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Creep (18)



Review by: Jack Foley | Rating: One

DVD SPECIAL FEATURES: Directors Commentary; Making Of Featurette; Production Design Featurette; Make Up Design Featurette; Directors Video Diary; Frightfest Q&A; Original Ending With Storyboard; Operation Gore Scene; Alternate Titles; Trailer; TV Spots.

THERE'S an odour of bad taste from the opening moments of Creep, as two men discuss excrement while searching the sewerage system of subteranean London.

And things quickly get worse in this supposedly 'modern tale of nightmare terror that exposes the extremes of raw survival'.

Written and directed by Christopher Smith, in association with the UK Film Council's Premiere Fund and Germany's Filmstiftung Nordrhein-Westfalen, Creep is a low-rent shocker that is nothing more than a thoroughly nasty piece of work.

It probably draws its inspiration from the likes of the Texas Chainsaw Massacre, but takes a perverse delight in lingering around its extremes, thereby rendering it an objectionable piece of work.

Franka Potente (of Bourne Supremcy fame) plays Kate, an ambitious model agency booker, who decides to leave a fashion industry event to head to another party, at which George Clooney is rumoured to be present.

Unable to find a taxi, she heads to the Underground, but falls asleep on the platform and awakens to find herself all alone.

Locked in and desperate to escape, she reluctantly gets on a mystery train that pulls into the platform, only to find herself panicking even more when the vessel pulls to a halt and her carriage is plunged into darkness.

For no sooner has the train stopped, then it quickly becomes apparent that Kate is not alone and that something is lurking in the shadows waiting to pounce.

Far from being scary or jumpy, however, Creep is the sort of film that begins badly and just keeps getting worse, so much so that nothing about it makes any sense.

Quite why Kate would be left alone to sleep on the platform is left unexplained, while the sudden appearance of her lecherous co-worker, Guy (Jeremy Sheffield), seems like nothing more than a thinly veiled excuse for an attempted rape scene.

And as the contrivances begin to pile up, the film becomes increasingly more sickening, as Smith attempts to cover over the plot cracks with shock tactics and gore.

The fate of one female victim, in a hidden laboratory, is particularly gruesome (and, quite frankly, exploitative), while the drawn-out finale smacks of desperation.

By the time the film has reached its ludicrous conclusion you'll feel as drained and as grimy as a real day spent on the Underground at the height of the Summer season.

But then as its name implies, viewers should leave this Creep alone.

 

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