Cassandra

I was expecting more from this movie but all I got was a boring film. This movie has bad actors, slow moving script about a lady that keeps having the same dream about her mothers suicide when she was six. Through most of the movie this dream is the main focus and then she tries to find out who the little boy is that watches his mother kill herself and supposebly edges her into doing it. The answer to that is quite obvious during most of the movie. As I watched this movie I found myself saying "Common, just get to the little boy and get over it!!!" But when the movie was over I found that I had wasted my $1.50. Don't waist yours!!!! Avoid it!!

Cassandra is a young woman who lives with her wealthy photographer father and fashion designer mother. She finds out accidentally about her father's affair with a fashion model, but this is a minor problem that's facing her. She is now having unsettling nightmare visions. These visions are somewhat connected to her past and strangely the present. Her parents seem terribly uncomfortable about her obsession of what she is seeing and her discovery about their family's secret.

Pure visionary is brought to the screen in director Colin (Long Weekend) Eggleston's very moody and seriously spooky minor budget Australian thriller "Cassandra". I hadn't seen it in ages, but its still visually arresting and stylishly done with its ominous punch and novel techniques. There's patient handling all round and that creeps up in its torpid pacing, which unquestionably has some flagging spots. But this subtleness makes way for some forebodingly suspenseful set pieces that provide quick and concise jolts with grisly intension, but without the real need of showing us. For some that factor might be a huge downer, but how they fuse the violence with the disquieting material and chilling atmosphere payed dividends in the set-up. This was helped a lot by Ian Mason's unworldly hum-dinger of a music score that was effectively placed to achieve unbearable tension with cunning unease. Gary Wapshott's kinetic photography gracefully glides and professionally frames some beautifully striking locations. There was a true addiction to POV shots here, though they were neatly staged. The complicatedly progressive (but unoriginal) story by Colin Eggleston, Christopher Flitchett and John Ruane works upon the little things by trying to surprise the viewer with outlandish twists and wayward developments. It's flawed, as it does chop and change a bit and lose sight of its intriguing mystery to fall in the final third. With common slasher traits (red herrings get a real work out) and a predictable revelation that limps into a sudden climax that's plain dumbfounding. A slasher film at heart it is, but it's trying to be much more and it does come off (well sort of) in parts. Most of the performances are nicely judged and credible. Debut actress Tessa Humphries works the role of Cassandra terrifically and invokes a compelling turn. Shane Briant and Briony Behets are substantially good in their parts as the parents.

Substance might be little, but this effort is a surprisingly decent exercise and has some imagination in its editing and visuals flashes to share. Well worth the look.

Dad is having an affair. Mom and daughter do not get along. And then the daughter begins to have visions of someone in the family killing people. The first half is a fast paced, scary little thriller. However, it runs out of steam by the second half and has way too many twists and suffers from your usual movie cliches. Rated R; Nudity, Violence and Profanity.

A young girl named 'Cassandra' is rattled by recurring nightmares involving a fire and a murder at the hands of little child in this 1986 offbeat slasher.

The film starts with a dream of a woman shooting herself after being coaxed by her young son to "do it". Our lead character Cassandra (who was a little girl in the dream that witnessed everything) wakes up from it. We find out that she's been having these dreams for quite some time. Puzzled by these dreams, and getting no help from her parents when she asks questions, Cassandra decides to investigate it further. Her parents try to sway her from looking into it, and it's not hard to tell that they know more than they're letting on.

Cassandra's father Stephen meanwhile is cheating on his wife Helen with one of the models he works with and has gotten her pregnant. Late one night, the model is murdered by an unseen assailant brandishing a large butcher knife. The cops believe it was either Helen or Cassandra who did it for revenge because of the affair. Not long after that, we see the stalker attack Helen late at night in her art studio.

There is something very haunt and eerie about the way 'Cassandra' is filmed, including the unnerving musical score playing in the background at almost all times. Very nice work by director Colin Eggleston. I thought one of the murder scenes near the beginning of the film was well done too, very 80's slasher-like with a classic jump scare. All of the stalking scenes were effective throughout. Where 'Cassandra' suffered was in it's writing. As the film slowly trudged along, the story got muddled and the audience gets introduced to way too many twists and turns.

All in all, 'Cassandra' was a fine Australian slasher flick that's worth at least one watch. Actress Briony Behets who played the mother Helen was a standout in the cast which featured a few not so good performances.

5/10.

Australian charmer about Cassandra, a young woman who wonders about a curious nightmare she keeps having. Her problems soon get much worse, however, as she begins seeing visions of murder from the killer's point of view.

This film is predictable, especially if you've seen one of my favorite slashers, but it's still compelling throughout. This is due in large part to a talented cast and the assured direction of one Colin Eggleston, director of the magnificent Long Weekend. The opening moments of the film are particularly stylish as we see a streak of images through a continually blinking eye, the eyelids evoking the feel of a camera shutter. Another of my favorite scenes comes towards the end, and I'll just say it involves fire. We also get a quality score, at varying times eerie and beautiful. Of the three Eggleston films I've seen (Innocent Prey being the third), this is my least favorite, but that's certainly not a slight against it.