Most disturbing purebred slasher film of this decade due to the unflinching violence and glee that it presents its sadism, but is also one of the subgenre's dramatically richest films, and the most creative in its telling in years. Despite the queasy depths the bloodshed reaches, it steadily grows empathy for its brutal murderess through organic, non-linear storytelling, making her more-and-more dimensionally human.
I can't really say why I liked this movie other than the fact that Josie Ho is a very watchable actress. This is one of the most violent films I've seen in a lifetime of watching horror but the blood and gore is mostly computer-rendered, robbing it of much of its impact. Basically, a Category III flick for the arthouse set.
An odd comedy/horror that constantly shifts between drama and slasher. Unfortunately, the latter is alone in carrying any depth (which there is not much room for) and the slasher bits (in which there are plenty) fit better in your average B-rated gore flick than in a film supposedly about the housing market crisis.
Wavers between amateur hour and shockingly effective violence. I give it a pass based on its nihilistic vision of the American dream (home ownership) in the context of a contemporary economic/social dystopia. The non-linear narrative eventually builds suspense, and the direct political message is pardonable in the genre. Excited to see that there's room in Asian horror cinema for more than the supernatural.