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The title of this marvellous French horror thriller translates directly into English as 'High Tension', and as anyone who's seen it will tell you; it's an apt title. Simply put, Switchblade Romance (to give it English release, and better, title) is a pure adrenaline rush throughout. The film forsakes substance in favour of masses of tension and the result is a film that is guaranteed to get your heart racing. The fact that the film features numerous sequences of extreme gore doesn't exactly hinder it either. There has been a surge of good, inventive horror coming from overseas and independent studios recently; the likes of May, Dog Soldiers and Sleepless being among the best of them, and Switchblade Romance sits nicely alongside the cream of the recent crop. This film follows two friends, Alex and Marie who go to stay with Alex's parents in their country home. However, things go awry when a man breaks into the home and brutally murders the family. We then follow Alex and Marie through a roller coaster ride of tension and suspense as they try their best not get sliced and diced!

The film is very stylishly shot, and this has lead many to label it a 'Giallo'. This is most certainly not true, and there isn't much other than the style of the movie to suggest this. Switchblade Romance is more of a Texas Chainsaw Massacre style horror driven slasher than a Giallo; the film clearly knows this also, with a direct homage to the seventies classic towards it's climax. The amount of gore on display is impressive, and several scenes are certainly not for the feint-hearted. There's quite an array of weaponry in the film also, from the plain and simple switchblade, to much more exciting weapons like barbed wire, various guns, an axe and, my personal favourite, the chainsaw! In fact, I am pleased to report that Switchblade Romance features what is maybe the most brutal chainsaw scene ever! Aside from the weapons and gore, this film is also of note for it's music. The original score sets just the right tone for the goings on - it's atmospheric, but steady and almost like a lullaby, which fits with the film's style nicely. Switchblade Romance also features one of the best uses of original music of recent years, with a great scene that incorporates Muse's "New Born".

Switchblade Romance is pure style, and a complete adrenaline rush. Tension isn't in the film, it IS the film. In spite of it's lack of substance, this movie will have you on the edge of your seat and begging for more. Add that to some lovely music, classy acting and enough gore to fill an abattoir - and what you've got is the makings of a cult classic!

As a horror film fan, I have wanted to see "High Tension" for a while, ever since I saw the delectably violent trailer and clips. It does not disappoint in the gory violence department, but I found it to be too short, with an abrupt ending. Still, the film is a haunting exploration of the darkest corners of the human psyche; a portrait that doubles, or maybe masquerades, as a slasher.

Cécile De France is good in the role of Marie, showing grit, nerve and, dare I say, tension when the role calls for it. Maïwenn Le Besco is also good as Alex, although her role does not demand much from her, except for a few scenes of considerable emotional range.

Two of the best aspects of the film are its cinematography and music. Cinematographer Maxime Alexandre paints the film in bluish, metallic, detached hues, that contribute to the effects of truly unapologetic on-screen violence. Composer François Eudes' score is an audio picture of disturbed peace and chaos brewing in the idyll of normalcy. Had it not been for these two elements, the film would not have been half as effective.

"High Tension" is not a must-see film by any means, but it is a must for art-house and horror film fans.

7/10

"High Tension" is clearly intended as a cheery throwback to those halcyon days circa 1980 when you could see "Driller Killer," "Maniac," and "Nightmare" back-to-back in a center city grindhouse where the house lights never went up, only one seat in the place didn't reek of urine and sweat, and the poor teenage usher and concession stand worker huddled together in the lobby under a bare light bulb to avoid being knifed to death by some crazed street person. Of course, this film, while being just about the most violent film in recent memory, is French, somewhat arty, and extremely well made, certainly at odds with the subject matter of its homage. If a straight-ahead slasher film throwback with no self-reflective winking to the audience is your thing, then this will be your thing too. Otherwise, it just is what it is: well-made exploitation fare, right down to the silly, slap-your-head-and-say-"doh" final twist, just like back in the day.

For the first sixty minutes or so, Haute Tension is an uncompromising, brutal, nerve-shredding, edge-of-the-seat thriller—not surprising since virtually every one of those minutes is a blatant steal from Dean Koontz's brilliant, brutal, nerve-shredding, edge of the seat novel Intensity. Unfortunately, after the hour mark, director Alexandre Aja gradually steers his narrative away from Koontz's novel, presumably in a futile effort to disguise his plagiarism, and the film slowly falls apart, culminating in a ridiculous twist ending that makes a mockery of all that we have seen thus far.

For fans of Intensity, it's a particularly frustrating experience: not just because the Koontz receives absolutely no credit for his work, but also because Aja's handling of the author's material is so good. If only Aja had adapted the whole of Koontz's book (preferably with the author's approval), we might have had one of the greatest horror movies of all time; instead, we get an hour of absolutely stonking stuff (the opening home invasion, in particular, is flawlessly handled and amazingly gory), which are followed by twenty more minutes of reasonably solid cat-and-mouse action, and then that bloody awful finale.

For all the excellent stuff 'inspired' by Koontz, a rating of 9/10 seems fair; but for stealing the plot without giving the author credit and then having the nerve to tack on a dumb ending, I deduct three of those points, leaving the film a final score from me of 6/10. Worth a watch (especially for gore-hounds), but impossible to wholeheartedly endorse.

This film seems to me to lack balance between the combination of elements that it blends together: the thriller-suspense factor, the gore, and the "surprise" factor. It is a very irregular film, but it still boasts good style and good manners in atmosphere-building, even if it doesn't really live up to meet the expectations, at least for me.

The story goes about Marie and Alexia, best friends who drive up to Alexia's parents' countryside house, hoping to find some peace for studying. Instead, they'll have to fight a psychopathic killer in a macabre cat-and-mouse game.

The best part, in my opinion, is the mise-en-scene and the introduction of the characters and the storyline. Everything in those first sequences tells us that something horrible is going to happen, not only because we already know that we're watching a horror film. The dusty road, the scorching weather, the big corn fields... the real feel of a horror story scene is there. It increases with the night scenes, the shots of the house, the staircase, the corridors. The gloominess and inherent darkness of the place and the quiet surroundings perfectly do their job of preparing us for what's to come.

The story-telling loses steam after this part. Not being a big fan of gore, I didn't really care for the bloody murder scenes, but I'm sure that they'll be appreciated by many -they're rather truculent and well filmed. The duel between Marie and the killer didn't really work for me; in fact, I found it a little boring. On the whole, I thought the story was unoriginal and predictable, but, contrary to what many say, I don't think it's deceitful -I didn't feel that the director cheats on the audience with the ending. (I won't elaborate on this so as not to spoil the film for those who want to see it).

I have mixed feelings about "High Tension". On the one hand, for me, it is ineffective as a thriller, and flawed as an exercise of story-telling. On the other, however, the murky atmosphere and the darkness of the story and of its subtleties stuck with me for a while after seeing the film. I wouldn't watch it again, but I understand why many like it so much.