Really Surprised!

How sad is this?

Excellent, Without a doubt!!

This is ultimately a movie about the very bad things that can happen when we don't address our unease, when we just try to brush it off, whether that's to fit in or to preserve our self-image.

This is actually a lot better then I thought it as going be, I saw it shop for 75p but still dint buy it as I already knew it was on YouTube,Two guys and girl and recoding a. Trip and long the way, there are some clam scenes I. The movie And the sub plot was just very annoying! I actually liked the plot of the movie , the person recoding , We that some strangers seem to have blurry faces.Who seem get these blurry faces ends up getting killed by something or die of something , the deaths are off screen. And we only get the the Aftermath . The ghost effects in this movie really takes the movie , there were so bad that is actually funny!The acting was okay however I did not like any of them as they were not likable to even care about. 5/10

I really tried to like this film but it was so flawed it drove me nuts. If you were staying in a hotel and the manager was shot in the night would you really just go back to bed and sleep soundly with hardly a word about it? If you just found out from the police that a store you had just been to was now burnt to the ground and the clerk you were chatting with is dead would your reaction be 'I bought some gum and a drink'? Wouldn't you freak just a little bit? If you were asleep in a hotel room and your mate starts yelling there is someone in the room wouldn't you freak just a little bit? If your mate said to you that when he is filming people when their faces are skewed they die, would you really say well maybe mine isn't because you care about me? Really? This film is dull, unrealistic, badly directed and acted. Even the actors looked bored. I know its a film not real life but at least react with a bit of shock when people are dying all around you.

I took in the recent lame-brain remake of 'The Evil Dead' hoping that it was going to produce something magically mind tingling centred around the 'book of the Dead' only to witness another pointless gore-fest that is now so old hat and expected of this type of thing that the gory parts are now simply accepted as in-fills for a movie that you would expect to give you a whole lot more above and beyond mere buckets of blood and chainsaws and the like. Where's the imagination? Ha ha! found it guys. Lurking on the top shelf and behind the pomp of the huge budget flashy array of celluloid pulp that, in my mind, really does not befit the horror genre sits this remarkable thought provoking film called 'Skew' beautifully engineered by sevé Schelenz squeezing as much as he can (and a whole lot more) out of a tuppence ha'penny budget but delivers a mind- blowing punch on every twist and turn of the camera taking you through a well written story in it's own right that will leave you with more questions and answers on the first viewing that will surely get you reaching for the replay button just so that you can sit back, take in what you have just watched (again and again) to fill in the jigsaw that has been left building in your mind. Don't expect buckets of blood or 'jump out of your pants' scares in this but if you want your mind to 'skew' then sit out this slow boiler (and all the better for it) to the end and then go back for more.

Seve Schelenz's Skew, made in 2005 and just released on a semi-wide scale in 2011, makes two very bold statements on the subjectivity of the viewing experience.Firstly, you don't have to share the exact same world view as the filmmaker. His or her art either inspires, provokes, or in some other significant way touches you, or it doesn't. His idea of the film's plots, themes, and character motivations may or may not coincide with yours. But if the film is made well enough, that shouldn't matter. Secondly, never assume your narrator or hero is reliable, well-adjusted, or sane.This last point is especially significant as Skew is told from the point of view of a camera-addled, eerily withdrawn, and uniquely deluded protagonist named Simon (Rob Scattergood), and the road trip he embarks upon with two friends, Eva and Richard (Amber Lewis and Richard Olak). With the exception of a scant few shots, most of the film is shot from Simon's POV behind the camera. It isn't found-footage --- there are jumps to other perspectives beside Simon's --- but we're definitely inside his mindset for most of the film. This provides a special challenge to us, as viewers. We're given several keys to the "puzzle" of Simon, but then put "inside" Simon, or the puzzle, to figure it out.To call Simon an obsessive is an understatement. His face is literally buried in the camera for the entire trip, shooting anywhere between seven and ten tapes per day. He starts to find faces of certain subjects skewed or twisted as he records their images, often times seeing very vivid phantoms through the viewfinder but then not able to validate any of this when rewinding and playing back the tapes. Almost inevitably, the subjects with the "blurred" faces wind up dead. This led me to believe Simon was either killing all these people or aiding in their deaths in some way. Well, as it turns out...not quite. The truth is actually even a bit more chilling. The best way I can think of to describe Simon's relationship to his camera is to compare it to Anthony Hopkins' relationship to his ventriloquist's dummy in "Magic." The camera and the dummy are both shields, weapons, and the primary tools of the protagonist's destruction.The first time I saw Skew, I came to the wrong conclusion. That is, what I thought was going on by the end of the film didn't quite coincide with the director's intention (for Schelenz's full explanation, see http://coolawesomemovies.com/director-seve-schelenz-explains-skew/). Did that make the film any less interesting, compelling, or downright disturbing for me? Not in the least. Skew still contains some very jolting, jump-out-of-your-seat moments and the tension between the actors is very palpable and nicely played (Olak, in particular, voices the audience's growing frustration and irritation with Simon to particularly good effect).Simon --- not the camera --- is "skewed." His perception of reality is off---way, way off. His fascination with Eva, who doesn't share his feelings in the least, is probably the most blatant indicator of this delusion. His self-hatred --- taken to the extreme point where he can't bear to be photographed, videotaped, or even to look at himself in the mirror is another.Skew blatantly defies all traditional expectations of the psychological horror film, yet still leaves us with a very stark, vivid impression of derangement. It has it's flaws and Schelenz is not a perfect filmmaker: there are many ways he could have made his point in a much clearer and coherent manner and there is one scene in particular, in a police interrogation room, that blatantly doesn't work. It seems it's intention was to mislead but it only winds up confusing us. Despite these flaws (which Schelenz readily acknowledges in the link above, and kudos to him for that), Skew does work. It unsettles you and stays with you for quite some time. I wish there was more like it.