In other words, this is a unique movie, and for that, I give it mad props. Too bad the first and second half of the movie is horribly paced and uninteresting; almost too horrible. While the movie attacks Christian's (mainly the Evangelists), it is done in a tasteful way that doesn't come off as preachy or redundant. Well, maybe a little bit of the latter.

The movie begins with one of those 'the end starts at the beginning' gimmicks that unravels as the movie progresses. Billy Burke stars in this one as Frank, a quiet religious nut who plans a clever Heist, using his job as a security guard, and his ex-girlfriend (played by Sherry Stringfield). Frank, being the religious nut he is, constantly fights with a TV Evangelist (effectively rendered by Gregory Itzin) due to the lack of saneness in his mind. The script is interesting enough, whilst the acting good for the most part. Nice clean cinematography, and effective (albeit minimalist) musical score.

In order to truly enjoy this one, you must be patient, because the third half of the movie is really, really interesting and enjoyable. Nevertheless, Wayne Knight is in this, so there are some other things going for it besides a "complicated" plot. I can see what the makers behind this wanted to do, and well, they nearly pulled it off. Maybe next time fellas.

4.9/10

Even though his performance was decent for the most part, it was still horrible casting. Duchovny can do comedy and wit, but show emotion? Too forced Dave, too forced.

The Secret was a good surprise though. After a horrible car crash involving Benjamin Morris's (Duchovny) wife and daughter, the man becomes involved in a horrible occurrence. Turns out, that after dying, the spirit of the mother becomes trapped in the body of the reawakened daughter. Freaky Friday much?

The body swap idea that has been seen from time to time has been given a more mature approach here. The mother has to get an education that she didn't get, via her daughter's body; she also has to experience teenage angst, constant attacks by horny males, and the self realization that she is she, but she is not she. Ben believes her, but things get far more psychologically complex as the movie progresses. Thankfully, nobody asks advice from a priest (about damn time).

The script was well done, but what made it above average were the characters and situations that arose. Plot holes further hurt the movie, not to mention Duchovny's unconvincing portrayal as a father who EASILY gets aroused by her daughter's possessed body. Maybe it was because of the director (Vincent "Crow 2" Perez), or maybe it was because of both.

Now, Olivia. What a magnificent, tour-de-force performance you gave here. You did everything Dave didn't do- convince. People, better watch this one, she has a bright future ahead of her. Lilly Taylor gives a subtle performance here, almost too subtle. You forget about her the minute she stops showing up in the movie. Wait, what she in the movie?

Statement: The Secret is a huge surprise. Almost too huge. I expected a clichéd Dragonfly, but I got an intelligent viewing. Not to mention that this movie features one of the best performances of 2007 by the beautifully talented Olivia Thirlby. You can't expect much more than this I'm afraid, but you won't expect much by looking at the DVD cover.

6.7/10

A young journalist is out for revenge against the serial killer who killed her mother; the serial killer's niche, is that he is/was inspired by the hilariously talented trio of Gein, Ramirez, and Dahmer.

Copycat for some reason wants to be some sort of intelligent, analytical thesis on what makes a killer, but, it fails miserably. For starters, the ending is idiotic; heavily placed so that the message the movie is providing tries to be truthful and convincing. The rest of the movie basically revolves around vignettes (or flashbacks) from the lives of Gein, Dahmer, and Ramirez, and the "relationship" between the journalist with the cop who helps her, and the serial killer who she wants to kill. Everything is kept at a nice pace, but the clichéd, redundant script and weak acting f*ck everything up to the extent that you don't care for any nice pace; you just want the damn movie to end.

The cinematography and editing are adequately done, the main score is effective, and the gore is bland for the most part.

Either way you look at this movie, be it from a critical or gore-fix (?) point of view, you should skip it. Hell, you shouldn't even read the plot synopsis on the back of the DVD box. Ignore this crap fest.

3.0/10