The Horseman - Mein ist die Rache

He's in pest control. The pests are human; specifically, pornographers. And though the name badge on his denim work dungarees says 'Christian', his ethical sensibilities have more in common with the Old Testament than with turning the other cheek.

The apocalyptically titled 'The Horseman' is the latest in a galloping line of 'vigilante dad' films stretching back to Ingmar Bergman's 'The Virgin Spring', in which a father, usually a divorcée or widower, made nutty by grief, ruthlessly picks off those responsible for violating and/or offing their daughters, nieces or wives. 'What would you do?' these films ask, like a caring Dr Miriam Stoppard. Before supplying the answer in the voice of Michael Winner: 'blow their balls off, dear!'

In Paul Schrader's 'Hardcore', for example, George C Scott's single-parent Calvinist makes merry hell in the porn pits of Los Angeles, after spotting his runaway daughter Kristen in a blue movie. While in Steven Soderbergh's 'The Limey', Terence Stamp's ex-con investigates his daughter Jenny's suspicious death in - where else - LA, leaving a trail of dead heavies behind him. While the 2006 Danish animation Princess sees a former missionary taking bloody revenge on those contributing to his porn star sister's sordid demise. Charles Bronson, especially, has form here: in 1958's 'Gang War', his mild-mannered maths teacher becomes self-appointed judge, jury and executioner when his wife is murdered by mobsters. While in 1974's 'Death Wish', his mild-mannered architect (was anyone buying this, by the way?) turns squinty-eyed vigilante after muggers rape and kill his wife and daughter. To lose one family to muggers may be regarded as a misfortune; to lose two looks like carelessness, as Oscar Wilde observed, before Bronson shot him.

The common denominator for many of these films - or to put it another way, the movie they're half-inching their plots from - is Mike Hodges' Britcrime classic 'Get Carter', the daddy of 'relative retribution' movies, in which Michael Caine's one-man murder-machine avenges the death of his brother and the virtual rape of his niece Doreen, coerced into a stag flick called 'Teacher's Pet' by the plum-faced fellow who went on to pull pints for Arthur and Terry at The Winchester.

In The Horseman the anonymously-posted porn video goes by the lovely name of 'Young City Sluts II', whose leading lady Jesse latterly resides in an urn in her dad's van, having expired on a tide of booze, opiates and bodily fluids post-shoot. If nothing else, this film underlines the fact that human ashes do not look in the least like fine, velvety sand; they look like kitty litter. Roving through rural Queensland, Christian (Peter Marshall) attempts to restore the karmic balance, leaving the distributor, director and performers with faces resembling bowls of peach melba, and a shortfall of testicles. A scene in which one leery larrikin has fishing hooks threaded through his Niagaras nearly rivals Hard Candy for leg-crossing trauma.

"Ozzie boys terrorising each other!" is how Quentin Tarantino describes the golden era of Australian exploitation movies in Mark Hartley's fantastic documentary Not Quite Hollywood: The Wild, Untold Story Of Ozploitation! And Steven Kastrissios's unflinching debut feature is just that: a riper slice of old school-style Ozploitation you could hardly wish for. However, as Tarantino also emphasised, "The reason you watch exploitation cinema is to have those moments when you're like, 'is this actually happening?! Am I actually seeing this?!'" And the first time The Horseman whips up a skull-soufflé with the conversational end of a crowbar, it might well make you blink, or at least reconsider seeking employment with the adult film industry. Yet within the first half-hour The Horseman finds itself trotting up a cul-de-sac.

This is bum-numbingly repetitive stuff: the Horseman locates target, and the lumbering Ocker-Beasts roll around on the floor, until the Horseman finally gets the better of his opponent with something blunt. Repeat six times until the audience relinquishes the urge to exist or becomes fixated on a rogue popcorn husk stuck in the back of the throat.

It's a real pity, because buried among the endless stabbings, gougings and nipple abuse (not to mention an unlikely scene when our middle-aged anti-hero dispatches three muscled twentysomethings single-handedly) there's clearly a classier movie struggling to get a word in edgeways. Aside from a solid central performance by Marshall as the deeply troubled, self-harming anti-hero, there's some interesting, complex stuff surrounding issues of culpability (Jesse, we discover, entered the industry entirely of her own volition), some fine technical flourishes, and good, naturalistic rapport between Christian and the young hitchhiking runaway Alice (Caroline Marohasy) he meets on the road, and with whom he comes to share an ersatz father-daughter relationship; a plot strand which also turns up in Hardcore - the ultra-devout Jake Van Dorn striking up a similar bond with Season Hubley's young hooker Niki.

So while The Horseman mightn't be the most accomplished entry in the recent New Wave of Australian horrors (see also Greg McLean's 'Wolf Creek' and 'Jamie Blanks' 'Storm Warning') this isn't to suggest it's altogether bound for the knacker's yard. There's enough potential here to suggest director Kastrissios is definitely a name to watch. He just needs to trust the fact that audiences are just as interested in characterisation and narrative as in seeing white walls repeatedly decorated with 'Neural Mist' by Dulux.

This is a story of one man's revenge against the people he holds responsible for the death of his daughter. It's a grim and grimy revenge tale full of bloody violence. It won't appeal to everyone and my wife ceased watching after 5 minutes but if you like these kinds of movie then you are likely to enjoy this.

The acting is pretty good and I thought Peter Marsh did a good job at gaining sympathy as the grief stricken dad doling out his own particular brand of justice. Brad McMurray is also worth a mention as one of the most imposing villains you could wish to see.

I wouldn't say this film had many surprises or a particular message but I find watching lowlife scum being deservedly dispatched pretty satisfying in its own right. The Horseman is a fast paced film and doesn't spend much time setting the scene before plunging straight into the action.

I enjoyed this film and thought it was a very good example of a quality revenge movie especially bearing in mind it's relatively low budget. Recommended.

A different kind of Road Trip that is. And don't confuse the movie with "Horsemen", which has Dennis Quaid starring in it. This little, dirty and pretty gruesome movie is a completely different affair. It's from down under (Australia) and is ... well down and dirty! The cinematography is raw, the acting is raw, pretty much everything is raw in this movie.

Not for the faint-hearted or anything for people who want to see something glossy. Everyone else, will see a pretty grim thriller, that might not have any (big) twists or surprises for you, but is still more than decent! I liked it and so did many at the Fright Fest in London.

The Horseman is a great revenge thriller with the courage not only to raise moral questions about what its protagonist is doing, but also to show violence in all its ugliness. It features an excellent performance by Peter Marshall, and some genuinely creative torture methods.

Marshall's character has just lost his daughter to a drug overdose. From an anonymously mailed DVD, he learns she was involved in a porno shoot just before she died. This revelation sends him on a brutal rampage directed at everyone who participated in the shoot.

What sets this film apart from most other films in this genre is its moral ambiguity. The filmmakers do not shy away from the bloody results of the protagonist's violence, and as several characters note, it is made clear that the daughter voluntarily participated in the shoot. Marshall's performance reinforces this aspect of the film, as even he comes to have doubts about what he's doing.

The film does slip somewhat in its final third, as the filmmakers resort to a typical action ending, with a final confrontation with the most evil pornographer of all. However, this does not detract from the overall quality of the film.

Written and directed by Steven Kastrissios, this is a 'no holds barred' revenge thriller.

Peter Marshall gives a compelling performance as 'Christian' a grief stricken father on a quest to revenge the death of his daughter.

Caroline Marohasy is impressive as 'Alice' as the troubled teenage runaway that Christian befriends.

The relationship that develops between Christian and Alice is a poignant one and makes the merciless brutality of his acts of revenge all the more shocking.

It is impossible not to become involved in the suspense and drama of this outback thriller.