One watches this with increasingly credulity at the obnoxiously contrived incoherent mess. An entirely useless shrink pops up and this is not steely sinister or utterly gripping. It also has no assaualtive power. Esparza overacts to pantomime ridiculousness. A cop has no mercy in his soul. This has no narrative structure and there are 7 births in one night.
16 years pass and people fire off quips in a life or death situation. Fantastical assertions are made and people have an unnatural aversion to sense. This was deservedly criticised. So it is now 2010 and so the prologue took place in 1994? The town has a Ripper Day - how bad and curious. The hero’s name is Bug? BUG?!? This had no fetid atmosphere or forgivable flaws. A stupid urban legend has grown up around the Ripper whose body was never found. Aggro-laden teens with no raw directness whine and utter incomprehensible dialogue. There is no brutal anger or carefully thought through plot. This was not even weirdly potent. It was also not a nifty inversion of the slasher genre.
The female characters are relentlessly coded as sex things. Bug seems to be a dim twit who is having a peculiar crisis of masculinity. The film seems to unfold in complete darkness. The crashed ambulance that the Ripper presumably died in, is STILL there after 16 years. It is inexplicably odd how crap this is. This was not oddly fascinating. There is babbling about condors. Craven devalued his brand some more with this crap.
This has the mandatory features of a non-motivated maniac on the loose, snot nosed kids, an evil stepfather and a serial killer’s rampage used as brag fodder. WTF are the teens talking about? Nobody has a degree of trepidation. Bug has a really out-dated flip phone. This rips all the fun out of the under-developed concept. This has bad acting by the self-infantilising teens. The serial killer who is striking in the ‘present’ is not seen as hideously tragic.
Bad girl Fang runs a mafia like gang at the school. I have no idea what they are talking about. I feel incomprehension at the script. There are no snappy performances. Everyone swears and every teen seems to have suppressed psychopathic rage. The narrative has no electric pace. There is a bizarre show and tell about condors that involves projectile vomiting.
The school is full of fear, bullying, ostracisation and dark and twisted things. Nobody cares. Bug has weird visions and there is no pungent sense of place. This half-arsed ‘horror’ isn’t scary at all. Mean girl Fang aka Leah is into the anatomy of intimidation and menacing communications. All the teens have hatred in their hearts. Bug has odd behaviour for no clear reasons and is subjected to puzzled uneasy glances. The inarticulate teens get murdered and finally people notice. Fang and Bug have an unexpected connection and a poisonous destiny. Bug’s coldly benevolent mother tells lies. This was miserably awful and has no over abundance of twists and turns.
Why are certain assumptions made? There is no relatable interaction. It is obvious who Bug’s father is. The whole plot and ending makes no sense. Who is the machinating murderous killer? Oh who cares? There is no prickly pathos or melancholic edge. The entirely featureless cast talk past each other unconvincingly whilst staring hauntedly into the middle distance. This hellish preposterousness is a disgrace to civilised humanity. This was not intense or sinister just full of righteous ranting.
“Break the door down.”
“The bird will vomit copiously on its tormentor!”
“We could burn the house down with my stepfather in it.”
“Your sins are already a stench in the nostrils of an angry God. Like knocking up Melanie Pratt, who’s only 15 and the principle’s daughter.”
“The sophomores have paid another year’s protection for their bikes.”
“The Unabomber’s evil twin.”
“Please don’t get me arrested.”
“Unlock the door for daddy.”
“You gonna pay for it?”