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Paul Andrew Williams
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Heading home late one night after a party, Kate falls asleep while waiting for her train. She awakens to find herself trapped in the London underground, with all the doors locked for the evening. While being attacked by a co-worker who has followed her, a mysterious unseen creature drags him away and kills him. This begins a terrifying ordeal, as Kate and a young homeless couple are stalked through the dark tunnels by something dangerous with payback on its mind.Written by
Advertising posters showing a bloody hand sliding down a London Underground train window were banned from the Underground as being in bad taste, even though scenes had been filmed with permission in disused stations on the Underground. Producer Julie Baines found this "highly amusing" and "a bit ludicrous", noting that the film is "not based on real events - if it is, we are all in trouble." The ban was later removed, although not in time for the film's British opening. See more »
Kate runs to the rear cab of the train and passes through the cab door (car number 96115 displayed above it) however the cab interior and exterior is of a car of long since withdrawn 1967 type stock (car number 3329 can be seen on the outer door behind her) whilst the train she was actually on (car 96115) is modern 1996 Jubilee Line stock. See more »
Fucking travesty that's what, I got busted for dealing weed, and that shit's legal now. Had I gotten caught now, for what I had then, they would have thrown *it* down the drain, and not me!
Ah, you're a drug dealer, chap I had last week was a pimp!
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This is good little shocker; not perfect by any stretch of the imagination, but tight, competent and disturbing. An excellent example of a simple idea developed into a compelling 90 minute script.
The set up requires no bells and whistles, no lengthy exposition or wordy back story; Kate (Franka Pontente), a young German business woman living in London, drifts off whilst waiting for the last tube train. She awakens to find the place deserted, but quickly comes to realise that she is far from alone. Someone, or something, is down there with her and it's intentions are wholly malicious.
In fact she encounters several other characters in her quest to survive, including a lecherous work colleague, a homeless couple and a caged sewage worker, all of whom add pace and substance to the plot. There is a slightly awkward gear change somewhere in the middle of the film when tension thriller mutates into gore fest, but nothing so clumsy as to slow the hectic pace. For those of you with weak dispositions this is likely to be a harrowing ride; for those of you who relish a bit of well executed carnal mayhem this should press all the right buttons.
The climax of the film is perhaps less successful than the main body of the film, but it is punctuated with a nice moment of unexpected social commentary which provides a satisfying conclusion.
Some may find themselves feeling somewhat cheated of a clear explanation as to the exact nature and history of the threat encountered by Kate and her confederates, however, for me this was not the case. A horror film writer should not need feel compelled to dot every i and cross every t, in the same way a writer of political thrillers might be expected to. There are enough clues here to give you a very pretty clear idea of what brought this evil into existence, making a detailed and conclusive solution superfluous. The retention of a certain sense of mystery is to be welcomed and reminds us that in this film the ride was always going to be more important than the exact destination.
My understanding is that the budget for this film was, to say the least, minimal, in which case our applause for this British horror should be all the louder, for at no point does one have the impression of corners being cut or effects failing to deliver.
If this sounds like your kind of film then it probably is. Buy a ticket and climb aboard.
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