The Loved Ones (Directed By Sean Byrne-2009)

Ever wondered what would happen if you mixed elements of Carrie, Pretty in Pink and the black comedy tones of Texas Chainsaw Massacre, combined it with an Australian Freaks and Geeks esque high school coming of age drama and threw in a dash of intentionally hilarious torture porn? (a genre I really don't rate, but here it's more akin to 2008 British horror Mum & Dad) Well, the result would probably look a lot like Sean Byrne's The Loved Ones, a film that plays out like a sarcastic and hyper violent kick in the head, but somehow also works as a horribly fun hour and a half that cant be taken that seriously. Even when the film uncomfortably hints at incest and family tragedy the tone is strangely light and aware of it's comfort zones. Also, whilst Loved Ones is no bona fide classic, its a good, solid and inspired slice of horror that gets progressively more interesting and entertaining as it goes on.
Although Twilight's Xavier Samuels is given top billing on the films fantastic poster, the most memorable performance has to be that of Robin Mcleavy. The role of Princess can't have been an easy one but she pulls it off with such a huge surge of vigorous energy and excitement, I hope she continues to play similar parts in the near future. In Loved Ones, she plays the high school odd one out who after being denied a prom date with Samuel's emotionally damaged stoner character Brent, concocts a rather extreme revenge plan, lures him to her fathers home and proceeds to mentally and physically torture him whilst hosting a twisted prom of own. Byrne's film contains some almost supernatural elements and considering this is his first feature, works wonders with his young cast. Also, one of the films most memorable high points is how brilliantly he combines his ideas with cinematographer Simon Chapman. The final scene of Mcleavy running screaming across the fields, dressed lips to toes in neon pink and wielding a huge carving knife in pursue of her recently escaped hostage bring to mind the final doomed ending to Wolf Creek and linger in the mind long after viewing. The use of scope photography and sun drenched roads are at times mouth watering. Mcleavy's subtle recital of the films title song also gives the final sequence a melancholic air of sadness that may make you question whether your meant to feel sympathy for her, despite her insane antics.
I'll probably be watching this one again as I'm pretty sure one screening doesn't quite reveal all the films twists and obscurities.

Don't Go In The House (Directed by Joseph Ellison-1980)

One of the more memorable films in the long line of "Don't..." horrors that plagued the late 70's and early 80's, Joseph Ellison's infamously misogynistic drive in favourite delivers the sleaze but lacks a certain flare(Pun intended).
In an obvious nod to psycho, the film centralizes around paranoid mummy's boy Donny Kohler(Dan Grimaldi)who's job working at a local incineration plant has left him with an unhealthy obsession with fire. We also learn in an early flashback that his mother held his arms over the kitchen stove whenever she felt he was doing wrong.
All this back story is simply an excuse to lead the film up to it's most notorious moment. In it's defence Don't go in the house has one of slasher cinema's more demented and impressive moments in which Donny chains up and burns an innocent florist he has offered a ride home. The special effects used during this scene are so well done it not only makes the rest of the film seem quite lame in comparison but apparently highly distressed the cast and crew when watched back after it was originally shot. The film tries to make the most of its budgetary restrictions in a similar way to Abel Ferrara's Driller Killer and is helped greatly by it's Saturday night fever-esque disco soundtrack. However, it's a bleak and at times uncomfortable viewing experience and probably not one to be repeated often. The downbeat tone and dreamlike direction add to Donny's lonely character, though at no point does he come across as a particularly likable character, his unusual relationship with his mother also pushes the film into strange territories that may explain why it's still unavailable uncut in the UK. Though I'm fairly sure the reason the prudish BBFC censors didn't like this one is because of that one particular sequence that really does look a little too realistic.