Leofwine_draca Great! I saw this modern-day Mexican horror film was on television in the middle of the night, so I made sure to set my video and record it. After all, I'm the guy who's a big fan of all those old '50s. When I sat down to watch it, I was utterly disappointed. Although this is a modern imagining of the classic Mexican Curse of the Crying Woman legend, it bears more resemblance to the kind of silly ghost stuff found in recent Hollywood horrors as well as a smattering of Japanese atmosphere and plot ingredients. Why not create a proper Mexican film with its own identity like they did back in the day, rather than rip-off very familiar stuff? The film begins well with a spooky atmosphere and sinister happenings on a rural stretch of road. Soon after, we're plunged into a convoluted mystery, drawing together family history, the ghost of a little boy, a crying woman, and an underground river. There are some engaging characters, like the obsessed police detective investigating the case, but the film's central actress Iliana Fox is absolutely horrible. She seems to think that wide-eyed posturing is a good way to show a character being scared, but I couldn't help but chuckling every time she pulled off this expression – it just looks so ludicrous. The two guys supporting here aren't bad, but they seem to be on the sidelines and not involved in the plot, although one of them takes part in the film's most effective scene as a ghostly hitchhiker.The mystery never comes close to being revealed and the parts are far greater than the sum. I had no idea what the dead mother sub-plot was all about and no attempt is made to tie together loose ends. It's all too much about a pair of twins we have no real interest in, so there's no sympathy, no empathy here. The little boy ghost is straight out of JU-ON: THE GRUDGE and way too familiar while the female ghost is animated thanks to some dodgy CGI at the climax, which only serves to take us out of the film even further. I could have forgiven these things had the plot not been so muddled, but alas, this is a misfire through and through.

curly_tavo Being a guy who loves foreign horror films, I was expecting something different with Kilometer 31, especially being from Mexico, the country of my family. And I have to say, I'm impressed. The story line is gritty, disturbing, and overall unnerving. The film's strongest point is the atmosphere, just the sheer amount of uncertainty surrounding Catalina over the titular road makes it so uncomfortable to watch, especially around the second act of the film. The imagery surrounding the mystery of the road works to the film's advantage as well, keeping the audience on the edge of their seat.I hear and have seen that there is a planned sequel and I can just hope there will be more added to the mystery of Kilometer 31, and what will be in store for us.

Andy Steel Quite an interesting film; quite dark with some nice special effects; although nothing ground-breaking. It's pretty gory in places so it's definitely not one for the squeamish. All the performances were very good, although I'll put my usual caveat that it's sometimes quite hard to judge a performance in a foreign language. I thought Iliana Fox stood out as the most praiseworthy though. The film does, however, fall a little into cliché here an there; it must be hard to find new ways to scare people these days. It just about have enough 'creep-factor' though to keep me interested, so it's not all bad. Over all, worth a look if you're a horror fan; otherwise, I'd probably give it a miss. Personally, I pretty much enjoyed it.SteelMonster's verdict: RECOMMENDEDMy score: 6.2/10You can find an expanded version of this review on my blog: Thoughts of a SteelMonster.

Paco Colmenares I can try to forgive the mistakes of Km 31, but I know I will not forget. Whoever investigates the Mexican cinema just a little, will realize horror genre is not around for, at least, 15 years. This is not an excuse, but let you understand where we are and where are we trying to go. Yes, it is true, Km 31 failed in many aspects. It failed with a captivating closing or with empathic performances, with a rhythm that he never found, with jumping of images packed in good special effects, but surrounded with incomprehensible sequences. But if we are fair, it also had wise moves. It has sowed a seed of confidence and credibility. He has made us remember that our cinema is perfectible and not only condemnable. It reminded us that bogeys not only exist in Tennesse, voodoo in New Orleans or curses in Japan. It reminded us that also here they watch, they threaten and scare. He reminded to us that here also we have fantasy. I am sure that with the correct support, Km 31 can be the beginning of a new history in the cinema of terror. I hope that this way it should be.