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As many reviewers have said, this is one of the best body pile slashers films made ever, certainly in the last few years. Buckets of blood, great makeup and special effects, and some seriously genius ways of offing the good guys. But we also get one of the stupidest plot twists ever that not only ruins the vibe of the film, but makes the whole script seem completely incoherent. On multiple viewings you see the direction around this twist is actually quite well done, tons of small hints and some gross additions are noticed, but it's not worth it at all. If there was no plot twist, this would have easily gotten a 9 in my book, but it's lucky it got the 6 with that dumb idea tacked on for no reason.

...and so will faces, slashed throats, dismembered hands, decapitated heads, backs, arms, feet, stomachs, chests... In fact, just about everything that can bleed does bleed in this movie, and does so copiously.

High Tension, aka Switchblade Romance (much better title) is the best horror movie I've seen come out in theaters in years. After so many times hearing "this is the movie horror fans have been waiting for" and then being horribly disappointed by Cabin Fever, The Ring, Malevolence, Darkness, The Grudge, and every single other one, I am throwing my full weight behind this one. Switchblade Romance is the movie real horror movie fans have been waiting for. It's a bloody, merciless, no-humor and no-holds-barred homage to the classic slasher pics of the 70s, and yet it surpasses almost every movie it draws its inspiration from. We get an unstoppable but definitely human killer, far more interesting than, say, Jason or what Michael Myers has now become because of his obviously being human and because he makes some undeniably smart decisions and operates in a continuously logical, inescapable way. The arsenal on display is impressive, as it should be in any decent slasher movie. We get the basic straight razor, the butcher knife, shotgun, axe, and, in an incredible and deliciously violent nod to Texas Chainsaw Massacre, the power buzzsaw.

Every aspect of this film is in place. The plot is simple and straightforward, the acting, even dubbed, is interesting (and despite complaints of why only parts of it were dubbed, if you watch closely and pay attention to who speaks French and who is dubbed, it actually makes perfect sense and fits with the movie), the cinematography is strangely artistic, almost gialli-like, the bloodletting stylish and gruesome, the sound design incredible, the tension almost unwavering. The initial horror set piece, the arrival of the killer and the slaughter in the house, is bound to become a well-remembered and oft referenced classic scene of horror. The sheer brutality and stark reality of it ranks it up there, in my mind, with the gut wrenching finale of "Odishon." A quick word on the performances. There's minimal dialogue, but what there is is at least two steps up from most horror films. Its meant to build character, whereas most slasher flick dialogue is there just to drive the plot. Here, we care about the characters, even those who don't get much of a chance to talk, because the situation is so much more real than your average flick and so is the acting. Cecile de France's physical performance is stunning, the fear on her face, the tension in every limb, the breath rate, the pain, everything, and the sheer madness that Maiwenn's character endures is perfectly conveyed by the utter despair she is able to convey even with a gag in her mouth most of the time.

An, of course, a quick word on the ending. Quit complaining! The ending of this movie is great, not only does it take an extremely well made but somewhat shallow gore pic to a whole new level with some interesting things to say about... well, I won't say on account of not spoiling it, but yes, it actually does make sense if you've watched the movie carefully and have enough intellect to think about it on your own rather than just taking at face value what you've seen. I halfway wonder if the twist wasn't in part a snobby French joke Aja decided to play to see if we lulled, summer blockbuster-fed Americans could figure it out and realize that everything works without being spoon-fed exactly how it works.

8 / 10 - which makes it twice as good as the next best horror movie to come out in theatres in a decade. The only thing that keeps it from attaining a perfect 10 is that, although the tension is cranked up high for most of it and the scares are a thing that will haunt you more after walking out of the movie than when you're watching, the suspense does kind of flag unexpectedly in a few key places. Still, given the other 80% of the movie is extremely suspenseful and effectively brutal, this is a small flaw. If you like horror movies, GO SEE IT.

"Haute Tension" is one of the best horror films I have seen in years. It is appropriately gruesome and shocking and does not take the wise cracking, action movie based horror movie approach that so many recent horror films have taken. The film is well made and paced and builds up the suspense to a crescendo and does not overstay it's welcome. One would have found it unusual for French cinema to be the one to revitalize the horror genre which has become hackneyed and trite in Hollywood (so many want to refer to it as psychological thriller). The story follows 2 college co-eds visiting the homestead of one of the girl's family on a school break. A mysterious man in a mechanic jumpsuit and old truck (reminiscient of the one in "Jeepers Creepers")comes to the house in the night and brutally murders the family, kidnaps the girl and overlooks her friend who has to pursue the killer to rescue her friend. Director, Alexander Aja, does not make a pedestrian, light weight horror film and the deaths in the film are disturbing and brutal. There is no humor or comic relief and the blood literally soaks the camera lens. The sense of dread and the unrelenting suspense and pace makes this a refreshing breath of fresh air from all of the PG-13 rated "Scream" wannabes that have been hitting the multi-plexes. Wes Craven had reportedly seen "Haute Tension" at Sundance and has hand picked Alexander Aja to remake "The Hills Have Eyes" and have free artistic licence since Craven had pegged him as the "future of horror." There is even a plot twist which you will either love or hate but it fits in well with the film. The performances by Cecile de France, Maewenn and the actor who portrays the killer are perfect. All in all, this is a French film that deserves to be seen in American multiplexes and a must see for horror movie fans the world over who have been having to settle for mediocre horror for many years now.

For the first sixty minutes or so, Haute Tension is an uncompromising, brutal, nerve-shredding, edge-of-the-seat thriller—not surprising since virtually every one of those minutes is a blatant steal from Dean Koontz's brilliant, brutal, nerve-shredding, edge of the seat novel Intensity. Unfortunately, after the hour mark, director Alexandre Aja gradually steers his narrative away from Koontz's novel, presumably in a futile effort to disguise his plagiarism, and the film slowly falls apart, culminating in a ridiculous twist ending that makes a mockery of all that we have seen thus far.

For fans of Intensity, it's a particularly frustrating experience: not just because the Koontz receives absolutely no credit for his work, but also because Aja's handling of the author's material is so good. If only Aja had adapted the whole of Koontz's book (preferably with the author's approval), we might have had one of the greatest horror movies of all time; instead, we get an hour of absolutely stonking stuff (the opening home invasion, in particular, is flawlessly handled and amazingly gory), which are followed by twenty more minutes of reasonably solid cat-and-mouse action, and then that bloody awful finale.

For all the excellent stuff 'inspired' by Koontz, a rating of 9/10 seems fair; but for stealing the plot without giving the author credit and then having the nerve to tack on a dumb ending, I deduct three of those points, leaving the film a final score from me of 6/10. Worth a watch (especially for gore-hounds), but impossible to wholeheartedly endorse.

Oh my god. Without a doubt I have not been affected by a movie this much since watching the original Texas Chainsaw Massacre when I was well under age and the movie was certainly more than dodgy. I couldn't sleep after watching that and was very uneasy, multiplied a gazillion times by the imagination of a kid. This certainly had a similar affect on me, it scared me and horrified me, it even surprised me more than any other movie has of late.

If you have any preconception about foreign cinema being weaker to Hollywood then you have hardly spent enough time watching foreign cinema and too much time engrossed in poor romantic flicks with Clooney et al. You really need to get out and grab some of that Japanese, Spanish and French cinema action. It's easily had and there's a lot to it, far better movies...anyway, I find myself digressing again.

From the outset this movie pitches itself as a hard horror, it isn't going to pull any punches and it's going to show you like it is, harrowing and horrific. That said, the story then turns to a slower pace and you find that it's mixing the suspenseful thriller in with the moments of full on horror, and it's done so well. Too well in fact, and watching the psychotic at work is sometimes shocking.

It rides a fine line between schlock horror and suspense horror, it manages to combine the two without falling into a complete gore flick. It is gory mind you, very gory. I was eating a couple of biscuits during the movie and I stopped until it was finished, even then I wasn't sure.

That's where this movies strength lies, it really pushes the boundaries of between those two types of movies but keeps its feet firmly in the suspense, and tension area. The film is exceedingly tense, and it's raised slowly to begin with, but creeps up at every set piece, and it's not long before the shocking and surprising final set piece is upon you. That in itself is terrifying, and as it unfolded on me I was stunned.

Part of me thinks that this movie could have done much better without all the horror, but I'm not sure that the film would have carried on the tension and suspense alone, it's the very presence of the horror that adds to and heightens the pressure.

A very stylish, tense film, truly a suspense-thriller-horror to be proud of from the French. Please Hollywood, don't remake it.

The title of this marvellous French horror thriller translates directly into English as 'High Tension', and as anyone who's seen it will tell you; it's an apt title. Simply put, Switchblade Romance (to give it English release, and better, title) is a pure adrenaline rush throughout. The film forsakes substance in favour of masses of tension and the result is a film that is guaranteed to get your heart racing. The fact that the film features numerous sequences of extreme gore doesn't exactly hinder it either. There has been a surge of good, inventive horror coming from overseas and independent studios recently; the likes of May, Dog Soldiers and Sleepless being among the best of them, and Switchblade Romance sits nicely alongside the cream of the recent crop. This film follows two friends, Alex and Marie who go to stay with Alex's parents in their country home. However, things go awry when a man breaks into the home and brutally murders the family. We then follow Alex and Marie through a roller coaster ride of tension and suspense as they try their best not get sliced and diced!

The film is very stylishly shot, and this has lead many to label it a 'Giallo'. This is most certainly not true, and there isn't much other than the style of the movie to suggest this. Switchblade Romance is more of a Texas Chainsaw Massacre style horror driven slasher than a Giallo; the film clearly knows this also, with a direct homage to the seventies classic towards it's climax. The amount of gore on display is impressive, and several scenes are certainly not for the feint-hearted. There's quite an array of weaponry in the film also, from the plain and simple switchblade, to much more exciting weapons like barbed wire, various guns, an axe and, my personal favourite, the chainsaw! In fact, I am pleased to report that Switchblade Romance features what is maybe the most brutal chainsaw scene ever! Aside from the weapons and gore, this film is also of note for it's music. The original score sets just the right tone for the goings on - it's atmospheric, but steady and almost like a lullaby, which fits with the film's style nicely. Switchblade Romance also features one of the best uses of original music of recent years, with a great scene that incorporates Muse's "New Born".

Switchblade Romance is pure style, and a complete adrenaline rush. Tension isn't in the film, it IS the film. In spite of it's lack of substance, this movie will have you on the edge of your seat and begging for more. Add that to some lovely music, classy acting and enough gore to fill an abattoir - and what you've got is the makings of a cult classic!

The 70's and 80's produced what I consider to be the best horror films ever made. There were more independent films being made 20 and 30 years ago and that led to less studio intervention. I seriously doubt Sam Raimi could have made his classic gore fest THE EVIL DEAD if The Weinsteins were behind the scenes. And I know for a fact that Tobe Hooper would never have gotten away with what he did to make Texas CHAINSAW MASSACRE as shock inducing as he did. And finally, what I consider is the most disturbing film ever made, never would have been made if guys like Michael Ovitz were behind it. Could you imagine if Ovitz was visiting the set of LAST HOUSE ON THE LEFT, took a look at the dailies and then said, "okay, that intestine part has to go, the slapping of the naked girls has to be trimmed down and the fellatio part has to be edited." Last House would not be the classic that it is today and it certainly would not be a paradigm to all horror films that many aspire to make today.

Now, what we have are a plethora of films that follow in M. Night Shyamalan's footsteps after his monster and genre defining hit SIXTH SENSE. It's a great film that puts the suspense back in horror. And as much as I love Sixth Sense, as much as I respect what Shyamalan has done to help redefine horror, too many of today's film makers try to emulate him and screw things up.

HIGH TENSION, for the first 80 minutes of the movie is a true testament to the basic primal animal that we are, or can be. It is an uncompromising and relentless attack of our senses, our nerves and our being. It shreds the neo horror film ideology that THE RING and Sixth Sense seemed to invent and instead grabs a hold of your intestines and squeezes and then twists. It is about as intense of a film as I have seen in quite some time. While not as sick and depraved as Last House on the Left, it treads in the same water. This has the look and feel of a 70's guts on the wall horror film and for that, I applaud Alexandre Aja for writing and directing a film that looks like it had very little studio intervention and as such the film is about as shocking a film as you will see from any North American distributed film.

High Tension's strength is that it is about as violent and blood soaked as any film from the period that it pays homage to. Gone is the horror film blueprint that teens seem to love today. This is a film made by a director that grew up perhaps admiring some of the greats from three decades ago. You can see homages to films like Friday THE 13TH, MADMAN, THE STEPFATHER, and of course Texas Chainsaw Massacre. There are at least 4 scenes in this film that truly shocked me. The violence is real, it is macabre and it is brutal. Blood spills, it flows, and it sprays. I have never seen someone get their throat slit, but I would imagine it would something like it does in this film.

The pace of the film is frenetic and at about the twenty minute mark, the dialogue pretty much stops and what we have is a cat and mouse game. Aja does his talking with chainsaws, barbed wire and a switchblade. There is much attention to detail in this film and I guess that sort of justifies the end, which is about as beguiling as any legerdemain present in any of the films since Sixth Sense.

The ending has to be mentioned because as I'm sure many of you know by now, the ending is unnecessary chicanery. It just didn't need to be there. But to be fair, the film does allude to the road it is embarking on, it just seems like an extrinsic path. The denouement of the film, can be a distraction and take away from the raw emotion the film does a great job of making you feel up until this point. And if you examine the film, you'll realize that what you have seen for the last 80 minutes is pretty much impossible. I took all of that into consideration before writing this review. And what it comes down to is this: The films is so perfect before the preposterous ending, that you can kind of ignore the impossibilities and chicanery. If you can just see the film for all of its brilliance before the last ten minutes, you'll love the pure terror that this film presents us with. But just a word of warning. The ending is misleading and dishonest.

This film is an amalgamation of Last House and Sixth Sense. The twist, which may have been attractive to the talking heads in charge of the studio, also takes away from the artistic integrity of the film. I, as other reviewers have mentioned, would much rather a psycho killer gone mad than a film that has to deceive us with a SLEEPAWAY CAMP type slap in the face. While Sleepaway Camp is a good film but not nearly in the class of High Tension, the ending fit there. Here, it is just plain wrong.

High Tension scores a 9/10 from me because it is about as good a horror film I have seen in the last ten years. The last 10 minutes drags it down to a 9 instead of a 10, but this film is raw, it is primal and it is made with ingenuity and care and it is a true homage to the horror films that I grew up with. This is truly a must see for any horror fan.

As a horror film fan, I have wanted to see "High Tension" for a while, ever since I saw the delectably violent trailer and clips. It does not disappoint in the gory violence department, but I found it to be too short, with an abrupt ending. Still, the film is a haunting exploration of the darkest corners of the human psyche; a portrait that doubles, or maybe masquerades, as a slasher.

Cécile De France is good in the role of Marie, showing grit, nerve and, dare I say, tension when the role calls for it. Maïwenn Le Besco is also good as Alex, although her role does not demand much from her, except for a few scenes of considerable emotional range.

Two of the best aspects of the film are its cinematography and music. Cinematographer Maxime Alexandre paints the film in bluish, metallic, detached hues, that contribute to the effects of truly unapologetic on-screen violence. Composer François Eudes' score is an audio picture of disturbed peace and chaos brewing in the idyll of normalcy. Had it not been for these two elements, the film would not have been half as effective.

"High Tension" is not a must-see film by any means, but it is a must for art-house and horror film fans.

7/10

Sometimes, a twist can make a good horror all the better. Films like Alfred Hitchcock's 'Psycho,' Bong Joon Ho's 'Parasite' and Park Chan-wook's 'Oldboy' each contain unexpected twists in their respective tales that heightens the impact of their narratives. However, tepid efforts like Joseph Ruben's 'The Forgotten,' Sylvian White's 'I'll Always Know What You Did Last Summer' and many of M. Night Shyamalan's offerings prove that not every story warrants a last-minute curveball. Sometimes, a predictable but well-executed scare is far better than a forced 'gotcha'.

Alexandre Aja's 'Haute Tension' (known in English as 'High Tension,' or by the far better title 'Switchblade Romance') falls into the latter category. It follows Marie and Alex, two friends on a trip through rural France, who are targeted by a vicious serial killer. What begins as a taut, brutal slasher with genuine suspense ultimately stumbles under the weight of a twist that strains both logic and patience.

Written alongside Grégory Levasseur, Aja's film begins as a relentless, nerve-shredding experience, paying clear homage to the brutal, no-frills exploitation horrors of the 1970's. Thriving on stripped-down simplicity, there's little in the way of excess, just pure, unrelenting suspense. The kills are visceral, bloody and executed with a savage intensity that will satisfy even the most hardened horror fans.

For much of its runtime, the film is a masterclass in sustained dread. However, instead of delivering a knockout blow in the final act, Aja stumbles at the finish line. The film's momentum comes to a screeching halt, derailed by a twist so absurd it retroactively undermines everything that came before it. Instead of elevating the horror, it forces one to re-evaluate the entire story- not with shock or awe, but with frustration and disbelief.

When this twist is finally revealed, it feels not only unnecessary but out of place, turning what had been a tense slasher into a convoluted mess betraying its earlier effectiveness. The carefully crafted atmosphere of dread is shattered, leaving viewers questioning the film's logic and whether the horror was ever truly genuine. What had been a terrifying experience collapses under the weight of its own contrivance, and the emotional stakes feel cheapened.

This is only worsened by the fact that the characters themselves are thinly drawn, lacking the depth needed to make their fate feel truly impactful. With little to latch onto beyond the immediate terror of their predicament, the film struggles to sustain emotional investment once its central conceit begins to unravel.

In the end, despite a strong start, 'High Tension' becomes a cautionary tale about the dangers of forcing a twist into a story when there is no need for one. Having said that, it does contain some bloody brilliant scenes of gory grotesquerie. From its opening moments, the film throttles one with scenes of unrelenting brutality. The kills are savage, designed not just to shock, but to immerse you in a Thomas Hobbesian world where life is nasty, brutish and short.

Additionally, it is visually striking, with Maxime Alexandre's stark cinematography contrasting the serene beauty of the French countryside with claustrophobic, blood-soaked interiors. This juxtaposition heightens the unsettling atmosphere, amplifying the film's tension.

Complementing this is François-Eudes Chanfrault's minimalistic and urgent score, mirroring the narrative's escalating terror. His use of songs by the likes of Muse and Ricchi e poveri also creates an ironic contrast, adding a layer of dark humour that deepens the film's dissonance.

Furthermore, the performances are strong, especially that of Cécile de France as Marie. Her ability to shift between fear, determination and terror adds emotional depth to her character, making Marie a (mostly) relatable and sympathetic figure amidst the brutal violence. Her performance anchors the film, grounding the escalating chaos even as the narrative grows increasingly outlandish. She elevates the material, making the most out of Levasseur and Aja's scant characterisation.

Maïwenn isn't given much to do other than scream and cry in the role of Alex- though she does that quite brilliantly. In addition, Philippe Nahon makes for a most menacing and memorable villain, elevating a criminally (and perhaps purposefully) underwritten part.

Ultimately, Alexandre Aja's 'High Tension' is a missed opportunity- a brutal ride sabotaged by its own twist. It bears comparison to Greg McLean's far superior 'Wolf Creek', both following a similar premise of two women being stalked by a serial killer in a rural location. While 'Wolf Creek' excels in its seedy realism, sustained tension and pitch-black humour, Aja's film falters with an unnecessary, convoluted twist that detracts from its terror. In the end, despite good performances, an evocative score and some creative scenes of bloodshed, it is high tension in name only.

The plot of the movie was kinda interesting, even though it was similar to every other slasher movie. The storyline was kinda well-written, even though there were too MANY plot holes during the movie. The characters were very interesting, but not really well-developed. The filming location of the movie was just nice, nothing wow. The killcount of the movie was really bloody and gory, I really liked every kill of that movie. Of course, it was a really intense movie and there were too many chase scenes. In my opinion, it was a really nice slasher movie and it definitely had potential, but the ending twist totally RUINED the movie... Sadly, the plot twist of the movie wasn't really good and it wasn't well-developed. Overall, it was an average slasher movie that it could have been way better, if the ending twist was more clever and well-explained... By the way, I would definitely like the idea of a remake, but they should definitely change the ending twist (if they're planning to make a remake)!

There should not be any surprise why Wes Craven chose Alexandre Aja to direct the remake of "The Hills Have Eyes". Aja's "High Tension" delivers what could be the most terrifying scenario in horror history since "The Last House on The Left". Two young women travel to a dreary looking farmhouse to study for important school exams. That same night, as soon as the doorbell rings, the madness strikes, and it strikes hard. The killer in this film holds nothing back, and it will feel as if you had been struck in the stomach by a 2x4. The flick will not let you go until the last fearful scene is over. Highly recommended for serious horror filmmakers.

HIGH TENSION (3+ outta 5 stars) An effective little thriller... marred a bit by a muddled ending which raises more questions than it answers. A pair of young female students drive out to the secluded country home where one's family lives. During the night a mysterious truck arrives and over an hour of bloody mayhem ensues. Trust me, the less you know about the plot from this point on, the better you'll enjoy the film. It's very suspenseful and very gory... the movie is heavily influenced by many screen horror classics, from "Texas Chainsaw Massacre" to "Friday the 13th" to "Scream". It definitely makes up for with style what it lacks in originality. Cecile De France makes an appealing heroine with her butch haircut and attitude. Her strong, unrequited feelings for her girlfriend give the drama an extra edge. I definitely would have liked the movie more if not for the weird plot turns in the final act. The movie was working so well up to that point... it didn't need to strain so hard for such a "clever" twist.

I heard of High Tension before. It came out last summer but for some reason the trailer never really caught my attention enough to go out and see it. I thought the synopsis sounded interesting but I figured this is a movie more suited to be viewed on DVD than in theaters. I rented High Tension one weekend and this movie is the answer to the question many horror fans always ask ... "Where are the bloody horror films?". If you are looking for a bloody interesting horror film. High Tension may be your prescription.

High Tension (Haute Tension) is about a girl name Marie who is coming to stay with her good friend Alex at her parents house. While in the house Marie wakes up to find an unknown man in the house killing the family and kidnapping Alex.

I am pleasantly surprised how good the movie was. And it's a surprise to me considering I am not too found of movies that are dubbed. The movie was filmed in French language and then dubbed for the US with English voice overs. If you rent the DVD. Best bet is to play it with the French audio and English subtitles.

Definitely a must see 9/10

Well I know how we all hate to read on the net, in fact it has been proved that it's harder to read than with books, so I will put this review backwards(ish) for all those with itchy mouse-wheels ...

It had been a while since I had heard about Haute Tension, to when I finally got to see it, and I was very impressed! It is a taut horrific thriller with buckets of blood and shocks that don't go for "cheese" because it can't pull off reality. Haute Tension is one of those films I am glad I didn't watch with other people. I am not a social film watcher, and this film is so involving that, to it's credit, and my irritation, it creates too many opportunities for the more vocal out there to shout, "don't go in there!", or "are you stupid?"! Fantastic film - well for the first 90% of it anyway. That is not to say that the last 10% is terrible - it isn't, it's great - but nearing the end, the film stumbled ever so slightly and I never truly recovered.

The last scene is still impactful, though, and the ride you take to get there is thoroughly rewarding and gripping. After buckets of blood, and several nail-biting scenes of mayhem, the film ended ... but rather abruptly. Maybe because I was so enthralled by this film, that didn't notice the passage of time, but I actually checked my watch at the end - this is indeed a short film at only 1 hour and 27 minutes.

The blood and gore was great, though I don't know if I am just desensitised, but was it all that extreme? From the hype, I had expected more, which led me online to see if I had watched a cut version. I looked at Beaver and Rewind and saw that the answer was no - it was full. Maybe I should take a break from horror films for a while. However, I guess that since this film aimed for a mainstream release, the general public was MUCH easier to shock than horror veterans.

I am a huge fan of horror, and I loved the visuals and sound for this film. It is a gorgeous film to behold, and it isn't marred by MTV editing, or cheap manipulations (though there are a few scare-standards in there, that I wish directors wouldn't use anymore, because we can see right through them!) The music is great, and besides the more fevered playing of the song by Muse, the soundtrack supports the film very well, rather than just providing more marketing options for CDs, which over the other side of the world, has too long been the "Hollowood" trend.

I won't go into the story, as I there are multitudes of resources online that will explain it all better, but it is interesting to see the reaction of viewers to this film. They are truly divided, some proclaim this film to be shear genius, and other's, derivative. All I can say is that apparently the film is a remake (or re-imagining?) of a Deen Koonzt novel turned 1997 TV miniseries called "Intensity" (http://www.imdb.com/title/tt0118350/). At least this fact could help stem the claims that this film has copied in more ways than one from some other, lessor films.

Go and see it! Enjoy! Go in as BLIND as you can (not literally, as the soundtrack is more minimal than most). I mean, have no expectations, or prior knowledge as to the story, and you will be surprised by this gem of a film.