Michael

I feel a little sick and a lot disturbed, but mostly, incredibly impressed.

I think when you buy a ticket for a film which has a pedophile for a protagonist, there's always that possibility that it might be a sympathetic portrayal; that beneath the monstrous outside, inside he's just a misunderstood kitten. I mean, surely, if ogres can be like onions, then pedophiles can be like physalis – a juicy centre fully enclosed in a large papery husk?

Well my Daily Mail reading readers, you can relax, Michael is anything but a sympathetic character – although, you may be disappointed that he has neither horns nor tail.

The complexities of the relationship between Michael and his 'houseguest' are fascinating, as it slowly dawns on you how easy it could be to manipulate a child into being a complicit captive, and exactly how many basements out there in fact have a missing child within?

So much of your ninety-four minutes of viewing 'pleasure' is consumed with such sobering and vile thoughts, while the rest is filled with some very dark humour indeed as there's nothing funnier than seeing a pedophile get stuck in the off-piste snow. Believe me, there isn't.

The film itself is flawless, and there are certain moments in and amongst its day-to-day mundanity that reveal themselves as a masterclass in subtle suspense.

This would happily sit right up there on your 'challenging' DVD shelf alongside Dogtooth – which is another fine film that reveals the worlds that people carve for themselves when the shutters come down and all that's left is you, the awkward man and his penis.

OK, that's a very accusatory title to put to a review of a film, but I don't think that I have ever been so sure about how a film would end than I was during the closing 20 minutes of "Michael". That is not to say that I don't think that the film should have ended the way that it did, it's just that I was so sure of what the final frames would consist of. I was absolutely spot on. "Michael" is a very well made film, for sure, but if you're expecting anything anywhere near as ambiguous or intelligent as even the weakest Haneke film, prepare for a disappointment. I do look forward to seeing what Markus Schleinzer does next as he clearly has a talent for directing films with a disturbing subject matter, but if he has a masterpiece within him, "Michael" certainly isn't it.

Decent film, but must try harder to achieve greatness.

Loosely based on a horrific true story of an Austrian man who kept a girl in his cellar for the best part of two decades, 'Michael' is a film I avoided watching for a long time in part because I feared it would simply prove too unpleasant. In fact, it's watchable and (mostly) understated: its (fictional) villain less a pure monster, more just an isolated person who decides to set up their own life the way they want to, and to keep a child as one would keep a pet. Even then, his incapacity for emotion (towards the child, or indeed, for anybody else) is striking, which partly explains his appalling actions. I don't know how the details of this story reflect on the actual tale; but it seems a believable portrait of how someone could come to act in this way. The film is low budget: some of the scenes may be shot as they are to save filming them more expensively, although the advantage is that the audience is encouraged to concentrate on what matters, not some lush background. The ending is premature disappointing dramatically but what's more interesting is how much I cared to see what happened next: 'Michael' might not literally be docu-drama, but it convinces as a portrait of evil as the absence of empathy.

There are a good many evil villains in film today; in fantasy, action and sci-fi epics, there's usually someone who is hateful and despicable and sometimes more interesting than the hero. In this film, the main character is unregenerate, committed to his quiet destruction of innocence and portrayed without judgement; it is up to us to judge him, and the verdict doesn't take long. This is a chilly portrait of a child molester at home, with his boy locked up in the cellar, and it is not a pretty film in any way, although powerful and well-made. Michael goes about his daily business, unsuspected by his office mates, and even given advancement by his boss. Then he goes home with some groceries and makes dinner for two, followed by despicable acts graphically hinted at. If this doesn't sound like something you would be entertained by, you may want to pass on it; the subject is ripe for sensationalism, but its execution is quietly observant and methodical.

This film is an incredible, original and totally unexpected piece of work. Given the subject matter audiences may assume that this would be pure exploitation or self-consciously 'dark' or 'edgy' but the film is full of ambiguity and subtlety and the director does an amazing job of keeping distant and matter-of-fact about the characters without leering or over-dramatics. Recently there have been a number of films which attempt (sometimes desperately) to be disturbing or provocative with degrees of explicitness , the originality of Michael is it's lack of explicitness or exploitation (if it was any other form of relationship it would be rated PG) which gives it a unique and unsettling tone. The film is full of little details and memorable moments which linger and is closed by an unexpected ending which moves from tense to calm then back to tense, all with a subtlety and pace alien to Hollywood.