The film revolves around mobile 'phones. A girl has a message left on her mobile 'phone answering service - only it's been left by herself and in the future! To make matters worse, it ends with a blood curdling scream! Well, it soon turns out that the message is the girl's final words on this mortal coil.

The girl is not alone. It's only a matter of time before the body count starts rising and a race against time begins to solve the mystery of the bizarre calls.

Despite being more than a shade Ringu-clone-esquire, I heartily enjoyed this film. It has some great set-pieces (including a memorable death), some spooky moments, a few "jump" sequences, etc. What the film didn't deliver, though, was any real fear. It was a case of "seen it all before" (a criticism that some leveled at "Ju-On").

The plot unravels in a logical manner and there's a decent pay off. It may not be a future classic, but this is a very well made example of Asian horror cinema.

Watching the early EC DVD last night made me realize I'd overlooked an '80s classic. "THOTEOTP" is a splendidly sleazy affair with excellent performances, a very memorable soundtrack and a few surprises thrown in for good measure. Uncomfortably erotic in places, this shocker is not surprisingly cut in the UK. Over 11 minutes had to be spliced out of Deodato's film before the BBFC found it appropriate for public consumption.

While the film may be regarded as slow moving, I found it a very entertaining horror tale. It's less unpleasant than "The Last House on the Left" but it shares the same head baddie, David Hess. Hess is an intimidating, physical loon and genuinely disturbing.

"The Card Player" is a by-the-numbers exercise in film-making. It manages to incorporate a good handful of modern thriller clichés while failing to bring anything new to the genre. Also, the finale of the film is a disappointment and rather crudely staged.

The soundtrack by Claudio Simonetti is one of the film's strong points, although I believe this is another "love-it or hate-it" element of the film which has split viewer opinion. Sure, it isn't as strong as "Deep Red" but I found the music hit the spot and added to the atmosphere.

As a movie experience, it's not a complete disappointment. The performances are strong, particularly from the female lead played by Stefania Rocca, and there are a few moments of genuine tension. Although not suffering from boredom, the film never really had me on the edge of my seat. There are some great touches, such as the operatic medical examiner (Luis Molteni from Argento's "Phantom"), but the film lacked the usual Argento perverse psycho-sexual darkness.

There's been a lot of discussion about Argento finishing his Three Mother's trilogy. Based on my experience of "The Card Player", I feel that many die-hard Argento fans may find any future projects to be disappointing. At the end of the day, Dario has a lot to live up to and perhaps expectations can be unreasonably high. However, it's great to see giallo films still being made by the old master and perhaps he still has some surprises in store for us. Despite my reservation about The Card Player, I'm hoping there will be many more future films from Argento....

From the genuinely exciting and atmospheric beginning, "Mad Max 2" is a realistic apocalyptic nightmare with Gibson's hero acting as mankind's only hope against the bad guys.

Bruce Spence is unforgettable as The Gyro Captain, Max's temporary sidekick and comic relief. Special mention must also go to fantasy female Virginia Hey. Hey plays The Warrior Woman and is a screen goddess with cheek bones to die for.

The cinematography is wonderful and there's more of George Miller's dark, comic book humour. The soundtrack by Brian May is splendid.

This is a film that improves on repeat viewing. It's difficult to rate as I'm so familiar with its content - I've given it 4 stars but it probably deserves higher.

Great entertainment.

While there are shades of "Silence of the Lambs" in this film (interestingly, there's even a throw-away comment about Hannibal Lecter as if the director was aware of the similarities in storyline and decided to confront this matter head-on), "Antikörper" is a much more realistic, character-driven piece. André Hennicke is genuinely frightening as the paedophile serial killer, Engel, who embarks on psychological mind games with the likable, country-based policeman, Wotan Wilke Möhring. Möhring's portrayal of a man who is driven to the edge of his wits is brilliant stuff and riveting viewing.

The film is undoubtedly a roller-coaster ride of emotions. There are some uncomfortable scenes (Engel makes Lecter look like Father Christmas in comparison) but they rely on the viewer's imagination rather than in-your-face gore. There are also some brief but realistic sex scenes that drive the plot along rather than serve as mere titillation. The film's strength is in its intelligence. This is not your average serial killer movie by a long way. It raises interesting moral questions such as "Just how good is a 'good man?'" I was surprised to see Norman Reedus appear in a small role in this film. Why Reedus was brought in for such a small part is puzzling but it was good to see this distinctive American actor nonetheless.

A highly recommended movie and one I'm glad to have stumbled across by accident. This is one of those film you may never have heard of but which you'll be very glad you watched.

As the end credits rolled on "Emanuelle in America", I was left wondering what the purpose of this film was. A daft question, I guess, as this is a pure exploitation movie and designed for the sole purpose of making money. It just surprised me that D'Amato's film ends with some major plot threads hanging in the air, never to be resolved. Some would argue that this adds realism to the piece, which may be true.

Laura Gemser is delightful as the lead, Emanuelle. She has a timeless beauty and looks simply amazing throughout the proceedings.

I was actually surprised at the inclusion of the hardcore scenes in the version I watched. They proved far from titillating and out-of-synch with the rest of the film and the horse scene simply has to be seen to be believed.

A very seedy 3.5 stars. Viewers may feel like a hot shower after viewing this one.

There's a fair bit of female nudity on display in these early scenes, including an eye-opening bathtub masturbation scene. Accompanied by a funky '70s soundtrack, the gore sequences aren't memorable in the way that they are in a good "Friday the 13th" installment but the scenes are shown in such rapid succession so there's no time for boredom to set in.

Sadly, the film runs out of steam towards the end. Once the identity of the killer is known (although it's hardly a shocking revelation), the movie changes pace and becomes a little tired. Well, a lot tired, to be honest.

Still, I've seen a lot, lot worse. Good but not great, I preferred Hooper's recent remake.

While "Planet Terror" is a treat for genre fans with appearances by Michael Biehn and Tom Savini alongside countless other familiar faces, its deliberately beat-up presentation removes the viewer from the action. While I fully appreciate what the intention of the film is setting out to do, its missing reel, "scratched" appearance and jumps frustrate rather than add realism to the proceedings.

Rose McGowan steals the show as heroine Cherry Darling. Every scene with McGowan is a delight and she sizzles on screen.

The music is great and Carpenter fans may recognise snippets from the "Escape From New York" soundtrack.

Perhaps on a repeat viewing I'll appreciate this film more. However, at this time, I can only give it 3.5. Well worth a viewing but it's essential that you watch it in the right mood. "Death Proof", by comparison, is the superior installment.

The first half of the film is deliberately jumpy and covered in scratches and noise. "Death Proof" really does look like part of an old grindhouse double-bill but there are nods to the present day (i.e. the use of a mobile 'phone to text a boyfriend). It's great stuff - authentic and strangely absorbing.

Following a dramatic set-piece that will stay with the viewer forever, we meet the second gang of chicks with attitude. This second-half is a more polished affair as we see Rosario Dawson and her friends enjoying life. Mary Elizabeth Winstead is great as the beautiful young model and Tracie Thoms is spot-on as the strong-willed Kim. However, it's Zoe Bell who will really be remembered. In her role of stunt-girl Zoe, she performs in truly edge-of-seat action scenes aboard a charging car.

A great film and one that really starts to gel as it progresses. The soundtrack is fantastic and the actors are all thoroughly watchable. I was left feeling very impressed with "Death Proof" (and more than a little smitten by Ms. Dawson).

Kurt Russell is as good as ever as Stuntman Mike. He really is bad, mad and dangerous-to-know and his presence in the early scenes is remarkably unsettling yet darkly humorous.

4.5 stars. I'm really looking forward to watching this film again...

"Audition"'s Ryo Ishibashi stars as the detective investigating bizarre group suicides of young people in Japan. Ishibashi is excellent as always as the world-weary Kuroda.

The opening sequence to this film has to be seen to be believed! The film doesn't hold back in the blood department and scenes are awash with the red stuff. However, the blood and guts play second fiddle to the intriguing storyline.

There are uncomfortable scenes in "Suicide Club", particularly the ones involving a bowling alley from hell. Some viewers will be offended by the uncompromising content.

4.5 stars. Just make sure you watch this thought provoking film to the very end as every moment of this tale contains clues to its meaning. Splendid.

There's nothing I'd change about "Aliens". The pace of the film is spot-on, the characterisation brought to each role by the cast is excellent. Horner's score is brilliant and memorable.

It's a very different type of movie than its predecessor and time has allowed me to judge this film on its own merits. Cameron has delivered a unique sequel. I love the way he ties everything up and doesn't waste any opportunities to thrill the viewer. Why settle with just one finale when you can have two? It's just a shame that "Alien 3" spoils everything...

From the very start, this little gem sparkled with a seedy charm that I took to my heart. If Tarantino had been born a decade earlier in Sweden, this would be the kind of film you'd expect him to be making. (Interestingly, this film was actually banned in its home country and was heavily cut on its release in most overseas territories.) As a revenge film, "Thriller" sizzles with energy. It has a great pace and the only time the film stumbles is during the short porn edits (so obviously filmed with different actors that the viewer's attention is displaced). These somehow made me feel like a naughty schoolboy watching an illicit dodgy video! Now, don't get me wrong. I don't have any objections to porn (my handle should perhaps be "Porn Connoisseur"), but somebody taking their Captain Picard up to warp speed and shoving it into a normal movie just doesn't work. Still, it added to that "I ain't going to find this on the shelf in my UK HMV"-feeling which always gives me a warm, perverse buzz.

I digress. The movie is beautifully shot, the delightful Christina Lindberg is splendid, the cast is suitably sordid and the music has to be heard to be believed. It ain't magical but it's memorable.

There are some great set pieces and one of the most unexpected car treats I've ever had the pleasure of watching.

A superb exploitation movie and well worth tracking down.

Tobe Hooper's opening to the movie is powerful stuff. The flash-bulbs of a camera illuminating the hellish scenes of decomposing bodies, accompanied by a wicked soundtrack, ranks amongst the best beginnings of any horror movie I've seen.

The film has great atmosphere, realistic performances, and a genuine "roller-coaster" feel. While later films such as "Wolf Creek" are arguably more effective, "Texas Chain Saw" set the stall out for its successors.

The raw energy of the performers is electrifying. Marilyn Burns' performance of the victim frightened to the edge of insanity is simply brilliant. Gunnar Hansen's lumbering, grunting Leatherface is one of the most frightening screen maniacs. There's nothing supernatural or super-human about his character. He's just a very disturbed individual who's very handy with a mallet or chainsaw! A genuine classic that has matured like a fine vintage, "The Texas Chain Saw Massacre" is a superb example of low-budget film-making delivering believable and effective results.

"Street Trash" is horror on a shoestring budget and its atmosphere and characters could be compared to those of one of the better Troma productions. The film is filled with crude, juvenile humour, is politically incorrect and contains some of the most technicoloured, surrealistic, over-the-top gore spurting scenes you will ever see splashed on the screen.

While none of the characters are particularly likable, the film has a great energy despite its loose plot and it's easy to understand why it has a strong cult following.

4 stars. Rubbish but great rubbish. Fans of this film may enjoy the equally strange "Bride of Frank".

Schwentke manages to create an on-screen world where the fantastic events of this tale seem believable. Inspired by the German expressionist movement, it's a fantastic achievement and although comparisons will always be made with Fincher's "Se7en", I think "Tattoo" is the superior film.

The cast are excellent. August Diehl plays the young cop who is blackmailed into joining Christian Redl on the grittier side of police work. Diehl's first case is the murder of a young woman who was into self-mutilation and who died shortly after biting off a man's finger...and swallowing it. The beautiful Nadeshda Brennicke plays Maya Kroner whose secrets take the story in an exciting and unpredictable direction.

While the subject of people being murdered for their tattoos is not new (Roald Dahl's short-story "Skin" covers the same ground), the film's plot is gripping and effectively told.

After viewing this film shortly after "Antikörper" and "Kontroll," it would appear that some of the best psychological horror films of the noughties are coming out of Europe. Rich on atmosphere and slightly other-worldly, these films are a delight to watch.

Robert DiPatri plays the teenager who has to start life at a new school. He soon encounters school bullies and the loner, Ryan, played by Eion Bailey. A relative newcomer at the time this was made, Bailey has since appeared in a number of films and television shows including "Fight Club", "Band of Brothers" and "Almost Famous". The delightfully attractive Carmen Llywelyn plays the feisty Augustine. Jason ("My Name Is Earl") Lee also makes a brief appearance in the film.

As a first movie, this is a genuine achievement and very watchable, despite its technical limitations. Hopefully, we'll see further projects from Vincent Pereira in the future.

There were times in this movie when I laughed out loud at some of the comedic but excessive scenes. Miike doesn't just break taboos in this film, he shatters them into minuscule fragments and stomps on them again for good measure. Body fluids are splashed here, there and everywhere in this movie and primal urges are let loose with complete moral abandon.

"Visitor Q" is unlike some art-house movies where scenes are designed just to shock the viewer. This film is genuinely entertaining (in a slightly sordid way).

Even the brief appearance of a boom mike in one scene didn't spoil my enjoyment of this original, transgressive film. It's nothing short of a masterpiece and I applaud the BBFC for letting this through uncut in the UK.

For fans of Miike, this is unmissable.

In terms of plot, it comes as no surprise to learn that the script was adapted from an unused "Ilsa" screenplay. There are many similarities between the "Ilsa" films and "Sadomania". Here, transsexual Ajita Wilson plays Magda Urtado, the wicked warden of "a prison from hell". Well, a prison that contains nubile young women who all look like escapees from Hefner's Playboy Mansion. This is a cue for all sorts of softcore goings-on.

The film's tiny budget is obvious - some of the guards' weapons look like they've been sourced from the bargain bin of "Toys R Us" and the crocodile special effects are somewhat rubbery. On top of this, the prison governor's car is somewhat shabby for a man in his position. However, the film overcomes these trivial obstacles and proves entertaining, even if some of the humour is unintentional.

"Sadomania" even has an appearance by Franco himself as a homosexual brothel owner. As Franco was not keen on contact with a fellow man, Ajita Wilson was asked to play his lover, without wig and disguised by a moustache.

Not half as seedy as you'd imagine it to be. It could do better in the exploitation department but the cinematography really is rather good.

The film contains a memorable cast. The delightfully beautiful Barbara Bach plays Sorel's missing love interest, Mira. The late Ingrid ("Salon Kitty") Thulin appears as work colleague and ex-lover, Jessica. Mario Adorf is excellent as the friend and fellow cop, Jacques.

The film is fast paced and the premise is gripping but I found the film less satisfying overall than many other giallo movies. Worthy of a viewing, without a doubt, but not in the same league as Argento's finest efforts.

With a score by Ennio Morricone and impressive cinematography by Giuseppe Ruzzolini, "Short Night" is a hauntingly beautiful and memorable film.

There's more than a touch of German Expressionism to the proceedings as we watch the film's anti-hero, Joe Butcher, search for details of his lost brother, Zack. Butcher is played by John Voldstad, who delivers a mesmerising and memorable performance.

Nikoletta Skarlatos brings glamour to the proceedings as the two sisters, Bobby and Regina.

This is sleazy stuff and there are moments when the viewer may feel like they're actually at the heart of the action.

This won't be a film for everyone but fans of transgressive and experimental cinema will probably love this gem. I was genuinely sad when the ending arrived - this is a film that was a pleasure to watch and genuinely unique.

This shot-on-film horror production puts much higher budget pictures to shame. The scenes of jugular-spurting bloodshed are numerous and intense - very impressive for a film of this independent nature.

The excellent synthesiser produced score is very reminiscent of early John Carpenter tracks - very moody and foreboding. Director Leif Jonker also co-produced this music - is there no end to the man's talent?

Speaking of John Carpenter, I've read that Carpenter was responsible for the editing of this cut of the film (the "Vampire Version"). If this is true, it would explain the extremely effective pace and editing of the movie.

I've given "The Darkness" a 5 for sheer effort. Along with "Nekromantik" and Mendez's "Killers", this ranks as one of my favourite low-budget movies.

Check out the Barrel 2 disc DVD edition if you can as it's a lovingly presented set.

Combs is as brilliant as ever in this film. This time, he's joined by the excellent irish actor Jason Barry. Also in the cast is the delectable, stunning Elsa Pataky. Elsa plays the love interest of Barry's character and shows a real willingness to involve herself in the over-the-top nature of the production.

The effects are essential to the success of a project like this and I'm pleased to say that Screaming Mad George and crew deliver the goods. There's some use of digital effects but they perfectly compliment the old-fashioned latex and syrup approach to film-making.

Richard Brand's original "Re-Animator" music makes a welcome return.

This Fantastic Factory production is a worthy successor to the original "Re-Animator" - it's jam-packed full of pleasant surprises. Just keep watching as the credits roll for one last treat.

Imagine "The Matrix" and "eXistenZ" mixed with a good measure of Japanese and European film styles and you have the feast that is "Avalon". The opening sequence to this movie is simply jaw dropping...this movie uses CGI in a way that is both original and highly effective. I am still gobsmacked by the action on the screen...simply brilliant.

The plot revolves around virtual reality gamers in a distant and very grey future where success in computer battles leads to financial rewards and a hope of some creature comforts. Gaming is not without risks - many players suffer brain death by becoming trapped in the imaginative worlds created for their pleasure. The main character, Ash, is a beautiful woman who has become an extremely successful player and who now wants to access a higher level than the other competitors. This level is almost mythical amongst gamers and many fear to attempt entry as the stakes are high....

I won't say anymore about the storyline as this film should be discovered and I don't want to spoil any surprises. What the film offers is visuals that are amazing...I've criticised the use of CGI before but the effects in "Avalon" are, in my humble opinion, far more successful than those in "Attack of the Clones" and other Hollywood fodder.

The film also has the most incredible soundtrack...I can't recommend it enough. Beautiful.

If you like your science fiction dark and gritty, this may be the movie for you.

One thing lingered with me after watching the "making of" documentary contained within the Unearthed DVD! When the actor playing the autopsy "did it for real" in the "rape" scene, I'm assuming this is a reference to his state-of-mind and he didn't actually penetrate the silicon cadaver!? Urgh!

It's difficult to believe that "The Gore Gore Girls" was passed uncut in the UK when "Blood Feast" had 23 seconds cut for "sexual violence". "The Gore Gore Girls" is probably Lewis' hardest offering in terms of on-screen violence. The gore is particularly over-the-top in this offering and it comes as no surprise that the censors came down hard on this film.

As a no-budget gem from the early '70s, I give this 3.5 stars. Viewers may be surprised to see Henny Youngman make an appearance as the strip club's Marzdone Mobilie.

While most of the unpleasantness will be nothing new to regular viewers of J-Horror, it's the plot of this straight-to-video production that makes the difference. A psychological exercise as well as a graphic one, "Red Room" actually manages to deliver a well-aimed punch to the viewer's senses.

Some people will hate this film due to its slow pace and lack of gore. The film has a slow-burn delivery of its content and it rewards the patient viewer.

Somehow, this politically incorrect film manages to titillate and appall at the same time. It's not to all tastes but is a tentative recommendation to fans of the "Guinea Pig" films and transgressive horror in general.

Curiously, while the unsavoury delights unfold on the screen, an up-beat, porn soundtrack is used. On top of this, the audio during scenes of intimacy is superbly vile, with over-the-top slurping noises used to great effect.

On the strength of this little film, I'll be checking out further Daisuke Yamanouchi movies in the future.

This is a grim tale that has gained much notoriety due to its initial home video/DVD ban in the UK. This censorship has now been lifted and the DVD can now be purchased in the UK. As I'd read a lot about this project many moons ago and seen the documentary series "Banned in the UK", I knew how things were going to pan out which reduced the tension somewhat. Despite this, it's quite a gripping and unpleasant experience that leaves a sour taste in the mouth.

I found the audio frustratingly unclear in places, annoying as this is a dialogue driven film. The more over-the-top violence is suggested rather than explicit but this works in its favor as it is not let down by cheap effects.

Tim Poole is great as the victim, Tevin. However, it's Margot Steinberg and Danielle Sanderson who really leave an impact on the viewer. This movie is enough to make you think twice about going back to a stranger's house for a night of no-ties passion. Its use of female protagonists is effective and deeply chilling.

3 stars. A lot of talking and psychological games fill out the running time but the experience is not as powerful as that of "Scrapbook". Some viewers will hate this movie as it's a slow paced affair but connoisseurs of modern horror may feel obliged to check it out.

The story will be known already to most viewers. In 2003, a man advertised on the internet for somebody to eat. Following a successful application, the scene was set for one of the most grotesque "crimes" to hit the media for many years. It's a genuinely interesting film as you wonder not just what would drive a man to eat another but what strange desire would make a man want to be eaten?

This is a film that may astound even the seasoned gorehound. The camera lingers on sights that you wouldn't expect to see on the screen, particularly up-close. Without a doubt, this is the bloodiest film I've seen for some time - Dora's film is a canvas of body fluids. The effects work is flawless and its realism will impress even the most critical of viewers.

The actors playing The Man and The Flesh deliver extremely realistic performances. This is a chilling, fly-on-the-wall recreation of real events, delivered in a sympathetic, non-judgemental way. There's a psychological level to the film as well as the visceral impact of the proceedings. Dialogue is kept to a bear minimum in the film but the relationship between the two men is both very believable and bizarre.

An important movie and one that deserves tracking down, I've given "Cannibal" 5 stars. I can't see how the subject matter could have been dealt with any better than this. Lovers of true-life crime will be in their element but horror fans expecting a non-stop gore-fest will be disappointed. This is an atmospheric, well-paced film that's more art-house than horror. Not a million miles from the pleasures of Nacho Cerdà's "Aftermath", this film is a "love it or hate it" production. I'm firmly in the first camp.

As a zombie movie, I have to stress, this is not "The Beyond" or "Dawn of the Dead". Do not believe the hype that this is "up-there with Fulci's best". As long as you're expecting a no-budget, over-the-top horror film with a cast of unknowns, you may come away happy. For me, the effects were the driving force of the film and it lacked the clarity and cohesion of films like Mike Mendez' "Killers", Buttgereit's "Nekromantik", Jonker's "Darkness" and Fehse's "Mutation".

Brian Paulin is undoubtedly a talented chap, managing to juggle writer, producer, director, actor, composer and editor hats. I'm interested in seeing his next project, now he has the backing of Unearthed films.

Fans of the movie will already know that the version of "Bone Sickness" on DVD has extra gore, commissioned by Unearthed, and "plot enhancing" scenes of the strange demonic goblins.

Definitely not for everyone, this will appeal to no-budget, indie horror fans and those interested in budget film-making. The effects work will be a much talked about topic on horror boards for some time as there are some impressive (and not so successful) scenes of blood-spurting mayhem. Like "Mutation", the film ambitiously aims for large scale chaos but "Bone Sickness" is a less successful effort. It's hindered by the minuscule budget, a small number of locations and a relatively tiny cast.

I've given "Bone Sickness" 2.5 stars. I was tempted to score the film higher as it was a good effort for a project of this nature but more tension and character development was required. As it stands, the film teeters on the edge of being boring, the worst sin for any movie to commit. There are much better genre films out there to discover and fans may feel shortchanged if they opt for this one.