Admirable film.

Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

AND SOON THE DARKNESS was originally a highly effective, not to mention realistic, British thriller of the 1970s about a couple of hitchhikers running afoul of a psycho. This slick Hollywoodised remake shifts the action to Argentina and on a bigger scale, as a couple of tourists find themselves running afoul of a sinister mini-conspiracy. It's not really a surprise to find out that this is by far the lesser picture, an insipid outing that doesn't even come close to matching the original's suspenseful nature.Instead what we get here is slick and glossily photographed, a film more interesting in shooting Amber Heard in her bikini than building any kind of suspense or tension. There's a slow build-up and then a pay-off that pays homage to HOSTAGE in its depiction of tourists abroad running afoul of nasty locals, although the Melissa George-starrer PARADISE LOST is a more obvious lookalike here. We're in torture porn territory again, albeit in a sanitised form, and the action, when it comes, is strictly routine and plays out without the slightest bit of tension. The biggest regret lies in the casting of the great Karl Urban, who has absolutely nothing to do in his minor role.

This is a very bad American remake of a classic British film.The original is atmospheric and has quality craftsmanship all the way thought it.This version is trashy commercial rubbish and has tacky horrible all the way through.This is full of stupid teenagers talking in an incredibly annoying way which seems to be a trademark of 'formula' films of this kind.Do yourself a favour and watch the original. It may be an oldie but it is far superior in every way.A definite 'miss'

I was intrigued about seeing this American remake of an overlooked British thriller from 1970 . The original isn't considered a classic although what it does it does very well . One worries that it'd be a simple case of taking a story featuring two young British females in France and transplanting two American airheads in to the remote Argentine wilderness Guess what this film does for the first two thirds ? And it does so in a lacklustre way leaving you thinking is the original so good at what it did or is the remake so bad ? Considering the plot revolves a young woman going missing I thought perhaps the setting might bring a political subtext to the film . Argentina in the 1970s and early 80s was of course the country where suspected troublemakers would disappear never to be seen again but there's no political commentary to this film which is just a straight forward thriller based on a superior film It does go its own way in the final third and again it's not entirely successful as the plot then turns in to a backwoods brutality type of movie similar to the Aussie thriller WOLF CREEK without the torture porn aspect and instead sees the female protagonist turn in to a Lara Croft clone . It's mildly entertaining to a very mild degree but no more than that and is disappointing compared to the British original that was both tension filled and credible

Stephanie and Ellie are two girls who travel abroad with their bikes, which doesn't mean it's going to be a bad movie. It reveals it's gonna fail once they start talking in the bar with unknown guys; their acting is terrible and I had to laugh or I would have to cry. That scene is very amateurish and probably copied from "Hostel" or "Turistas"-- which aren't bad movies. Once one of the girls start fighting with the bad guy, this film becomes a boring cat and mouse game, which tires the spectator. In the end, they are safe. Don't waste your time with this saturated kind of movie, even thought it promises to give you a few entertaining scenes. Skip this one.