![]() ![]() Only, just as they’re going to be rescued, the cops put a bullet in his head. All while dealing with morons who can’t believe a black man is leading them. For once, the hero/good guy didn’t make it to the finale. The grainy black-and-white quality of the film didn’t help either. The entire audience groaned with despair when that final desolate moment took place. The final(ish) shot of him sitting in the asylum talking to his dead wife on the phone begging her to let him come home still chills me. But flashbacks to Peter Mullan sitting in a car outside his house only seem to become relevant right at the end as it’s revealed not only is he the one picking off his own team, but he murdered his wife and child before the film even started. It’s obvious there’s going to be bloodshed. Tensions begin to show early among the team, from the new kid who is useless, to the guy who had an affair with another’s wife, and the other team member who becomes obsessed with a series of recordings of a girl who murdered her brother. He pushes himself and his team to the edge trying to complete a job on a disused asylum in a frankly impossible timescale. Peter Mullan is the craggy-faced owner of an asbestos removal company that’s almost bankrupt and a new dad struggling in a disintegrating marriage. I’m still amazed that this film is so unknown, especially considering the effect it’s had on horror since (the makers of Silent Hill 2 cite it as a major influence). The final few minutes where everything changes as David walks into the editor’s house and suddenly instead of being inside a documentary being made you’re outside looking in and can see what you hadn’t seen but now seems obvious, and you have to go back and watch the whole thing again. Spoiler alert … no closure to be had, should have stayed at the popcorn counter. Thought I’d stand in the lobby, then head back in for the end, get my closure as the villain dies and the kids are saved. You get to know the trio, start to feel for them in friendly, likable way, and then bang. I don’t know why, but I couldn’t handle Wolf Creek. Christopher Lee excellent too, as the manipulative and amoral Lord of Summerisle. Terrific acting from Edward Woodward (what were his parents thinking of?), as he is trussed like a turkey of the sacrifice, comes over the rise and sees what awaits him. ![]() Haunted me for quite a while after seeing it. The matter-of-fact-ness of his killing remains uniquely and deeply unnerving. You keep thinking he will get away, and he doesn’t. I know it’s oft cited, but there’s a reason for that. I went into that film not knowing it was a horror (and it isn’t until the last 20 minutes) which I don’t think helped! Ketchup_Catsip The Wicker Man The ending of the British film Kill List really disturbed me and stayed with me for a long time afterwards. I know a lot of people don’t like the ending, but I thought it was disturbing and thought-provoking. FreddyBinYusuffĪ rare example of a film that started off poorly, with B-movie special effects, but seemed to get better as it went on. The Mist’s ending can’t really be topped in terms of jaw-dropping OMG status. rhythmįrank Darabont’s The Mist has an ending so exquisitely bleak, it more than matches the final scene of The Vanishing, even if the story as a whole is not on par. One of those rare occasions where the original author (King) credited the film interpretation as having pulled off the ending better than he’d done. Photograph: 01/The Weinstein Company/Allstar Silence lies steadily against the wood and stone of Hill House. Within, walls continue upright, bricks meet, floors are firm, and doors are sensibly shut. When the camera pans around the dark empty house and Julie Harris says on voiceover “Hill House has stood for 90 years and might stand for 90 more. Understand that in preview focus groups the audience was baying for Glenn Close’s blood, hence the change. I have a DVD with the originally filmed, lower key but very effective ending, and just switch to that. Scary, but more importantly, over the top, highly misogynistic and just a stain on what is otherwise a very good psychological thriller. Will never, ever, ever watch that film again. Saw it in the cinema as a teenager and had nightmares for weeks. I promised myself that I would never watch it again. It felt like a fairly standard serial-killer yarn, better made than most, scarier than most, (but standard) until that absolute gut punch of an ending. I saw it on the big screen when it was originally released. The transition of Sadako from grainy film into reality is brilliantly effective. Photograph: Cinetext/Omega/AllstarĪnother film perhaps blunted by time, over exposure and the US version, but it’s hard to beat the impact of that ending in the original. ![]()
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