FuzzyTagz If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

Nayan Gough A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

Kaydan Christian A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

Kaelan Mccaffrey Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

Coventry When it comes to horror/cult cinema, yours truly is a sucker for two things, namely long & lurid sounding titles and grisly looking vintage film posters! Half of my watch-list exists of films that are purely selected based on these two criteria, and in many cases I never really bothered to properly read what the actual plot is about. Thanks to the title and the poster, this particular movie stood extremely high on my must-see list. Admittedly the official title is the colorless and dull-sounding "Revenge", but there are the two awesome alternate titles "Terror from under the House" and "Inn of the Frightened People", and who could resist the filthy green movie poster with the image of a guy with glasses screaming and plenty of catch words and phrases like "be ready to scream!" or "you may never dare go in the basement again!" Of course I assumed this was a full-blooded horror movie, also because director Sidney Hayers already made a few great ones like "Night of the Eagle" and "Circus of Horrors", but actually this is a stern melodrama dealing with some harrowing themes like pedophilia, grieving over lost children, the hunger for justice but the lack of courage to actually kill, etc.… The film opens dramatically with the Radford family mourning at the funeral of their young teenage daughter. We learn she was killed by a child molester, but the police had to let him go due to lack of evidence. Together with another grieving father and his furious son, Jim Radford kidnaps the slimy and eerie SOB after having observed how he lives like a hermit and stops at the local elementary school to peep at the children. They beat him – Seely – up beyond recognition and keep him stashed in the basement underneath Jim's pub. The situation puts a lot of pressure on the entire family. They don't dare to release him, but neither do they dare to dispose of him for good. Meanwhile, the impact of hiding a pervert in the basement begins to have strange effects on the family relationships, notably between Jim's second wife and her stepson, and then suddenly it's not even sure anymore if Seely is really culpable. This may not have been the horror movie I expected, but it was definitely an uncomfortable and very confronting film to watch. The scenes at the beginning of the film, when the men are stalking the suspect and observing his bizarre behaviors from within the car, are eerily suspenseful and make you wonder (especially if you're a parent as well) how you would react. There are a couple of more powerful sequences, like when Seely awakens from his beating while the pub is full of customers or when Mrs. Radford has to prevent a scheduled beer delivery from happening. The acting performances are astoundingly good as well. Although one of the least flattering roles of her entire career, Joan Collins gives away a stellar performance as Carol Radford; - Jim's second wife. James Booth and Ray Barrett are terrific too, as the vengeful but petrified fathers, but Kenneth Griffith also definitely deserves to get mentioned here. Not only is his role as child molester suspect a very courageous one, he also manages to come across as simultaneously pathetic and weak and yet menacing and dangerous! Unfortunately "Terror from under the House" doesn't remain compelling throughout. The script loses a lot of its pace and impact in the second half, since the story doesn't develop. The lead characters don't make any decisions; in fact, the only thing they keep repeating when asked how to deal with their problem is: "I'll think of something". If you do manage to struggle through the disappointing second half, you'll be rewarded with a more or less strong climax but still you are left behind with the feeling that the film could have been a lot better overall.

Scott LeBrun The reasonably entertaining psychological thriller "Revenge" stars Joan Collins and James Booth as Carol and Jim Radford, a couple grieving over the rape & murder of their youngest child. Due to the insistence of his friend Harry (Ray Barrett) and son Lee (Tom Marshall), Jim ends up kidnapping the man, Seely (Kenneth Griffith), who was accused of the crime but ultimately let go due to insufficient evidence. Jim, a pub owner, keeps Seely in his basement, and this development sparks all kinds of dramatic conflicts between the people in the house, including Lees' girlfriend Rose (the lovely Sinead Cusack) and Jims' daughter Jill (Zuleika Robson).First off, a word of warning that people suckered in by false advertising, which attempted to sell this as a horror film (!), may be disappointed. (Although the horrors that man is capable of do figure into the plot.) The abduction of Seely merely serves as a catalyst for all the melodrama that results. Particularly of interest is the relationship between Lee and his stepmother Carol. It's likely to amuse some of those in the audience. The movie as a whole is nothing special, but its story (by John Kruse) is absorbing enough to carry it for about 90 minutes.The acting is generally solid, with Collins cast against type and doing a fine job. Griffith does illicit some sympathy for his character for a while; we're given doubts as to whether the man is actually guilty of such heinous crimes. Cusack is appealing in one of her earliest big screen appearances. Cult director Sidney Hayers ("Burn Witch Burn", "Circus of Horrors") guides things with efficiency if not style; the filmmaking overall is adequate. Effective pacing helps - the opening credits are over very quickly and Hayers wastes no time in getting things started.Towards the end, you DO start to sense where all of this is going.Seven out of 10.

HumanoidOfFlesh The premise of Sidney Hayers underrated "Revenge" is fairly simple:a bereaved family seek brutal revenge on the man who attacked,raped and murdered their daughter.He is kept in the basement,beaten and humiliated.Pretty dreary and somewhat upsetting revenge drama which deals with the themes of child molestation and grief.The acting is believable and there is some suspense.The violence is kept to minimum as is the sleaze,so if you want explicit exploitation flick you will be sorely disappointed.Personally I found this forgotten revenge drama to be intriguing and strangely compelling.Like it or not,you won't forget it.7 basements out of 10.

lost-in-limbo After the funeral of their young daughter, the family learns that the man who was suspected for rape and murder is let go because of the lack of evidence. The father, along with his older son and friend whose daughter was also killed by the same man devise a plan to kidnap and hopefully get the confession out of him. However things turn bad, when one slip after another leads to them turning on each other and having second thoughts that maybe they've got the wrong man.There's potential there, but the compact, stiff script doesn't really tap into it enough and leaves plenty of the looming heavy-handed themes high and dry. Emotionally the film makes a huge dent, but more so in a bleakly intense and serious tone. The film itself is pretty fundamental and scandalously melodramatic as it rears it ugly head into brusque crudeness. Watching the characters lose control of the situation, and going on to tear each other apart as the misguided kidnapping triggers a disastrous domino effect is strangely gripping and at times rather uneasy. One interesting moment sees an unusual state of sexual tension between two characters, which has you thinking, was there something there before it erupted. Maybe it goes too over-the-top, and in doing so loses some creditability. Sidney Hayers' direction is efficiently workman-like, with little in the way of style, but he manages to draw up a tautly knitted atmosphere and milks out a few ample shocks. The violence and sexual context might not be explicit, but it's gritty and in what matters effective. Ken Hodges' sturdy camera-work is intrusively lensed and Eric Rogers' miss-guided musical score comes off daftly staged. The performances fall into the overacting category, but come off committed. Joan Collins who's no stranger to that tag, is gracefully fine and gives it her all. An edgy James Booth scorns about, and delivers a serviceable job with a complicated character trying to overcome his anger, which eventuates to guilt. Ray Barrett, Tom Marshall, Kenneth Griffith and the gorgeously rich Sinéad Cusack also star with tolerable turns.There's flaws, but it's decently done to make it a passable cliff-hanger thriller.