Review Category: Movie

Dredd 3D / Cert: 18 / Director: Pete Travis / Screenplay: Alex Garland / Starring: Karl Urban, Olivia Thirlby, Lena Headey / Release Date: September 7th

Begone, the ghost of Stallone! Judge Dredd returns to the big screen and this time the character has finally been done justice – the helmet stays on and there is a distinct lack of needless backstory (and no Rob Schneider to boot!). America has fallen into waste, and only Mega City One, holding 800 million citizens and spreading from Boston to New York, still stands against the apocalyptic backdrop of the Cursed Earth outside the walls.

The movie plays out in a similar vein to 2001’s Training Day with a bit of The Raid thrown in, with Dredd (Urban) being partnered up with rookie Anderson (Thirlby) on her assessment day. By day’s end, he will get final say on whether she becomes a fully-fledged Judge or not – and it doesn’t start well when he learns that she only got this far because of her psychic abilities, having narrowly failed the entrance test. To Dredd, a failure is a failure, whether it’s by the biggest or smallest margin.

Whilst carrying out what appears to be a routine drug bust after a triple homicide at a tower block called Peach Trees, Dredd and Anderson find themselves locked in with no chance of back-up or escape. Ma-Ma (Headey) runs the 200-floor block with a vicious iron fist, commanding her gang to kill the two Judges that have dared to infiltrate her little world. She is pushing a new drug substance called Slo-Mo, which gives addicts the feeling that everything has slowed down to a fraction of its normal speed, and she’ll be damned if anything as trivial as the law is going to stand in her way. As Dredd and Anderson fight their way to the top of the tower, we are rewarded with some of the most violent and brutal scenes we’ve seen in a release of this calibre. The camera doesn’t shy away when bodies are being flayed by gunfire from mounted cannons, nor when shoot-outs occur when characters are high on the new drug. Many of the highlights come during these scenes, playing out like a version of ‘bullet-time’ but breaking away from the old set routine and trying something new. There are lashings of blood and gore on show, but at no time does it come across as gratuitous.

Visually, there are several good uses of the 3D throughout, and some vertigo inducing scenes of Peach Trees – you may feel like you’re about to fall out of your seat. The characters are also well cast, Urban delivering a completely deadpan performance – his voice never goes up or down, even when he uses his catchphrase, “I am the law” – and Thirlby is perfectly cast as Anderson, looking puny next to Dredd, but harnessing her psychic abilities at the most opportunistic moments. The camaraderie between the two is perfectly pitched. Even Headey, definitely not looking her best due to some wonderfully nasty scarring make-up, plays Ma-Ma with a quiet undertone of menace. 

Tremendously violent, brutal, loud and unashamedly British, the movie is the ultimate antithesis to 2012’s summer of superheroes. Dredd has no powers except for an unwavering belief that the law must be obeyed and justice served. Don’t get caught up in the petty squabbles about whether the uniform or the Lawmaster bikes look right. Instead, go and support an independent British genre film that deserves your time and hard earned money.

Expected Rating: 7 out of 10

Actual Rating:

Review: The Bourne Legacy / Cert: 12A / Director: Tony Gilroy / Screenplay: Dan Gilroy, Tony Gilroy / Starring: Jeremy Renner, Rachel Weisz, Edward Norton, Scott Glenn, Stacy Keach, Oscar Isaac / Release Date: Out Now

So, the Bourne franchise without Matt Damon, what’s that all about then? You see, some things just have to be together – fish and chips, Laurel and Hardy, James Bond and vodka martinis. Take one element away from the equation and you’re left with something… well, something a bit less interesting (apart from Bond, maybe). And so it is with The Bourne Legacy, a prime example of Hollywood in full ‘you wouldn’t let it lie’ mode; Matt Damon and franchise director Paul Greengrass bailed out of a fourth entry in the high-energy action series so we’re left with Tony Gilroy (who, to be fair, scripted all the previous films) to step up to the plate as director with rising star Jeremy Renner drafted in to reboot the series. Bourne again, you might say. Crueller critics might be more tempted to say still-Bourne.

We’re not entirely sure what the point of The Bourne Legacy is beyond the lure of more box office ker-ching for greedy studio types. The whole series revolved so much around Matt Damon’s Jason Bourne that whatever his  ‘legacy’ might be, his absence is more than sorely felt and the film’s cause isn’t really helped by constant references to his character which only serve to remind us how much slicker and consistently adrenalised the original trilogy was. But that’s not to say that Legacy is in itself a bad film; it’s just a bit underpowered, undernourished and ultimately underachieving. Frustratingly, once the film starts to free itself a little from the shackles of its past – generally the last hour or so – it starts to breathe and relax and become its own animal. With hindsight perhaps Renner and Gilroy might have had a better shot at making something a bit more inventive if they’d been able to tell an original story with original characters and with none of the Bourne baggage dragging it down.

With Jason Bourne still on the loose in New York (early events of Legacy purport to take place at the same time as The Bourne Ultimatum) we discover that the ‘Treadstone’ project was just “the tip of the iceberg”. Aaron Cross (Renner) is a volunteer in the ‘Outcome’ initiative which pumps agents full of chemicals which stimulate their senses, strength and perception. I’m not entirely sure how – sexy scientist Rachel Weisz spectacularly info-dumps at one point but I didn’t understand a word she was saying – but clearly the authorities are a bit peeved about it when they realise that Aaron has gone rogue, in search of more of the chemicals he’s now addicted to. In best Bourne tradition – it’s his legacy, you see – Aaron finds himself pursued by Outcome spies and agents who want to wipe him out – along with anyone who associates with him. Aaron teams up with Marta Shearing (Weisz, doing her best in an underwritten role), one of the scientists who developed the drugs and the pair zip off to a manufacturing plant in Manilla so she can rustle up some more of the good stuff he needs. Inevitably, back in New York, lots of ferocious-looking people in suits who spend far too much time staring at computer screens are onto him, using all the fancy eye-in-the-sky technology Hollywood is so keen on to track him down and send any number of local Police and trained killers to rub him out before he can make any more of their grubby little secrets public.

It’s a decent enough story but Legacy probably misses Paul Greengrass as much as it misses Damon. The script takes an age to pick up any momentum – stop talking so much! – and the action sequences just don’t have the breathless kick of the original trilogy. Fight scenes look both confusing and confused and even a rooftop-and-bike chase around Manilla seems a bit perfunctory. Pug-nosed Renner’s no match for Damon; his Aaron Cross is pretty much a name in search of a decent character. He does a good line in sarcasm now and again but he has none of the boyish bravado of Damon who made Jason Bourne so effortlessly believable. 

But despite its thumpingly slow build-up, muddy action scenes and exposition-crazed script, The Bourne Legacy just about passes muster as an acceptable action movie. But as the fourth entry in a series as searingly-good as the original Bourne trilogy it doesn’t even come close to matching the style and quality of what’s gone before and by the time the movie grinds to a halt we need a little bit of Moby to remind us that this has been part of the same series at all. Not a terrible disappointment then, just a slightly bitter one.

Expected Rating: 8 out of 10

Actual Rating:

Movie Review: Empusa / Cert: TBC / Director: Jacinto Molina / Screenplay: Paul Naschy / Starring: Paul Naschy, Antonio Mayans, Maria Jesus Solina / Release Date: Out Now (via website only)

A long time coming, this is the final feature film from Spanish horror legend Paul Naschy, which was completed several years prior to his death in 2010, but lack of distribution has held up its release. It is now available as a very affordable download on the film’s official website.

Here, Naschy plays Abel, a former actor now spending his days drinking absinthe, walking the beach with his best friend, sailor Victor (Antonio Mayans) and researching the occult. On one of their walks, the pair find a severed hand, and naturally Abel wants to take it home, which he does, and discovers the symbol tattooed on the wrist has a connection to an ancient breed of vampire – the Empusa. More mutilated bodies turn up and Victor is killed (only to return Jack Goodman style to aid Abel). Abel, on the other hand, is receiving more than normal attention from a lot of young, sexy women including flame haired Christabel (Cristina Carrión) who likes nothing but frolicking nude in the ocean, and Lilith (Laura De Pedro) who teases the ageing writer about not wearing knickers. The two, however have their own agenda, and both want to use Abel to aid their pursuit of vampiric supremacy.

Naschy once again takes the directing, writing and starring credits, but sadly, this outing will not be remembered as one of his best. It isn’t terrible, there’s a lot of fun to be had with the bubbly dialogue and Naschy, as always, is incredibly watchable (even in an appalling wig). The plot is a mishmash of genuine Greek mythology and standard vampire tropes; it’s entertaining but runs out of steam somewhat before we get to the slaying. The effects are cheap and cheerful, but will certainly not blow anyone away. If you are unfamiliar with Naschy, it will be a letdown, but for fans, there’s plenty to enjoy, even if it is not the swansong the legendary horror star deserves. He does, though, appear to be enjoying himself, being draped with naked young women and having fun with what people may expect from the genre.

The film is available to buy (as a download) for a mere $4.50 – it won’t break the bank, and you never know, you may enjoy it.

Expected Rating: 5 out of 10

Actual Rating:

Review: Beasts of the Southern Wild / Director: Benh Zeitlin / Screenplay: Lucy Alibar, Benh Zeitlin / Starring: Quvenzhane Wallis, Dwight Henry, Levy Easterly / Release Date: October 19th 

Hushpuppy is a little girl living in the mythical Louisiana bayou community of Bathtub with her father Wink who is terribly sick. A storm is coming to her beloved Bathtub which is sure to wipe out everything, but rather than leave her surroundings she is inspired to confront her crumbling cosmos. “Everybody loses the thing that made them. The brave men stay and watch it happen. They don’t run.” When a group of prehistoric creatures called aurochs appear in the midst of all the destruction Hushpuppy fiercely looks death straight in the eye in order to survive. The world viewed through this young girl’s eyes is magical, magnificent and moving.

Debut feature director Benh Zeitlan has co-written a stirring, enriching script along with Lucy Alibar and the simplicity of the language allows Hushpuppy’s erudite voice to strike an emotional, honest chord. The ideas in Zeitlan’s movie are approached in such a way that will allow viewers of all ages to be engaged and embrace the heart of the film. The perspective of a little girl and the principles instilled in her by her father and community are crafted in a surprisingly inventive way. The soundtrack exudes marvel and the use of the natural environment to create a savage and spellbinding setting will draw you into Hushpuppy’s curious, wondrous world. Zeitlan’s ability to blend the troubling aspects of real life and the sparkle of imagination to create such an original world is what makes this film so special.

The lead actress Quvenzhane Wallis (who was six at the time of filming) is a force to be reckoned with. Her turn as Hushpuppy is dazzling, delivering wide-eyed wisdom in a commanding yet contemplative way. She may be the youngest member of the main cast of actors (who are all from Louisiana) and the smallest piece in the puzzle of the universe but Wallis shines extremely brightly in the role. Whether she is cooking dinner with a blowtorch or cracking crabs with the other beasts her presence is enchanting.

The aurochs are seen running wild in their natural habitat, as animals should be, acting as a metaphor for the untamed tribe of Bathtub who happily run around screaming and dread being taken to a shelter on the mainland. Filmed in Louisiana with the aftermath of Katrina as the backdrop the resemblance to the situation is clear but Zeitlan is painting a universal tale of loss here.

Zeitlan has created a rare thing of beauty. It is coming of age, fantasy and ecological fairy tale exploring the universe and the fragility of existence. Bathtub overflows with an abundance of absorbing ideas and images and it is a world well worth exploring.

Expected Rating: 9 out of 10

Actual Rating:

Movie Review: Room 237 / Cert: TBC / Director: Rodney Ascher / Starring: Buffy Visick / Release Date: October 26th

Anybody who knows anything about director Stanley Kubrick and his films is aware that he was a major stickler for details, his chosen approach apparently driving Jack Nicholson and Shelley Duvall to the point of nervous exhaustion on the set of The Shining. With this in mind documentary Room 237 mostly makes perfect sense and is a fascinating portrayal of the meanings and subtexts within the film.

We overhear commentaries and theories from several different people. Thankfully this is not in the form of endless talking head interviews and people pointing at screens. Instead the film is purely made up of footage not just of The Shining but of much of Kubrick’s filmography as well, which is often used to hilarious effect.

Some of the theories presented here are fascinating and gain weight as the footage unfolds with the knowledge that Kubrick was obsessive enough to actually be thinking about this stuff whilst making the film. Some theories though are frankly bobbins and smack of crackpots who have too much time on their hands. For example the woman who saw Minotaurs everywhere based off a poster of a man skiing just seems ridiculous and takes up too much screen time. The theories that are the most plausible are those that suggest the film was all about the plight of Native Americans, all about the holocaust and shockingly, a feature length confession by Kubrick that he was responsible for faking the Apollo moon landings for the US government. That last theory may seem pretty far out there but the imagery and clues presented make it seem plausible within the context of the film. Overall though it’s the holocaust theory that seems to have the most supporting evidence, the reoccurrence of the number 42 throughout the film and the shapes and actions on screen make it seem like Kubrick was baffled as to how to bring the full horror of the holocaust to audiences in a separate project which was in development.

Perhaps the most fascinating though, is the part that concerns the theory that the film is supposed to be watched backwards and forwards at the same time. Footage of the film is overlaid on top of each other both chronologically and in reverse and it works amazingly well. Images line up on top of each other to create one that makes perfect, horrid, beautiful sense and adds an air of menace to the film that isn’t even present in the normal cut.

Room 237 is like the best DVD extra ever. Overlong maybe, but it’s an essential watch for any film fan.

Expected Rating: 7 out of 10

Actual Rating:

Movie Review: Cockneys Vs Zombies / Cert: 15 / Director: Matthias Hoene / Screenplay: James Moran, Lucas Roche / Starring: Rasmus Hardiker, Harry Treadaway, Alan Ford, Georgia King, Michelle Ryan, Richard Briers, Honor Blackman, Tony Selby / Release Date: August 31st

Cockneys Vs Zombies is a mad, rip-roaring mash-up of Shaun of the Dead meets Lock Stock and Two Smoking Barrels and it absolutely does what it says on the tin – and then some. It also does something zombied-out film fans have long suspected well nigh impossible – it breathes new life, temporarily at least, into a genre so over-saturated it now comes with its own wet weather warning. If it’s true that there’s nothing new under the sun Cockneys Vs Zombies at least has the chutzpah to go straight for the comedy jugular as it depicts, one more time, an apocalypse of the undead variety and the struggles of a mismatched bunch of survivors to make it through to the end credits.

So here’s the deal. We’re in the East End of London and a massive residential redevelopment building site unearths a 17th century plague pit full of crumbling bones and rotten cadavers – and something very nasty and very viral. Before the credits – The Automatic’s well-used hit ‘Monster’ playing over zippy comic strip illustrations of the cast – two workmen have had their throats ripped out by animated shriveled corpses (shame we don’t see them again) and we’re on our way. Meanwhile Andy (Treadaway) and Terry (Hardiker), two feckless Cockney brothers, are planning a bank heist so they can save their Granddad’s care home from demolition. They team up with inept burglar Tuppence (Jack Doolan), their feisty cousin Katie (Ryan) and the psychopathic steel-skulled Mental Mickey (Ashley Thomas). Inevitably the heist goes spectacularly wrong and the gang find themselves surrounded by armed Police… and then something considerably worse. Meanwhile Granddad Ray (Ford), an ageing 1960s Krays-era faded London gangster, is trapped in the Bow Bells Care Home with his fellow residents (played with glorious relish by veterans such as Honor Blackman, Dudley Sutton, Georgina Hale, Tony Selby and, most deliciously of all, Richard Briers) as an army of the undead shuffles through the city.

Cockneys Vs Zombies, snappily directed by Matthias Hoene on a doubtlessly tiny budget, is exciting, audacious and uproariously funny, full of laugh out loud gags, a little bit of slapstick and some decent stomach-troubling gore and violence. James Moran’s script rattles along, populated by realistic, well-drawn East Enders who actually swear and are solidly believable in ways the Albert Square crowd can only dream of. Where previous British benchmark zombie flick Shaun of the Dead was Edgar Wright and Simon Pegg’s love letter to an adored genre of filmmaking, Cockneys Vs Zombies uses its undead hordes as a metaphor for the erosion of traditional East End values and the indomitable fighting spirit of real Cockneys who respect the importance of family values above all else. So whilst the core of the story – Andy and Terry determined to fight their way across London to save their Granddad – mirrors Shaun and Ed as they rescue Shaun’s Mum and girlfriend in Shaun of the Dead, there’s a very real sense that Andy and Terry would move Heaven and Earth, in their own clumsy way, to protect those closest to them whatever the circumstances. It’s a sweet and cheerful dynamic and Moran makes the audience really root for initially brittle and unlikable characters as they’re transformed from ruthless, if incompetent, tooled-up bank robbers, to desperate ingenious heart-of-gold survivalists.

Punctuated by energetic action sequences and with a real sense of world-gone-mad in its clever production design and atmospheric location footage, Cockneys Vs Zombies is hearty, good-natured stuff despite its blood and guts and its supporting cast of acting legends swearing like troopers and blazing away with machine guns. If you’ve ever wanted to see Richard Briers enthusiastically exterminating zombies – and come on, who hasn’t? – this one’s absolutely for you. Chalk up another palpable hit for quality British comedy horror.

Expected Rating: 6 out of 10

Actual Rating:

Movie Review: Love / Cert: 12A / Director: William Eubank / Screenplay: William Eubank / Starring: Gunner Wright, Corey Richardson, Bradley Horne / Release Date: 7th sept

It would be easy to dismiss Love outright. This is a film produced by Tom DeLonge from rock group Angels and Airwaves who themselves were sometimes viewed as a vanity project after the Blink 182 melt-down. Love is also a science fiction piece with aspirations to be in the same league as 2001 and Solaris. With everything against it, Love surprises completely by being a stunning work of emotional sci-fi.

The plot, what there is of it, starts in the American civil war and finds a soldier sent away from the front line to look for something that has been spotted in a crater. We then find ourselves in the future and on a space station in Earth orbit, astronaut Lee Miller (Gunner Wright) loses contact with mission control on Earth and spends out his lonely existence becoming increasingly paranoid and confused as he suspects that mankind has been wiped out down below him. Interspersed with this is footage of men from all walks of life giving interviews where they express their opinions on the best things in life. If you think this doesn’t make sense, don’t worry it will…. kind of. Much of this is up to your own interpretation much like Darren Aronofsky’s The Fountain.

I may be a big wet sap but Love got to me, I was stunned, riveted and unable to shake loose from this hypnotic low budget visual treat. The actual message here, should you choose to hear it, is a simple one and the more cynical and jaded viewer may recoil from what writer and director William Eubank is saying but if you go with it and let the feelings and visuals wash over you then you will find much reward.

What is amazing about this film, more than the feeling it leaves you with, is the fact that it was made for a mere 200k mostly in William Eubank’s back garden. Let me tell you that not once does this feel low budget, during certain scenes Eubank has the same level of visual style and gift for framing that we see in the films of Tarsem Singh. The space scenes are all very convincing and although it may not have the level of technology and flashiness in something like Prometheus, it’s never less than believable. As our anchor to this tale, actor Gunner Wright is superb as the stranded possibly last human in existence. The pain, loneliness and anguish he feels are all perfectly written on the actor’s face and you feel like you are right there in the small craft with him.

Love is the best kind of low budget film there is. Not for everybody sure, but it’s a film packed with ideas, heart and invention that manages to be better than films with ten times the budget.

Showing in London and keys cities from 7th September

Movie Review: The Dark Knight Rises / Director: Christopher Nolan / Screenplay: Christopher Nolan, Jonathon Nolan / Starring: Christian Bale, Tom Hardy, Anne Hathaway, Morgan Freeman, Marion Cotillard, Joseph Gordon-Levitt, Gary Oldman / Release Date: July 20th

The Knight has fallen into self-destructive behaviour after eight years away from protecting the streets of Gotham. Harvey Dent’s legacy of tough laws on criminals has created a peaceful city where a hero such as Batman is obsolete, but the appearance of the terror inducing Bane galvanises the bat back into action. Christopher Nolan brings his story full circle once again playing with the idea of a society set up to fail.  Phenomenal action, brutal encounters, social commentary along with strong characters and storytelling make this a bleak but elevating climax.

New characters, Bane (Tom Hardy), Catwoman (Anne Hathaway) John Blake (Joseph Gordon- Levitt) and Miranda Tate (Marion Cotillard) are introduced and allow for origin stories to be told and moral groundings to be revealed.  Bane swoops into Gotham on a mission of destruction and Hardy delivers a physically menacing performance.  Catwoman delivers pearls of wisdom and though her morals may at times be dubious her statuesque beauty reflects her integrity. Hathaway strikes the balance between manipulative man-eater and feisty feline extremely well.  John Blake is a hot-headed cop working his way up the ladder and impressing Commissioner Gordon (Gary Oldman) with his intellect. Gordon-Levitt is wonderfully cast in this role delivering the mixture of angst and freshness needed for his character. Tate and Bruce Wayne share the philanthropist mind set and make a good pairing in the upper echelons of society. Cotillard brings her usual charm to the role. Nolan asks the question “What is a hero?” and each of the main characters provides some sort of answer through their storyline. The guardian figure and the authority of government are explored thoroughly through the final film in this trilogy.

Bane is the terrorist playing on humanity’s fear and his imposing presence provides both a physical and mental challenge for Batman. Catwoman is the Robin Hood figure fighting her battle the only way she knows how. Clear villains appear on both sides of society but Nolan cleverly defies expectations here. Privilege, wealth and an unfair judicial system are also tackled, but Christopher Nolan and his screenplay collaborators Jonathan Nolan and David S. Goyer excel at making sure it is always delivered in an affecting and thrilling way. Fast speed motorbike chases, advanced weaponry, excellently choreographed fight scenes and the atmospheric and tense soundtrack from Hans Zimmer ensure the darkness is all encompassing from beginning to end. The astonishing spectacle expected from Nolan is present as is the brooding Batman from Christian Bale.

Intense action and emotion make for gripping viewing and along with a dash of playfulness that occasionally lifts the dark mood it feels like the comic book hero has been rightly adapted for our times.

Expected Rating: 10/10

Actual Rating:

Movie Review: Brave / Director: Mark Andrews, Brenda Chapman / Screenplay: Brenda Chapman, Mark Andrews / Starring: Kelly McDonald, Billy Connolly, Emma Thompson / Release Date: August 13th

Pixar make the move to the Scottish Highlands telling the tale of young princess and archery aficionado Merida (Macdonald) as she battles through her teens and against an ancient curse. As expected this film looks wonderful. The greens of the meticulously created trees and the purples of heather come together to create a lush and natural looking landscape. The textures in the tapestries and the clothes on the clansmen are expertly crafted. Pixar are gifted at telling stories in a beautiful way and they have created a female bonding story that should appeal to a wide audience thanks to the feisty leading lady, humour and heart that weaves its way through the film.

Merida is under pressure to be the perfect princess, and she tries to please her mother, Queen Elinor (voiced brilliantly by Emma Thompson) on this front, but when it is announced she must be betrothed to a Prince for the good of the clan her headstrong ways cause problems. This princess is not looking for a prince to be happy. In fact she relies on herself, and when an ancient curse is unleashed, leading her to go on a journey with her mother, she impresses her with her knowledge of the wilderness and survival skills. They both learn from each other and though at times Merida may think her mother awful, the audience is never given this impression. Pixar have their first leading lady, Kelly Macdonald and female writer and director, Brenda Chapman working on this project and it feels refreshing. Though the story does move to the usual fairy-tale workings in the second half Merida’s vivacious personality along with the strength of the swooping action scenes keeps the momentum going.

Merida’s relationship with the rest of her royal family is not so complicated and provides much of the humour. Her father, King Fergus (Billy Connolly) constantly tells stories of his battles with bears, and laughs at Merida’s mishaps. Then there are her younger brothers, the triplets, Harris, Hubert and Hamish who are muted mischievous characters and provide a slapstick humour.  Merida herself is a wonderful character, her fiery, untamed locks mirroring her personality. Her warmth as a big sister and daughter shines through at all times as she struggles to do the right thing by her family whilst still trying to stay true to herself.

Brave delivers a message about the pressure women are under to fit into a mould and the often complicated mother and daughter relationship in an exceptional and magical way. Magnificent animation and thrilling moments including bear brawls and fast paced archery scenes (and even a horseback sewing moment) make this an invigorating and unexpected delight.

Expected Rating: 7 out of 10

Actual Rating:

Movie Review: Truth or Dare / Cert: 15 / Director: Robert Heath / Screenplay: Matthew McGuchan / Starring: David Oakes, Jack Gordon, Jennie Jacques, Liam Boyle, Florence Hall, Tom Kane / Release Date: August 6th

When a game of truth or dare at a party ends up with one person being attacked and humiliated, it sets into motion a plan of revenge and retribution that can only end badly for everyone involved.

A few months after the incident, five friends are invited to a birthday party for Felix (Kane) – the individual who was the brunt of the practical joke – at his family’s stately home. On arriving, they find the home locked down and apparently deserted. The groundsman advises them that the party is in a summer cabin half a mile down a track into the woods and the five journey off to find the music and alcohol. When they find the cabin, they are met by Justin (Oakes), who introduces himself as Felix’s brother and apologises that they didn’t get the message that Felix is stuck in Chile and the party has been cancelled. The friends agree to Justin’s invite to stay and enjoy the food and drink that has been supplied and Justin decides to liven the party up with a game of truth or dare.

At this point, the festivities take a turn for the sinister as Justin reveals his true intentions and introduces his guests to duct tape and their own chair. What follows is a series of revelations as characters show their true colours and are subjected to some life or death choices and the group have to try and stay alive.

The good news is that this doesn’t resort to torture porn depths, when it could have so easily done so. There are some deliberately unlikeable characters who, when they receive their comeuppance, you are really pleased to see die. The only problem is that most of the characters are well-to-do and so you can’t sympathise with them, even if their intentions are good as sex, lies and murder are all utilised to push the narrative forward. It’s incredibly difficult to root for anyone in particular and although the film doesn’t provide the pay off you’d really hope for, there are some little twists that you may see coming (and a couple you probably won’t), but make it worth watching until the end.

If this had been an American production, it would’ve been shiny, with glossy lead actors but this is nicely grimy, dark and quintessentially British in its execution.