"If nothing more, a valiant Canadian effort"
Synopsis: On her way home from work, Karen, a pysche-ward nurse, is aboard the last subway of the night when it suddenly stops, and a band of fanatic religious extremists begin a slaughtering rampage on any non-converted non-conformist. Karen, and a group of survivors, must escape the crucifix-dagger weilding killers and the cold dark depths of the underground tunnels.
Review: It's not often that I'm completely torn between opposite ends of the crap-gold spectrum, but End of the Line has me in this piss-off of a predicament. It's beginning is not unlike recent efforts in asian-horror, an opening jump scare, a gruesome death, haunting images of the supernatural, a heavy stringed score, and a dark and atmospheric setting. Awesome! The successful formula hasn't been used so effectively in North American cinema since What Lies Beneath?. It isn't long after this mood has set in before Quebecois writer/director Maurice Deveraux says "Faaack...YOU" and 180's the story into a stalk and slash tale of radical bible thumpers gone wild (but only if your married). Which I would have minded a lot more if he didn't deserve leaping high-fives and praisful good-job butt-pats for some brilliant gore and brutal violence - including a de-cap to esteem-at and a ma and pa kodak moment with their unborn fetus...the depraved shall rejoice! Keep it mind, that this doesn't save the story. The implausible degree of chaos in the world above and beyond the tunnels loses most of the believability of the plot, and therefore it's "what if..." effectiveness. When all is said and done, the film then double backs to it's opening origins and attempts to provide an underlying meaning for what we've just experienced. I'll leave it's level of achievement for you to decide.