During an initiation for a secret society know as 'The Sisters', one of their new members is accidentally shot dead. So seven years have past and the five former sorority girls are unexpectedly invited to a reunion at an isolated estate, which they come to realise that the father of the daughter that was killed owns it. He believes his daughter's death wasn't an accident and goes out of his way to prove so with some unexpected surprises.
Well, I'm stunned! I plead guilty on the ground to actually liking this illogical, systematic and rough-around-the-edges, who-dunnit thriller. Strangely enough it had a prolonged release. The feature's meagre origins show up very prominently and the plot is extremely wishy-washy, but how things play out with some nasty bombshells lurking, an eerie and quite forlorn location and vivid personalities make this viewing a whole lot easier to take on board. The performances are fairly sound and there are some stunner's amongst the bang-up female cast. Namely that goes for the late exploitation siren Claudia Jennings as Judy, who is the glowing light among the performances. The lovely Cheri Howell and Sherry Boucher were reasonably fine too. Arthur Franz plays the grief-ridden father / demented host determine to get out the truth of what really happened. He spends most of the time peering out the window, moping about and playing around with his bullets. Oh and that's right reminiscing. A true party crasher! Then you got Paul Carr and Joe E. Tata to round off decent performances as the guys that can't help but poke their noses into somebody else's business. But then again can you blame them!
The main thing going against it was that it would have been better suited as an exploitation flick, but instead it wants to tease and it turns out rather meek on that front. Some of the deaths do take place off-screen and it lacks that cruel vibe. What made up for that were small pockets of suspense and mystery that really drills away in the final half hour and we get one ridiculously loony and mingled conclusion. Um, it's one really strange way to get the truth because it fails at any sort of sensible logic. On the other hand I thought the final twist was well disguised. The plot's direction is openly slim pickings, which at times has a barrage of scenarios that are taken for granted without questions and during the first half there are scenes of just posing about. Although its fishy intentions, dumb actions (gee there's a lot) and over-the-top antics keep it out of the rut and mildly diverting. The direction can get rather plodding, but there are few lively moments and a sinisterly stranded atmosphere folds out. The photography gets moody treatment and stringy score bombards us with blazingly stinging cues to suddenly an oozing blues tune. But my favourite thing had to be that extremely and I MEAN extremely "vicious" mutt that comes from nowhere. Fair dinkum, it looked pretty uncomfortable in that role ;).
It's nothing that you would go out of your way to see and it won't definitely suit all tastes, but I didn't think it was all that bad. Jennings fans might want to give this one a sticky-beak.
Well, I'm stunned! I plead guilty on the ground to actually liking this illogical, systematic and rough-around-the-edges, who-dunnit thriller. Strangely enough it had a prolonged release. The feature's meagre origins show up very prominently and the plot is extremely wishy-washy, but how things play out with some nasty bombshells lurking, an eerie and quite forlorn location and vivid personalities make this viewing a whole lot easier to take on board. The performances are fairly sound and there are some stunner's amongst the bang-up female cast. Namely that goes for the late exploitation siren Claudia Jennings as Judy, who is the glowing light among the performances. The lovely Cheri Howell and Sherry Boucher were reasonably fine too. Arthur Franz plays the grief-ridden father / demented host determine to get out the truth of what really happened. He spends most of the time peering out the window, moping about and playing around with his bullets. Oh and that's right reminiscing. A true party crasher! Then you got Paul Carr and Joe E. Tata to round off decent performances as the guys that can't help but poke their noses into somebody else's business. But then again can you blame them!
The main thing going against it was that it would have been better suited as an exploitation flick, but instead it wants to tease and it turns out rather meek on that front. Some of the deaths do take place off-screen and it lacks that cruel vibe. What made up for that were small pockets of suspense and mystery that really drills away in the final half hour and we get one ridiculously loony and mingled conclusion. Um, it's one really strange way to get the truth because it fails at any sort of sensible logic. On the other hand I thought the final twist was well disguised. The plot's direction is openly slim pickings, which at times has a barrage of scenarios that are taken for granted without questions and during the first half there are scenes of just posing about. Although its fishy intentions, dumb actions (gee there's a lot) and over-the-top antics keep it out of the rut and mildly diverting. The direction can get rather plodding, but there are few lively moments and a sinisterly stranded atmosphere folds out. The photography gets moody treatment and stringy score bombards us with blazingly stinging cues to suddenly an oozing blues tune. But my favourite thing had to be that extremely and I MEAN extremely "vicious" mutt that comes from nowhere. Fair dinkum, it looked pretty uncomfortable in that role ;).
It's nothing that you would go out of your way to see and it won't definitely suit all tastes, but I didn't think it was all that bad. Jennings fans might want to give this one a sticky-beak.