pausetape There are always good things to say about even the worst films. In this case, I have to say that the lighting was very well done. The use of hot, cold and bleak greys, as well as the beautiful early morning shooting, probably added more to this film than any other film making aspect.Unfortunately, the film is fundamentally daft.Why wouldn't the genius professor just suggest a move to the country where you can grow food and find transport that's fueled by grass? Instead, in all his wisdom, he chooses to occupy an abandoned hospital where they can live the high life off about 2 months worth of Red Cross MREs while sending members of the group out into the factory district of the city to look for "something interesting". Uh, what?For that matter, wouldn't it be easier for the cannibals to take up farming, too? Sure beats the hell out of wandering aimlessly in the hope of bumping into other people when three quarters of the world's population has already expired.Of course, I'm being obtuse, because I can see what the writer/director (and editor) is trying to do. This is meant to be, as all great post-apocalyptic films are, a study of human nature and a sweeping social commentary. That really only works, though, if the literal story - narrative, character motivation, cause and effect - are able to suspend disbelief. In this case, disbelief is thoroughly without suspension.To make matters worse the film is tenaciously predictable. The twist involving Neon can be seen coming at least 30 minutes before it occurs, which entirely undermines those next 30 minutes of film. The action sequences play out in a routine fashion whilst also giving the impression that the director was making them up on the spot. The whole "drug the bodies" approach was so incredibly expected just because the tagging of the syringes earlier in the film was so blatant and awkward.The acting wasn't terrible. The dialogue was appalling but the actors did with it what they could. Michael Madsen and Vinnie Jones, in their brief screen time, managed to give their absolutely dire lines some life by hamming it up to ridiculous proportions. The shift back to the overly serious tones of their fellow cast mates, however, was uncomfortable. Still, with better dialogue and greater clarity of directorial vision the actors would have appeared much stronger. In short, it wasn't their fault.3 out of 10. 2 points for lighting. 1 point for acting.Oh, and I almost forgot to mention. Naming the characters after cars? Every time I heard a character's name I was pulled out of the film. That was just a stupid idea. Don't do that.

wynonasbigbrownbeaver Given the somewhat entertaining track record of these After Dark films, I had some certain expectations with the given supporting cast of Michael Madsen, Vinnie Jones, and Micheal Kelly though in reality they've had a little more than brief cameos. But somehow I found myself losing complete faith this movie due to terrible writing after the first 5 minutes.One of the few minor positive things about Tooth and Nail was that it had potential. It tried to reference a would-be global crisis of the exhaustion of natural resources, and I thought it would take its aim toward something else more cataclysmic. The two plot twists were only mildly stimulating as I considered them to be possibilities beforehand, but none the less predictable. The flashback was a minor spark in the end.This is the point of where it started to be insulting. The concept that the apocalypse started after the world "ran out of gas" was very far fetched as best, but what really got me was the aftermath in the storyline. It just didn't make sense. Are people that desperate to just wither away and die in the streets? Would they really starve to death or try to eat each other? Haven't they heard of growing crops, fishing, and raising livestock? Other forms of power such as solar power and hydro-power could have been utilized instead. Even if there weren't any available alternatives, humanity wouldn't go down to that level of savagery. Humanity has survived without gas for tens of thousands of years, and I wouldn't think they would devolve that quickly. That large and obvious plot hole could have been covered.The level of fear factor in this movie is zero, it shouldn't have been in the mix of After Dark Horrorfest since it seemed like "made for TV" cheese. These survivors deliberately hide in a hospital in hopes "to rebuild society" in the middle of a concrete jungle. What do they do, when one of their own gets killed? They just wait like sitting ducks until another one of their own gets picked off. Their ultimate solution is to "just hide somewhere" in the hospital, enabling these big dummies to catch them and drag them away for food. The survivors' lame excuse for continually dying one-by-one is that the hospital is just "too big" to lock all the doors at night. Oh, that's real genius I tell you... All these characters are labeled the constant horror movie cliché as "too stupid to live". They separate and one dies after another. What was even lamer was that Dakota character not accepting the fact that her boyfriend the Professor got killed. She saw the blood, his glasses were left behind, he is obviously not there.The credibility of these villains are laughable. Maybe a reference to give these cannibals a better background would have worked. The movie should have told me that these cannibals have mutated or contracted have a zombie virus instead. But these big oafs for villains just walk around in a lobotomized state with tiny little axes and carving knives. They may be strong, but they seemed very dim witted. Michael Madsen obviously wasn't taking his role seriously with some of the worst acting minutes I've seen in recent memory. As for Vinnie Jones, he was fronting his role with a closing psychotic laughter. Oooh...I'm scared. Then there's that eloquent cannibal who was tooting the D flat note with his horn who talks to himself about no other subject than eating meat, just like the rest of the cannibals. The dialog is one dimensional, uninspired and lazy. Okay I've complained enough about this film to the point where it pisses me off.I can't recommend Tooth and Nail with these noticeable and unjustifiable flaws. Don't waste your time with this movie. Seriously.

slayrrr666 "Tooth and Nail" is a very entertaining and enjoyable film with a lot of good points.**SPOILERS**After the end of the world, survivors Dakota, (Nicole DuPort) Ford, (Rider Strong) Viper, (Michael Kelly) Torino, (Alexandra Barreto) Nova, (Emily Catherine Young) Max, (Kevin E. Scott) Yukon, (Zack Robidas) Victoria, (Beverly Hinds) and Professor Darwin, (Robert Carradine) manage to find fellow survivor Neon, (Rachel Miner) amongst the ruins of civilization and invite her to stay with their group. When her acceptance starts to wear on the others, she tries whatever she can to be accepted, even though all don't trust her. Starting to realize their numbers are shrinking, she reveals she has been followed by a group of cannibals called Rovers, and that they have been targeted by them. Trying to stay alive during the relentless attacks, out-numbered and with their numbers shrinking still, they try a last ditch effort to escape from the bloodthirsty group.The Good News: There was some good stuff to this one here. One of the best features is the incredibly well-done setting for the film. The hospital here is incredibly well-done, looking effectively abandoned but at the same time capable of holding the group. The fact that there's a lot of different areas in here for them to hide in, complete with the kitchen, surgical rooms and the general meeting quarters all being quite well-designed and built around generating some scares and tension when it gets to that point in the later half. Those are also really enjoyable, as the film manages to feature some incredible stalking scenes in here of the Rovers going after the survivors inside, with the huge cavernous locations providing some potentially-fun places where they're all trapped together. Those are the best entries in the film, as it gets really enjoyable during those parts where it's incredibly tense and thrilling waiting to see where it goes, both in the Rover's attacks and the survivor's means of defense or escape. That we get two huge, extended set-pieces in this tradition is what really works well, since both are quite fun and really worthwhile, from the sheer randomness of the first one that manages to work so many good stuff into it, including all the violence and gore plus the stalking, and is then amped up into an actual series of defenses in the second one that work just as well, and that they're the main part of the film with a lot of time devoted to it is where it really scores so much good stuff. There's not a whole lot of down-time during these scenes, and they remain quite fun. That also manages to provide the film with a lot of really enjoyable kills here, as there's some wicked stuff here. There's a lot of arrows being shot into body parts, a smattering of slit throats, a broken glass jar slicing up the face, gunshots, amputations, slicing across most of the body, knife stabbings and then a great acid meltdown, all of which are nice and brutal with plenty of bloodshed. The last plus is the appropriately creepy look of the group, which is quite nice and looks really creepy. These here are the film's good points.The Bad News: There really wasn't much wrong here, and this ended up having only one really big flaw. The big one here is that there's an incredibly long build-up to the good stuff here, almost so much as being difficult to really get into. Most of the beginning to this one is taken up with the introduction from the group and her acceptance into them, followed by several days worth of time showing them getting into a grove with how to go about their lives. This goes on pretty much for the first half-hour, and without generating even the slightest hint of suspense or that something will happen later, and it just makes these scenes just drag on-and-on endlessly, making for some labored times during the beginning when it's trying to get started. The only other thing that could be construed as a flaw is the late-film twist that manages to change-up the allegiances between everyone, which some will say is a good shock, while others it needlessly complicates the film for no reason. This isn't bad for the film at all, but the slow beginning is the only thing that really hurts this one.The Final Verdict: As there's some really good stuff here and only a few minor points, this one is highly enjoyable and gets a lot right about it. Highly recommended for those who enjoyed the others in the series, fans of the creative side or are into these kinds of films, while those who aren't that big should heed caution.Rated R: Graphic Violence, Graphic Language and a clothed sex scene

Woodyanders The time: the immediate near future. Society has fallen apart as the direct result of a sudden and unexpected gas shortage. A ragtag group of survivors led by the wise and kindly Professor Darwin (an excellent performance by Robert Carradine) seek refuge in an empty and abandoned hospital. Said group find themselves in considerable peril when a deadly band of savage nocturnal cannibals called Rovers attack the place on a nightly basis and pick them off one at a time. Writer/director Mark Young depicts a plausibly bleak and brutal vision of the future that might be right around the corner. Moreover, Young relates the absorbing story at a steady pace, builds a strong sense of dread and plenty of nerve-wracking tension (the Rovers' attacks on the survivors are quite vicious and horrifying), maintains a properly bleak and desolate tone throughout, and further spices things up with a few nice lashings of gore (gruesome highlights include a bloody throat slicing, a meat cleaver in the head, and an especially nasty acid facial). Better still, there's no silly obtrusive humor to detract from the severity of the harsh survival-of-the-fittest premise. In fact, the plot makes a potent and provocative central point about the fine line between civilized beings and wild barbarians. The sterling acting from a sturdy cast helps matters a whole lot: Rachel Miner as the spunky, resourceful Neon, Rider Strong as the mean, selfish Ford, Nicole DuPort as the humane and sensible, yet tough and resilient Dakota, Michael Kelly as the surly, malcontent Viper, Alexandra Barreto as Ford's timid girlfriend Torino, Emily Catherine Young as the mute, fragile Nova, Michael Madsen as the calmly malevolent Jackal, and Vinnie Jones as the feral Mongrel. Gregg Easterbrook's shadowy, prowling cinematography makes the most out of the dark and claustrophobic setting. Elia Cmiral's shivery, rattling, hard-rocking score likewise hits the bull's eye. A solid and satisfying movie.