w Delta z

Interesting British-made thriller that borrows heavily (or is that steals?) from Se7en and Saw. Melissa George is cop trying to unravel a series of gruesome murders in New York with her gruff partner, Stellan Skarsgard. Somebody is bumping off several of the city's gang bangers and their loved ones and carving an equation onto their stomachs. The plot covers very familiar ground as the two very different detectives try to identify the killer. George does her best but her character is poorly defined - a bit more background should have been shown. Skarsgard is almost laughable in his attempt to be tough and cool, he merely comes across as being unintelligible. What makes this film different is the surprisingly good cast (Selma Blair, Tom Hardy, Ashley Walters, Sally Hawkins) who turn up. The final plot twist in the last 15 minutes is far-fetched and feels like a sensationalist tabloid headline. Tries to take a novel approach to the torture-porn genre by raising some interesting Darwinian questions but ultimately fails under its own pretensions. It's not hard to see why this went straight to DVD. Nice try though.

To begin with, this movie isn't just another torture porn flick that we've seen a glut of in recent times (Saw, Hostel and the like). There's actually a decent plot regarding the murderer and their victims, something that examines humanity's darker side yet goes beyond the base sadism displayed in actual torture porn, which this isn't. The marketing campaign gave it the appearance of such a film and i was nearly put off, however my optimism got the better of me as I confess, I am a huge horror fan and there were glimpses that it could be quite good. And it is, in fact it's very good.

There's a rugged brutal efficiency in the way this film goes about delivering the goods. You've got your cops, new and old, with sketchy case files and hints of crookedness, a scientific theory of genetics being exploited by our murderer and a gang of outlaws who are being targeted. All of it is carried out with appropriate macabre and occasional wit and humour, good, edgy hand-held camera techniques, clever acting and a pacey script. I thought it was great on an intelligence level and I squirmed every time there was a 'nail' scene.

I was even more surprised to learn afterwards that this was a British production, was shot in Belfast and used a largely British cast, yet had me fooled as to it's New York setting and convincing accents. What more can i say apart from wow, i love this movie? I also realised after that Waz is Saw backwards, and a cynic may say that is opportunistic marketing, but to them i say, see the movie and tell me it doesn't at least give Saw a run for it's money, if not kick it's stupid face off. Saw's ideas were good, but their killer seemed a flimsy afterthought to me. In Waz, the killer and their motives are integral to the plot,(which surprises before a satisfactory ending)and it's hard not to find empathy for the killer, something i never got in Saw. The great script and acting add depth and character to the story, which hit me with surprises and left me feeling contemplative, which is unusual for horror today.

Verdict: Come for the torture, stay for the good movie

I went to one of the first official screenings of this film last night at the frightfest in London, West End. It was brilliant! I wouldn't suggest that I was sceptical, but more open minded and intrigued to discover exactly what this movie was going to be like. I had heard mixed reviews about pre-completed screenings and at the end of the day, didn't want to waste my Sunday evening.

I am pleased to say that 'WaZ' is a perfect mixture of raw grit, commercial trends and generic cliché's. I am not always a fan of modern day camera work and cinematography, yet this film comfortably took it to the limit and told a great story in an innovative way. Well done to Mr Shankland and fellow cast and crew, as this film will (in my mind) no doubt keep thriller fans on the edge of their seats when spending the close approaching weekend evenings at the flicks.

The most influential American horror movie of the last 20 years is "Seven". This much is undeniable. I really liked "Seven". Great movie. It might be one of my favourites. The only problem is that every inner city set horror thriller made since comes across, to me, as "Seven"-lite.

Which brings me to "Waz".

A city of permanent night. A cop on the edge. A diabolical killer. Inventive, ingenious torture and murder. Victims with a reason for being victimised.

Yup. "Seven"-lite. Not necessarily a bad thing in itself, because you have to take every movie on it's own merits, but disappointing when witnessed over and over again.

"Waz" isn't bad. It is just unoriginal and a triumph of style over substance. The city is effectively portrayed as grim, dirty, cold and wet. You wouldn't want to go there on holiday. You wouldn't want to hang out with any of these people. The tone of the film is unpleasant, seedy and black. To coin a dated phrase, a video nasty. It will get you down. It also has one of the most disturbing filmed sequences of sexual abuse I have ever seen. All insinuated, you don't see a thing, but it is horrible.

Melissa George has been better and is frankly wasted as the pouting sidekick, but "Waz" does have a superior cast (Stellan Skarsgård, Selma Blair, Tom Hardy, etc.) for what is effectively a straightforward genre movie. Some of the questions I had as to why they signed up for this movie were answered during the denouement, when the motivations behind Stellan Skarsgård's actions are revealed and his character develops levels way beyond that of a tormented cop.

So, "Waz" was OK. Not bad for a walk on the dark side.

When taking a chance on a sight-unseen, used DVD, my expectations are usually fairly reflective of the few bucks I shell out for it. "The Killing Gene," while boasting a fine cast, struck me as nothing more than another blurb-happy, sledgehammer obvious entry in the Dimension 'Extreme' line of hit-or-miss horrors. After having watched it, all I can say is...holy hell. Obviously targeting the audiences that made "Saw" and "Hostel" the New Torture Vanguard (one of the box blurbs directly references the former, not without accuracy), "The Killing Gene"--despite some transparently derivative elements pulled from the genre--comes very close to trouncing its competition. Remember that moment near the end of "Saw" when Cary Elwes does the unthinkable with the titular tool? Well, imagine that degree of gritty intensity stretched out over the course of 102 nerve-shredding minutes, and you have a good idea of what to expect here. Stellan Skarsgard (bearing an uncanny resemblance to Donald Pleasence) plays a homicide detective investigating a string of torture-murders with novice cop Melissa George; suspicions are running that the killer is targeting a group of vile gang members out of revenge for an equally hideous crime (which I won't reveal here; it's a truly horrifying scene). Clive Bradley's script doesn't use the torture angle as a mere marketable throwaway, nor does it treat the characters as meat for the machine; there is a surprising amount of development here, to the point where our sympathies and doubts become one and the same. From a visual standpoint, director Tom Shankland ("The Children") uses jerky digital video and claustrophobic close-ups to convey a sense of urgency within a decaying urban nightmare from which all hope has been drained (this could very well be the most squalid metropolis since David Fincher's "Se7en"). As an unapologetic, unashamed horror fan, I often find myself sitting through garbage that isn't worth the DVD it's pressed on, which makes something like "The Killing Gene" all the more refreshing. Yes, there are some parts you'll feel as though you've seen before; but damned if the overall experience doesn't leave you shaken and adequately disturbed afterward. (It also bears noting that this R-rated film contains some of the most unglamorous, boundary-pushing violence in recent memory.)