Michael

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.

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.

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.

Late on in this ice-cold drama from casting-director-turned-writer-director Markus Schleinzer, a character describes the titular character as, amongst other things, "impatient". By now we the audience has come to know Michael (Michael Fuith). That is, we know his routines; his day-to-day lifestyle; his attention to detail; his agonising PATIENCE. For the last 90 minutes we've watched him as he leads an unremarkable life around a remarkably evil secret: there's a child in his basement, for use as a lover and a son. But no one really knows Michael - perhaps not even Michael himself.

This is challenging viewing. Schleinzer has the same objective eye as Michael Haneke (with whom he worked on The White Ribbon), and the same devious wit. He uses his simple images reflectively, making the observer (re)consider their own assumptions and prejudices.

What's most disturbing about this film is not that it is wall-to-wall creepy, but how dreadfully normal everything seems. Outside the underground lair, the activities of Michael and Wolfgang (David Rauchenberger) appear on the surface to be those of an only child and a grumpy parent. We're helpless observers in this quietly unfolding nightmare.

Whether Michael is any more than an extended exercise in discomfort is debatable. It doesn't attempt to explore the psychology of its central character, as a film like The Woodsman does. It certainly doesn't provide any possibility of redemption. But there's an inarguable truth in the humanisation of this monster, and that's what makes this film valuable - even if it is the furthest thing from entertainment you'll ever see.