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Mark Rosman makes his directorial debut in this much better than expected 80's teen slasher movie. Rosman served as an assistant director for Brian DePalma's Home Movies in 1980. DePalma's Blow Out was released the following year in 1981. And this film was released the following year in 1982.

The film, as has been noted by many film scholars, has the look and feel of DePalma's films of that era - as well as many of the Italian slasher movies that era.

And if you think this was some low-budget slop, think again. The movie boasts a score by The London Philharmonic Orchestra - and it added greatly to the film's appeal. They don't perform for just "any" movie.

Considered "derivative" in our current era, the film emerged at a time when horror franchises were just taking form and plot points were still relatively fresh. Despite the fact that the film borrows a central plot point from Les Diaboliques, the film leaves you guessing throughout the movie. I will admit, though, that the movie, by today's standards, ended seemingly incomplete.

Without any gratuitous sex or gore to speak of, the film effectively delivers equal amounts of suspense and brief gore violence.

Already on several "best of" lists of all time, the film is arguably one of the best if not THE best sorority murder genre movie of all time.

Released in 2013, when found footage films were still in vogue and cyber thrillers were in their infancy - 3 years before, for example Friend Request (2016) - this film has all the trappings of the genre: incessant filming, ambiguous origin of POV, apparent real-time editing, etc.

The movie starts out innocuously as do movies of this type, yet remains in this tedium for perhaps the entire first third of the movie before you get some hint where things are going.

Then when our female lead is hacked, in all likelihood from a Den user, inexplicably she takes little measure to clear the root of the hack. On top of that, even after her research is cancelled, she inexplicably continues to visit the unsafe site and moreover leaves her laptop camera on 24/7 spying over her bedroom.

How many friends have to go missing or be terrorized before you just leave this website altogether?

There's a lot to unpack in final 10-15 minutes are so, and thankfully for us there always seems to be at least one designated bad guy studiously filming everything.

You can't help but watch to the end - like watching for example Hostel, to see what the big secret is, yet the revelations weren't enough for me to really like the movie.

Tori Spelling, supposedly by now a grown woman in this movie, can't help act like a child of 16 in this shameless wife-husband Tori Spelling-Dean McDermott "vehicle" - that had all the trappings of such vehicles - poor story writing, bad acting, improbable scenarios, and bad decision making.

Hookup-friendly Spelling apparently can't resist hunky plumber Mike (Dermott) and, ostensibly only knowing that he's cute and a plumber, lets him spend the night in the house owner's house - free to rummage around and create mischief while she's asleep.

Then when house owner Frank becomes increasingly creepy and obsessive she bolts out the house - only to return later unaccompanied and taking her sweet time casually packing her belongings to get out of Dodge - while Frank is downstairs snuggling with a rifle.

When her friends arrive to "rescue" her, she and her friends decide they might as well stay a while in the creeper's house where a gunshot is heard and the carcass of probably the house's cat lies in the driveway.

Things devolve quite rapidly thereafter at the end without critical secrets ever getting outright revealed to Spelling.

While the movie is just as improbable as many Lifetime movies, it would have been better served with a much better actress than Spelling - who to be honest has none of the acting chops you would expect of a true TV veteran.

Yes. Watchable. But not anything Spelling should put in her "highlight" reel.