BA_Harrison

Daylight's End is The Road Warrior crossed with 28 Days Later, but - needless to say - it's not as good as either. Johnny Strong plays Rourke (short for Rourkeatansky, perhaps?), who roams the post apocalyptic landscape in his armoured Plymouth killing infected zombie-like humans who lurk in the shadows (like vampires, sunlight kills them).

Like in The Road Warrior, Rourke rescues a woman, Sam (Chelsea Edmundson), from a gang of ruthless marauders; Sam promises Rourke fuel and ammo if he can take her back to her people, a group of survivors who have barricaded themselves into a police station. And as in The Road Warrior, Rourke hangs around to help the people, who have decided that their only chance of survival is to flee the city, hopefully on the plane that Sam has located. Rourke also has a score to settle with the infected 'alpha' who killed his wife.

For a low-budget movie, Daylight's End starts off promisingly, despite all of the obvious Mad Max cribs, but eventually descends into a mess of uninspired shoot-em-up action scenes that feature way too much CGI blood for my liking. All of the running around corridors, guns blazing, with the infected not far behind, becomes extremely tedious. In one final crib from The Road Warrior, the final survivors head for safety on a bus, Rourke climbing into his Plymouth to continue his hunt for the infected.

My rating is 4.5/10, rounded up to 5 for IMDb.

Piglet is bad. Worse than Winnie the Pooh: Blood and Honey; worse than Peter Pan's Neverland Nightmare; and worse than any of the recent Popeye horror movies. And that's saying something.

I'd assumed that Piglet would take place in the same twisted 'Poohniverse' as Blood and Honey, but it's actually a standalone movie that has nothing to do with Pooh. The killer in this one is simply a man wearing a rubber pig mask that he conveniently finds in a drawer. The lame plot sees this mask-wearing nut-job killing off a group of young women who have rented a cabin in the woods for the weekend.

The script is pure excrement (seeing as it's by the same genius who wrote Popeye's Revenge, that's no real surprise), the direction is weak, and the acting is dreadful. It's hard to tell where the film is supposed to take place: one of the characters talks about moving to Salt Lake City, so it would seem safe to assume that it's America, but the cast are clearly British or Eastern European (they might be attempting American accents, but they ain't fooling anyone). The kills are terrible - unimaginative with pathetic practical effects and plenty of unconvincing CGI blood. And director Andrea M. Catinella even has the audacity to rip-off The Texas Chain Saw Massacre with a really lame dinner table scene, but he's no Tobe Hooper. Not even when Tobe Hooper was crap.

Unfortunately, this trend for subverting childhood favourites seems to be continuing unabated; it's hard to see how they could get any worse than this one, I suppose. I rate Piglet 1/10.

In Shredder, a group of friends - assorted hot girls and cool dudes - go to a disused ski resort for a spot of partying and snowboarding (or shredding, as they call it); however, their fun is interrupted by a killer dressed in black ski gear, who has a grudge against shredders, and whose motive is connected to the death of a young girl years before.

This early 2000s slasher is a bit like a live Scooby Doo episode, except that there's no talking dog, the mystery gang were never killed off in gory fashion, and neither Daphne nor Velma stripped off to have sex in a jacuzzi. As the bodies pile up, the surviving pals slowly unravel the mystery behind the killings; unfortunately, sloppy storytelling and some truly nasty MTV-style editing make for an incomprehensible mess - way too convoluted for what is essentially a dumb slasher. A very dumb slasher.

The promising opening features a very gory near decapitation, but it is the best scene in the entire film, which makes everything that follows feel extremely disappointing. The other deaths are weak by comparison, the exception being the death of the killer, who, having been unmasked, is reduced to red mush by a big snow plough. If only there had been more creative gory deaths like these throughout instead of the film being bookended by the only decent demises.