Best movie of this year hands down!

the audience applauded

While it doesn't offer any answers, it both thrills and makes you think.

This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

After watching "Found", I had such high hopes for this movie. Unfortunately, this movie will fade into the forgotten realms that poorly executed horror films fall into. First of all, this movie 'looks' amazing. It looks like the 70's and captures that vibe so well. Even the villains look almost classic from a horror perspective. But once a director goes to the cheap gore, you know they have nothing left in their toolkit, and that's too bad. This movie could have been a cult favorite or even a classic horror. But just shock for the sake of shock, you know the director has no clue on how to create suspense or tension. And don't get me wrong, gore doesn't bother me at all. I just recognize when directors go there and offer nothing else, you realize they are in over their head. I'm sure this movie will appeal to 15 year old Rob Zombie fans, but surely it's a missed opportunity for building a cult following for those who want more out of their horror movies.But I'm holding out hope Arthur Cullipher's next movie will be much more sophisticated, as he is able to make a great looking movie. He just needs to focus more on the story and what matters most to horror fans who want more than easy, cheap gore.

To make it clear, I think that this is one of most violent movies I have ever seen. It exceeds even gore classics like original "I spit on your grave". This film is actually made as an "lost" slasher from 1978, when this kind of films was popular. This picture's main "component" is its remarkable brutality. Even it is made for the low budget the effect are acceptable. This picture shows 2 different eras, masked serial killer's slaughtering now and also when he was young and was tortured by the family, specifically from his mother.If you have seen the flick Found (2012), those 2 movies are very similar. This film is absolutely everything that a slasher sub-genre fan wants: gore, nudity, blood, and heads being chopped off. Just one word, GORE!

Deranged guy in skull mask slaughters women at random to satisfy his lust.That's the logline. That's it. No character arcs here, thanks very much. And yet it's the best of its kind. Maybe even unique.Problem I have with slashers is the killers are usually dull, depressing, and the only thing to root for is the boring innocence of the victims. Here we have a back story (maybe too Grimm's fairytale), but more importantly good acting behind the mask and the brilliant device of the teeth-clacking alter ego, which cuts out daft exposition. I'm over analysing - this is just bloody good, and as the climax came on I wished the killer's reign would end just so he could find some peace.The humour is good too, with some lovely touches - the kitty miaowing, eyeballs hanging ripe from the tree, sex on roller skates. I was hoping they'd do the Steve Martin hat trick from Man With Two Brains. But the miaowing is the best moment - shock/laugh/disgust all in one, and the story charges on before you can recover.Gore was great, not too gritty. Pace was good, although the killing ritual was too repetitive. And I thought audience expectation at the end was well handled. Overall it looked good, sounded good. Dialogue in its proper place, although Slick Vic should stay behind the camera.Superior slasher. ps. I think that hat trick was done in American Psycho the novel.

Headless is Found's perfect sister film, a much anticipated tie-in that has so much to live up to. Scott Schirmer's Found (2012) took the horror world by storm, sweeping up dozens of awards at film festivals and gaining an instant cult following. Headless is Found's "film within a film", a no- holds barred, '80s nasty that pushes the envelope of good taste and has a lasting impression on at least one of its viewers.To produce a stand-alone, full-length movie of Headless is no easy feat. Headless needed to shock on a visceral level whilst maintaining the original film's dark psychological edge and taboo themes. With expectations high, the potential for failure and disappointment was very real. The good news is that Headless delivers the goods. Scott Schirmer passes the directorial reins this time around to Found's special effects director, Arthur Cullipher, whilst maintaining co- producing responsibilities with Kara Erdel. The Found army can breath a collective sigh of a relief. The combination of talent here is a winning formula.Headless is fast-moving, bloody beyond belief, boundary-pushing (there's one particular act of carnage that I've never on screen in such candid and unflinching detail before), psychological, hallucinatory, surreal and unpredictable. It manages to honour the themes of its predecessor whilst adding something new to boot.The entire cast is excellent but special mention must go to young Kaden Miller for his chilling performance as the Skull Boy. The character's physical presence takes the movie to another level. It's a jaw-dropping pièce de résistance. With the presence of this character, we witness the killer's (played by a truly believable Shane Beasley) ride into a hellish insanity.As an aside, I hadn't expected to see this movie so soon. At around 1.00am on a cold February morning, I realised I'd received an invitation to catch a preview screener of the film. Sleep was put on hold until the film had been devoured. In a way, this is how Headless should be viewed. It is a midnight movie, through and through. Perfect entertainment for a gathering of gore- hounds or the genre enthusiast who needs something new to rekindle his love of the modern horror movie. Whilst being released in 2015, the '70's (and early '80's) atmosphere is soaked into every frame. With faux print damage, big hair, cheesy dialogue and zero political correctness, this is like uncovering a hidden gem in a filmmaker's cupboard. If The Texas Chainsaw Massacre and The Last House on the Left married and had a child, its name would be Headless. 9.5 out of 10. Close to indie perfection, this is unmissable. From the moment the credits start, your senses are reeling from the physical insults delivered to the characters from the original Headless footage. Nasty but nice.