The central story is drowned in subplot after subplot, red herrings running amok to the point of frustration.
Laurence R. Harvey turns in an excellent performance, but there is no escaping the knowledge of a rapidly hashed idea.
A truly effective film that will stay with you long after the credits roll; to have achieved this in a debut is quite remarkable.
This 40th anniversary edition, hosting a plethora of extras, is surely one of the year's most essential releases.
The dumbing down of the violence to tiresome torture porn, robs it of its parallel to David Sumner's psychological shift.
On the whole achieves its aim of imitating amateur home video, as director Dominic Perez steers the ship to a solid finale.
The raison d'être is ludicrous and sewn up in minutes, but the cast is very good, as is the cinematography and symbolism.
B-movie fluff at best, dull at worst, and not a patch on the films it tries to emulate. Fortunately, it doesn’t take itself too seriously.
The Rig fails to capitalise on any initial potential and becomes more tedious with every dragging minute of screen time.
Not quite as funny as you’d expect if you have seen the shorts, the film plays it straight.
Occasionally inspiring, often harrowing and depressing, the film throughout is artistic, engaging and intriguing.
An interesting statement on misogyny, albeit subtle as a sledgehammer — but then, this is from Lucky McKee and Jack Ketchum.
A required watch for fans of Frank Darabont, creator of The Walking Dead, if only to see what a difference 20 years can make.
Believes itself brutal, when in reality a small number of strong images are tied loosely together with a basic story.
The script really is slow, with nothing remotely interesting happening until the final few minutes. But what an ending.
A disappointing film with a script that is too basic for any kind of social commentary Kevin Smith may have been aiming for.
Florencia Colucci is superb, easily shouldering the film. Also impressive is some genuine creepiness courtesy of clever lighting.
Despite the odd flare of brilliance, the concept fails. For rabid collectors only.
All a rather predictable outcome that doesn't offer anything we've not seen before, but Anthony Hopkins saves it.
The cartoon violence on display here completely removes all sense of realism, shoving the film into torture porn territory.
The performances are faultless, but clumsy CGI removes the delicateness that had us so in love with the original.
A mixed bag and too ambitious for so early in a career, however Guillem Morales should be noted for the future.
A confused affair that is a bizarre mishmash of clashing styles, with the barest of subplot revealed in just one line of dialogue.
A masterpiece that will make the world sit up and take notice of what is the perfect portrayal of the psychology of a man.
A cruel indictment on contemporary Japanese youth and their despondency, which unravels its cruel web satisfactorily.
With huge jump scares and more subtle, creepy moments, this is a film which has mastered the whole spectrum of horror filmmaking.
A timeless and sublime masterpiece that presents an incredibly intelligent and moving picture of psychological struggle.
Stands on its own two feet amongst the usual Brit comedy suspects, which is largely due to its cast of unknowns.
This low-budget indie is a star turn, with a clever, funny script that shows life from the point of view of the zombie.
Low budget, not particularly well acted and with a basic script, yet somehow, this film manages to elicit goosebumps.
A great example of how the first-person horror subgenre works its magic, but it also highlights some of its core flaws.
Deftly balances a horror premise with the politics of a family drama, marking Jorge Michel Grau as a filmmaker to watch.
With nicely subtle handling of its occult element, the film slowly builds an atmosphere and is more chilling as a result.