End Roll

IMDb
Laura and Marta share a nice apartment. Laura, the youngest one, began to document their life in the house with her camera. Marta undergoes the continual jokes of the friend. One day Laura, poking too much her nose in the privacy of Marta, discovers a dark secret that will compromise their friendship and their lives.


Xmovie8
Storyline: Laura and Marta share a nice apartment. Laura, the youngest one, began to document their life in the house with her camera. Marta undergoes the continual jokes of the friend. One day Laura, poking too much her nose in the privacy of Marta, discovers a dark secret that will compromise their friendship and their lives.


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Bug

RogerEbert

William Friedkin's latest film, "Bug," begins as an ominous rumble of unease, and builds to a shriek. The last 20 minutes are searingly intense: A paranoid personality finds its mate, and they race each other into madness. For Friedkin, director of "The Exorcist," it's a work of headlong passion. 

Its stars, Ashley Judd and Michael Shannon, achieve a kind of manic intensity that's frightening not just in itself but because you almost fear for the actors. They're working without a net. The film is based on a play by Tracy Letts, an actor and playwright at Chicago's Steppenwolf theater, that was a hit here and in New York.

In the film we meet Agnes (Judd), a waitress in a honky-tonk lesbian bar, living in a shabby motel. Her violent ex-husband (Harry Connick Jr.), just out on parole, walks back into her life, still violent. At about the same time her gay friend R.C. (Lynn Collins) drags in a stray with haunted eyes. This is the polite stranger named Peter (Shannon) who says he doesn't want sex or anything else, is attentive and courteous, and is invited by Agnes to spend the night even though he seems (to us) like the embodiment of menace. 

The story involves this man's obsession with bugs that he believes infect his cells and may have been implanted by the government during his treatment for obscure causes after military service in the Gulf. We think he's crazy. Agnes listens and nods, and doesn't want him to leave; she feels safer around him. 

He begins to seem more weird. This doesn't bother her. With mounting urgency, she begins to share his obsession with bugs, and together they hurtle headlong into a paranoid fantasy that ties together in one perfect conspiracy all of the suspicions they've ever had about anything. There is a scene we're not prepared for, in which they're peering into a cheap microscope and seeing whatever they think they see. 

Michael is mad, and Agnes' personality seems to need him to express its own madness. Ashley Judd's final monologue is a sustained cry of nonstop breathless panic, twisted logic and sudden frantic insight that is a kind of behavior very rarely risked in or out of the movies. It may not be Shakespeare, but it's not any easier. 

Shannon, a member of A Red Orchid Theatre in Chicago, delivers his own nonstop rapid-fire monologue of madness; he has a frightening speech that scares the audience but makes perfect sense to Agnes. His focus and concentration compares in some ways to Peter Greene's work in Lodge Kerrigan's frightening "Clean, Shaven." 

The film is lean, direct, unrelenting. A lot of it takes place in the motel room, which by the end has been turned into an eerie cave lined with aluminum foil, a sort of psychic air raid shelter against government emissions or who knows what else? "They're watching us," Peter says. 

The thing about "Bug" is that we're not scared for ourselves so much as for the characters in the movie. Judd and Shannon bravely cast all restraint aside and allow themselves to be seen as raw, terrified and mad. The core of the film involves how quickly Judd's character falls into sympathy with Shannon's. She seems like a potential paranoid primed to be activated, and yet her transformation never seems hurried and is always convincing. 

For Friedkin, the film is a return to form after some disappointments like "Jade." it feels like a young man's picture, filled with edge and energy. Some reviews have criticized "Bug" for revealing its origins as a play, since most of it takes place on one set. But of course it does. There is nothing here to "open up" and every reason to create a claustrophobic feel. Paranoia shuts down into a desperate focus. It doesn't spread its wings and fly.

IMDb

An unhinged war veteran holes up with a lonely woman in a spooky Oklahoma motel room. The line between reality and delusion is blurred as they discover a bug infestation.

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DoomsDay

IMDb
A futuristic action thriller where a team of people work to prevent a disaster threatening the future of the human race.



Rotten Tomatoes

MOVIE INFO

Three decades after a major country is quarantined in hopes of containing a lethal and highly contagious virus nicknamed "Reaper," signs that the super-bug has resurfaced in a major city prompt desperate specialists to race back into the infected zone to find a cure in director Neil Marshall's (The Descent) miasmic speculative sci-fi thriller. Few could have foreseen the terror that the microorganism known as "Reaper" would unleash upon the unsuspecting population, and when terrified authoritiesquarantined the entire country in hopes of saving the human race, the streets immediately descended into chaos. Thirty years later, the inhabitants of planet Earth think that they've seen the last of the merciless killer disease, but they couldn't be more wrong. When "Reaper" reappears more powerful than ever in a major city, an elite group of professionals led by Eden Sinclair (Rhona Mitra) are forced to travel back into the sealed-off country where the virus first broke out in order to create a cure and save humankind from certain doom. Now, as the rest of the world anxiously awaits word of their ultimate fate, Eden and her brave team are about to find out that there is indeed a hell, and they are about to journey directly into its black, envenomed heart. Also in the cast are Bob Hoskins and Malcolm McDowell, as well as a host of veterans from Marshall's past productions, including Sean Pertwee, MyAnna Buring, Craig Conway, and Nora-Jane Noone. ~ Jason Buchanan, Rovi

NYTimes

“If you’re hungry, here’s a piece of your friend,” snarls a jailer in the post-apocalyptic action picture “Doomsday,” sliding a plateful of charbroiled man-flesh to a captive.

If that line fails to make the film’s midnight-movie ambitions clear, the British writer and director Neil Marshall offers many other clues: hands, legs and heads lopped off in bloody close-ups; a nonstop soundtrack of adrenaline-stoking rock ’n’ roll; a shot of a cute little bunny blasted into rabbit stew by a remote-controlled sentry cannon.

“Doomsday” is set in the near future, years after the British government quarantined a plague-ravaged Scotland and let its inhabitants die out. The decision is believed to have killed the disease along with the Scottish population, but when it surfaces in London, officials reveal that a hardy band of Glasgow inhabitants survived the epidemic and might hold clues to a cure.

Enter the stoic, one-eyed mercenary Eden Sinclair (Rhona Mitra, of the television show “Nip/Tuck”), who is ostensibly entrusted with leading a team of soldiers into Glasgow on a mission to find a doctor-turned-political leader named Kane (Malcolm McDowell) and learn how the Glasgow contingent survived. Really, though, Eden is mainly on hand to impersonate another sci-fi hero, Snake Plissken from John Carpenter’s “Escape From New York,” and to punch, kick, run and shoot her way through situations shamelessly cribbed from Mr. Carpenter’s film, George Miller’s “Mad Max” trilogy, “Aliens” and other dystopian touchstones.

“Doomsday” has an appealing punk-rock sneer, but aside from a few clever music cues — including a Fine Young Cannibals song that accompanies a deranged bacchanal given by fine young cannibals — swagger is, unfortunately, its only notable quality.

The film’s bellowing, Mohawk-topped villain, Sol (Craig Conway), is a personality-free retread of Vernon Wells’s memorable Wez from “The Road Warrior.” Major supporting characters — including a squad leader, played by Adrian Lester, and a gruff yet caring boss, portrayed by Bob Hoskins — are so lifeless they could have been cast with inflatable dolls. The final chase, modeled on an epic set-piece from Mr. Miller’s second “Mad Max” movie, is likewise a bust, substituting gore, shaky camerawork and chop-chop editing for Mr. Miller’s symphonic build-up and release.

Mr. Marshall gained a cult following with his 2002 debut feature, “Dog Soldiers,” about British troops menaced by werewolves in the Scottish highlands, and acquired serious (and well-deserved) critical respect for his 2005 film, “The Descent,” about a group of female spelunkers who encounter terrifying creatures while exploring a network of caves.

In terms of story, “The Descent” and “Doomsday” are as different as two genre films can be, but the falloff in artistic quality is still quantifiable. Where “The Descent” was a slow, quiet, exquisitely modulated, startlingly original film, “Doomsday” is frenetic, loud, wildly imprecise and so derivative that it doesn’t so much seem to reference its antecedents as try on their famous images like a child playing dress-up. Homage without innovation isn’t homage, it’s karaoke.

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Borderland

IMDb
On a trip to a Mexican border town, three college friends stumble upon a human-sacrifice cult.



HorrorNews

SYNOPSIS:

A weekend getaway turns into a hellish encounter for three college buddies in this unnerving shocker based on a true story. Setting off to chase skirts and get soused, Phil (Rider Strong), Ed (Brian Presley) and Henry (Jake Muxworthy) head south of the border, where Phil soon finds himself held captive by Satanic drug smugglers looking for a human sacrifice. Sean Astin delivers a disturbingly sadistic performance in a career-altering turn.

REVIEW:

I feel that it is only appropriate to begin this review with the words of the director Zev Berman and his reasons for getting the ‘average movie-goer’ to see Borderland – ‘As the credits roll, you’ll fall to your knees, a quivering blob of jelly, and ask ‘What would I have done?’’

Indeed, this entire film was an incredibly tense and brutal one, not for the faint of heart to say the least! Saying that I enjoyed this movie probably wouldn’t be the right choice of words, given its horrific plot line, but it was exhilarating and heart-pounding and sweat-inducing, which is personally exactly what I want from a film! There were a couple of recognizable faces amongst the cast, such as Rider Strong (who, for those acquainted with the world of horror, will remember from Cabin Fever) and Sean Astin (who we’ve now come to know and love as Samwise Gamgee from The Lord of the Rings franchise). In addition, Zev Berman was very complimentary about the actress Martha Higareda, calling her ‘captivating’ and a ‘force of nature’, and actor Beto Cuevas who he said was a ‘pleasure’ and ‘rehearsed the role quite thoroughly’. I really must commend all those that took part in Borderland because everyone did an amazing job at convincing the audience of the realism of the film. In fact, Borderland is actually based on a case in Mexico from 1989 where a student disappeared and was later killed by a Satanic cult (who has also murdered at least twenty others). This sense of reality definitely adds an emotional aspect to the film and works to make it all the more shocking. It is incidents such as this which highlight the all to real ‘dark’ side of human behaviour.

As the real life event says, Borderland begins with a group of three young males who decide to take a well-deserved break in the free and easy land of Mexico, doing what guys do best – drinking beer and pulling girls (even if they are prostitutes!). After a short while of having a good time, however, things go awry when one member of the group goes missing on a night out. Thinking that he just carried on partying elsewhere, the other two wait patiently for his return, but when he does not, tempers start to fly and worry starts to set in. What these two don’t know is that their friend was kidnapped and kept hostage by a cult who are going to use him in one of their rituals. It soon turns into a race against time to find their friend and rescue him, obviously without ending up as victims themselves! The violence involved throughout this film is pretty intense and gory, there’s severed limbs, eyes gouged out and all sorts of stabbing and slicing with giant knives. I wonder if anyone who’s seen this film is tempted to brave going to Mexico with these memories lingering in their mind!

With his cited influences as broad as to include Toy Story to Last House on the Left, Wizard of Oz to Straw Dogs and Singin’ In The Rain to Re-animator, Zev Berman clearly has a solid knowledge of films, as well as an awareness of social and political issues of the time. He also made a documentary (called Rituales de Sangre) which explores the true story that Borderland was based on, which was for Lionsgate’s FEARnet. I am interested to see more of Zev Berman’s work (past and future) because he really seems to know the genre well. I thought that the mixture of Mexican culture (including a healthy amount of Spanish subtitles) and traditional American horror worked wonderfully to give an original twist on an otherwise predictable and well-worn formula. I love the little ‘homage’ to The Godfather midway through, featuring a woman finding a severed goat’s head in her bed, which later on switched a little to a different woman finding her friend’s dead body in the bed with the goat’s head placed on the shoulders. Nice one!

Borderland was released as one of the 8 Films to Die For at Horrorfest 2007, along with Crazy Eights, The Deaths of Ian Stone, Frontier(s), Lake Dead, Mulberry Street, Nightmare Man, Tooth and Nail and Unearthed. Zev Berman claimed that when Borderland was screened for a test audience ‘they went crazy’. Just the reaction you want for a film like this, really.

This is one to check out if you like your horror gory, and it really does deserve more attention. There’s nothing quite as scary as a horror film based on real events, plus, Borderland has the great additions of sexy Mexican women, shrooms, awkward prostitute encounters, hardcore looking ‘tribal’ tattoos on big scary men, gun fights and knife fights thrown in for good measure. Borderland is a movie that you’d be silly to pass up.

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Transylmania

IMDb
Spoof horror in which a group of college kids do a semester abroad in Romania and realise that if the partying doesn't kill them, the vampires just might!


A.V. Club

Delivering all the laughs and frights that inevitably accompany a film with the word “mania” in the title, Transylmania is a predictably rotten horror-comedy that somewhat unpredictably doesn’t take the spoof route followed by so many other rotten horror-comedies of late. Instead, it’s half tediously unfunny college sex romp—featuring characters who originally yukked it up in the low-rent, straight-to-DVD National Lampoon’s Dorm Daze franchise—and half vampire-movie cash-grab. Transylmania is so inept that it even fails as an adolescent breast-delivery device—teen boys either will have to sneak into theaters or desperately count the weeks until the “unrated directors’ edition” finally arrives at its proper home in the darkest, most disreputable corner of the local video store.

But really, Transylmania isn’t worth the wait. A poor man’s Steve Zahn, Oren Skoog—whose name is the funniest thing in the whole film—stars as a loveable imbecile who heads up a contingent of college-sex-movie stereotypes. They’re all studying abroad at a Romanian college housed inside a castle once inhabited by a vampire (also played by Skoog) and his sorceress lover. The kids just want to party, but the centuries-old bloodsuckers threaten to get in the way of the sexcapades, as does the school’s pint-sized dean (played by a poor man’s Verne Troyer, David Steinberg), who’s hoping to snatch a body from one of the fetching American co-eds and transplant his humpbacked daughter’s head onto it.

Who wants a painfully obvious Octomom joke right about now?Transylmania is such a colossal comedic misfire that it makes the execrable Scary Movie films look like masterworks of Preston Sturges-esque genius by comparison. The business of competently executing a joke seems utterly beyond the grasp of directors David and Scott Hillenbrand and writers Patrick Casey and Worm Miller, who instead rely on gags so hoary and broad, they’d make Mel Brooks cringe. But no matter how many farting horses, vomit buckets, and penis-catching laptops they toss out, Transylmaniaslowly drains viewers’ blood and makes them wish for a stake through the heart.

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Garden of Love

IMDb
A woman whose family was brutally murdered when she was little is instructed by her family's ghosts to bring the killers to them so their souls can rest in peace.



HorrorNews

SYNOPSIS:

Several years after a musician and his friends are killed, his daughter is haunted by her dad, whos spirit is on killing spree.

REVIEW:

Director – Olaf Ittenbach
Screenplay – Olaf Ittenbach and Thomas Reitmair

What do you get when you have a special effects guy write and direct a horror movie? Hopefully a bloody good time. A German film released in the U.S. under “The Haunting Of Rebecca Verlaine,” this movie delivers on both counts. There is more than enough blood to spare even though overall it is part ghost story, part detective story.

The movie starts off in grand fashion with an incredible sequence involving the wholesale slaughter of eleven members and family of the Verlaine commune on Christmas Eve. Done with great tracking shots, the killer in a clown mask walks matter-of-factly through the large house and stabs all the residents one by one, including eleven year old Rebecca Verlaine. But when the police arrive to find the gruesome scene, they find Rebecca clinging to life. They take her to the hospital where she spends the next two year in a shock induced coma. When she awakens, she has what the doctors call retro-grade amnesia and can’t remember the events of that horrible night. She is promptly adopted by some relatives who promise to give her a good home.

Ten years later, Rebecca (played by Natacza Boon) is leading a productive life and has a boyfriend, David (played by Daryl Jackson), a college professor. All seems well until Rebecca begins to see and hear things, little fragments of the past. In addition, she hears the song, “Garden Of Love.” She decides to do an internet search and finds out that she was the sole survivor of the Verlaine Massacre. Her father was Gabriel Verlaine, famed musician who gave up his career when Rebecca was born. And so the search to uncover the past begins.

She gets the truth from her adoptive parents and even from David, who we learn knows of her past. They drive to the city where it happened and meet Detective Thomas Munster (played by James Matthews-Pyecka). He was the first one on the murder scene and is anxious to meet Rebecca. Seems the case has gone cold as there were no suspects, no clues. When he relays the story to her and David, it plays like a ghost story, and is just a magnificent scene.

When Rebecca requests to go out to the family farm, things get really interesting as the ghosts of the victims still reside in the house. Seems they want some revenge on the killer, or is it killers, who were never brought to justice.

Up to this point the movie had more of a mystery feel as Rebecca tried to learn more about her past. But once at the house, we get the blood and guts one would expect from Ittenbach. One scene involving a group of policemen goes over the top, in a good way, as bodies are ripped limb from limb and blood splatters every which way. Seems Daddy desperately wants some revenge and wants it now.

This is a good movie overall and I would recommend you try to catch it. The special effects are old school but that is what makes them great and effective. There is even a great head shot explosion (though it happens quickly) to rival that of the infamous Tom Savini one in “Maniac.” Please note I said rival, I still feel Tom’s is the best by far and set a very high standard. While there are plenty of films that are bloodier, this one has a decent amount, considering that most of it concentrates on the mystery of who was responsible for the massacre.

The acting is what it is but not bad for this type of fare. Same goes for the directing and writing. Solid enough to keep you entertained. The plot has some nice twists as Rebecca learns more of the events of that horrific night. Throw in great scenes of blood and gore and you’ll find yourself having a good time.

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Paranoia

IMDb
An entry-level employee at a powerful corporation finds himself occupying a corner office, but at a dangerous price: he must spy on his boss's old mentor to secure for him a multi-billion dollar advantage.



RogerEbert

The last time that Harrison Ford and Gary Oldman shared the screen together, the former was politely but firmly imploring the latter to get off of his plane in the somber 1997 docudrama "Air Force One." Now, after all these years, the two have reunited for the slightly less plausible "Paranoia" and once again find themselves going down in flames, this time inadvertently. Here is a film that clearly wants to be a gripping techno-thriller but feels as if it was designed both by and for people who still have not quite figured out how to get their Kindles to work.

Our hero, for lack of a more accurate or printable term, is Adam Cassidy (Liam Hemsworth), a poor-but-hunky low-level employee of WyattCorp, a multinational tech firm run by the all-powerful Nicolas Wyatt (Oldman). One day, Adam goes before the boss with his development team for a pitch meeting and whiffs things so spectacularly that he gets the entire group terminated right then and there. Although it has been previously established that WyattCorp is ruthless and greedy enough to reduce Adam's company insurance at just the precise moment that his sickly dad (Richard Dreyfuss) lands in the hospital, they inexplicably leave the group's corporate credit card up and running long enough for him to lead the gang out for an insanely expensive night on the town and himself into the bed of comely go-getter Emma Jennings (Amber Heard).

The next day, Adam is called back before Wyatt but instead of having him arrested or pulped, his former boss makes him an offer that he cannot refuse—be groomed into the perfect candidate for a top-level job at the rival tech firm run by Wyatt's one-time mentor and current rival Jack Goddard (Ford) and use his access to purloin the details of a top-secret project. With the aid of a "Pygmalion"-style grooming overseen by Dr. Judith Bolton (Embeth Davidtz) and the muscle provided by Wyatt's chief goon (Julian McMahon), Adam worms his way into the company and Goddard's good graces—not to mention Emma, who just happens to work there as well—and everything seems to be going swimmingly, but once the FBI begins sniffing around, it gradually begins to dawn on him that he is now caught in a web of lies and deceit and must use his wits to play his oppressors off of each other in an effort to survive.

You will notice that I did not mention "paranoia" in that web and that is because this is one of the least paranoid paranoid thrillers that you will ever experience. Some might argue that this is what you get when you put potentially suspenseful material in the hands of a filmmaker likeRobert Luketic, a director whose oeuvre includes "Legally Blonde," "Win a Date with Tad Hamilton" and two lesser Katherine Heigl vehicles ("The Ugly Truth" and "Killers"). Then again, not even the likes of Hitchcock himself could have done much with the material supplied here by screenwriters Jason Dean Hall and Barry Levy, working from the novel by Joseph Finder.

The story is implausible in ways both big (why would Wyatt entrust this top-secret plan to a self-centered hothead like Adam?) and small (unless the film is set in a world in which "A View to a Kill" really happened, why are all the big tech firms suddenly located in mid-town Manhattan?) and asks viewers to care about one selfish jerk trying to worm his way out of being the pawn of two other selfish jerks. For his part, Luketic tries to mask the narrative shortcomings with a lazily flashy visual style and a staggeringly irritating score that uses cell phone sounds as a recurring motif. Sadly, the rest of the film is so draggy that I kept wanting to pick up and see if there was something more interesting on the other end.

Hemsworth and Heard are both impossibly attractive but generate zero sparks between them, though they are admittedly hampered by a screenplay in which the unvarnished techno-jargon they exchange in one scene is the closest that it ever gets to convincing flirtatious banter. As for their veteran counterparts, they, lacking anything compelling to work with, fall back to their respective default modes of late—Oldman chews the scenery with the kind of over-scaled hamminess that pays fewer dividends this time around than usual while Ford tries his best to fade into the woodwork, no doubt embarrassed over having somehow managed to find a technology-based project to appear in that is even more idiotic than the long-forgotten "Firewall."

Although presumably meant to be a modern-day version of the classic conspiracy thriller "The Conversation," "Paranoia" is so vapid that it plays like "Antitrust" sans the food allergies. The sad thing about it is that it takes a perfectly nifty title—the kind that might have found a proper home in the filmography of the likes of Brian De Palma or Dario Argento—and absolutely squanders it on a project undeserving of it while ensuring that no one else will be able to make proper use of it for a long time unless they make a clever adjustment or two. Now if you will excuse me, I am off the register the title "Lee Daniels' Paranoia" just to be on the safe side, an experience sure to be more gripping than anything to be found here.

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