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Joe (Nathaniel Kiwi) has just moved into a quiet Australian town where
he wants to lead a quiet life ... when he walks over to the niighbours'
house and finds the whole family (Chris Gay, Maree Kelly) murdered, all
but daughter Sally (Hollie Kennedy), into whom he bumps when she comes
home, and who immediately mistakes him for the killer. A short time later,
when the police arrives, she is murdered too, and again, Joe is thought to
be the culprit, which leaves him but one choice - to run. Thing is,
soon, Sally starts to walk again, and so does her brother Jack (MIchael
Russo), who has died in a car accident just a few days ago, and they are
also after Joe, but kill everyone who gets in their way. Joe eventually
bumps into Kylie (Laura Hesse), incidently Sally's best friend, and smehow
he can convince her that he is not the killer of Sally's family, and
ultimately they go against Sally and her dead family, who are apparently
possessed by demons, together with alcoholic Sargent Harding (Peter
Roberts), who still has to come to terms with what's going on. Enter
Sally's estranged money-grabbing father ed (also Peter Roberts), who has
come to Australia to see what happened to his family - but now that he's
here he's more interested in striking a deal with the demons ... and
ultimately, while Joe, Kylie and Sargent Harding risk their lives fighting
the possessed living dead, Ed grabs one of the demon thingies and takes it
with him to Hollywood ... All the cinematic techniques Stuart
Simpson applies in Demons|Among|Us have certainly been overused in
recent years in both films and music videos, techniques like intentionally
over-exposed or double exposed images, washed out or digitally alered
sequences, jump cuts and shaky camerawork ... yet in Demons|Among|Us
all of this seems unexpectedly fresh and original all of a sudden, since
Simpson uses it not as a self-referential gimmick but as a means to
disorient the audience, and the disorientation actually makes narrative
sense. The result of this is an incredibly inventive piece of
indie-horror, one of the few shockers of late that really delivers shocks
that go beyond mere gore scenes (though there are plenty of those in here
too), and a film that has still got guts enough to give an ironic spin to
its horrific proceedings. Highly recommended.
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