trashgang This psycho-sexual horror isn't for all the horror buffs walking around because it doesn't contain straight horror but it tricks your mind into a depraved ride between humiliation and incest.Made by David Blythe who gave us Death Warmed Up (1984) before we ever heard of Peter Jackson was a well known kiwi exploitation director. And it shows because this is to be honest another exploitation flick. It do has nudity but one of that kind that isn't attractive and surely isn't for the easily offended. It contains some red stuff here and there and even that can shock people, just see the shower scene once the daughter discovers the blood of her mother. David didn't add gore in it but at the final we do have a slashing that is ultra gory. But many will have turned it off because it's such a weird flick, in the line of Eraserhead (1977°. I like those kind of flicks were they go into the mind of sick people like for example The Dead Girl (2006). I found the acting sublime by all. A supernatural sickie that takes you back to the old school exploitations. Full of weird shots and offending sexuality. A classic.Gore 1/5 Nudity 1/5 Effects 1/5 Story 3,5/5 Comedy 0/5

itwiz90-1 First line on the movie poster/DVD cover was The film NG tried to ban. My question is banned for what, being boring!! I gave it a three based on the cinematography that was decent during most of the movie. The acting had hints of being good, but could not generate enough interest to keep me from falling asleep during this snooze-fest. The movie tries to take you through a series of scenes that were supposed to be psychotic and abnormal behavior, but I have seen better without those mediocre scenes. If you are into cut-scenes without a trend of thought and a man wearing the mask of a farm animal, then this is for you. The plot did not have a real build up. This was not real horror picture,or thriller. The only thrill I got was ejecting this from my media player. It tried to be a shocker but fell real short on the storyline (plot) and sub-par acting.

james_depaolo OMG!!! What did I just watch? And how can I put this experience in words. I will say this, there are some things in this film, that I will not forget for a long while. One involving the two main characters Susan and her daughter Tanya, in masks also involving a guy in a mask and plastic wrap. The most mind messed up manipulating scenes I ever witnessed in any film. And a castration scene, that would not be happy until it made you really think you saw a real one. It was the most realistic you could make it, without it really happening and please David tell me that scene is not real. I am worried. The movie deals with Susan, who may or may not be suffering from mental illness. And it tackles a lot of subjects. Rape, Incest, Revenge, Death, Mind Control and just plain what is going to happen next. Tanya, the daughter was quite possibly the hottest female I have seen this year in any film. There is a scene in the beginning with a counselor and her that you know by the tone and words being exchanged if this truly is a movie for you. Susan, starts the movie normal enough, but within minutes you are thrown right into her world. She is a servant to Master John, and those scenes are so cruel. You feel for her. Or do you. You find out as the movie goes on she is no angel, and her past she is ridden with a lot of guilt from things she has done and decisions she made, and thru the beauty of this film David lets you live them all out with her. This film is no horror film in the terms of a Jigsaw, or Freddy Kruger, its a horror film in the feeling of a they wont do this scene, OK they did it, he wont take it further. Oh man he did. This film is shocking, controversial, sick, depressing, and cruel. I loved it all. I don't know who is worst. David Blyth for creating this film, or for me loving it so much. This is no art film, or a statement movie. This is pure nightmare. Its a manipulative, sad and very challenging movie to make you feel, react and trust me by the end you will either be loving it or hating it. This is the film all those people who think they have seen it all, well here it is. And trust me, this film is just as controversial if not a little more than a Serbian Film.

Dries Vermeulen Something of a national scandal in its native New Zealand, WOUND represents an apparent change of pace for director David Blyth whose approach to horror, while undeniably extreme on his 1984 breakthrough zombie splat-stick DEATH WARMED UP, thus far remained comfortably constricted within comedic confines, as evidenced by his cable favorite RED BLOODED American GIRL and the affectionate Al Lewis (Grandpa Munster) tribute showcase MY GRANDPA IS A VAMPIRE. Plunging headlong into a universe of incest, child abuse, rape and revenge might seem like an uncharacteristic road to take then, though not so much when one compares the results to Blyth's debut feature shot at the age of 22, the 1978 ANGEL MINE, a chaotic satire of sorts tracing the increasingly surreal attempts by an upwardly mobile Auckland couple to achieve happiness. Spaced three decades apart, WOUND shapes up as a kind of dark mirror image to ANGEL MINE, echoing visual motifs such as the latter's lascivious leather-clad Doppelgangers (representing the couple's initially suppressed sensual side, gradually spiraling out of control) reappearing both as creepy rubber dolls and ultimately given birth to by central character Susan.As played by Kate O'Rourke, whose plaintive prettiness made her a perfect casting choice for one of melancholy vampire Danny Huston's army of adoring acolytes in David Slade's effective 30 DAYS OF NIGHT, Susan's as close to an audience identification figure as the filmmaker will allow. Nervously preparing for a visit from her estranged father (Brendan Gregory), Susan's soon exposed as battling her own set of demons born out of childhood trauma which engender an early explosion when she takes a baseball bat - not to mention a large pair of scissors - to dear old dad ! A woman of socially crippling bizarre habits (a hint : don't eat anything that came out of her freezer...), she bears the scars of having the baby girl she had when she was 14 - presumably fostered by her father - put up for adoption by her unsympathetic mom (Sandy Lowe), or was it indeed stillborn as the latter continued to claim ? Subsequently stumbling across her mother's double life as a home-based dominatrix inspires Susan to commit matricide by burning the ancestral home down to the ground. Some mothers do 'ave 'em indeed !Around this stage the movie shifts narrative gears towards sullen, angry orphan Tanya (Te Kaea Beri) who has just learned her birth mother's identity from a spectacularly insensitive social worker. Scheming to get in touch with the less than forthcoming Susan, Tanya enters a netherworld when she answers a text message while at a nightclub from a friend ("You were the only one who cared") by joining him in suicide on the railroad tracks, the tragedy of which is obscured by a jarring jump cut to a semi-conscious Tanya getting date-raped by the club's heavily tattooed, fat-arsed deejay appropriately wearing a pig mask ! This is where Blyth's pretentiousness rises to the surface however as his until now passably diverting exercise in poor taste develops ideas well above its station by audaciously aligning itself with the Greek myth of the goddess Demeter and her daughter Persephone, sired by Zeus (as they usually were...) and snatched by Hades who made her reluctant queen of the underworld through enforced nuptials. Also thrown into the mix is the "mooncalf" Caliban's famous speech on the nature of dreams ("Be not afeard, the isle is full of noises...") from Shakespeare's The Tempest, recited in full via ominous voice-over not once but twice, to placate the highbrows still reeling from the director's obscene onslaught of sledgehammer subtlety.Let's not mince words here. This movie is grotesque which is not a bad thing in itself nor does it expose a raw nerve within this particular reviewer's sensibilities. Hell, I can even watch Tom Six's instantly notorious HUMAN CENTIPEDE without gagging, well, most of the time anyway. No, my beef with WOUND lies with Blyth's blatant misappropriation of contentious imagery intended solely to shock on the most basic level. Shattering society's few remaining taboos is all good and well but it remains my firm belief that a filmmaker should have a carefully considered reason rather than a mere excuse to create havoc when dealing with subject matter as innately sensitive as that which Blyth so gloatingly puts through the wringer. This callous crudeness of tone is compounded by the director's appalling attention span so brief as if ticking off a series of boxes. Susan atoning for her mother's alleged sins by assuming the role of a sex slave for hire could have been thoughtfully expanded upon. Instead, Blyth chose to literally drown all intellectual challenge in a tidal wave of bodily secretions, ironically nipping the coveted controversy in the bud by supplanting all that might have been truly subversive and disturbing with mindless albeit extremely enthusiastic gore.