The perfect ten rating I gave this film has nothing to do with its technical merits. It's not a particularly well-written film at all. The acting, for the most part, is wooden (with one BIG exception). The music is strictly canned library music. But it's still at ten. It's a ten because, as a cinematic experience, there is nothing else quite like watching the work of Michael and Roberta Findlay. Nothing else compares. And if the goal of cinema is to take you into another world, this is the film that will do it, albeit a sick, claustrophobic, dirty one which will leave you drained and in desperate need for a shower.<br /><br />Other reviews cover the plot of this film sufficiently. What I'd like to focus on is the way this movie feels. Like other low-budget but truly inspired masterpieces - "Last House on Dead End Street" comes to mind as the perfect example - this film's technical flaws add to its creepiness. This film has no gloss with which to reassure us, and its starkness makes it that much more compelling.<br /><br />The standout performance I mentioned at the outset of this review is, of course, that of Michael Findlay. The fact that he stars in this film is no coincidence. In fact, nobody else could have done it, since what we're seeing in this film - as in most of the Findlay collaborations - is a very, very personal vision, a celluloid representation of the dark demons haunting one man's mind. While no one is suggesting that Findlay was anything like the obsessed monster of a man he portrays on the screen here - there is much evidence to the contrary, in fact - there isn't any doubt that Findlay wasn't exorcising demons from his own psyche with these films, which, for me, is what makes them so compelling. On screen, Findlay's hammy, bloated performances would be laughable if you didn't know you were watching someone acting out of the depths of his mind, which makes them both disturbing and compelling at the same time.<br /><br />An interesting experiment in watching these films is to compare it to similar, contemporary films, such as "Saw." While the violence in the latter movie is much more graphic, there's an intensity in Findlay's work which it can't even come close to.<br /><br />I say all these things only to the special few with the capacity to digest film this way, and I don't expect that to be a particularly large group. You know who you are. And you'll see this film for what it is.