I enjoyed this movie a lot. I found it dark and stylish. I think the cast did an outstanding job, especially Ashley C. Williams. Considering revenge violence is kind of a worn-out genre, this movie managed to bring it a new fresh but a simple pov. A special shout-out to the soundtrack, it is now on my Spotify permanently.

This is a rape/revenge film that differs a little bit from the others. Julia is a plastic surgeons assistant who agrees to a date at a man's house only to be drugged then later raped by four men.While debating what to do she learns of a therapy group that caters to her need for revenge. This is an off the grid group that teaches you confidence and how to kill rapists by actually taking you on a field trip to kill a rapist as a group effort. She gets deeply involved with the group and soon breaks their cardinal rule of killing without telling them.Some squeamish scenes and tense ones as well but worth the 90 minute trip. A few extra layers in the plot make it worth it.

One of the worst films I have seen this year, it is just ridiculous that people get away with making these types of abominations. We have seen the set up before; mousy girl is raped, physically and mentally damaged, seeks revenge. It was done in I Spit on Your Grave, Last House on the Left, etc. and there is a reason why these movies simply retread the same territory with little variation. Where you can vary (such as inventive kills), the movie skips these over almost completely, instead opting to showcase the aftermath. Why make a revenge film if you are going to censor it so heavily? Give me something visceral, gut wrenching and horrific, not this made-for-Chiller-T.V. snooze fest that left me with more questions than I started out with. The acting was decent (surprisingly), and the only real stand out was the soundtrack; Japanese vocals, heavy bass and inventive rhythms make this an audible treat. But the movie itself is so utterly banal, that I was exasperated mind way through at the lack of anything interesting happening, and by the end I was just glad that it was over. Disappointing is an understatement. It was just a weak experience overall.

Newbie feature director Matt Brown clearly saw this as his "breakout" work.Other IMDb reviewers have covered the basic story arc. Sort of an "I Spit on Your Grave" #45, with long stretches of zero dialog, lots of goofy lighting, editing so frenetic you might think you imbibed a forbidden substance before viewing -- even if you did not -- and lighting that favors the dark end of the spectrum, which simply adds to the mayhem that is this very forgettable film.Not to mention that, if the film should bomb financially, it could be re-packaged as a Youtube how-to on male castration.So, since we are already knee-deep into this review (or, at least, knee-deep into SOMETHING) let's go a bit deeper.The core problem with this kind of film -- AND THIS IS IRONY AT THE HIGHEST LEVEL -- is that, if you are a film-maker with artistic aspirations, globalization (where films made in one country are intended for distribution in another) has wiped out what used to be called, in decades past, the "art house" market.Note that even Tarantino tried to point this out in his own work by trying to "bring back" the genre.So -- here is the premise of the review, please work with me on this -- even as Modern Society has become so homogenized that opportunities for archetypal rituals of male bonding have been reduced or disappeared, the entertainment biz has similarly reduced or disappeared the opportunities for a film-maker to produce something done primarily to exhibit artistic expression.To simplify: Limited male bonding opportunities in modern society (can't go to the nearest village ... and pillage) have left (sad to say) gang-rape as one of the few activities that can be attempted today. Even if the aforesaid participants did not really want to commit the act in the first place.Limited genres of commercially accepted film have left the so-called horror film as one of the only remaining genres in which a director with artistic intent can unleash that intent with any expectation of commercial success ... even if he did not actually want to make a horror film in the first place.So, the ultimate irony, you have men committing an act they did not actually want to commit (because of limited opportunities) and film-makers memorializing said act because there is no opportunity to make the film they really want to make.Alternative point of view: if you consider the above to be overkill, let me simply say this is a terrible movie and if you want to see the same theme done correctly, find a copy of American MARY.