Rammbock: Berlin Undead (2010) Short Movie, Short Review

Clocking in at just over an hour, the German infection horror offering Rammbock: Berlin Undead offers some really good moments in what turned out to be a mostly decent little horror flick sponsored in the United States by the wonderful horror news website Bloody Disgusting.  It's a pretty straightforward story with basic undertones of longing and lingering loyalty.  No frills, as the story takes place in one location, an apartment building in Berlin that falls under attack by victims of a mysterious illness that causes them to become raving, mad-dashing, bitey zombie-ish thingies.

Milquetoast Michael is in Berlin to return keys to his very-recently-ex-girlfriend Gabi, who isn't home when he arrives.  He meets young plumber's assistant Harper just in time to witness the plumber working on Gabi's apartment turn into a frothing-at-the-mouth nutjob with milky eyes.  They get out of that situation, but quickly realize it's not just one rabid dude teeming with infection, but all of Berlin.  They hole up in Gabi's apartment, with Michael worrying about his ex - who hasn't returned his frantic phone calls - and Harper worrying about his family.  From the window, they watch as those in the courtyard are slaughtered, and meet other survivors through their own windows.  Michael sets about finding a way to a man's apartment after the man offers food in trade for some sedatives for his infected wife. This begins an odyssey through the next apartment and into the attic, where Michael finds one thing he's looking for, but it's not what he had hoped.  The rest of the movie is not only the struggle for survival, but Michael's own transformation from a relative wimp pining for his ex-girlfriend to a resourceful hero for those he meets on his journey to escape.  Not going to spoil it here for you, but the movie ends on a bittersweet note.

There's nothing fancy about Rammbock: Berlin Undead.  It tells its story, and tells it better than some vehicles for infection horror.  There's an air of urgency and hopelessness laced throughout, with signs of hope just enough to not make it a total downer.  As anyone who reads this knows, I liked to see the scale of devastation in these movies, even for a glimpse.  The scene where Michael casts his eyes on Berlin from a rooftop, as shown in the American movie poster, sums up the insane odds against anyone surviving the plague.  The infected - not sure if calling them undead is accurate, since we never really know if they die and come back - are of the fast-running, rabid variety, as seen in 28 Days Later and [REC], only with eyes that film over when infection fully occurs.  I found the characters intriguing from the main characters to the brother/sister across the way (a scene where she cries on the balcony is heartbreaking) to the silent tattooed man with what appears to be a bite on his arm.  The man who offered food and his infected wife have a particularly tragic scene.  While Rammbock didn't offer me anything new, it was tried and true, and sometimes that's just fine.

Honestly, it's not all that bad of a way to spend an hour if you're in the mood for some of your basic flash mob zombies.

Until next time, fellow survivors...no more flights to Berlin for a while.  Let the infection blow over.  Here, enjoy the trailer:

Insidious (2010) I Blinked And They Switched Movies

You know those dreams where in it, you're on a wild rollercoaster, twists and turns, dips and peaks, the best rollercoaster you've ever been on...and suddenly the dream switches, and you're in a bumper car far too small and you're the only one there not a unicorn driving the cars?

Or is that just me?

That's how I can describe my experience with 2010's Insidious, from the writer Leigh Wannell and director James Wan, the team that brought the world the very original Saw.  I was watching one movie when suddenly it switched to another, and I swear I only blinked.  The first three-fourths of the film was a creepy, atmospheric, and quite excellent haunting story built on the strong acting of Rose Byrne and Patrick Wilson.  The last act was, for me anyway, like that unicorn bumper car dream.  It seemed somewhat related to the rest of the movie, but didn't seem to fit.  Suspense and tension seemed to give way to super-powers and demons from the fringe of Hell.  Don't get me wrong:  combining super-powers and demons would make for a sweet movie, but it didn't seem to gel here.  Take those two elements, make two films featuring those traits, and you've got the potential for two outstanding movies.  As it is, Insidious combined the two and made one mostly good movie, in my opinion.

Josh and Renai Lambert (Wilson and Byrne) have moved into a new house, when strange things begin to happen:  weird noises, their oldest son Dalton being afraid of things in the house, and so on.  Dalton falls off a ladder in the attic while exploring and encounters something frightening.  The next morning, he doesn't wake up and even the doctors are puzzled, as all his tests are normal.  He's in a coma, but not any coma they've ever seen.  Three months pass and mysterious events happen again, increasing in intensity until Renai has a horrifying encounter with what can only be described as a ghost.  She insists they move, and they do.  However, the bizarre spirits follow them.  This time, Josh's mom (Barbara Hershey) calls in an old psychic friend Elise (Lin Shaye) to help determine not only why this is happening, but how it relates to Dalton.  Turns out Dalton's got himself a little super-power:  the ability to project his astral self with ease, and he's been lured too far from his physical body, leaving it open for bidding amongst the restless spirits.  I won't spoil how the rest of the movie goes, as secrets are revealed and a showdown with those spirits takes place in a netherworld known as The Further.  Needless to say, it's an abrupt change from the rest of the film, the way I saw it.

Now before anyone assumes I thought the whole thing was a mess, let me say this:  overall, it was not a bad film.  The acting is very good and the chills through the wonderful first three-quarters of the movie are genuine and well-executed.  The clues leading to the climax were placed well, and we're given great examples of foreshadowing and flashback.  The score by Joseph Bishara consists of both traditional music and jarring noises that lend an unsettling air to the proceedings, and "unsettling" is a good thing to shoot for in this style of film.  I pay attention to how the titles look, and I loved the old-school lettering of the title card.

There were some moments that seemed borrowed or meant as a tribute to other movies, such as Poltergeist (which I'm sure the movie has been compared to, and that's not entirely fair to it) and The Haunting.  Something that struck me was the world of The Further.  I was often reminded of the bleak afterworld glimpsed at the end of Lucio Fulci's The Beyond (see my review of that film here), but with a little less light.  A character hurrying through The Further, lantern in hand, and seeing a house shrouded in pale light and fog reminded me a great deal of the video game series, Silent Hill.  These reminders may not have been intentional on the filmmakers' part, but I couldn't help seeing those other images in my mind as I watched.

Insidious was alright, and I urge people who have been wanting to see to go ahead and see it.  This is just one man's opinion, and really, I didn't hate it.  As I always say, judge for yourself.  Maybe you'll like it, maybe you'll hate it.  That's the beauty of individual tastes:  we all like things to different degrees, and it can make for healthy discussion.

Until next time, enjoy the trailer, and don't wander too far if you're good at astral projection.

Dance Of The Dead (2008) A Hell Of A Night

I remember prom.  It was the 80's, so those proms you see in "homage movies"?  Yeah, that wasn't my school.  That's not to say our prom wasn't bad.  It was fun for the most part.  I dressed in a white tux (that came with a swank cane), took a girl named Julie to dinner, then prom.  Nothing crazy, nothing wild.  Nobody threw up on the dance floor, nobody spiked the punch, and nobody was a reanimated corpse hungering for human flesh.

Yes, that is me.  Now BASK in the glory that was my nerd-before-nerd-was-cool 80's self.  At least the cane was swank.

That's essentially what happens in Ghost House Underground's Dance of the Dead, written by Joe Ballarini and directed by Gregg Bishop.  You've got your teen hormones, rivalries, drama, and a horde of undead firing out of the cemetery like rocks from a catapult.  It's a little movie with a modest budget and no "big-name" stars, but that doesn't take away from it in the slightest.  The cast more than holds their own in creating what is a very good zombie movie with healthy doses of comedy, adventure, and romance to round out the flavor.

In a cemetery near a nuclear power plant, the poor caretaker is apparently the only one that knows the radiation is causing the buried dead to come back to life.  He calmly goes about his day, cleaning headstones, trimming hedges, and making sure the dead stay in their coffins.  Meanwhile in the town of Cooas, the teen population is readying for the prom.  The characters go through an assortment of typical teen pre-prom excitement.  Troublemaker Jimmy (Jared Kusnitz) thinks everything is a joke which causes his sweet, prom committee girlfriend Lindsey (Greyson Chadwick) to dump him in favor of smarmy popular guy Mitch (Jeff Adelman).  Jimmy's buddy Stephen (Chandler Darby) aches over asking out cute cheerleader Gwen (Carissa Capobianco), whose date just canceled on her.  Gwen, although very sweet, has eyes for the high school rock star Nash (Blair Redford).  Thrown in the mix, but playing important parts, are adrenaline junkie/bully Kyle (Justin Welborn of The Signal) and the Sci-Fi club, led by John Heder lookalike Jules (Randy McDowell).  All the characters are in place thanks to some nudge-nudge-wink-wink 80's-style montage action and when the Sci-Fi Club heads to the cemetery for some exploring, the action begins.

The dead come to life and literally explode out of their coffins.  Interestingly, the speed of the undead seems to depend on how long they've been buried.  More ragged zombies move slowly, while "fresher" ones zip along with reckless abandon.  Not all of the Sci-Fi clubs make it, and Mitch - who just tried getting a little too forward with Lindsey - loses his head over the whole zombie-rising situation.  They make it to, of all places, a funeral home and hole up there.  While running from the undead, Jimmy meets up with Kyle - who has a gun - and Gwen, who is oblivious to the zombies as she's out for a run with her iPod.  They escape into the sewers after hearing from Lindsey and make their way to the funeral home.

After a battle in the home in which Kyle is killed, Gwen makes a daring run to retrieve the hearse and the gang escapes.  Running into the wild-eyed, militaristic gym teacher, Coach Keel (Mark Oliver), they load up on weapons and plan to rescue whoever is left at the prom.  They pick up Nash and his band along the way, gaining some important intel:  the zombies are affected by sound waves.  They stop and sway to music which provides a shade of hope to the little group of living rebels.

The school is overrun by the time they get there, so Keel goes through with a plan to blow up the school with all the undead in it.  The Sci-Fi Club and Gwen embark on a rescue mission while Jimmy and Lindsey undertake the mission of retrieving the explosives trigger that the Coach dropped in a bowl of potato chips.  Not everything goes as planned, and not everyone makes it out alive, but the school is destroyed while the dialogue afterwards sets up the possibility of a sequel.

Dance of the Dead really is a fun little movie.  It might not be the greatest zombie movie ever made, but it ranks pretty high on my own list.  The actors are having a blast and there's a definite nod to 80's-style teen comedies running through it.  Each character has a distinct personality and interacts well with the other characters in the story.  No one really clunks through a scene with a counterpart.  The movie moves along quickly and sharply, with the main emphasis being on the fun.  Yes, friends die and yes, the town is overrun by flesh-eating zombies, but as the viewer, relatively safe from the zombie plague in his or her home, is enjoying the ride.  There are some great scenes of comedy, especially when Kyle interacts with the "geeks" or dispatches zombies in his own Jackass-inspired way.  There are some heartfelt moments, such as when Jimmy comes into his own and the final fate of Gwen and Stephen (although you could include laughs and gore with their final scene, too).  Whether or not Dance of the Dead is your bag, take a look and judge for yourself.  Personally, I did have fun both times I've seen it, and I'd see it again.

Next time you have a rough night out or lament having a "lame" prom when you were younger, just be glad there wasn't a zombie apocalypse in progress.

Or was there?

Now go on, enjoy the trailer:

Cronos (1993) Now That's A Different Take On It

Usually with a vampire movie, you know what you're getting. Fangs, low tolerance to sunlight and garlic, possibly a stake wielded by a vampire hunter.  Sadly, in recent years, some even...sparkle.

In Guillermo Del Toro's 1993 directorial debut Cronos, however, the genre is explored from an entirely different perspective, and it's fresh and very interesting.  You may have heard of Del Toro.  He's a director-writer-producer hailing from Mexico that has put out a few little films like Hellboy, The Orphanage (which he produced), and Pan's Labyrinth, among many others.  He's known for having a unique vision and a flair for atmosphere.  Usually, when I hear his name attached to a project, I'm in...I want to see it.

I've had Cronos on my list for a long time and just felt it was time to move it up so I could see it sooner than later.  I'm glad I did.  What I discovered was an entirely different take on the vampire genre, one with entirely different set of rules, albeit with some of the tried and true cornerstones.  The focus was placed squarely on the desperation of one man to figure out what has happened to him and how it affects his close-knit family.

Antique dealer Jesus (Federico Luppi, a Del Toro regular) stumbles across a strange artifact among the stock that has recently arrived at his store.  Little does he know, this little Cronos Device was created over 400 years previous by a mysterious alchemist...who just died in an accident.  That's some serious Highlander stuff right there.  While handling the Cronos Device, Jesus sets off the mechanism, which injects him with some strange solution from an old insect.  His granddaughter, the adorable Aurora (Tamara Shanath), worries about him but tells no one about his strange find.  Also in pursuit of the device is the sick but devious De La Guardia (Claudio Brook), a dying millionaire who knows all about the Cronos Device and what it can do for him.  He sics his thuggish nephew Angel (Ron Perlman) after the device, first by being nice (yet creepy) then through force.  Jesus is finding out strange things about himself after exposure to the device.  He never grows fangs, but he has a slight craving for blood and a rejuvenated body.  But all for naught as Angel pushes him off of a cliff inside a car, and Jesus is set to be cremated.  But hold on...Jesus isn't done yet.  He crawls out of his own coffin and, hidden by Aurora, plans his final showdown with De La Guardia at the selfish old fart's factory/hospice room.

Like many of Del Toro's films, Cronos just flows.  It doesn't have the smoothness of a, say, Pan's Labyrinth but it was very early in his career, and it was easy to see where he was going with it.  The plot is unique:  sure, it's something of a vampire movie, but it breaks so much with tradition, it really challenges you to place it squarely in that genre without considering its other elements.  It's a beautiful family relationship film as well.  Jesus and Aurora are not only grandfather-granddaughter, they're the best of friends.  They play games in the antique store.  Aurora turns her toy chest into a makeshift coffin for him to sleep in, away from the painful rays of sunlight.  It's also a commentary on religion.  Consider the main character's name - Jesus - and the themes of resurrection throughout the film.  When discussing insects, De La Guardia makes reference to them as being "God's favorite creature," as they can display long life and a sort of resurrection in extreme cases.

The acting is nothing short of great.  Luppi is outstanding as the overwhelmed grandfather trying to do what's right.  As Aurora, Tamara Shanath only says one word of dialogue, but that's all she needs.  She communicates through her eyes, and does it well.  I can't leave out Ron Perlman's toothy, dripping-with-smarmy-evil portrayal of Angel.  You don't trust him from the minute he appears on screen, and his presence adds tension - you know he's going to do something, you're just not sure what.  He's all mouth and eyes, and it's fantastic - even though he's playing a character obsessed with the plastic surgery he's about to have on his nose.

Looking for something different?  Tired of the same old vampire flicks?  Might I recommend Cronos for what ails you?  It's really a neat little film and the launching pad of one of today's finest directors.  It's not a scary film, and the tension is mostly pretty light, but it's a great story, well-acted and well-produced.

Here, enjoy the trailer (which may be a little spoiler-y in my opinion, but good enough):

The Horde (2009) If They Don't Kill Each Other First

You remember those trailers from movies that featured two unlikely allies who must accomplish some goal "if they don't kill each other first"?  My friends and I used to riff on it quite often - "Hey, they're heading down to the bar...if they don't kill each other first."  Pure hilarity, I'm tellin' you.

Well, that whole notion is the basis of the French zombie action film, 2009's The Horde.  Directed by Yannick Dahan and Benjamin Rocher in their feature film debut, the basic plot is pretty straightforward.  In France, a group of cops who refer to themselves as a family unit, decide to take revenge on a Nigerian drug lord who has killed one colleague, and kidnapped another.  They're on an unsanctioned mission of vengeance, quietly storming the high-rise tenement building where the drug lord is based.  The raid doesn't go well, and the police are quickly held at the mercy of the bad guys.  Within minutes, the building is under siege by the titular horde of undead.  It's happening inside, too, as the kidnapped cop revives and attacks after being shot multiple times.  The zombies themselves have the origin characteristics of early Romero undead (don't have to be bitten, just be dead to revive) and the physical attributes of the mad runners of 28 Days Later (they're hungry and fast).  What brought on this undead virus is never revealed.  The important thing is you have two groups of people who couldn't be more different throwing those differences out the window to feed their instinct for survival.  Their goal is to get out of the building and escape the horde, but you know as well as I do, that ain't happening as easy as they think.  The rest of the film is their attempt at escape, with the building, the zombies, and each other as enemies.

While as a whole, the movie rates as "pretty good" in my opinion, it's the parts that make up the sum that stand out to me.  The action drives the relationships, and so the focus is there, unlike most zombie films where characterization is ranked higher.  I would daresay that this is more of an action movie than a horror movie, the way I see it.  There are stretches where scenes drag on a little too long, but the action is fast and furious.  And no, Vin Diesel is not in it.  Getting back to the "parts that make up the sum" thing I mentioned, I wanted to note that there were are scenes and moments that really made those parts enjoyable.

There were a lot of hand-to-hand combat scenes between uninfected and infected.  No martial arts goodness, but some brutal "fighting for my life" kind of fisticuffs.  One hood, Greco (Jo Prestia), finds and completely destroys two zombies using his fists and a small knife.  Completely badass, but only an appetizer for a scene towards the end of the film when heroic cop Ouessem (Jean-Pierre Martins) faces off with a giant-size horde using at first two pistols, then a machete, then his fists in an increasingly-futile battle.  It's riveting and sad and insane at the same time, and really a highlight of the film.

While Ouessem is a great character, for me, the most intriguing character was Adewale, the drug lord.  Eriq Ebouany portrays him with a full spectrum of emotion, from cold killer to protective brother to respectful ally.  He's smart and tough and will do anything to survive, even help his enemies.  His strength is seen on display when his hotheaded brother Bola (Doudou Masta), Greco, and a crazy old soldier they meet named Rene (Yves Pignot) - all hopped up on cocaine - contemplate sexually assaulting a wounded zombie.  While the zombie writhes on the floor and the drugged-up guys stand over her, Adewale's expression is one of horror and anger.  He shoots the zombie in the head, then angrily reminds Bola of their past in Nigeria and hints at something similar that may have happened in their younger lives.

All parts considered, I liked the movie.  The action sequences were very kinetic, the acting was quite good, and I'm going to give points to zombie movies that show a glimpse of the infection's scale in the world.  In this case, it was a dark, panoramic shot of the city burning and it's the punch in the gut to the characters that lets them know, things just got serious.

Until later, my dear readers, remember:  in a zombie apocalypse, we're all in it together.  Except for Fred Phelps and his Westboro nutjobs. I don't want them anywhere near my shelter.

Here, enjoy the trailer:

Hatchet (2006) Victor Crowley Needs Decaf

Writer/director Adam Green's Hatchet was supposed to be a return to the roots of the modern slasher, a throwback to the early days in the Friday the 13th and Halloween franchises, among others.  Victor Crowley, the monster antagonist, was supposed to join Jason and Michael in the pantheon of memorable killers of curious movie teens.  It's hard to say if that has actually happened.

Hatchet is a divisive movie.  I have horror blog colleagues that absolutely love it, and others that absolutely hate it.  There are several in between, and I think that's where I stand.  I didn't hate it by any means, but it didn't "wow" me either.  However, the attempt at bringing back that old school flavor was not only noticed, but it is to be commended.  Green brings a certain freshness to the genre, not filling the screen with wild colors and big special effects.  It's a low budget he's working with, and therein lies the energy.  And my readers know I love for a film to have energy.

The plot is straight out of the 80's, and honestly, that's not a bad thing.  Ben (Joel David Moore of Grandma's Boy) is a sad sack whose girlfriend just broke up with him.  His friends try to cheer him up with debauchery in New Orleans, but Ben just isn't into it.  He thinks a ghost tour into the bayous might be more his speed, so he's joined by his buddy, Marcus (Deon Richmond of Not Another Teen Movie).  The original tour's guide (Tony Todd in a hilarious cameo) isn't running tours anymore, so he sends them to another guide, Shawn (Perry Shen).  The two friends join a would-be pornographer named Shapiro (Joel Murray of Mad Men), his two willing "stars" Jenna and Misty (Joleigh Fioravanti and Mercedes McNab), the jaunty Permatteos (Richard Riehle and Patrika Darbo), and a mysterious young woman named Marybeth (Tamara Feldman) as they head into the swamp.

There's a local legend about a deformed child who was accidentally killed during a fire caused by local bullies.  Seems Victor Crowley's father tried chopping down the door with a hatchet, and it hit Victor in the head.  But we know Victor is still roaming the woods and not willing to share some of that deep South hospitality.  Marybeth knows this as well, as she is searching for her lost father and brother (Robert Englund of Nightmare on Elm Street and Joshua Leonard of The Blair Witch Project), who met with a bloody end at Victor's hands in the prologue.  Shawn, who's neither a very good tour guide nor a very good boat captain, manages to sink the ship by running it into some rocks.  The tourists are stranded in Victor's woods just a stone's throw from Victor's house.

Let's just say Victor's a stickler for property boundaries.

"Get off my lawn!"

The enormous Victor (Kane Hodder, who has played Jason Voorhees a million times) bursts out of the house and sets about slaughtering the tourists with such over-the-top methods as the "twist top kill" and the "Pez dispenser kill" and the "I-really-hate-your-shoulder-old-man hatchet kill."  Victor is a force of nature:  pure strength and manic energy.  He's not one for stealth.  He just comes in like a Tasmanian Devil on Red Bull and starts ripping and chopping until the final scene. 

And that ending.  Yeah, I can see where it has something in common with the way the original Friday the 13th ended...sort of.  Still, if there wasn't a sequel planned, it was just a little bit too abrupt for my tastes.  Others may like it...hell, some people love it.  That's fine, but I'm just going by my own preferences here.

Hatchet was pretty good, but for me, it wasn't the new savior of retro-flavored slasher flicks.  It was pretty standard, but with a little more flair in terms of dialogue and direction.  To me, those were the strong points.  The snappy dialogue, especially coming from Deon Richmond, infused the movie with some verbal lightning.  Adam Green showed quite a bit of creativity and, yes, energy in his direction. Working extremely well with a low budget, Green is definitely paying homage to the teens-in-the-woods monster slasher.  It's straightforward and unflinching in its gore, which is so wild that you're more amused than disgusted or even scared.  It was fun, but I would hesitate to call it the movie that returned American horror to glory.  And don't think I hated it because I didn't - I thought it was pretty good, but really, that's about it in my humble opinion.

But hey, judge for yourself. All I know is, if I'm ever in New Orleans again, I'm sticking to the craziness on Bourbon Street and staying far away from the bayou ghost tours.

End Of The Line (2007) Maybe They Should Put Up Billboards

Look at me, being all timely.  Well, sort of.  I mean, that piece of work, the bubbly Harold Camping did recently give another one of his spot-on predictions for the end of the world (two weeks ago as of this writing), and he's got another apocalyptic prediction scheduled for October.  Among the first things I thought of, other than the usual disdain that I feel towards money-grubbing, victim-creating crackpots, was the low-budget horror film End Of The Line, an interesting little apocalyptic flick that I saw a couple years ago.  The hamster wheel began turning in my head, and I thought it would be fun to look at it again in the light of all the Family Radio hullabaloo.

Hullabaloo.  Man, how old am I?

Anyway, End Of The Line was a small 2007 film written and directed by Maurice Devereaux, and it was a darling at several film festivals, including the Toronto Film Festival.  Touching on the subject of religious zeal, mob mentality, and fear of the dark and closed-in spaces, the film has its fans (and detractors) in the horror community.  Regardless, it offers a unique take on survival horror.

Karen (Ilona Elkin) heads home from her job at a psychiatric hospital, taking the local subway.  After meeting Mike (Nicholas Wright), who saves her from a seriously creepy guy named Patrick (Robin Wilcock), she boards a train for the ride home.  The train suddenly stops and several passengers, seemingly religious types from the Voice of Hope Church who wear similar clothes and acting generally nice, all get messages on their beepers.  They produce various sharp objects and begin stabbing other passengers, saying things like "God loves you" and "This is for your own good."  The train turns into an abattoir, with only a few - Karen and Mike included - making it off the train in mostly one piece.  But help isn't coming.  The land and cell phone lines are down, and the TV is showing nothing but bizarre images coming from the enigmatic preacher who heads this bizarre cult.  Apparently, they all believe that the Earth is being besieged by demons, and it is the End Times.  They show their "love" by killing others so that they're "spared" the coming apocalypse.  Karen and the survivors head into the tunnels, but getting away isn't so easy.

Man, the Backstreet Boys got DARK.

 The tunnels are crawling with Voice of Hope members, including kids, creepy guy Patrick, and even a member of the survivor's party, although she wants to rebel and go with the dude who took her virginity on the train.  One of the guys who helps them get out of a break room deep in the tunnels is even a member, despite being new and "not really a believer."  The growing paranoia adds to the tension, and Karen's occasional hallucinations don't help.  When they hole up in a control room, where they tie up Patrick, they get their first glimpse of the reverend on a TV, and the murderous chaos is widespread.  He's calling for Armageddon and a "holy rapture"...hm, sound familiar?  Hopefully, Harold Camping hasn't seen this movie.

The survivors, with the exception of the conflicted member and the boy she now loves, move on after hearing the subway workers come under attack.  The scene in which the Hope members descend upon the workers is harrowing and disturbing.  The lengths these people will go to "save" people is horrifying.  Patrick gets loose, and as the pursuing Hope members arrive, the boy and girl are killed.  In the meantime, the survivors have a bloody battle with some more Voice of Hope nutjobs and get away mostly OK, but Mike is hurt badly.  With multiple stab wounds right from the start, this movie just hates poor Mike.

 I LOVE this door!

The survivors split up, but not all of them make it.  Another page beeps for the Voice of Hope members, and they immediately cease their onslaught and take suicide pills.  Still, resident perv Patrick pursues Karen, completely off his rocker.  Karen dispatches Patrick in a most brutal way, and then the movie takes a turn for the weird...or does it?  The ambiguous ending isn't really that ambiguous if you've been paying attention. 

Look and listen during the first few minutes of the movie to pick up on the fact that the movie is not being told in a linear fashion.  While much of the ending is left open for interpretation, there are some helpful hints along the way.  The hallucinations are not coincidental or a throwaway device; they're pretty central to what's happening.  Think muffins.  Yeah, muffins possibly laced with some kind of hallucinogen run throughout the movie, and since we're seeing a lot through Karen's eyes - and she casually eats one early on - we can't always trust what she's seeing.  Are the demons real?  Did Reverend Hope have it right?  Or was he an insane but gifted strategist who plotted the horrible acts of terror?

The performances are quite good, especially from Ilona Elkin as Karen, showing strength and fragility, and Robin Wilcock as Patrick, smarmy and evil, wanting to rape his way to the end of the world.  There is a great deal of gore and scares, mixed with good amounts of tension.  Obviously the budget wasn't very large, but that doesn't matter.  Devereaux works well with what he has, and it's a nice little take on the "end of the world cult lays the nutbar smackdown on the world" subgenre.

It also bears watching since the whole Harold "You Gotta Believe Me This Time" Camping debacle.  A charismatic religious leader creating a following of human lemmings so desperate for spiritual absolution that they're willing to kill because someone tells them to commit murder is comparable to what happens out there in the real world.  How many people base their religion or politics on what someone on TV tells them?  Yeah, a frightening amount.  People who don't think for themselves and blindly follow someone with obvious agendas might be easy targets for jokes, but there's the potential for very dangerous behavior.  End Of The Line shows an extreme, fictional account.  Read the headlines if you want the real chills - or worse yet, the comments sections of any political article.  The looney-tunes in the movie might seem tame compared to what crosses some peoples' minds.

In the meantime, my dear zombie survivors, remember to steer clear of the subways if you see a lot of smiling people all dressed the same.