GamerTab That was an excellent one.

Onlinewsma Absolutely Brilliant!

Nessieldwi Very interesting film. Was caught on the premise when seeing the trailer but unsure as to what the outcome would be for the showing. As it turns out, it was a very good film.

ThedevilChoose When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

luismanuelbatista It's too much rare watching good films as this little "fellow".Although the storyline isn't new. Reminds a lot "In the mouth of madness", from the same director, or "The Ninth Gate", from Roman Polanski.The aesthetic "cigarette burns" all along the film can catch the audience attention. For people who may not know about "cigarette burns", also known as Cue Mark or a Changeover Cue (a black circle), are used to signal the projectionist that a particular reel of a movie is ending. In "Fight Club" there's a scene where Tyler Durden, in one of the employment of him as a projectionist, replaces one of the frames with a male genital. Resulting in a subliminal image, an image that we can not see instantly however our brain gets the perception of that image. Old times this trick was used on cinemas to appeal consuming. Here John Carpenter just want to give us a chills mixing up images of old memories of the main character.It's a decent and a great horror/suspense movie and I think you'll enjoy watching this one.

BaronBl00d I have not seen all the Masters of Horror episodes(am working my way slowly through them now), but this one by John Carpenter is easily my favorite so far - and the best. Imagine if you will that there is a "lost" film out there that has the power to destroy its audience and then imagine a very wealthy man has hired a very good film finder to get him a copy. This is the basic premise behind this episode. Carpenter always is a cinephile's best friend paying a bit of homage here and there and creating an episode here that any true film-lover should find fascinating. Carpenter weaves his tale in an hour and it is fast-paced, tense, and gut-wrenching(literally and figuratively). I enjoyed the whole story of this lost, old French horror film, the tracking down of people who saw the film and managed to live, and the final installment dealing with people getting what they want. There are supernatural elements here and the gore is plentiful but not terribly too intrusive. The acting is first-rate with Norman Reedus playing the man paid to find the film and under the gun both financially and emotionally. Carpenter gives us Udo Kier, a horror "icon" to some degree, in the interesting role of the man who desperately wants the film no matter what the cost is. I loved the story but did find one problem that I just could not mesh with my logic or sense. It is the part where Reedus goes to France and meets a collector in a barn. What really happened there? It was not enough to make me lose interest or change my mind about what I thought was stunning filmmaking. Carpenter shows us he still is a force behind the camera. I know he has produced some less than stellar things in the last decade, but this is one of his best. That, for Carpenter, is quite a complement.

The_Inverted_Necroyeti Most the Masters of Horror series has so far (almost finished S1) as been short of a disappointment (Don Coscarelli and Tobe Hooper managed to do some nice stuff though). I flicked on this "episode", not knowing what or which director to expect. When I saw it was by Carpenter, I thought "get in!". One of the big names of horror and one of my favorite directors, so I knew I was on to something... I'm not going to tell you about it, just watch it if you want to see an incredibly deranging horror movie. There are some really sick and realistically gory parts though, so brace yourself. The plot is so solid it will glue your eyes to the screen - something that is so incredibly portrayed in this film. As far as the story goes, there would be a lot to right on this, because of the inventiveness and originality of Carpenter's approach. I'm struggling to find my words to write this, so the best thing for you to do is to go and watch it. Second in the series so far only to Takashi Miike's "Imprint", the new landmark in horror from one the very best living directors today.

MARIO GAUCI This is the fifth episode I've watched from the popular horror series, which gave a lease of life to many a genre exponent from the 1970s onwards; surprisingly, it was shown on a weekday on late-night Italian TV (albeit in English with subtitles). It is easily the best I've seen so far and also one of Carpenter's most satisfying efforts in a very long time.The premise is fascinating – especially for people like us, given that it basically deals in the workings of being a film-fanatic – but, needless to say, it's treated as fantasy and obviously taken to extremes for greater dramatic impact. In fact, the title is a reference to the reel-change indicators visible on celluloid – though here it's also the precursor to hallucinatory visions which afflict the various characters in search of a legendary 'lost' snuff film which, when viewed, changes the spectators into homicidal or self-mutilating maniacs! For the record, the overall style and level of gore displayed throughout is more typical of the series than the director's traditional oeuvre; incidentally, his son provides a score which is highly reminiscent of the elder Carpenter's compositions for his own earlier work! The protagonist, a young theatre owner specializing in cult horror films (including DEEP RED [1975] by Dario Argento, whose two "Masters Of Horror" entries are among those I'm familiar with and which I even own), doesn't exactly cut it – but Udo Kier (from Argento's own SUSPIRIA [1977]) generates the requisite sinister obsession in his role of the ageing millionaire after the dangerous rolls of film. He even keeps one of the surviving crew members of that particular film, "La Fin Absolue Du Monde", chained up inside a hidden room in his remote mansion – and, although the latter has shriveled to a wraithlike figure, his devotion to the cursed film itself hasn't abated with time! Incidentally, it's somewhat lame to have the elusive film traced after so many years at the place which it would have been automatic to look first i.e. in the possession of its late director's widow (nonchalantly stashed in her living room despite its 'explosive' nature!) but, I suppose, it's a flaw that can be overlooked when seen against the carnage going on around it!