Excerpt: Spoiler: Someone lives. Actually, more than some one lives by No One Lives’ climax, but few can question the harsh allure of that title. Gore maven Ryuhei Kitamura helms this specialized splatter-a-thon, bolstered by a first round narrative spiral with outrageous consequences. No One Lives demands audience blindness outside of its genre classification and stern MPAA warnings; its twists are too critical for spoilers.
Conclusion: No One Lives isn't cinema as high art. It's not even all that noteworthy beyond its brutality and eagerness to display carnage in all its nastiness, except for a quality twist that redirects the movie from an average tale of Horror/Survival into something rather unique that leaves the audience uncertain of what to expect, not sure what outcome to want, and uncomfortable in a movie that convention says should fit like a well-worn glove.
Excerpt: No One Lives is a fantastic movie. It begins with one of my favorite opening sequences, as the filmmakers simultaneously pay homage to and subvert some of horror's most well-known tropes. My love affair with this film starts with an extremely tight script by first-time writer David Cohen.
Conclusion: In a crowded video marketplace, 'No One Lives' has two distinct advantages: 1) It will be easy for horror fans to zero in on this film in a line-up of other movies and 2) Luke Evans' name and face may be readily recognizable from his cam shaft crazy film earlier this summer. At any rate, this grimy slasher flick will probably enjoy a decent life as a rental and/or impulse buy.
Excerpt: [click on the thumbnail to enlarge] They came home early. This obnoxiously rich family was supposed to be on vacation for at least a few more days, but a change of plans had them pulling into the driveway while Hoag (Lee Tergesen) and the rest of his gang were still picking their palatial home clean.
Excerpt: Best known for the veritable genre goulash Versus , Ryuhei Kitamura at one point seemed poised to become a formidable cult stylist, or at least a poor man's Takashi Miike. Since then, his films have shown the same propensity toward genre alchemy (his English-language debut, The Midnight Meat Train , begins as a simple slasher film before abruptly turning into a riff on a Grimm fairy tale), but little in the way of thematic refinement.
Excerpt: How bad is No One Lives , the new bottom-feeding schlock-fest from WWE Studios? Simply put: It’s bad enough to make some of the studio’s other offerings, like the Steve Austin deathmatch movie The Condemned and the Kane-starring slasher flick See No Evil , look like genre gems. Even the built-in demographic may leave disappointed, as the film’s featured wrestler—hulking Brodus Clay, grunting maybe 10 lines—serves little purpose beyond providing the villain with a giant...