Hunter, a newly pregnant housewife, finds herself increasingly compelled to consume dangerous objects. As her husband and his family tighten their control over her life, she must confront the dark secret behind her new obsession.
When Cecilia's abusive ex takes his own life and leaves her his fortune, she suspects his death was a hoax. As a series of coincidences turn lethal, Cecilia works to prove that she is being hunted by someone nobody can see.
A brilliant painter facing the worst creative block of her life turns to anything she can to complete her masterpiece, spiraling into a hallucinatory hellscape of drugs, sex and murder in the sleazy underbelly of Los Angeles.
When his girlfriend suddenly disappears, leaving a cryptic note as her only explanation, Hank's comfortable life and his sanity begin to crack. Then, from the woods surrounding his house, something terrible starts trying to break in.
Norval's life has been, to put it lightly, difficult. Currently living home with his mother, the troubled young man is coming off alcohol-related struggles. So when he receives an unexpected letter from his estranged father requesting a visit, Norval catches a bus up to his dad's secluded and scenic waterfront home. Maybe reconnecting with his father will give Norval the emotional fulfillment he's been lacking. Before long, though, he notices something off about his dad, an uneasy feeling triggered by inappropriate comments and a possible over-dependence on booze. Norval quickly realizes that his hope of father/son bonding is doomed. Instead of a family reunion, he finds himself in waking nightmare.Written by
The films that influence the film; and Ant's reasoning for them, are Snowball Express (1972) ("for the cat & mouse twists"), Sexy Beast (2000) ("for the jarring lead antagonist and turns from comedy to violence"), The Servant (1963) ("for the mindgames with those we're inavoidably [sic] linked with"), The Birthday Party (1968) ("for the pitch-black comedy of menace") and Sam Peckinpah's 1971 masterpiece Straw Dogs (1971) ("for the simmering violence awakened in the lead") See more »
Absolutely Hilarious - May Require A Gaelic Sense Of Humour However!
This is one crazy film for sure but it had me in stitches - perhaps because I am of the Frankie Boyle stable of merriment and my sarcaustic Scottish heritage and also perhaps why I thought Michael Smiley a fellow Gael made this movie for me and I have never met an Irish brother I have not liked and that has not changed after watching his gleeful and always on the spot performance.
I do not for the life of me understand the negative reviews - must be in the Mark Kermode snob-school of film appreciation!
From the opening intro with Elijah and his Himmler haircut to the fight with the excellent Stephen McHattie ending in more over the top lunacy in the motel, it was a riot of filthy humour and over the top violence and well what can I say - Being Scottish we love that style - "Pure dead brilliant" so it is!
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