30 Days of Night (2007)

A bloodthirsty group of vampires attack an isolated Alaskan town during its annual thirty days of night.

When people look back on the decade behind us and study the films we watched, their reaction is probably going to be: “Yeah, you liked vampires, we get it.” The plethora of blood-sucking demon films that have emerged in recent years would make any psychologist believe that there is something fundamentally askew about our society. However, amidst the dross and forgettable, comes this film from director David Slade, which puts vampires back in the cool leagues.

Josh Hartnett stars as the town’s sheriff Eben, whose job becomes unusually busy in the build up to the annual month of darkness (a time where the sun doesn’t come up for thirty nights due to its place on the earth). Strange crimes seem to be popping up around his town, such as internet phones being burned, and all the sled dogs being murdered, and suddenly a man arrives into town and causes a ruckus. Whilst in the slammer, the stranger (Ben Foster) hints to Eben that “they are coming”, and that the town is doomed.

As the killings begin, Eben and his small group of citizens attempt to hide from the ridiculously fast beasts, and last out the thirty days until the sun comes up, and drives the vampires away.

A frenetic and thrilling film from start to finish, Slade has created a wonderful atmosphere in this film. The very cold setting of this inaccessible town goes wonderfully with the reckless savagery which the vampires bring with them, in the same way a film like Let Me In does. The vampires seem like energetic animals with a horrific purpose, making them seem very threatening and powerful, something which is sometimes missed in other films of the genre.

The pace never slackens, there is only a small love story intertwined rather than some overly sentimental relationship which outweighs the gore, and the film kills off enough people to make it seem dangerous.

The performances are of a very good standard, in particular Hartnett, as well as Danny Huston who plays the lead vampire, and makes for a very engaging baddie. I would say, the script is a little bit awkward in places, especially during the vampire subtitles which look like something from a child’s story, but, the majority of the dialogue is well written and avoids overpowering the action.

A worthy vampire film that actually makes these monsters seem scary, rather than high school heart throbs.

Trainspotting (1996)

Danny Boyle’s notoriously brilliant drama starring Ewan McGreggor as a heroin addict in Edinburgh, who attempts to free himself of his substance dependence.

Renton (McGreggor) is a full-time heroin addict. His involvement in the drug scene spans all aspect, from the recreational use of the substance, to the crimes committed in order to pay for the habit. His friends are also mostly users, as well as deadbeats. However, after one too many nasty accidents, Renton vows to rid himself of his addiction, hoping to avoid time in prison, or a worse fate.

Unfortunately for Renton, his former life as a junkie is just as difficult to shed as his heroin dependency, and his old buddies continue to haunt his attempts at forging a new life for himself.

From an extraordinary director, Trainspotting captures a darkly hilarious atmosphere to this small group living in Scotland during the heyday of heroin. The starkly bare and tragic lives that these addicts lives is represented in both physical and emotional terms throughout the film, and it is the vulnerability of these characters which makes for the most conflicting aspect. Renton is a very likable character, with some witty narration during the film and some very funny lines to his mates, but his delusions about the scale of his problem are quite scary.

One of Renton’s friends, called Begbie (Robert Carlyle), is violently disturbed, but not a drug user. His addiction to confrontation and aggression is seemingly more destructive than drug taking, and his reliance on Renton for a better life is a terrifying relationship to watch unfold.

Music is chosen well in this film, using some great tracks from the likes of Iggy Pop, Lou Reed, and Underworld. These artists, and their connections to drug scenes, is unmistakable, and gives the movie a great deal of authenticity.

The film has some pretty heavy themes, which are unavoidable given the plot, but there are a few moments of happiness which emerge, and give the viewer a more rounded viewing experience. Such as: the group’s enduring bonds to each other, their commitment to their addictions, and their unyielding creativity when it comes to staying high.

One of the best films I have watched from my 50 Films To See list, and probably the best performances I have ever seen Ewan McGreggor and Robert Carlyle give.

The Lord of the Rings (2001), (2002), (2003)

THE LORD OF THE RINGS TRILOGY Warning - Spoiler Alert. Lord of the Rings: The Fellowship of the Ring (2001)

Ultimate fantasy brilliance from director Peter Jackson, who takes on the legacy of J. R. R. Tolkien.

A small hobbit named Frodo has his world collide with evil, when he inherits a special ring that has a dark and violent history with its maker Sauron. The ring, with a power of its own, is trying to find its way back to its maker, and if the two are reunited, the future of Middle Earth will be extremely bleak. So, with help from a few special friends, Frodo must make his way to the ring’s birthplace, a fiery mountain, the only place it can be destroyed.

Frodo journeys with three other hobbits: Sam his best friend, and twin horrors Merry and Pippin, as well as Gandalf, a mysterious but kind-hearted wizard. Along the way, Frodo also meets an Elf called Legolas, a dwarf called Gimli, and a ranger called Stryder. As the fellowship attempts to make its way to destroy the ring, they face violent attacks from monstrous Orcs, as well as the powerful interference of a traitorous wizard called Saruman.

A wonderful introduction to the trilogy, Peter Jackson tackles the unending mythology and characters with wonderful competency. His attention to detail is incredible, and the visual delights of the film are truly moving. From the outset, a gorgeous fantasy world is thrust upon the viewer, where escapism is at its best, and we can delve into this magnificent world. The peril of the characters is utterly terrifying, moving from bad to worse with superb fluency.

Orchestral music accompanies the film beautifully, flowing through and between scenes, and the use of landscapes, mostly shot in New Zealand, creates a cinematic tapestry that is impossible to resist.

Lord of the Rings: The Two Towers (2002)


The second film, picking up right where the first leaves off, sees Frodo and Sam take off on their own, heading towards Mordor without the rest of the fellowship. The remaining members, are left to begin the fight against Sauron’s armies, including taking on the White Wizard Saruman.

Pippin and Merry are captured by Orcs, who take their catch back to Saruman. However, the hobbits manage to escape along the way, and run into a nearby forest for cover. There they learn about the dark secret that lies amongst the trees.

Stryder (whom we now know as Aragorn), Gimli and Legolas are in hot pursuit of the Orcs who took Pippi and Merry. But, along the way they discover another threat, Helms Deep, a massive fortress for King Theoden is likely to be attacked by the armies of Saruman, and the fellowship rushes to its aid.

Arguably the best film of the trio, The Two Towers is a gripping and sensational epic. The battle scenes, in particular the one at Helms Deep, are magnificent cinematic achievements, and the sheer devotion that has gone into the filming should be respected. The use of several storylines, or journeys, is put to good use in this film, making the three and a half hours fly by.

The same filmic genius has gone into this film as the first and last, it just seems the story is at its best, for me, within this section.

One of the best films ever made.

Lord of the Rings: The Return of the King (2003)

The last instalment, with so much ground to cover.

Frodo nears the end of his quest, but his success looks mightily unlikely, even those of the fellowship begin to lose hope. But, in the darkest of hours, some light will break through for the small hobbit.

Having claimed victory over Saruman at Isengard, the fellowship hope to strengthen their fight against the evil eye in the sky Sauron by using it to their advantage. However, the separate clans of man that spread across Middle Earth will have no chance against the mighty Orc armies if they cannot unite.

In a bid to improve Frodo’s chances in Mordor, Gandalf, Aragaorn and the others make their way towards Sauron as well, hoping to distract him whilst the hobbit destroys the ring. However, this means coming face to face with the unnerving numbers of monstrous creations that threaten the safety of man.

Another wonderful film, this time tying up all ends of an extraordinary story. The characters are fully blossomed, we are deeply involved in their struggle, and the epic battle scenes keep coming in all their medieval glory. Jackson stays on form, with some brilliant set pieces involving spirits and dragons that renew our interest, and keep things hot.

Performances within all three films are superb, in particular Viggo Mortensen as Aragorn, whose dark and gruff exterior juxtapose brilliantly with his heroic and honourable heart. Ian McKellan is also a mighty force within the films, taking on the legendary Gandalf with superior abilities.

The screenplay, written by Fran Walsh, is a compelling concoction. The moments of inner monologue that happen for several characters are truly revealing, and the film avoids any awkward, clichéd moments, and instead delivers captivating heart-felt honesty.

In conclusion, these films will stand up amongst the legendary feats of cinema. The magnitude of what Peter Jackson has achieved is extraordinary, and all gratitude is given to him and the cast and crew for delivering such awesomeness.

Saboteur (1942)

Tense action thriller about a man falsely accused of sabotaging a U.S. aeroplane factory during WW2, who attempts to clear his name by finding an elusive spy named Frank Fry.

Barry Kane, an aircraft factory worker, is horrified when a fire at his workplace kills his best friend. After visiting his friend’s mother to console her, he is shocked to learn that police are looking to arrest him, as it was discovered that the fire extinguisher Barry handed to his friend who was trying to put the fire out, contained gasoline. Having been handed the extinguisher from a guy named Fry, Barry is put into further distress when he learns that no one by the name of Fry worked at the factory. Now he must traverse the country in search of this elusive saboteur in the hope of clearing his name, and protecting further innocent Americans.

An early Hitchcock film, Saboteur is a tense and gripping spy thriller that bounds through a simple but effective story with ease. The main performance from Robert Cummings is deftly executed, with subtle nuances in his expressions that make his character realistic and sympathetic. His reactions to events are lifelike, rather than sensationalist, which is a preferred behaviour.

The films themes of national pride and protecting the safety of citizens, whilst relevant in these dark days, are a little on the nose, and the script provides some awkward moments of largely forgotten bravado. This being said, many of the baddies have beliefs about politics and power that are enduring, and make them seem all the more dangerous for it.

In total, , a precursor for a lot of good spy movies, and one that stands the test of time, a very decent Hitchcock.

The Machinist (2004)

An insomnia-stricken factory worker suspects he is being plotted against by a mysterious man named Ivan, but, as the machinist attempts to unravel the conspiracy, he begins to doubt his own mind.

Starring Christian Bale as the aforementioned machinist called Trevor, the film provides a modern suspenseful thriller that makes some poignant comments about our industrial-aged society, whilst creating a very entertaining story. The film has typical science-fiction themes running through it, such as the enduring battle between man and machine, and the idea of our own consciousness in a world consumed with productivity.

Trevor’s plight during the film is largely founded on his own human aspects, I.e. the idea that he is flawed, and will make mistakes. This puts his character out of synch with his profession; working in a busy, industrial factory where time is money, and people are less valuable than the machines they work with. There is something ultimately terrifying about the coldness of Trevor’s life, which we see reflected in different ways during the movie.

Firstly, his only intimate relationships are with a waitress at an airport coffee shop, and with a prostitute, whom Trevor visits regularly. Stevie, the prostitute, is also a victim of our industrial society - she only serves one purpose (sexual gratification) and can be replaced at any time. She becomes attached to Trevor, because he sees her more as a human than a machine, wanting to just talk with her, or eat a meal together. This human connection is one of the few we see in the film, and it is important to note this rarity.

Secondly, we can see the effect that society is having on Trevor through the horrific gauntness of his body. Consistently losing weight, we see Bale as a near skeleton throughout the film, which could be providing a visual dilemma about the consequences of our diminishing role within our own society.

The end of the film provides some bittersweet relief to the viewer, as we learn that Trevor’s behaviour has resulted from a disaster in his past, which has caused him to imagine this plot against him. However, nothing seems solved. The machines will keep on producing, people will continue to endure the stagnation, and no lessons were learned from Bale’s misery.

A film that is openly depressing, but in an engaging way that makes us consider our own place within a modern, mechanic world.

Cemetery Junction (2010)

Brilliant comedy written by Ricky Gervais and Stephen Merchant about a group of youngsters growing up during the 1970s.

Set in a suburb of Reading, Cemetery Junction is a small part of the growing industrial town, where most of the townsfolk work labour intensive jobs or are unemployed. Very few of the inhabitants seem to be able to escape their lower class surroundings, apart from a few plucky individuals.

Christian Cooke plays the lead character of Freddie Taylor, a determined teenager on the brink of manhood, who wants to build a future for himself. At the beginning of the film he gets a job working at a life insurance company, which is headed by a formidable Ralph Fiennes. Whilst Freddie works hard at his job, intending on getting out of Cemetery Junction, he also plays hard with his two buddies Bruce and Snork. Together, the three get into all kinds of mischief and do the things that usual inbetweeners do. However, as the trio move closer to their adult years, all three must face a tough decision about what they want out of life.

Bruce is a very compelling character, played by Tom Hughes. Whilst Bruce never reaches above his station as a factory worker, he does intend on leaving town at his first opportunity. However, his violent temper and unyielding disrespect for authority cause him a lot of trouble.

Freddie also encounters a girl from his childhood, Julie (Felicity Jones) who happens to be his boss’ daughter. Julie’s place as an independent woman in 1970s Britain is fascinating, revealing the era’s awkward transition for females into a freer society, as the expectations for Julie to become a wife and mother, clash with her own desires to be a famous photographer.

Cemetery Junction is a wonderful British film, that captures a nostalgic Britain perfectly. In the same way that a film like The Boat That Rocked (2009) used music and colour to capture the swinging sixties, Gervais and Merchant have used music, wonderful aesthetics, and an authentic imagery to capture the seventies in this humble town. The story is touching, with plenty to delve into for those who wish to discuss socio-political relations of the time, and the moments of comedy are brilliantly entertaining.

I would thoroughly recommend this film if you like Gervais humour, nostalgic Britain, and great filmmaking.

The Informant! (2009)

Matt Damon plays a promising agricultural businessman, who decides to go behind his bosses backs, and inform the FBI about illegal activities at his workplace.

Mark Whitacre (Damon) is a successful and intelligent microbiologist for a company that produces corn-related products in the United States. He has a wife and two adopted children, as well as a lovely home and promising future. Pretty standard American Dream stuff. However, Mark one day tells his bosses that he has been informed about an informant within the company who is sabotaging their work. If the company pays a massive sum of money, they can find out who he is, and how to make their new product work. The bosses get the FBI involved, who then start questioning Mark about this supposed informant!

Mark then decides to cooperate with the FBI and leads them to a bigger story, price fixing in the global markets. As Mark gets deeper and deeper into his tale of financial corruption on a massive scale, it becomes harder and harder to decipher the truth in his story.

A funny film in places, Damon’s internal monologue of mostly useless facts and anecdotes provides some brilliant little moments. His performance as Mark is very engaging, and there is a depth to Damon’s character which transfers to this onscreen enigma.

The story is complicated, winding through many different versions of events, with plenty of pointless facts and figures, and the ending seemed unsatisfying.

If you like sparse, black comedies this will probably enthuse, but don’t be fooled by the exclamation mark. This film is nothing to shout about.

The Happening (2008)

M. Knight Shyamalan tries his hand again, this time, an unknown epidemic sweeping the North-East coast of the U.S. which causes people to kill themselves.

Starring Mark Wahlberg and Zooey Deschanel, The Happening follows the couple’s attempt at staying alive during this curious event. The outbreak starts in Central Park, in New York, when a sudden breeze caused everyone to stop what they were doing, forget what they had been saying, and then find a way to end their lives. As more and more events occur across the city, authorities declare some kind of terrorist act, whereby a substance has been spread into citizens causing a fault somewhere in their brain which switches off the survival button, making us all suicidal zombies. Panic ensues and everyone flees to the countryside.

As Wahlberg and Deschanel leave the city, and go in search of a safe zone, they begin to find themselves trapped within more and more events, with people topping themselves all over the place. The coincidences between the events start to pile up, and soon the pair have a hunch as to what is causing it.

Arguably one of Shyamalan’s worst films, The Happening actually makes The Village look half decent. Wahlberg is an extremely poor choice for the lead role, playing a science teacher whose dedication to problem solving becomes more irritating than the ridiculous lines he comes out with.

The script is appalling, trying to connect scenes and development with outrageous simplicity and shallowness.

Deschanel is easily the best thing is this film, her quirky character and the competency of her delivery make her seem a grade above every other aspect of this film, but it offers little comfort to any viewer who wasted and hour and a half of their life.

Only watch this film if you have a desire to see how bad films can get.

Raging Bull (1980)

Martin Scorsese’s boxing classic.

Starring Robert De Niro as boxer Jake La Motta, a fighter renowned for his ability to take insane amounts of beatings, before unleashing a violent outburst which usually knocks his opponent down. Jake’s career in boxing is tumultuous due to his behaviour outside of the ring; his unyielding independence and brutality make him few friends, and only his brother/manager Joey (Joe Pesci) barely keeps him in line.

Throughout the story, we also see Jake’s relationship with Vickie (Cathy Moriarty), a neighbourhood girl whom he falls instantly in love with, but other the years begins to use as a punching bag for his insatiable temper. As Jake’s dream of becoming a champion comes closer, his self-destructive nature worsens, and he begins to take it out on those around him.

A stark, beautifully shot film, Raging Bull deserves its accolades as one of the best boxing films of all time. Scorsese’s intense filming techniques capture the emotion of this character brilliantly, showing him as a natural predator in the ring, and a wild beast outside of it. The relationship between De Niro and Pesci is, as always, captivating. They seem to feed off each other’s energy, building up the anger and tension within each scene, but in a way that makes them seem like brothers.

I would not put this as my favourite boxing movie, I think a couple of other modern ones have better stories, but this set the bar extremely high, and, considering it was made over 30 years ago, deserves its place in cinematic history…right ABOVE the Rocky films.

Contagion (2011)

When asked about favourite film genres, there is a plethora of categories that come to mind before I will even consider the troublesome group that is disaster films. The concept of an event that will annihilate us all, whilst mildly entertaining during stressful commutes on the train, more often than not, fails to engross me on screen. However, upon hearing that Steven Soderbergh’s biological disaster thriller managed to kill off some of Hollywood’s shiniest stars, I was darkly excited to see the mayhem.

Contagion is about a highly transmittable virus, passed between humans through contact with surfaces and skin, that reduces us into foaming-at-the-mouth stiffs. The pandemic, originating in Hong Kong, quickly spreads around the world, killing victims within days, and causing widespread panic. Whilst government medical agencies attempt to understand, control and prevent the virus, waves of violent public unrest threaten the safety of citizens, and towns and cities become lawless wastelands. The film follows several interlinking storylines, refusing to present a central character, and instead opting for a multitude of differing experiences to the outbreak.

Gwyneth Paltrow stars as the virus’ starting point, having been in Hong Kong recently, she becomes ill and she soon becomes the first A-lister to receive the chop. Her husband, Matt Damon, already grieving the sudden death of his wife, receives another emotional blow, after returning home to find his step-son also dead from the flu-like killer. The boffins quickly conclude Damon to be harbouring a contagious sickness bug, and place him into quarantine, but release him after he remains healthy for several days. He now must survive with his adolescent daughter, as the town he lives in descends into fervent chaos.

Meanwhile, a humble Laurence Fishburne, working for the Center for Disease Control (CDC), takes the virus head on, attempting to manage both the science behind a vaccine, and the political firestorm which ensues. He works closely with a dishevelled Kate Winslet, whose selfless field work, ends up leaving her infected. Marion Cotillard is sent to Hong Kong by the World Health Organization (WHO), to try and discover the origins of the lethal strain, in order to best treat it. Her wellbeing is soon compromised, however, when the group she is working with in Hong Kong take her hostage, and hold her ransom in exchange for first dibs on a cure.

Alongside the scientists, Jude Law plays conspiracy blogger Alan, whose preachy online rhetoric about cover-ups and corporate evil, promote him to the level of the people’s voice. However he is soon revealed as a snake who is cashing in on the tragedy.

A worthy film, Sodenbergh has created an atmosphere of equal parts panic and urgency. By using the interlocking storylines, the tempo is quickened, and the audience have little time to grieve the death of a celebrity. One of the most poignant aspects of watching the film, is that the most terrifying part is not the virus, but the human reaction to it. While the death toll from the disease leaps into the millions, it is actually the rioting, crime, and violent disregard for our fellow citizen’s safety that becomes the worrying factor. Rather than a countdown to see whether the virus will kill us all, we are waiting to see if we lose our souls beforehand.

Decent performances all round, in particular Winslet, whose portrayal of the awkward doctor sent into the battlefield I found to be the most engaging.

The themes of Contagion, whilst heavily pertinent in view of health scares which have gripped the world in recent years, seem relatively tame. Viewers are already numbed to the peril of global catastrophes. In this film, we are walked through each stage of the virus’ development like take-your-child-to-work day, and by the time an actual sense of impending doom reveals itself, the matter is concluded quickly with sparse amounts of fallout. Whilst the public reaction to the outbreak is scary in places, it does not get the full attention it deserves, which would have made for a more interesting film.

Viewers with OCD, in particular a fear of germs and dirty surfaces, may find this film terrifying, as will any Hollywood royalty who will fear for their safety and that of their peers, but, for the rest of us, Contagion is, at best, a mildly thrilling disaster film without the knockout punch.

The Trouble With Harry (1955)

Alfred Hitchcock directs this brilliant comedy about a dead body in the countryside, and the varying opinions and attitudes as to how it got there, and what should be done with it.

Legendary for his suspenseful thrillers, comedy is not a genre one would typically associate with Hitchcock, but The Trouble With Harry is a well-scripted, witty piece of drama that causes as many laughs as The Birds does gasps.

It starts with one old man hunting in the forest, called Captain Wiles (Edmund Gwenn), whom believes one of his stray shots has killed the man lying on the forest floor. After inspecting the man’s jacket, Wiles learns he is called Harry, and begins plans for burying the body before anybody notices. Unfortunately, numerous passers by happen upon Harry, noticing the body, but only taking a faint interest. Some believe he is sleeping, others only seem partially concerned that he is dead, and carry on their way. The people’s indifferent reaction to this dead body is utterly hilarious.

Meanwhile, a local quick-mouthed artist also happens upon Harry’s body when he comes to sketch the location. He soon realises that Wiles is there, and learns of the stray bullet. However, after the two bury Harry, they realise they may have made a mistake, and that Captain Wiles may not have been the killer.

It is a cleverly funny film, and, considering the age, it is still a very effective movie. The characters are wonderfully eccentric, the plot thickens and twists enough to make it interesting, and the whole performance seems like a stage comedy. Some of the editing in places is a bit dated, and the music, whilst very reflective of that era, draws the viewer away from the unfolding drama, but overall, this is a very enjoyable film, and a great piece of Hitchcock to enjoy if you love his work, or if you have never seen any.

Crossing Over (2009)

Drama about immigration in the United States, starring Harrison Ford, Ray Liotta and Ashley Judd.

When it comes to racial tensions, it seems no country on earth has more than the USA. The melting pot ideal became a tremendous project, but with some nasty side effects. Many directors have attempted to portray these tensions, with differing amounts of success, but Crossing Over from director Wayne Kramer, manages to explore the situation from a new angle. Rather than focus on our inner xenophobia, the film looks more at the desperate ways in which people will fight to become American citizens, and what becomes of them in the process.

Taking a Crash-like approach, using multiple storylines interwoven to create a web of drama, Crossing Over tells the story of several people attempting to legalize their stay in the U.S., and the officials involved in the process. Harrison Ford plays a sentimental Immigration and Customs Enforcement (ICE) agent, whose inner struggle between doing his job, and helping people creates an engaging visual spectacle. Ray Liotta plays a corrupt Green Card official, who abuses his position of power in order to exploit a young Australian actress who is about to be thrown out of the country.

Ashley Judd plays a lawyer determined to protect the children who become vulnerable during immigration cases, who ends up defending a fifteen-year-old girl who is about to be deported for making some controversial comments about terrorists during a class presentation.

It is an interesting film, one which will spark debates of the big questions. The storylines are all equally interesting, and the film was engaging throughout. It doesn’t have the electrifying ferociousness that a film like Crash has, but Crossing Over does avoid the temptation to become preachy and moralistic. We are offered the devastating effects of a system that has become tragic through bureaucracy and necessity.

The Ghost (2010)

Ewan McGregor and Pierce Brosnan star in this suspense thriller about a ghost writer for a former British prime minister, who takes up the gauntlet after the suspicious suicide of his predecessor.

The ghost writer (McGregor) is a mildly successful biographer in London. His agent manages to get him an interview for a job finishing the memoirs for ex-prime minister Adam Lang (Brosnan). After passing the interview, the writer is flown to a mysterious and isolated island in the USA, where Lang lives with a small team of guards and his wife Ruth (Olivia Williams). The writer quickly discovers that Lang’s residence on this island is a closely monitored, highly secured way of life, with the manuscript for the memoirs being kept locked away.

McGregor soon gets to work with Lang, who is a brusque, temperamental man but seems like an interesting fellow to write about. However, a political tornado is growing around Lang, as he is being accused of working with the Americans during illegal torturing and renditions of suspected terrorists during his term in office. As the character of Lang becomes a somewhat darker enigma, the ghost writer begins to worry less about the memoirs he is expected to write in just two weeks, and more about his own safety.

Failing to impress, this film, by renowned director Roman Polanski, creates a very suspenseful atmosphere, with some brilliant cinematography, but with very little conflict or drama. The storyline is particularly dull, the characters, whilst mildly intriguing, are never fully developed or explored, and the conclusion of the film was irritating and pointless.

Trying to follow in the suspenseful footsteps of a director like Hitchcock, the music and filming techniques were used to peak our interest, but instead of, like Hitchcock, offering us some melodramatic story that is utterly engaging, we are given a lukewarm plot and very little substance.