Thursday, April 30, 2015

Mississippi Burning




IMDb
Two FBI agents with wildly different styles arrive in Mississippi to investigate the disappearance of some civil rights activists.


RogerEbert
Movies often take place in towns, but they rarely seem to live in them. Alan Parker’s “Mississippi Burning” feels like a movie made from the inside out, a movie that knows the ways and people of its small Southern city so intimately that, having seen it, I know the place I’d go for a cup of coffee and the place I’d steer clear from. This acute sense of time and place - rural Mississippi, 1964 - is the lifeblood of the film. More than any other film I’ve seen, this one gets inside the passion of race relations in America.
The film is based on a true story, the disappearances of Chaney, Goodman and Schwerner, three young civil rights workers who were part of a voter registration drive in Mississippi. When their murdered bodies were finally discovered, their corpses were irrefutable testimony against the officials who had complained that the whole case was a publicity stunt, dreamed up by Northern liberals and outside agitators. The case became one of the milestones, like the day Rosa Parks took her seat on the bus or the day Martin Luther King marched into Montgomery, on the long march toward racial justice in this country.
But “Mississippi Burning” is not a documentary, nor does it strain to present a story based on the facts. This movie is a gritty police drama, bloody, passionate and sometimes surprisingly funny about the efforts of two FBI men to lead an investigation into the disappearances. Few men could be more opposite than these two agents: Anderson (Gene Hackman), the good old boy who used to be a sheriff in a town a lot like this one, and Ward (Willem Dafoe), one of Bobby Kennedy’s bright young men from the Justice Department. Anderson believes in keeping a low profile, hanging around the barber shop, sort of smelling out the likely perpetrators. Ward believes in a show of force and calls in hundreds of federal agents and even the National Guard to search for the missing workers.
Anderson and Ward do not like each other very much. Both men feel they should be in charge of the operation. As they go their separate paths, we meet some of the people in the town. The mayor, a slick country-club type, who lectures against rabble-rousing outsiders.
The sheriff, who thinks he can intimidate the FBI men. And Pell (Brad Dourif), a shifty-eyed deputy who has an alibi for the time the three men disappeared, and it’s a good alibi - except why would he have an alibi so good, for precisely that time, unless he needed one? The alibi depends on the word of Pell’s wife (Frances McDormand), a woman who has taken a lot over the years from this self-hating racist, who needs a gun on his belt by day and a hood over his head by night just to gather the courage to stand and walk.
Anderson, the Hackman character, singles her out immediately as the key to the case. He believes the sheriff’s department delivered the three men over to the local klan, which murdered them. If he can get the wife to talk, the whole house of cards crashes down.
So he starts hanging around. Makes small talk. Shifts on his feet in her living room like a bashful boy. Lets his voice trail off, so that in the silence she can imagine that he was about to say what a pretty woman she was, still. Anderson plays this woman like a piano.
And she wants to be played. Because Hackman is such a subtle actor, it takes us a while to realize that he has really fallen for her. He would like to rescue her from the scum she’s married to and wrap her up in his arms.
This relationship is counterpoint to the main current of the film, which involves good police work, interrogations, searches, and - mostly - hoping for tips. There is reason to believe that the local black community has a good idea of who committed the murders, but the klan trashes and burns the home of one family with a son who might talk, and there is terror in the air in the black neighborhood.
Parker, the director, doesn’t use melodrama to show how terrified the local blacks are of reprisals; he uses realism. We see what can happen to people who are not “good nigras.” The Dafoe character approaches a black man in a segregated luncheonette and asks him questions. The black refuses to talk to him - and still gets beaten by the klan. Sometimes keeping your mouth shut can be sound common sense. Parker has dealt with intimidating bullies before in his work, most notably in “Midnight Express,” but what makes this film so particular is the way he understates the evil in it.
There are no great villains and sadistic torturers in this film, only banal little racists with a vicious streak.
By the end of the film, the bodies have been found, the murderers have been identified, and the wheels of justice have started to grind. We knew the outcome of this case when we walked into the theater. What we may have forgotten, or never known, is exactly what kinds of currents were in the air in 1964. The civil rights movements of the early 1960s was the finest hour of modern American history, because it was the painful hour in which we determined to improve ourselves, instead of others. We grew. The South grew, the whole nation grew, more comfortable with the radical idea that all men were created equal and endowed with certain inalienable rights, among them life, liberty and the pursuit of happiness.
What “Mississippi Burning” evokes more clearly than anything else is how recently in our past those rights were routinely and legally denied to blacks, particularly in the South. In a time so recent that its cars are still on the road and its newspapers have not started to yellow, large parts of America were a police state in which the crime was to be black. Things are not great for blacks today, but at least official racism is no longer on the law books anywhere. And no other movie I’ve seen captures so forcefully the look, the feel, the very smell, of racism. We can feel how sexy their hatred feels to the racists in this movie, how it replaces other entertainments, how it compensates for their sense of worthlessness. And we can feel something breaking free, the fresh air rushing in, when the back of that racism is broken.
“Mississippi Burning” is the best American film of 1988 and a likely candidate for the Academy Award as the year’s best picture.
Apart from its pure entertainment value - this is the best American crime movie in years - it is an important statement about a time and a condition that should not be forgotten. The Academy loves to honor prestigious movies in which long-ago crimes are rectified in far-away places. Here is a nominee with the ink still wet on its pages.
The major players - Hackman and Dafoe - are likely Oscar nominees, but I hope attention is paid to McDormand, who could have turned her role into a flashy showboat performance, but chose instead to show us a woman who had been raised and trained and beaten into accepting her man as her master, and who finally rejects that role simply because with her own eyes she can see that it’s wrong to treat black people the way her husband does. The woman McDormand plays is quiet and shy and fearful, but in the moral decision she makes, she represents a generation that finally said, hey, what’s going on here is simply not fair.

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Sorrow



IMDb
A couple depraved killers find themselves in a different situation when survivor takes matters into her own hands.



Rotten Tomatoes

MOVIE INFO

Fieldhouse, Texas October 12, 1992, Detective Salinas is involved in one of the worst discoveries ever in this small town. Police cars and ambulance surround the crime scene. Two corpses are found inside -- of accused American Spree Serial Killers. THREE WEEKS AGO -- La Sal, Utah. A woman by the name of Mila Sweeney is kidnapped while on the way to her mother's house. Serial Killers at large are eluding the state troopers. One has just escaped a psychiatric ward. Group finds refuge in the outskirts of La Sal a small town. Days later, Mila's Mother comes, knocking at this house. Mila is inside. In front of her eyes, serial killers kill her mother. Then take poor Mila to their hometown in Texas where they keep her days on torturing her. The woman survives and eventually escapees. Sorrow is a story about revenge. When a young woman takes matters into her hands to exact revenge on her mother's killers. She is confronted with the results of her actions, as local police are moving in closer.

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Love Is the Devil: Study for a Portrait of Francis Bacon



IMDb
Biography of British painter Francis Bacon focuses on his relationship with his lover, George Dyer, a former small time crook.



Rotten Tomatoes

MOVIE INFO

This British biographical drama probes the life of painter Francis Bacon (1909-1992). Cat burglar George drops in through a skylight to rob Bacon's studio -- and is ordered into bed by Bacon. Bacon's interests are in S&M, but eventually cruel Bacon loses interest in George, and he commits suicide.

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Wednesday, April 29, 2015

The Strain Season 1



IGN


WAIT TILL NEXT YEAR.


→ OCTOBER 16, 2014 Note: Full spoilers for the entire first season of The Strain follow.
On paper, The Strain was going to be fantastic. Guillermo del Toro and co-writer Chuck Hogan overseeing an adaptation of their horror novels for television along with Carlton Cuse? About a nasty vampire outbreak in New York City? Starring David Bradley and Corey Stoll? Sign me up. The Strain looked like a slam dunk. But that was on paper. And that’s why they play the games.
With del Toro himself directing the pilot, the horror elements of The Strain were established from the start as the strongest part of the show. Borrowing a lot of the creature design from Blade II (also directed by del Toro), the vampires here weren’t elegant – they were brutal, blunt instruments with gnarly “stingers” shooting out at their victims. Whenever it was time for a vampire attack the show came to life, and the creators’ enthusiasm for the genre was plain to see. The flip side of that, unfortunately, was that aside from those moments it was a show very much in need of that shot in the arm. The dialogue was distractingly poor and the story meant to get us on Eph’s side – his fractured family – was forced and unnecessary.
Still, no pilot is perfect, so it stood to reason that these weaknesses would be addressed as the season went on. But not only did the saga of Eph’s family drag on, several other characters had their personal dramas piled on without adding anything new. The idea that once turned a vampire will go after the ones they loved is a good one, and yet it often seemed like the series was afraid we’d miss that point.
Too much of the early part of the season was devoted to detailing the lives of the plane survivors and their metamorphosis. There was some interesting stuff here – one survivor fought against it, chaining himself up while another eased right into it, “going smooth” in memorable fashion – but when it was all said and done, these characters were dropped or turned into mindless eating machines by the halfway point. There was no payoff to all the time devoted to the survivors, leaving the feeling that the series simply didn’t have enough plot to fill a season.
Despite not being the biggest name in the cast, Richard Sammel made the biggest impression with his time on the show. Eerily still, gleefully sadistic and arrogant, Eichorst was the most well-drawn character from the start. On the other side of that was the marvelous David Bradley as Abraham, who more often than not found himself standing off to the side and gravely talking about what people are prepared to do. With the writers constantly having him hit that same “maybe now you’ll listen” note, Abraham wound up being more of a killjoy than an enjoyably crusty vampire hunter (the lone exception coming when he played dumb about his silver sword so a judge would release him from jail, and even then he reverted back to scolding Nora in the next scene).
strain_setrakian_1280
As for the Master’s plan to take over, The Strain wanted to have it both ways; with chaos in the streets but most of the populace going about their business as usual. An out-of-control New York is, of course, prohibitively expensive for a TV series to depict onscreen, so instead the sound design worked hard in the last third of the season. Sirens, helicopters and barking dogs were always filling the soundtrack whenever someone was outside. But what was being depicted in the frame was never close to that level of anarchy – in fact most of the time it looked like an average day. Our heroes seemed to be the only residents in all of New York that recognized everything was going to hell.
To watch any show or movie, regardless of genre, you’ve got to suspend some disbelief. When it comes to horror or fantasy, the leash gets even longer. So while Palmer’s one-man takedown of New York City (complete with a hobbled Internet) was absurd, it was a plot point that you glide over as a viewer in order to enjoy the show. The problem came when the series insisted on focusing time and again on the particulars of how it was done, usually in a scene with Palmer meeting one or two officials or Dutch explaining that she had a team of hackers. Instead of bolstering the case for how it would be possible, these scenes only highlighted all the holes in the story.
The series often felt like it was trying to buy time with redundant beats, systematically showing us the family or friends of every major character. This was presumably to raise the stakes by showing that everyone has something to lose, but the stakes were already high enough with the vampire apocalypse on the horizon. And so the show spun its wheels by spending time with Nora’s mother, Jim’s wife and nearly an entire episode on Kelly getting infected and turning. When the focus would then turn back to our main characters their scenes fell flat for the most part, as Eph fretted over how to protect his son or Abraham stared longingly at his wife’s heart in the jar. Only Gus noticeably improved over the season (although it should be noted that there was nowhere to go but up: he was easily the weakest character in the pilot) 
The Strain showed its enthusiasm for horror from the start with brutal vampires and merciless villains, the rest of the series fell flat all too often. A combination of bad dialogue and sluggish writing made for characters that were hard to care about, while more interesting stories like the Ancients and their commandos were briefly introduced only as a teaser for season 2. The good news for next season is that there's plenty of room for improvement.
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Tuesday, April 28, 2015

Chasing Ghost



IMDb
  • Lucas Simons, an 11 year-old filmmaker, is obsessed with death after the loss of his brother. When Lucas accidentally captures a mysterious presence in one of his films, he inadvertently becomes a YouTube phenomenon, and must learn to live life in the spotlight while also learning how to once again start living life to its fullest.
    Written by Josh Chesler


A heartwarming comedy/drama about 11-year-old filmmaker, Lucas Simons, who is obsessed with death following the loss of his brother. When Lucas accidentally captures a mysterious presence in one of his films, he inadvertently becomes a You Tube sensation. Suddenly Lucas and his family must learn to live life in the spotlight while also learning how to live life again. Lucas is helped along the way by Chris Brighton (played by Tim Meadows in his first dramatic role), a writer who died for nine minutes and lived to tell about it.

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Beautiful People



IMDb
In a mansion in the woods, the peaceful life of a medical scientist and his family is upset by a three masked men raid. During an endless night of terror and violence, the unthinkable happens: the house is invaded by inhuman monsters. Fear will unveil the true nature of each character, forcing them to wonder..."Who is the real monster?


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Hungerford


hungerford-poster-opt
Rotten Tomatoes

MOVIE INFO

The lives of a group of teenagers are turned upside down when their town is taken over by sinister forces.

Hungerford (2014) Poster
A group of university students’ quiet lives in a small town are forever changed as they discover, while filming a video diary, that their fellow inhabitants have been compromised by an unknown, deadly assailant, which causes them to attack anyone in sight.
Following well-received, wonderfully disturbing found footage shocker The Borderlands, the confusingly-titled Hungerford (where?) grabs the shaky cam and places it not-so-firmly in the hands of a group of hapless uni students, headed by affable main man Cowen (writer/director Drew Casson), as they’re forced into action when their hometown is overrun by bloodthirsty lunatics.
Considering newcomer Casson takes both writing and directing credits here, along with a starring role – as a student rushing to create a video diary as part of his final project – one would expect Hungerford to be a vanity project. Happily, this is a wonderfully inventive, clever and surprisingly original slice of British horror that, for the most part, balances its rather large aspirations quite well. Essentially a large scale project on a relatively tight budget, the film is buoyed by some great camera tricks, convincing, often practical SFX and a brilliant cast of newcomers.
Set mostly in the titular town – a wonderful location in itself, utilised to create a great sense of claustrophobia and foreboding – where the protagonists reside in a suitably shitty student house, the film starts off as a run-of-the-mill video diary, detailing Cowen’s everyday life. When events take a turn, it quickly devolves into something entirely different as he gravely intones that they mustn’t stop recording no matter what, even strapping a camera to his chest in a smart move that counteracts the usually problematic found footage angle.
hungerford1At the film’s core are the interpersonal relationships between the group of friends, and thankfully their banter, arguments and, crucially, their reactions when things go to shit are well thought-out and realistic – at times, the dialogue is painfully real, such as when Cowen and Phil (a hugely likeable Georgia Bradley, as the token girl) discuss what it is they’re actually doing with their lives. With no score to speak of, the tension and atmosphere are created by the cast, along with a few well-placed explosions in the sky, and some crunchy breakouts of bloody violence.
The makeup effects (by Frederica Vergana Bullough) are particularly good throughout, while the digital elements (also by Casson) are understandably lacking at times, but impressively ambitious nonetheless, especially in one particular shot towards the end. For the most part, Casson chooses to hint instead of outright show. Even so, the creature design is excellent, as is their lair, which is glimpsed briefly in a nail-bitingly intense finale sequence, culminating in a quick shot of the villain that is more frightening than a million jump scares put together.
The method by which victims are rid of the creatures is wonderfully simple, allowing for a brilliant sequence in a supermarket, which is shot mostly by torchlight and elicits some of the scariest moments in the film – to its credit, most of the action takes place in daylight, which is brave for this kind of feature. A proudly low budget affair, Hungerford gets around its modest parameters with some neat camera tricks, particularly utilising glitches reminiscent of one of the weaker V/H/S components.
hungerford2Here, though, the glitches are effectively jarring, as they signal something dark is afoot so the characters don’t have to fill in the blanks. As this is a shaky-cam, found footage affair, the cuts in the narrative are jammed in at times, but this is to be expected and, in a lot of ways, it saves the flick from sagging in the middle, when it’s slightly more dialogue-heavy. Considering it’s less than 80 minutes long, there’s no time to hang around, and not a second of screen-time is wasted.
The camera is a character in itself, present throughout and never ignored. The characters hate that it’s there, they despise being filmed and when the first blast hits, it’s felt through the camera. It takes a beating too, as blood splatters on it, the lens is cracked, and a creature even runs across it at one stage. Clearly a lot of thought has gone into how to rethink the overused format, and Casson is to be applauded for everything he does to make it feel fresh and new – he even utilises some grainy iPhone footage. In most cases, it’s better to imagine a flick of this nature as anything other than found footage, but here, it works remarkably well.
The performances are universally great, with Carter, Bradley and Casson himself particularly noteworthy for how understated they are, and for the life they breathe into these hugely likeable characters. They look like normal twenty-somethings, and it’s easy to root for them throughout, because they feel like real friends. The script crackles with black humour, with several noteworthy lines, most of which are delivered by likeable nerd Kipper (Sam Carter) – when he turns up to find the others gathered around a bloodied corpse and proudly declares “I brought crumpets!” it’s just begging to be quoted over and over at the most inopportune moments.
This very British sense of humour fits the premise well, and it isn’t overdone, either. Kipper isn’t the token funny guy, everyone gets their moment to shine, and they are all visibly scared and upset in equal measure. These more human moments save Hungerford from languishing in the depressingly apocalyptic territory occupied by the likes of 28 Days Later, from which it draws inspiration. A deliberate reference to Shaun Of The Dead suggests that Casson intended for his film to occupy a similar space. However, it’s to his credit that, although it wears its influences on its sleeve, Hungerford has a creepy, inventive premise that is all its own.
hungerford3Equal parts zombie flick, sci fi shocker, black comedy, and apocalyptic disaster movie, Hungerford is an impressively ambitious project with a huge amount of heart and passion behind it, that belies its modest budget. A funny, charming and highly inventive horror film with a distinctly British, very frightening entral premise that is far more original than the majority of its mainstream /counterparts, Hungerford deserves to be seen by as big an audience as possible, and will surely crawl under the skin and into the hearts of genre enthusiasts.
hungerford-poster-opt
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Kill Granny Kill



IMDb
Answering an in-home help ad for an elderly woman, Abby Daniels leaves family and friends for a remote farmhouse in the country. But all is not as it seems with her fluffy employer, whose locked doors and cellar seem to be hiding some unusual hobbies. When she drunkenly sneaks her boyfriend into the house, breaking the rules about cursing and fornication, Abby is plunged into a nightmare of hellish proportions - pitted against a clan of ruthless, amoral and degenerate flesh-eaters lead by their murderous GRANNY!


Amazon
Answering an in-home help ad, Abby Daniels leaves family and friends for a remote farmhouse in the country. But all is not as it seems with her fluffy employer, whose locked doors and cellar are hiding some unusual hobbies.


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Strange Blood




IMDb
When a brilliant but obsessive scientist goes to extremes to develop a universal cure for all disease, he finds himself infected with a bizarre parasite that begins to transform him into a bloodthirsty madman. Time running out, he must find a way to stop the monster that is growing within and prevent the rest of the world from being "cured."



nerdly
by Phil Wheat
Stars: Robert Brettenaugh, Alexandra Bard, James Adam Lim | Written by Pearry Teo, Chad Michael Ward | Directed by Chad Michael Ward
strange-blood-cast
Chad Michael Ward, the man behind the internationally acclaimed and controversial photo projects such as The Sick Series and The Pain Box as well as director of music videos for artists like Static-X and Marilyn Manson, turns his hand to his first feature – with help from cohort and the other half of TeoWard Productions (hence the name) Pearry Teo – the disturbing psycho-sexual medical horror Strange Blood.
It’s not often a film maker comes straight out of the gate with a debut feature that at once harkens back to a bygone era and pushes the genre forward at the same time. Yet Chad Michael Ward’s Strange Blood does just that… The film sees a brilliant but obsessive scientist, Henry, (Brettenaugh) go to extremes to develop a universal cure for all disease, who finds himself infected with a bizarre parasite that begins to transform him into a bloodthirsty madman. Time running out, and with the aid of his med student assistant (Bard), he must find a way to stop the monster that is growing within and prevent the rest of the world from being “cured.”
Very much a flashback to the early works of David Cronenberg and his terrifying mix of medical and body horror, Strange Blood is a slice of sick, twisted genius; it’s unpleasant, it’s repulsive, it’s grotesque, and it’s fantastically brilliant! It’s interesting to note that back when I was first introduced to Pearry Teo’s Necromentia I wrote that it out-did Clive Barker’s Hellraiser in terms of freakish, nightmarish imagery – well it looks like Ward has taken a leaf out of Teo’s playbook and helmed a movie that would make Cronenberg jealous.
Much like Rabid was a new take on the zombie genre (Cronenberg’s monsters borne out of infection rather than being the living dead) which was so popular at the time thanks to Romero’s Night/Dawn of the DeadStrange Blood is a wholly different take on stereotypical genre tropes – in this case it’s the vampire: a horror “character” that has, thanks to dross like Twilight, been reduced to little more than a big-toothed romantic hero, rather than the terrifying blood-sucking creature of the night originally envisioned by author Bram Stoker and brought to prominence by the UK’s very own Hammer studios in the 1950s.
However Ward’s film differs from traditional vampire movies in that his particular story deals with the transformation from man to vampire – the struggles of a man who is losing his humanity, being over taken by the blood lust that we all associate with this iconic movie monster. It’s an interesting dichotomy, as we see Henry go through the proverbial emotional wringer as he tries to reconcile his predicament on a emotional level, all the while having to satiate the hunger for blood, which in turn only amplifies the emotional aspects of transforming into a vampire – after all, how would any of us deal with having to kill to feed? It’s even harder on Brettenaugh’s character as his original goal was to help mankind through his new scientific discovery, not harm it! Thankfully Henry doesn’t have to go it alone and has some help from his assistant (Alexandra Bard)… and between the two of them, this emotional, complex, heart-wrenching story unfolds.
For that is what this film essentially is. A two-character tale that, in all honesty, is so well written, so well acted (Brettenaugh and Bard both give stunning performances) and so tightly paced that it would work as well on the stage as it does on the screen.
If I may rant for a moment… There’s a reason I focus this site on the oft-overlooked by the mainstream, straight to DVD/Blu-ray, fare: films just like this. Films that float under the radar of all but the most dedicated of horror fans; films that outshine the big-budget, big-name, so-called “independent” movies that flood the multiplexes and art house cinemas; films that make you realise just how good genre movies can be, when all around are touting the end of horror cinema thanks to a lack of originality… Good, nay GREAT, horror movies are out there, and originality is out there – as evidenced by Strange Blood.
A  film that echoes the early works of David Cronenberg in the best way possible, Strange Blood is scheduled for a US release in April 2015.
***** 5/5

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Monday, April 27, 2015

The Other Woman



IMDb

Loved it!

9/10
Author: dais_k
21 July 2014
Yes, the characters are over the top. But it didn't bother me at all! This film actually needs those over the top characters to fit the plot. And I do think the acting women pulled it off! Unfortunately I do agree with reviewers which mentioned bad acting from the male character. But it didn't bother me that much to make the movie less enjoyable.

This is a typical chick flick, and the kind you want to watch on a lazy Sunday. Because I love that kind of movie from time to time, and I think this one is just the wright fit, I gave it a high rating.

But I can understand this movie is not for anyone. When you're going to watch this, just don't take everything too serious! Just have a laugh..

I Loved it too for all you bad X's doesnt they all should get what they gave out

MOVIE INFO

After discovering her boyfriend is married, a woman (Cameron Diaz) tries to get her ruined life back on track. But when she accidentally meets the wife he's been cheating on (Leslie Mann), she realizes they have much in common, and her sworn enemy becomes her greatest friend. When yet another affair is discovered (Kate Upton), all three women team up to plot mutual revenge on their cheating, lying, three-timing SOB. (c) Sony
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House Across the Street



IMDb
Amy has moved east from Kansas, determined to start a new life. She thinks she has found the perfect small quiet town, a great neighborhood on a quiet street. As she moves into her brand new apartment, eager to start a dream job, happy to befriend her neighbors, she finds out that not everything is as it seems, especially at the house across the street.



HorrorNews
SYNOPSIS:
Amy has moved east from Kansas, determined to start a new life. She thinks she has found the perfect small quiet town, a great neighborhood on a quiet street. As she moves into her brand new apartment, eager to start a dream job, happy to befriend her neighbors, she finds out that not everything is as it seems, especially at the house across the street.
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Raw Visit



IMDb
Raw Visit is a female driven film about revenge. Two brothers are guilty of a tragic incident involving a woman named Helen, who will do anything to see them suffer, even if it means to take her own life. What will she do?


Amazon
Raw Visit is a female driven film about revenge – violent thriller/drama – feature

As a result of mistaken identity, Helen’s husband and daughter are callously murdered. Raw Visit depicts Helen’s emotion – filled journey to redemption.



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