28 February 2014

"SHOCK" (Chilling Classics 50 Movies Pack, #37)


USA, 1946
Director: Alfred L. Werker


I might totally exaggerate when I say that I find this movie shockingly good, but considering how low my expectations were... yeah, "Shock" IS shockingly good!
Prolific director Alfred L. Werker (directed or co-directed more than 60 movies between 1917 and 1957) created a highly suspenseful film-noir thriller about a psychiatrist who murdered his wife, and a woman who witnessed the murder and fell into a trance-like state of shock. Her husband takes her to a private sanitarium, not knowing that the sanitarium is led by the killer himself...

With a simple plot and only 70 minutes long, "Shock" unexpectedly rocked my world and gave me a thrilling good time. The entire cast is absolutely brilliant, especially the adorably gorgeous Lynn Bari, Frank Latimore and the great Vincent Price in one of his earlier roles (only 'flaw': his trademark moustache is missing).

The direction is top-notch, the b/w cinematography is beautiful (Joseph MacDonald, "Niagara", "The Sand Pebbles" / Glen MacWilliams, "Lifeboat"), and the soundtrack is terrifically effective (David Buttolph, "The Beast from 20.000 Fathoms"). Love the eerie dream sequence, the somewhat Hitchcockian kill scene, and the incredibly scary sequence where one of the patients tries to break out. Lots of thunder and rain, insanely awesome close-ups
and nerve-wracking tension - super-excellent!

Enough with silly word jokes? Nah! "Shock" rocks ;-)

"THE DEMON" (Chilling Classics 50 Movies Pack, #36)


Alternate Title:
Midnight Caller

German Titles:
Der Teuflische / The Demon - Der Teuflische / Night Demon - Die Nacht des Satans

South Africa / Netherlands, 1981
Director: Percival Rubens


Man, what a premise for a good 80s slasher: a psychic hunts down a masked AND demonic serial killer who murders victims with metal-claw gloves and ziplock bags. Sounds awesome, huh? Unfortunately, the movie itself is a pure and utter desaster, and looks like a z-grade version of "Halloween"
and/or "Black Christmas".

South African director Percival Rubens ("Survival Zone") created one of the slowest and most tedious movies I've ever seen. It's also one of the most pointless ones, because next to the huge amount of outstandigly boring scenes, there are so many plot holes, unexplained plot points and unanswered questions, the whole thing ends up as one huge piece of nothingness where absolutely nothing makes any fucking sense.

The killer might be a demon (he likes to growl) but we never get to know if he's really a demon. Also, we get to see hundreds of totally unrelated close-up shots of the ocean, and there's no explanation for that. Does the "demon" come from the sea? Are this ocean-shots supposed to be scary? What the hell do I know?

The entire cast is lame, especially Cameron Mitchell who gives another super-laughable performance. The score is tiresome, editing and camera work are
amateurish as fuck.
1 point for the decent amount of boobs, 1 point for the usage of two excellent tunes (Lipps Inc. "Funkytown" & Sugarhill Gang "Rapper's Delight").

25 February 2014

HAZMAT (Review #2)


USA, 2013
Director: Lou Simon


Last year in July, a young director names Lou Simon contacted me because she wanted me to see her newest film "HazMat" - it turned out to be one absolutely badass slasher fest (Review #1 here!) and even made it into
my Best-of-2013 list (see here).

Now, Greenleaf + Associates sent me another "HazMat"-screener because the film finally gets released on VOD (March 11) and on DVD (April 1), thanks to Uncork'd Entertainment.

The new cover artwork is a bit cheesy, but that doesn't matter because "HazMat" is still as awesome as when I first saw it last year. Director / writer Simon created one of the coolest and most fascinating slashers of the last years, based on plot elements from "Grave Envounters" (TV crew in an abandoned building), "Halloween: Resurrection" (live camera footage) and "My Bloody Valentine" (a brutal killer with a gas mask who is actually even cooler than Harry Warden!).

"HazMat" is 80 minutes of stunning chills and fabulous thrills. It's packed with gripping atmosphere and spine-tingling suspense. It's packed with eerie-looking locations and creepily-lit corners. It's packed with shocking and extremely memorable scenes, unforeseeable and rather gobsmacking twists,
and excellently gory axe-kills.

The entire cast is highly convincing and most characters are very sympathetic, even the ones that are meant to be annoying. Totally adore the terrifically effective camera work (a top-notch mix of handheld, surveillance and film camera) and the superbly scary score.

You can't go wrong with this movie. It's a must-see for fans of slashers, tense thrillers and indie cinema per se. "HazMat" is killer!!

HazMat - Official Site
HazMat on FB / HazMat on Twitter

Thanks to Kelly Williams from "Greenleaf + Associates, Inc." for the screener!

24 February 2014



Alternate German Title:
Jeepers Creepers - Es ist angerichtet

USA / Germany, 2001
Director: Victor Salva


You can say about director / writer Victor Salva what you want. Yes, he did some terrible things in his past, things that are inexcusable and unforgivable (Read all about it here!) - but alas, I can't help being a huge fan of his work. He's a fantastic director with a unique and powerful style who created a few remarkable films: the intriguing "Powder", the badass "Clownhouse", and of course, the wonderful "Jeepers Creepers" flicks.

"Jeepers Creepers" is one of the few movies of the 00s that are completely unique and without any equal. Salva delivers a cool and refreshingly unpredictable storyline about a frightening and outstanding-looking demon called "Creeper", an immortal, winged creature that hunts every 23rd spring for 23 days to feast on human body-parts which, upon consumption, become a part of his own body. Even JC-haters have to admit, that this is a pretty fascinating concept, a concept so unique, it feels like it came from the genius mind of Don Coscarelli.

The movie is not without its flaws - various plot holes, inexplicable character decisions and some questionable plot points - but these flaws are all forgivable, because there are sooo many outstandingly impressive things and scenes here: the old truck, the old church, the pipe in the ground, the scary scene where the creeper dumps bodies into that pipe, the body-cave, the scene with the cat-lady, the scene with the Creeper jumping over the car and of course, the recurring "Jeepers Creepers" song.

The characters are all cool, and I love the fact that many of them are quite atypical for an "average" horror film. Justin Long ("Drag Me To Hell") and the super-hot Gina Philips ("Chained") as unlikely siblings, Patricia Belcher as worried psychic, and Eileen Brennan as weird cat-lady + Jonathan Breck as the "Creeper" himself.
 Don E. FauntleRoy's ("Anaconda 3 & 4") cinematography is stunning (lots of striking shots, long takes and beautiful panning), and Bennett Salvay's ("Peaceful Warrior") creepy score is just marvellous.

A fabulous and excellently enjoyable horror romp I could watch over and over.

Wiki ~ Imdb


USA, 2003
Director: Victor Salva



"Jeepers Creepers 2" is a sequel that is so stupid and so incredibly flawed, it feels like Salva wanted to hoax and/or insult his audience. However, due to the fact that he pulled off another pretty unique film packed with really, really stunning scenes, I just have to forgive him.
I perfectly understand all the haters, but I can't help it: I love this film as much as similarly flawed sequels like "Silent Hill: Revelation" or the "Resident Evil" flicks.

The best thing about JC2 is the fact that it completely differs from the first part. Plot, tone, look and atmosphere are so different, it almost doesn't feel like a sequel, more like a stand-alone movie. It may be not that genius that there's hardly any story and that most of the movie takes place in a schoolbus full of semi-gay basketballers, but thanks to a wicked screenplay and Salva's kick-ass direction, it all just works and the movie simply rocks.

There's more action, more tension and more "Creeper" - and holy fuck, the "Creeper" looks creepier and way more evil. Totally adore the scene where he gets himself a new head, the scene where "grasshops" through the fields, or the bizarrely eerie sequence where he's "flirting" with the teens. Other remarkable scenes involve scary scarecrows, hilariously badass harpoon-guns and a freaky decapitation.

Next to the stupid (but somehow interesting) ending and many dumb plot points (scarecrows in a dead cornfield? big road but no cars?), the worst thing about JC2 are the characters: none of them are likable or sympathetic in any kind way. At least, the acting is solid and you absolutely never know who's next on the Creeper's menu card. Also: gorgeous photography, crisp editing and a superb soundtrack.

No one really knows if the long-announced "Jeepers Creepers 3: Cathedral" will ever get made, but if so, I hope it'll be as fun and diverting as part 2.

Oh btw, I own the super-awesome 4DVD-Set of JC 1 & 2 which includes tons of bonus material, though: while the deleted scenes of the first part aren't exactly worthwhile, the deleted scenes of part 2 contain some fantastic moments, including even more "Creeper", and an outstandingly surreal dream sequence. Woot!!

21 February 2014

ROBOCOP (2014) // The ROBOCOP Trilogy


USA, 2014
Director: José Padilha


Due to the fact that I've never seen any "RoboCop" flicks up until just a few weeks ago, my attitude towards the remake was rather indifferent. I had no opinion of the original movies, so I simply didn't care about it.

Then, the teasers, trailers and posters came out - they all looked pretty good and made me curious. Then the reviews came in - all very mixed, which made me even more curious.
Then I finally gave in and checked out the trilogy (see below) - now, I was fully pumped for the remake. Even took the train to a not-so-close-by town to see it in IMAX.

Well, I think it wasn't necessary to see it in an IMAX theatre because it clearly wasn't made for IMAX theatres. A few other things that bugged me: the human hand in a robo suit, the weird epilogue and the absence of any hardcore violence (PG-13 can be a pain in the ass) - apart from that: holy shit, RoboCop 2014 totally rocked my world! Brazilian director José Padilha ("Elite Squad 1 & 2") managed to create a pretty badass re-imagining of Paul Verhoeven's 80s classic that is fully able to stand on its own, thanks to an imaginative new story, a bunch of fascinating new characters and some striking scenes that burned into my mind, just the like gore-scenes of the original did.

From the very first minutes with Samuel L. Jackson as TV host and the live footage of the robots in Tehran, you realize that this isn't a carbon copy of the original, this is a different beast, darker and more serious, not as satirical as the original, but definitely as socio-critical and political, at times even more critical and way more intelligent than I expected. Padilha addresses topics like free will (or lack of it), euthanasia or the moral dilemma with robots in general and the mechanisation of humans, as well as corruption, mass surveillance and - I love that - 'Robophobia'. Lots of thought-provoking stuff here that kept me thinking and pondering on my way home.

There's also a great deal of really amazing action (excellent shoot-outs, Robocop vs. fully-automated machines, motorcycle action, explosions and shit...), lots of amazingly thrilling scenes (at the meth lab, Robo's breakdown, Robo at OmniCorp, the breathtaking finale...), lots of brilliant-looking CGI and a few intense emotional shockers, like the scene where Alex gets to see that he is only head, heart, lungs and hand (an almost disturbing scene) or the incredibly sad scene where Alex comes back home and his wife finally realizes that he is basically not her husband anymore.

The cast is simply outstanding: Joel Kinnaman is terrific as RoboCop (and holy damn, his black Robo-suit looks freaking ace!), Abbie Cornish (what a hottie!) gives a heartwarming performance as Robo's unlucky wife, and Jackie Earle Hailey is as awesome as always [ignore "Elm Street"] - though, the best performances clearly came from the mighty Gary Oldman and the also-quite-mighty Michael Keaton. It was a pleasure to see them both in absolute top form.

Also worth mentioning: a few nice nods to the original like the original Robocop theme or lines like "I'd buy that for a dollar", the barnstorming score by Pedro Bromfman, the fantastic-looking production design (Martin Wrist, "Cloverfield"), and a few kick-ass tunes, like The Clash's version of "I Fought The Law" or Focus' hilarious yodel orgy "Hocus Pocus".

I'm not sure if there will be a sequel, but I hope and pray that it will make enough money to justify one. I wanna see more of this new RoboCop!

The ROBOCOP Trilogy


Alternate German Title:
RoboCop - Das Gesetz in der Zukunft

USA, 1987
Director: Paul Verhoeven


You may remember from my "Pacific Rim" review that I've never been a huge fan of robots and that I've also never seen any of the "RoboCop" flicks. Well, thanks to Mr. Del Toro who finally made me some kinda robo-geek, and thanks to José Padilha whose remake reminded me of finally checking out the original "RocoCop".

Holy technology, "RocoCop" is sooo awesome, and I'm sooo goddamn stupid because I haven't checked it out earlier. Well, it's no wonder that it's so good: it was directed by the mighty Paul Verhoeven, one of the coolest and most interesting directors of the 80s and 90s who made plenty of kick-ass flicks like "Starship Troopers", "Basic Instinct", "Hollow Man" or "Flesh+Blood"
[ignore "Showgirls"].

"RoboCop" may not be as great as his absolute masterpiece "Total Recall", but it comes pretty close. It's basically everything you want and expect from a good Verhoeven-action-romp: it's thrilling and entertaining, dark and futuristic, packed with fantastic-loking practical effects, and it's brutal, brutal, brutal (blown-off extremities, super-gory chestshots and headshots, melting skin
caused by toxic waste...)

It's also way smarter than it looks at first sight, thanks to a fabulous screenplay by Edward Neumeier ("Starship Troopers") and Michael Miner ("Anacondas"). "RoboCop" is deeply critical of modern technology and technocracy ["They'll fix you. They'll fix everything."], modern media and the downfall of quality television ["NUKEM. Get them before they get you. Another quality home game from Butler Brothers."] and ruthless capitalism ["Spare parts for 25 years! Who cares if it worked or not!"].
Also: an excellent synth score by Basil Poledouris ("Conan 1 & 2), awesome camera work by Jost Vacano ("The Neverending Story") and brilliant editing by Frank J. Urioste ("Die Hard").

The cast is a wonderful ensemble consisting of highly sympathetic good guys and girls: Nancy Allen as androgynous officer Lewis ("Murphy... I'm a mess."), Robert DoQui as cool sergeant ("Your client's a scumbag, you're a scumbag, and scumbags see the judge on Monday morning."), extremely obnoxious but still somewhat likable bad guys: Kurtwood Smith as uber-asshole Clarence Boddicker ("Bitches, leave."), Miguel Ferrer as slimy executive Bob Morton ("You're gonna be a bad motherfucker!"), Ronny Cox as Senior president Dick Jones ("I had to kill Bob Morton because he made a mistake. Now it's time to erase that mistake."),
and of course, Peter Weller as RoboCop, one of the coolest anti-heroes in movie history ("Your move creep." / "He's a cop killer." / "Thank you for your cooperation, Good night." / "Stay out of trouble." / "Madame, you have suffered an emotional shock. I will notify a rape crisis center.").

A unique, powerful and fascinating 80s classic that will stand the test of time. RoboCop rocks!!


USA, 1990
Director: Irvin Kershner


"RoboCop 2" is to "RoboCop" what "Terminator 3" is to "Terminator 1 & 2": an unnecessary cash-in sequel that takes the trademarks of a classic and amps it up to an immensely annoying level of over-the-top ridiculousness. To be fair: "Terminator 3" was at least wonderfully entertaining - but goddammit, "RoboCop 2" is just frustrating... incredibly frustrating.

None of the filmmakers involved in the sequel had any idea why the first one was so good: there's no tension, no intelligence, no cynical humor, no criticism, no nothing. "RoboCop 2" simply has no heart. Irvin Kershner, director of "The Empire Strikes Back", and screenwriters Frank Miller (Yes, THE Frank Miller! - "Sin City", "300") + Walon Green ("Solarbabies") created a bland and appallingly stupid mess, god-awful from the first to the last minute.

Verhoeven's RoboCop was a fascinating and thought-provoking character. Here, he got transformed into a laughable and embarrasing idiot, as impressive and entertaining as a piece of bread. Weller tries his best to save the day, but he fails because of the shitty direction, the crappy story and an incompetent script. There are also way too many subplot about supposed-to-be-cool characters, like the gangsta kid, the unnerving druglord Cain or the unbelievably uninteresting Dr. Faxx, and the music by Leonard Rosenman ("Combat!) is so distractingly upbeat, it feels like it was composed for some old 70s TV series. And what's with the pointless inclusion of Robo's wife? At first, it seems as if her character plays an important part in the story, but then suddenly, she disappears without ever re-appearing. WTF??

The practical effects are all absolutely top-notch and it's nice to see Nancy Allen again (even though her character is pretty unimportant here), but overall, it's just a terrible, terrible sequel. Too goofy, too over-the-top - but it's not the worst of the franchise...


USA, 1993
Director: Fred Dekker


Fred Dekker, the once-so-promising director of box-office-bomb cult classics like "Night of the Creeps" and "Monster Busters", proved that it could get even worse than the already-bad second part because.. damn, "RoboCop 3" is a fucking disaster. Not only did it bomb and end Dekker's short directing career, it also turned out to be one of the worst theatrical sequel of the 90s.

For whatever reason, the studios wanted a kids-aimed PG-13 version of RoboCop, an idea that is so ridiculous, it makes you wanna run head against a brick wall repeatedly. Well, the idea didn't work out: the whole movie is a huge pile of crap. The kid-friendly tone is irritating, the supposed-to-be funny action scenes are all horrible and look like they were stolen from wacky Japanese TV-series (flying Robo, robot ninja) most of the acting is just terrible, and all the nods to the first part feel more like the wanted to poke fun at Verhoeven... BULLCRAP!!

The opening scene is rather cool, the scene where some guy jumps out of the window is hilarious, and Nancy Allen is once again a wonderful eye candy (though her character... nevermind) - aside from that, "Robocop 3" is almost unwatchable. Massive respect to Peter Weller who refused to star in this kiddie-mess.

19 February 2014



UK, 2012
Director: Paul Hyett


Huge thanks to Nathan Hamilton a.k.a Son Of Celluloid who recommended this movie to me. It's been quite some time since I last saw a really disturbing movie... and oh my goodness: "The Seasoning House", the directorial debut of British director Paul Hyett, managed to shock the shit outta me and made me feel very, very unpleasant.

The movie takes place in a rundown brothel somewhere in war-torn Bosnia. Serbian soldiers kidnap young women and sell them to brutal brothel-owner
Viktor and his assistants who drug and force them into prostitution - until one day when one of the girls, the deaf-mute Angel, decides to take drastic action
against the men...

Nothing about "The Seasoning House" is any fun. Nothing. The settings all look bleak and depressingly ugly, the men are all vile pieces of shit, the women are all frightened to death, and there's some really harsh violence that is incredibly tough to watch. Women getting beaten and brutally raped, left bruised, battered and scarred. One woman ends with a broken pelvis, one woman gets raped to death.

It's horrible and it's disgusting, but it's not just violence: there's more to it. Due to the genius direction of Hyett, the clever script and the fabulousy believable acting, the movie doesn't end up as dumb torture-fest, but rather descends into a shocking but powerful and intriguing thriller with a brilliant storyline told in a breathtaking and almost mesmerising way. What could have been an exploitative rape'n'revenge shocker, is actually a stunning manifesto against the brutality of war, sexual humiliation of women, and the exclusion of marginalized groups.

The cinematography is extraordinary. Adam Etherington's camera glides through the corridors and crawlspaces of the house in an almost voyeuristic way, showing us rundown rooms, painful violence and some shocking gore scenes. Even better: the tremendously effective music of Paul E. Francis ("The Colour of Magic") that perfectly accompanies every scene and every scenario with a superbly atmospheric and strikingly intense score. Plus: fantastic acting by Rosie Day, Sean Pertwee and Dominique Provost-Chalkley.

Hard to stomach but very worth the watch. This movie is killer!

Wiki ~ Imdb

17 February 2014

BLOODLUST! (Restored Version)


USA, 1959/1961
Director: Ralph Brooke


"Bloodlust!", the 5th adaptation of Richard Connell's classic short story "The Most Dangerous Game", is a weird and obscure but somewhat quite entertaining little b-flick, written and directed by Ralph Brooke, second unit director and/or production manager of 50s schlock like "Man Beast", "Frankenstein's Daughter" or "Missile To The Moon", and husband to Brianne Murphy, the first female director of photography on a major studio film ("Fatso", 1980).

It's not a great film, but it's a funny one. It's a mystery to me why it was spoofed on MST3K because it's faaaar from being as bad as their usual spoof fodder.
I've already seen and reviewed a low-quality version of "Bloodlust!" as part of Mill Creek's 'Cult Terror Cinema 12 Movies Pack' (see here!).

Now, it finally gets a proper HD-quality DVD re-release, thanks to FILM CHEST who restored it from the original 35mm film elements.

The story is old and well-known: a couple of young adults dock their boat on an uncharted island, inhabitated by a wealthy and sadistic hunter who loves to hunt, slain and stuff humans. Script and direction are all over the place,
most of the acting is rather silly and the overall production looks and feels quite cheap at times.

Still, there's lots of stuff that makes it pretty enjoyable: Wilton Graff ("Valley of the Zombies") is cool as crazed but somewhat super-cool hunter ("What had been an unpleasant duty became a pleasure... then it developed into a passion... and then into a lust! A lust for blood!"),
Robert Reed is decent in one of his first roles before he became world-famous as Mike Brady in "The Brady Bunch", and I just love the unintentionally hilarious performance of Walter Brooke ("I can't go on forever pretending to be
a useless drunk."

The violence is neat: one guy gets thrown into a tub of acid and we get to see his face decomposing (great scene), one gets shot in his stomach with a crossbow, one guy 'gets' attacked by leeches after he stumbled into a puddle of quicksand, and one gets impaled on metal rods.
The music is solid (Michael Terr, "The Sinister Urge") and the cinematography is nice (Richard E. Cunha, "Giant From The Unknown").

In addition, the HD quality makes the movie look much more gorgeous. I compared several shots of the Mill Creek version (which is also in public domain) and the restored Film Chest version. Beautiful, huh?

Final verdict: a fun little romp, highly recommended to connoisseurs
of 50s Drive-in b-cinema :)

Wiki ~ Imdb

Thanks to Kelly Williams from "Greenleaf + Associates, Inc." for the screener!

16 February 2014

Lars von Trier's ANTICHRIST (2009)


Denmark / Germany / France /
Sweden / Italy / Poland, 2009
Director: Lars von Trier


Although I've seen it 3 times now... although I've read thousands of explanations, reviews, articles and write-ups about it... no, I still don't fully understand this movie, and I doubt that I ever will. Does it matter? No, not really.
The experience of seeing "Antichrist" is like watching "Picnic at Hanging Rock" on repeat, or something from David Lynch... or maybe, it's more like looking at a picture of Salvador Dalí or Edvard Munch. It's not about the plot or the story behind it, it's about the visuals, the details, the little things that suddenly pop up and start to mesmerize you...

"Antichrist" was the first film of Danish director Lars von Trier after he publicly announced in 2007 that he's suffering from depression and is not sure if he ever would make another film. He started to work on the screenplay in 2005 with the idea of making a horror film, based on the idea of forests as evil, painful places, inspired by contemporary J-Horror.

The final result - shot in 2008, released in 2009 - isn't your average horror film. It's more of dark and depressing arthouse-horror-drama, packed with haunting and/or unsettlingly real and explicit sex scenes, and some unbelievably gruesome violence, hard to watch, hard to sit through.
The movie tells the story of a couple (HE & SHE) who, after the tragic death of her child, retreat to a remote cabin in the woods (called "Eden") where things go from bad to worse when HE starts to experience strange visions of the "Three Beggars", 3 animals that symbolize 'grief' (deer), 'pain' (fox) and 'despair' (raven), while the behavior of SHE turns from depressed and grief-stricken to violent, sadistic and completely unpredictable.

"Antichrist" is not only von Trier's most bizarre, most disturbing film to date, it's also something I'd call "aloof" or "unapproachable" because it's almost impossible to fully dive into the weird plot and grasp the incidents that happen on screen, let alone feeling sympathetic to the main characters. Despite (or because of) that, von Trier manages to somehow draw you in, to mesmerize and to intrigue you with an incomparably sinister atmosphere, with unbelievably shocking scenes of torture and violence, with tons of powerful images, and with inexplicable and baffling but thought-provoking plot points, symbols and events. Needless to say, von Trier's direction is flawless and near perfection.

Charlotte Gainsbourg (since "The Cement Garden" one of my favorite actresses of all time) and Willem Dafoe (still one of the most underrated actors of all time) both deliver absolutely monumental but also disturbing performances. Seeing her masturbating in the woods or stroking Dafoe's dick until blood ejaculates, seeing him unsuccessfully trying to kill a bird or brutally strangling Gainsbourg... very, very tough to watch. And the scene with the scissors and the clitoris... brrrr, almost unwatchable. I hide behind my hand every time I see it.

Back to the beauty of the movie: we get treated with lots of fantastic-looking super-slow-motion scenes, and wonderfully eerie shots of dark forests and unsettling-looking animals, as well as the absolutely incredible b/w opening scene with eargasmic background music from Händel's opera "Rinaldo". The man who's responsible for the fantastic cinematography is the Oscar-awarded genius Anthony Dod Mantle, mastermind behind visual gems like "Festen" (aka "The Celebration", one of the greatest movies ever made), "Dogville" or "28 Days Later".

Also, there's some more creepy music by Kristian Eidnes Andersen ("Melancholia"), excellent editing by Anders Refn ("Breaking The Waves") & Åsa Mossberg ("Beyond") and lots of very believable-looking CGI.

If you're a fan of Von Trier and difficult European Arthouse per se, this is a must-see. If not, it's better to stay away, especially if you expect this to be a brutal gorefest. I saw reviews and comments from stubborn fans of extreme cinema who were disappointed by it because it's not as graphic as, let's say, movies like "Irréversible" or "A Serbian Film"... *shakes head*

Wiki ~ Imdb

Oh btw, here's that amazing opening

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