Reviewed bylathe-of-heavenVote: 7/10/10
I'll never fully understand exactly how people rate films here; try asI might, the reasoning eludes me...
Anyway, DEFINITELY better than it's current 4.4 rating (especially ifgraded on the curve with so many other garbage films out there) Wellwritten and acted; especially well directed. Very engaging andsuspenseful. YES, we've seen this kind of thing before and NO, it's notthe absolutely most original story out there, BUT, a well done film isa well done film, and that is SUPPOSEDLY why we rate and review filmshere, right...?
The primary actor does an excellent job as the calm 'Cleaner' Cole.There is very nice use of photography and editing and excellent use ofsound design to add to the strong psychological mood of the film (withthe very minor exception of unfortunately one of my personal neuroticirritations where pouring drinks and other consequential sounds are SObloody loud, MUCH louder than they should be - GOD I hate that!)
So, if you like solid, competent, Psychological thrillers either withor without 'Twists' and as long as you appreciate good film making,then you should definitely enjoy this movie. BTW, that was the firsttime I've ever seen Oz Perkins (Anthony's son) who also co-wrote theexcellent screenplay, and I felt that he carried the 'disturbed' torchwell where his father left off. I would LOVE to see him do more Horrorfilms, but he hasn't really done very many at all.
Overall the movie is strong on mood if a bit lighter on substance. Notanything earth-shaking, but a decent, well done, enjoyable Thriller...
Reviewed byLeofwine_dracaVote: 4/10/10
REMOVAL is your standard psychological thriller set in a dark andsprawling old house. The main character is a cleaner who soon discovershis new place of work has some dark and disturbing murderous secrets tohide. While I appreciate that the filmmakers went out of their way toshoot something other than your bog standard CGI ghost film, theproblem with REMOVAL is its familiarity. That, and the fact thatprotagonist Mark Kelly just isn't a very interesting actor.
This is a film which thinks it is far more original andcleverly-written than it really is. I could name one or two obviousinspirations on the story but I won't as these would give the gameaway. Let's just say that the film should have given thanks to thosemovies in the end credits. What we have in REMOVAL is your typical lowbudget filmmaking, a just-about-adequate type of movie that neverreally grips or blows you away as it should. It does feel very talkyand bogged down in places. The cast features TWILIGHT's Billy Burke, acameoing Elliott Gould playing a psychiatrist, and a big role for OzPerkins (son of Anthony). Kelly Brook is here too, and the quality ofher acting doesn't seem to have improved with the passage of time.
Reviewed byginatbryantVote: 10/10/10
I'm not usually a big fan of low-budget thrillers with all theirgratuitous gore and hacky flashbacks but for its genre, I think thismovie is a 10. I love its offbeat intensity. It has all the fun of acampy movie while avoiding being....well...campy. For a thriller it'sremarkably gripping, sophisticated and well-acted, without takingitself too seriously. Mark Kelly's flammable character is an edgy yetcool carpet-cleaner. Oz Perkins (son of Tony) gives us impeccablepoker-faced comic relief as an uptight millionaire. (Makes me want tolook for them in other films.) Billy Burke is his penetrating,sensitive self. There's also a great cameo by Elliot Gould playing apsychiatrist. And there will be blood- plenty of it. But it's thestory's ending that gets you. It made me want to turn aroundimmediately and see it again! There's nothing better than walking outof a film reeling! (pun?)
Cole is a likeable regular guy. Except that ever since he witnessed a gruesome murder-suicide, things haven't been quite right. His wife left him, he is tormented by hallucinations and his career has nosedived into a blue collar job with a carpet cleaning service. Just when it seems his life has reached bottom, Cole is called out on an all-night cleaning job in an Italianate mansion far from the city. For company he has Henry, the rich, condescending homeowner who seems to take sadistic pleasure in letting Cole think he has just murdered his wife. A reddish stain on the carpet, a knife hacking into baked rabbit, a cell phone that won't stop ringing - does it add up to murder or is Cole losing his last handhold on his fragile sanity?