after seeing a real dead child live, and watching traces of death collection, basically seen all the REAL terrors of humanity, i've been quite skeptic about these kinds of movies.this was not surprisingly utter crap. if you haven't seen any other movie that contains lots of gore, then this movie probably scares you.otherwise... i was immediately struck when the so so terrible synth violins and quire started playing... get some real music... i've always thought that bad synth music just makes film a cheap one.the name snuff has nothing to do with this one... watch guinea pig (and read the aftermath) series those are more snuff (even though they are complete crap as well). i don't know what so special was about this movie.if i hadn't seen all the horrors that i have seen, and hadn't listened to a lot of good MUSIC (well produced too like Arcturus, Ulver, Navicon Torture Technologies, Cold Meat Industries, Mayhem, Horrorcore, some Evol Intent and other intense stuff...) maybe then you'll like this... which makes you anyways pretty ordinary person. (I would NOT recommend the Traces of Death collection to anybody who doesn't want to be traumatized for life =D)...You won't miss a thing. Don't get this to your DVD collection. Rather get Belgian Man Bites Dog, Human Porc Chop, Irreversible, The Uninvited, Tell Me Something or even Happy End?.The sex scene is pointless. Manson ripoff =D. This one lacked the feeling, and intensity it claimed. If the title had been boring people with some mild nudity and little gore then I would have given it 5 =D...And yes... I will make a better film than this in the future (I think then people can bitch about my film if I fail =D=D=D). I got pain, and I can give pain on FILM! HAIL Satan!

This film has to be the worst i have ever seen in my whole entire life time. I started watching it open minded as i knew it was a low budget film. It was absolute crap.I can't understand how people can comment on how it was good. It really is NOT. I wasted 3.50 on watching this on Virgin Media, I;m even considering writing in saying how rubbish this film was and they shouldn't have it on demand.The plot is misleading- has no guidance or directing. As for the sex and nudity - there was no point to it at all, it just didn't fit into the film and i thought it was perverted.Also as the film went on the quality of the cameras seemed to go down and down and down and it was just weird. I began to feel slightly disturbed as the cameras were such poor quality, yet the make-up and gore was still very convincing and i actually started to question whether this was real.Basically really DO NOT WATCH THIS, i am outraged that such a crap film was made and it was actually funded - when there are people out there who could make such a better film with more meaning. Livid

This is a very strange movie and I find it hard to decide whether it's just over-pretentious or a truly intelligent, maybe even brilliant attempt to unravel the mysteries of the dark corners in the human mind. When the movie began, I thought: man, I got myself the wrong movie, this is some sixties' Hammer horror flick. Ten minutes later I thought: wait a minute, this turns out to be some seventies over the top reconstruction of the Sharon Tate murders. And again ten minutes later it suddenly turned into a movie taking place in the present. These changes were all unexpected and they sort of set the tone for the rest of the movie: nothing is what it appears to be, every time you think: okay, NOW I get it, you keep getting surprised and it turns out a totally different way, even till the very last minutes of the movie. I have to admit that this kept me fascinated and watching, although at the same time I had the uncanny feeling that I was made a fool of, and someone was trying to find out how long you can serve bad food and still make someone eat it. Part of the problem is the almost overall mediocre acting. The only one that stands out is Jeroen Krabbé, he certainly delivers an excellent and very chilling performance as the sinister, perverted, probably psychopathic but also very charming director. Although he's not really attractive, he does have a huge screen-presence and he sort of carries the whole project on his shoulders. Lisa Enos is a feast for the eyes (with and without clothes), but it unnerved me a bit that she let herself be so extremely exploited by appearing for (over)long takes in full frontal nude (like her audition-scene in the beginning and the grand scene in the garden almost at the end). But maybe that unnerving feeling was all part of the plan, it sticked by me during the whole movie. Some goings-on are totally over the top, like the irritating hysteria of the group of weird killer-girls. Other over the top moments (like the deranged and invalid son stumbling into Krabbé's bedroom to kill him), somehow seem to serve their own purpose in creating bewilderment and disbelief. There's lots of gore, albeit not always as graphically displayed as you may emotionally experience it, there's also a lot of suggestion, which of course adds up to the main theme of "real or not-real". This movie is obviously about exploitation, about people abusing other people (and let themselves be abused) out of purely opportunistic motives. But ultimately it's about the very game of fooling. We, the viewers, are tricked again and again, and although we know that in a horror movie it's all fake, (even in a movie that's called "Snuff movie"), here we are forced to make time and again a total mind-switch and re-adjust our convictions. It results in a feeling that you never fully get into control of what is presented to you. Different from that other excellent movie about the theme of snuff-movies, "Tesis", by Alejandro Amenabar, here we are not helped by any coherent plot, it's as if the director wants us to step backwards and just look at things unfold from a distance. As a consequence you never get involved with the persons at all, but it does enhance the awkward feeling of estrangement. The end of the movie – the surprising bow of Krabbé (to us?) – reminded me of the ending of Verdi's Falstaff: stepping out of the role back into the real life and saying (or suggesting) to the public: "really, the whole world is nothing but a sham!". Which feeling gets enhanced when watching the closing credits of the cast roll by: there you see that almost every actor had two or more different roles, and I hadn't even noticed half of them! So it definitely is a movie to watch twice.

This isn't a horror film as much as it is a film about horror.In a Don Quixote-ian attempt to create features outside of the "Holywood" norm, Bernard Rose has created another horror film..but this time, it seems, with no restrictions whatsoever. This has all the feel of the classical "content" driven horror films of the seventies. Don't Look Now - comes to mind as well as other low budget thrillers that have achieved cult status. The director takes us from Hammer Horror to online snuff footage in just a couple reels. Rose has proved himself very capable of handling the genre of horror films with his extensive catalogue, including Candyman and Paperhouse.Rose is attempting to showing us the unreality of the horror genre and all media in general. The ultimate lies that are inherent in film making...from framing a camera shot to editing to sound design they can all be manipulated to create any response desired. Our response is utter shock at the depravity of the action in this film.At times the film becomes deprecating and so self referential that I had to laugh. Even the characters laugh at themselves at some of the references. For instance one "actor" is told he, "is the care taker." At that point he realizes the reference himself.There is a cavalcade of characters from recent history that the film refers to; from Sharon Tate and Roman Polanski (Boris Arkadin Character) to Private Lyndie England, It seems Rose has addressed more in this movie and he's creating more questions than he's answering. Which is fine because, quite frankly, I already forgot what happened in the last "Chucky" movie.I am glad to see a director let loose and have total control of the production. I would like to see more of it. This isn't mindless or passive theatre and it is definitely worth a more than one viewing. It is most certainly going to be either loved or hated.