Martyrs (2008)

A screaming child runs from an abattoir, down a road, bare-footed and blood-soaked. Not a particularly original opening sequence but what follows is one of the most arduous and difficult journeys in recent cinema history.

The film is directed by Pascal Laugier. Another twisted director emerging with the wave of creative French horror. Laugier has moulded a vision which will be remembered alongside the most disturbed in the movie time-line.

Troubled Lucie played by Mylene Jampanoi is taken under the protective wing of Anna, played by Morjana Alaoui, when they meet in an orphanage. Anna is the child who escaped from the abattoir and is now plagued by a disfigured woman who sporadically attacks and inflicts pain upon her. The story moves on fifteen years later and what begins as a tale of revenge soon plummets into a relentless vision of depravity and sorrow. A cloud of darkness envelopes the screen and never leaves. In most horror films we have numerous moments to rest our weary minds and the mindless hacking of teenage body parts is broken up with dialogue or moments of light comedy. Not here. The story continues to delves deeper and deeper into the pits of despair and there is never any let up. Upon the final moments we have had the life sourced from our veins and have prepared a home-made noose to finish the job.

Some may enjoy the thick tar of depression which layers the films and the horror genre is not for everyone, as much as a Jennifer Lopez rom-com isn't either. However Martyrs will really test the strength of even though most steel-plated stomachs. This is also the films let down. There is little enjoyment to be had. Sure there is a level of creativity and this has set a new benchmark in grim movie making, it just begs the question why?

The Girl with the Dragon Tattoo (2011)

The Girl with the Dragon Tattoo is the latest in a long line of book-to-film adaptions. It is a modern day murder mystery with a darker setting, like a nuclear winter in Midsomer.

David Fincher (Social Network, Fight Club) brings us the English interpretation of the book by deceased author Stieg Larsson. The book was originally produced into a Swedish film back in 2009.

Daniel Craig has a licence to report as Mikael Blomkvist and his rugged looks are perfect for the troubled journalist role. He also drinks at a rate Oliver Reed would frown at, his methylated breath could probably melt the polar ice cap. Rooney Mara plays Lisbeth Salander, a character which shatters the mould when it comes to any hero or heroine. We see Lisbeth as both victim and perpetrator, a confidently bisexual woman who also shudders at the slightest touch. Larsson has created a genuinely interesting icon and although he will not be able to enjoy his success, like the ear-less Van Gough, a legacy has been formed instead. Other actors towing the line are Christopher Plummer, Steven Berkoff and Joely Richardson.

As you might expect with Fincher's work the film is shot through the eyes of a bleary grey landscape. All that is captured through the camera lens looks dead, dried and bleak. The real fire that burns is that within the eyes of the characters.

There are uncomfortable moments particularly with a rape scene which brings a new meaning to the phrase “only giving to receive”. Partnering the darker imagery is an uncomfortable soundtrack which layers the film with similar desolation.

The running time is set at nearly three hours. This will be too long for those who seek out a quick butt-slapping thrill ride but to those who appreciate a well crafted story the ride will be well worth the wait.

The Paper (1994)

Hard-work and balls. That is all a man needs to make it as a top journalist. They also come in handy when making babies, and both jobs are the topic in Ron Howard’s (Da Vinci Code) 1994 film.

The Paper has some real world credibility. Co-screenwriter Stephen Koepp is the editor of Fortune Magazine. His partner in writing crime David Koepp has gone on to write some of the silver screen’s biggest productions, including Spider-Man, Men in Black, and War of the Worlds.

The film starts with a clock and the ticking timeline of an unfolding story. The ringing of phones and quick-fire comments on screen are used to outline the rumble tumble of the journos’ world. The films stars a small collection of Hollywood regulars and golden statue owners. Caped crusader Michael Keaton leads with his on-the-edge style as Henry Hackett. His bulbous and pregnant wife is played by Oscar winner Marisa Tomei. Publisher Bernie White is portrayed by stalwart Robert Duvall, minus the napalm. Other familiar faces are Randy Quaid as Michael Mcdougal and ballsy bunny boiler Glenn Close playing Alicia Clark. The movie is certainly not an advert for a budding journalist due to the varied downfalls of the characters. They play out the highs of the newsroom but it is evident the work-life balance is certainly swaying towards personal meltdown.

The Jack Bauer-esque interpretation is produced by Brian Grazer who more recently produced the Kiefer Sutherland hit TV show 24. The ticking time bomb element of the journalist’s day is ever present. The face of a ticking clock is shown on more than one occasion and watched through a seething glaze.

The Paper shifts from drama to comedy confidently and the film can’t help but be over sensationalist - shooting guns in newsrooms embodies this. Whilst that makes it entertaining it also makes it a little less believable. It does however have some industry insight and serves as a perfectly entertaining peep into a New York tabloid.