Fantasia Festival 2018: Pledge (World Premiere 2018)

Pledge (2018)


Director: Daniel Robbins

Cast: Zachary Byrd, Phillip Andre Botello, Zack Weiner, Aaron Dalla Villa, Cameron Copperthwaite, Jesse Pimentel, Jean-Louis Droulers, Joe Gallagher, Erica Boozer

A group of college freshmen pledge an exclusive fraternity but soon realize there’s more at stake than they could have ever imagined. – IMDB

It’s always nice to see filmmakers dive into rarely tapped or simply, untapped territories. To focus its story around fraternities and hazing and the whole pledging process is a great angle to use especially when there are some truly over the top things that can happen (or as the rumor goes) so what would stop it from diving into terrifying rite of passages like in Pledge.

Pledge starts in a fairly ominous way but jumps its timeline to the present as we see the typical loser or nerdy freshmen David (Zack Weiner), Ethan (Phillip Andre Botello) and Justin (Zachary Byrd) trying to be accepted into frat parties and just belonging somewhere without being humiliated. Things take a turn when they miss out on a party and a beautiful college girl Rachel (Erica Boozer) invites them to a party which ends up being in the middle of nowhere at a mansion. Taking this leap of faith, they are welcomed into this party (for the most part) and is invited back for a pledging ceremonies with two other guys, Ben (Joe Gallagher) and Sam (Jean-Louis Droulers) by these rich college boys Max (Aaron Dalla Villa), Ricky (Cameron Cowperthwaite) and Bret (Jesse Pimentel). The hazing starts off humiliating (and gross at times) but things get crazy and out of hand really fast and it turns into a race to escape and survival.


Pledge takes its audience for a grueling and brutal roller coaster ride that takes a huge dive from bad to worse to horrifying exponentially. The cinematography is handled incredibly well by William Tracy Babcock who maneuvers the shots to create a lot of atmosphere and chaos essentially with lighting and different angles making some engaging moments. Of course, no movie like this is complete without credit to the entire direction from director Daniel Robbins paired up with a great script by writer Zack Weiner, the same mentioned above that plays David. This film does a lot of right especially in choosing to twist a fairly straight forward story into an intense and well-paced thriller at a decent run time of accomplishing all of it in 81 minutes. Movies nowadays tend to run overly long and when a movie manages to be equally effective in a decent length, it is something to give credit to.


While a lot of the elements here contributed to this edge of the seat movie experience, one of the main standout is to its talented young cast. Whether it was the pledgers or the hazers, the depth in their characters is done so well. The film takes a lot of perspective from the college freshmen trapped in this life-threatening situation. The beginning moments give us a good idea of who these guys are wrapped up in their goofy and socially awkward personalities which push their personal limits and if and how they would retaliate. At the same time, a lot of the disturbing moments go to the quickly spiraling and out of control hazers. As the leader of the trio, Aaron Dalla Villa does a great job at being Max. His portrayal takes this character to the next level with his quiet expressions brewing with suspense then in a moment switching over some over the top repeated yelling for example to completely set the mood in a psychologically terrifying moments. However, Jesse Pimentel and Cameron Cowperthwaite, playing Bret and Ricky respectively, deliver equally fantastic roles. If Jesse Pimentel’s voice sounds familiar, he voices the role of Lucas Baker in 2017’s survival horror game Resident Evil: Biohazard, which was also a fairly unhinged character. There is so much more to say about how each of their roles shined, however to keep this spoiler-free, the hazers in general shined because of their characters depth. These characters are engaging to watch because of their development. They create the tension by growing more unhinged with each step further into the hazing process.  There is nothing more terrifying than characters like these who spiral and what they do next is unexpected and unpredictable.

Pledge takes a great angle at adapting a story with a rarely used premise. While the moments in the hazing process are terrifying and even gross at parts and is a huge part in building the tension, the real credit goes to its young actors whose characters who make this into a deeper and much more psychologically driven thriller. It is a cleverly structured movie from start to finish and one that is a must-see.


Fantasia Festival 2018: The Witch in the Window (World Premiere 2018)

The Witch in the Window (2018)

The Witch in the Window

Director (and writer): Andy Mitton

Cast: Alex Draper, Charlie Tacker, Carol Stanzione, Greg Naughton, Arija Bareikis

When Simon brings his twelve year-old son, Finn, to rural Vermont to help flip an old farmhouse, they encounter the malicious spirit of Lydia, a previous owner. And now with every repair they make – she’s getting stronger. – IMDB

The Witch in the Window is the next project of Andy Mitton, the director of We Go On. Just like his last project, he takes on many hats as director, writer, editor and composer.  Whereas his first film is about proving the supernatural existence of afterlife, The Witch in the Window is about a family drama, entrapment and belonging in a haunted house setting. The story starts about a deemed witch by the community children because of how she acts when she was alive and how she died by the window. The deeper story here is what takes the building tension to the next level with some effective atmosphere build-up that creates equally effective jump-scares.

The Witch in the Window

This is a slow burn movie that takes a lot of its fear in its lurking details in a literal way. With a title like The Witch in the Window, it pulls your eyes directly to the windows in the shots naturally. In the most subtle ways, it is also these moments that bring on the haunting feeling of someone lingering just in the corner of your eyes which is what makes it so effective. It also does have some of the horror tropes like the nervous neighbor who cautions the new owner or the various knocks and creaks in the old house but because of the well use of silence and isolation of certain sounds, these moments build the tension effectively. While there are some moments which make us question our character’s action as well but this horror story is unique in the way it structures around the development of these characters. In many ways, the tone also wraps the house itself in its own character because the house is new to this father and son and as they learn about it in the beginning, so is the audience, making what to expect especially har do predict.

The Witch in the Window

What makes this film stand out is the bonding of the father and son relationship. There is the mystery as to why the son Finn (played by Charlie Tacker) is sent to “exile” for whatever he was snooping into on the Internet due to his curiosity which clearly had some lingering effects but then pairs it with his self-aware nature who casually asks if there is some dark gory history about the house the moment he lays his eyes on it. However, he is also showing his youth when he doesn’t understand some.of the other terms like flipping a house. On the other hand, his father Simon (played by Alex Draper) has a few secrets of his own that we as the audience get to discover. For starters, he has a heart condition that weakens him and also his dedication to repairing this house. The bond may start off weaker in the beginning but as the film moves along, the one thing stronger than the horror is in the strength the world during apocalypse.

In the true form of a thriller, this slow burn indie film uses the run time efficiently to make it a gradually tense experience. There are a few twists to it that create the unique foundation of this film. As with We Go On, Andy Mitton has an out of the ordinary vision to his stories and the same applies here, especially with the ending itself that might just take you by surprise.

Fantasia Festival 2018: Knuckleball (2018)

Knuckleball (2018)


Director: Michael Peterson

Cast: Luca Villacis, Munro Chambers, Michael Ironside, Kathleen Munroe, Chenier Hundal

Somewhere in western Canada is a farmhouse. A seemingly ordinary and simple farmhouse with a seemingly nice and normal farmer named Jacob residing within. There would be no reason to fear this farmhouse, but for Mary it’s a farmhouse that harbours bad memories and a real sense of dread. Now, a family emergency forces her to drop her son Henry off at this farmhouse for a few days with Jacob, her father, who doesn’t know his own grandson. A love of baseball helps the two bond, but that connection is broken by the arrival of Dixon , the creepy next-door neighbour who seems to know a lot about the farmhouse and holds a pretty mean grudge against Henry. Over the course of the next few days, Henry is going to learn a lot about family, about survival, and how to throw a good knuckleball like his life depends on it? because it does. – Fantasia Festival

Set in the isolated Western Canada landscape, Knuckleball captures the lonely rural area setting perfect for this film’s sense of survival and gritty secrets. It has been exciting times in recent years to see how filmmakers take the Home Alone formula and give it an imaginative dark twist. Just like last year’s Better Watch Out, what starts off with ideas of a young kid trying to find clever ways to defend and survive through the night takes a wildly different and dangerous tone as the story and secrets unfold. There is a great craft here by director and co-writer Michael Peterson in the way he tells this story, skillfully taking the time to slowly not only drop hints but give pieces of this dark puzzle so the audience is kept guessing and invested in this thriller. What propels and builds each scene is also the score here which has its subtle moments and creates these sounds that match with the environment and helps build tension.


Knuckleball has a small and tight cast which works in its favor. There are some incredible young talent here. The first is the young boy sent to this farm, Henry played by Luca Villacis who excels in making the gritty survival elements truly shine in a convincing way. Unlike a lot of children in films, he is worthy of the audience to cheer for his survival. The film is primarily in his point of view and therefore as the story unfolds, his surprises are also ours. Not to mention, Henry is clever and resourceful but still has those moments when his judgement puts him in a undesirable situation. Playing opposite him is a troubled young man and weird neighbor Dixon played by Munro Chambers who has so much depth to his characters. As we see his character truly unveil one layer at a time, there is a great depth to him even though he is violently pursuing Henry. The game that he plays as he hunts and Henry tries to survive is filled with tension. It is engaging and smart. In the supporting role playing as the grandfather Jacob is Michael Ironside. While his character dies fairly quickly, his presence in the film is undeniable because of the influence his character has over Henry and Dixon. It’s these intertwined relationships and the story about family and upbringing and how each character interprets life that truly brings in that extra depth.

If we are to talk about presence and characters, the house is a character in itself. The real house has 100 years of history and this aspect is amplified in the scenes from the massive isolate land surrounded by trees to to the nooks and crannies that Henry crawls between to escape from Dixon. The house is utilized so well as the scenes move from one part of the house to the next. There are school buses on the land and a rusted barnhouse further away. Everything feels like it has a purpose and builds on the uneasy feeling that Knuckleball aims to deliver.

Knuckleball is a real treat. The movie comes together in a gritty effective way and while its a horror thriller that will keep you at the edge of your seat, its core is about more than that. Packed with great characters and an even more powerful setting, its a movie that you shouldn’t miss.  

This post was also on That Moment In.

Fantasia Festival 2018: Cam (World Premiere 2018)

Cam (2018)


Director (and co-writer): Daniel Goldhaber

Cast: Madeline Brewer, Patch Darragh, Michael Dempsey, Melora Walters, Devin Druid, Imani Hakim, Flora Diaz, Jessica Parker Kennedy

“I don’t do public shows, I don’t tell my guys I love them and I don’t fake my orgasms.” These are boundaries that Alice (Madeline Brewer) strictly maintains in the daily hours that she becomes her webcamming alter ego Lola. She keeps her performance work tightly sandboxed from her personal life, as it must be. One day, Alice finds herself unable to log into her account. Someone is already on, using her profile. She hits the site as a guest and discovers that somehow, against all reason, she’s been replaced on her page with an exact duplicate of herself, inexplicably camming from her very home. A duplicate that knows personal things only she could know. And is extremely less guarded about any issues of privacy. – Fantasia Festival

Quick-paced and thrilling, Cam takes its audience for a whirl in Lola’s life, a cam girl who has three rules that keeps her job separate from her personal life but is hoping to climb the ranks to be the top girl. This ambition pushes her to straddle those boundaries and the next day, she realizes that someone has stolen her identity. This person looks exactly like her and mysteriously is filming on her set and the add-on bonus is that there are no boundaries. Who is this person and how is this happening? We might not get all the answers at the end of the day but the point doesn’t seem to be about the resolution but more on the cautionary tale about the dangers of sex work and on a even bigger scale, the dangers of our online presence and personality. It asks the questions of how much boundaries is enough and on a deeper level, what do we do when we lose ourselves?

Cam is stylistic in its shots. In a lot of the cam sessions, the screen is flooded in neon colors like pink, red, purple, blue, blended in a ombre shadowy background. It all works to keep the cam girl environment seem light and fluffy and that is until we get glimpses of what Lola’s shows are all about, the extremities of being pushed to her limits and she stages suicides like slitting her throat which makes it seem real and intense. As we watch the sessions, along with private chats, it becomes apparent that this world

Not everyone is a cam girl but almost everyone has some sort of online footprint in this current day and age and this is where the true horror is. The main reason why it works so well other than its visual stylings is that the main girl, Lola, her real name Alice, played by Madeline Brewer steals the show literally. She plays both the real Alice and the doppelganger online persona Lola and the fact that we can see how genuine Alice is, she becomes a person that the audience can intensely watch as she falls down the rabbit hole and loses control of herself as her personal and professional life blend together and spirals out of control also. In many ways, the desperation and the despair along with frustration and fear is portrayed so well in this one character as Alice is a real person and not just some object online. And in some ways, its her struggle to find and reclaim herself and its one crazy intense journey to say the least.

Cam is has some fantastic moments and as the story and mystery builds, just like Alice’s life, it goes out of control. Its well-paced and a perfectly sufficient thriller that emphasizes on some truly horrific ideas of the boundaries to keep online. It might feel like the story takes a fairly abrupt ending to everything but the lingering feeling of danger is so poignant that it can keep you thinking about it even after the film as ended.

This review is also contributed to That Moment In.

Fantasia 2018: Nightmare Cinema (World Premiere 2018)

Nightmare Cinema is a 2018 horror anthology featuring nightmare stories told by five renowned directors. It was an opening film at the Fantasia Festival and the screening was preceded by the presentation of the Lifetime Achievement Award to Joe Dante, one of the five directors of this film.

Nightmare Cinema (2018)

Nightmare Cinema

Director: Mick Garris, Alejandro Brugués, Joe Dante, Ryuhei Kitamura, David Slade

Cast: Mickey Rourke, Eric Nelsen, Sara Elizabeth Withers, Zarah Mahler, Mark Grossman, Richard Chamberlain, Maurice Benard, Elizabeth Reaser, Adam Godley, Orson Chaplin, Faly Rakotohavana

Are you ready to enter the world of The Projectionist in the old Rialto Theatre? This Nightmare Cinema brings 5 complete strangers where their darkest fears are the focal point of the story on screen. This anthology features five decent lengths short stories pieces that each have their homage to a nice variety of horror genres but adds in their own twist to make it more modernized or more entertaining or even more intense.

Nightmare Cinema

The opening segment takes no time to introduce us we follow a young girl into the theatre where she sees a movie with her name as the main feature called “The Thing in the Woods”. Directed by Alejandro Brugués, an Argentinian director known for his work in Juan of the Dead and The ABCs of Death 2 segment, this segment pays tribute to the 80s slashers that many still love. As with many slashers, there is a campiness to it as well as a dark humor that surrounds it with both great effects and well-timed moments. Probably the least serious and frightening of the five tales but also a great way to start off this anthology especially with this genre being one of the most popular in the horror subgenres. There is an artistry to the way it is filmed and even the way the story is written with a fantastic twist which honestly is what makes it stand out.

The second segment follows with “Mirari”, directed by the ever so renowned Joe Dante as he takes the audience to the horrors of plastic surgery and boy, do things go horrifyingly bad. While the story does keep you guessing for most of the film, it is the one that feels more mysterious and suspenseful because of the premise. It plays on the obvious expectations that the audience will have, knowing that there is no way that this plastic surgery won’t go wrong. What keeps the audience under the wraps is when it becomes apparent that the people around our victim all become rather sinister.

Nightmare Cinema

The third segment “Mashit”, directed by Japanese director Ryuhei Kitamura, known for The Midnight Meat Train among many films, enters the world of a Catholic school and possession. Its bloody and eerie. Some scenes brings up memories of The Exorcist if it was done in this day and age with some outstanding effects that will send a chill down your spine. There are a lot of elements that work here including creepy children and scary makeup. The best part here is the use of light with the hallways covered in sinister colors and then adding in this gloomy backdrop that highlights the bloody parts. However, some parts do get a little overboard and ticks those over the top boxes a little too much.

The penultimate segment is directed by David Slade, the man behind the disturbing indie film, Hard Candy as he presents “This Way To Egress”. Not surprising to see that this story follows a mother of two who visits a psychiatrist office who believes she is going crazy. Her world falls into this ugly reality. This is helped by the stylish black and white feature especially making it more psychologically disturbing as you wonder whether the world are full of monsters or her mind is turning everything into monsters. It straddles the line of truth and fiction while tackling some serious subjects as her story unfolds. While it never quite hits the disturbing levels of Hard Candy, This Way to Egress does pack an effective punch and amps up on the tension as we near the end of this anthology. Nightmare Cinema

The final segment “Dead” along with the intermission segments with The Projectionist is directed by Mick Garris. A great finale to wrap up the anthology as it takes a look at some The Sixth Sense area where a young boy wakes up from being dead for essentially 17 minutes to realize that he can see the lost souls. There is much more to the story than that but the dead are all creepy. There is a great amount of tension arising from the circumstance that he is put in. Dead ends the anthology packing quite the punch. However, the films merit is in creating this character, The Projectionist, portrayed by Mickey Rourke who is a mysterious fellow as we see him more and more in the intermissions between segments as he hints towards what this Nightmare Cinema is all about and well, the final scene shows that there is potential for these stories to just keep on going.

As with any horror anthology, it is about the sum of its parts as much as it is about the big picture. Each of the five stories here pack in some homage to a certain genre and boast the talent of the director and their artistry. Both the cinematography and the atmosphere is top of the line. The soundtrack also builds the mood and tension for each of these scenarios. Even when the story feels like it takes it a little too far or gets a little silly, these elements pulls it back into place. The structure of the horror anthology though is where it stands out because it goes from something more comedic like The Thing in the Woods and builds up both the seriousness and the intensity so that when you reach the final segment Dead, it is pretty much an intense segment from start to finish. With the vast amount of horror subgenres here, there is bound to be something for every horror fan.

Review also posted to That Moment In

They Remain (2018)


They Remain (2018)

They Remain

Director: Philip Gelatt

Cast: William Jackson Harper, Rebecca Henderson

Based on the 2010 short story, 30- by award-winning author Laird Barron, They Remain follows two scientists, Keith (William Jackson Harper) and Jessica (Rebecca Henderson) who are sent out by a huge corporation  to investigate abnormal animal behaviors occurring in a previous remote area that had some horrible killings happen in the past. Their mission has a month in duration and they are offered high tech surveillance material and a lab to research initial findings. With Keith as their boy scout who goes on according to schedule every day in different districts they’ve established to observe and Jessica to stay back at the camp to do any analysis, the dynamic and relationship of these two people start to evolve over the next days we follow their progress.

they remain

They Remain starts off the story on the right foot. All the right elements are placed into action, just like Keith’s surveillance system and schedule. Things work well in the “no news is good news” sort of deal. We literally watch a lot of walking around and checking surveillance cameras and replacing some gadget in it and Jessica moving around in the lab working on this and that and they talk about trust and human relationships and leak information about what happened in this area years ago and what this mission means for each of them. Quite like a normal indie film, the scale is small so we get to learn about Keith and Jessica as they are primarily the only two people in this film with a small cameo by one other person. There is nothing wrong with this angle actually it is a smart move. William Jackson Harper and Rebecca Henderson both do a great job in  delivering a very good performance with what they are given here.

Much like any recent indie films, They Remain is a slow paced film which starts off with the very mysterious location with a history set in the vast and mysterious open nature. It gives us time to know their two leads and their relationship while sprinkling some findings throughout related to animal behavior such as a dog which seems made a reference to a wolf at one point and abnormal wasps and ant activities. They make great use of this material and setting and have visually appealing shots and cinematography. All of the beautiful visuals are paired up with an off putting and creepy background score that creates an eerie and mysterious atmosphere. There are horror imagery such as red skies and expected jumpscares that always deliver and a mystery cloaked man. These all help build the suspense and atmosphere.

they remain

There is a lot of potential to be a fantastic horror thriller here but where it falls apart is in its script or perhaps the execution of the script. Many adaptations have the same issue of not correctly interpreting what the source material wants to portray well enough. I haven’t read the source material so there is no comparison so I can only give it the benefit of the doubt. They Remain does a lot of atmosphere building but essentially always delivers on its jumpscares rendering it predictable. The first few times the score gives it a boost and some scare factor but as the film goes on, the slow paced paired with predictable jumpscares and an expected development for Keith and Jessica’s relationship all make for a fairly flat experience. What does try to make it more suspenseful is the distortion of reality and illusion that lies in the central question of what is going on here. Keith will keep seeing these different sequences that amp up in intensity and then get cut back to what we would expect is reality and it brings in the question of whether it is actually real or are they merely nightmares. The suspense is present but sadly, there never seems to be a great payoff for all this build-up but rather a not so surprising twist for the ending.

Overall, They Remain delivers on many of the aspects, whether its characters, visuals, setting and music and does it very well but matched up with the pacing and the execution of the script, it just seems to be lacking and not worth all the build-up in the grand finale.

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Double Feature: Submerged (2016) & Eden Lake (2008)

Welcome to today’s double feature!

I’m trying out to have these themed double features every once in a while when I can. This time, we’re pairing two indie horror thrillers. The first I had never really heard anything of before and honestly watched it as a filler one night when I was working on other things and Eden Lake was one I had both recommendations and dislikes of it which has me intrigued as to how I would feel about it.

Submerged (2016)


Director: Steven C. Miller

Cast: Jonathan Bennett, Talulah Riley, Rosa Salazar, Samuel Hunt, Cody Christian, Giles Matthey, Denzel Whitaker, Willa Ford, Mario Van Peebles

A young woman and her friends, who’ve been targeted by kidnappers, must do everything they can to survive after their limo is forced off the road and plunged into a canal. – IMDB

*sigh* I honestly don’t know how to write up this review right now. There is no extent of how indifferent I feel about Submerged. Its clear to say that at some point,  particularly the male lead of Mean Girls that Jonathan Bennett had a lovely peak in his career. Then he did some odd roles in other teen comedies like Love Wrecked (review) with Amanda Bynes for example, then he ended up with some Hallmark films like A Christmas Kiss II (review) & A Dogwalker’s Christmas Tale (review). Its been a staple of my last two years of Christmas marathon, however as generic as those two were, they were never disappointing. Finally, we see Jonathan Bennett in a thriller so I was down to give it a chance and well, guess what, this one was disappointing. I can’t say that his character was disappointing but rather the thriller itself was not incredibly standout. The ending itself felt like it was out of nowhere a little and didn’t quite fit into the story as it was really to give the twist. Maybe there were hints along the way, but then it doesn’t give me that particular motivation to go rewatch it either.


The story sets up itself in the trapped in the car concept, which is a good premise since we don’t seem to have a lot of substance to those parts. And then it alternates between the past to what leads to it. Fact is, the characters here doesn’t quite give us anyone to cheer for. Jonathan Bennett’s character has a little bit of development and back story however, at some point, it seems to want the viewers to believe in who is involved and then turn it around at the ending. As I mentioned, the twist is out of nowhere but then, somehow the lack of interest from the start to that point just wasn’t engaging enough to care about it.

Overall, Submerged is yet another disappointing thriller that takes a rather formulaic approach for a not too frequently used premise and yet never gives us engaging characters to make the out of nowhere final twist feel worth it.

Eden Lake (2008)


eden lake

Director (and writer): James Watkins

Cast: Kelly Reilly, Michael Fassbender, Jack O’Connell, Jumayn Hunter, Thomas Turgoose, James Burrows

Refusing to let anything spoil their romantic weekend break, a young couple confront a gang of loutish youths with terrifyingly brutal consequences. – IMDB

Eden Lake is one of those films that are a little harder to review. Its one of the earlier Michael Fassbender films before he has the fame nowadays. In this horror thriller, it takes a slow beginning but ends up picking up the pace quite a bit as the story takes a turn for the worse with menacing kids lead by a kid who craves the violence. Him and his crew of other teens start chasing this couple down who first starts off with stealing their car and ends up chasing them and causing his dog to die, turning into something vengeful. The story does take many turns from bad to worse to completely intense. To be fair, Michael Fassbender’s character does play more of a supporting character role as Kelly Reilly takes on something of a stronger woman here as she tries to make her escape. In one way, I didn’t feel quite as immersed in the beginning however as the disturbing characters and events starting happening in quicker frequency, it definitely had me on the edge of my seat hoping that Kelly Reilly’s character would get out.

eden lake

On the other hand, while I do agree that the villainous teen leader, Brett definitely was convincing in his extremities that started out quite vengeful, it is also quite a terrifying thought as the days went by after I saw Eden Lake. Perhaps that is the terror here is that a vacation going array can be in this sort of everyday sort of situation. Kids are meant to be portrayed in horror/thrillers as innocent, defenseless or even annoying in some cases, however, these kids are out of the ordinary and we never quite get a reason why Brett acts that way throughout but we do see that the idea of peer pressure and wanting to belong in this alpha group makes these other kids who are doing things they don’t particularly want to out of fear. Its one of those movies that do have quite a lot of thought behind a normal survival horror story set in the middle of nowhere on vacation. And as I think about it more, the more I feel that it worked very well.

Overall, Eden Lake is a rather slow burn tension building horror thriller. For both the setting and the increasing extreme moments here, it sets a very psychological survival and escape experience that might start off feeling like not so much but definitely ends up being more than that in leaps and bounds. As an ending note, I’m not too sure how I feel about the ending but its one those things where you either like it or you don’t.

That’s it for this double feature!
Have you seen Submerged and/or Eden Lake? Thoughts?