Young psychiatric nurse Karen (Ilona Elkin) has had a terrible night at the hospital, dealing with an unusually high volume of panicked schizophrenic admissions, which she writes off to a full moon and a coming lunar eclipse. Heading home on the last train of the night, Karen hears someone’s beeper chime. What she doesn’t hear is that beepers have gone off simultaneously in every car on the train. Contacted passengers pull out their pagers and turn white with a puzzling mixture of dread, relief and anticipation. Throughout the train, soft mumblings of prayer can be heard. Crucifixes are drawn. Followers grip them tightly at the base, and in a downward motion, they pull the bottoms out of their crosses, unsheathing specially ordained daggers. After final words of blessings, the flock begins to walk car by car, slaughtering everyone in sight.
Maverick Montreal filmmaker Maurice Deveraux ($la$her$) is back, and this time he’s secured the financial backing necessary to properly realize his unique visions of the macabre. Taking place almost entirely in the underground subway system, his film erupts into a tense, bloody siege shortly into its running time and does not let up until the credits roll, pitting his ensemble cast against an ever-increasing avalanche of horrors that never cease to shock.
What makes this film so disturbing is the fact that Deveraux establishes early on that many of the dagger-wielding devout are genuinely good people whose intense longing to contribute to the betterment of the world has been used against them in terrible ways. The killers are members of a fictitious (though not remotely implausible) mainstream peace sect known as The Voice of Eternal Hope, whose Falwell-like leader has secretly been preparing his flock for Armageddon, at which time they are required to “save” as many non-believers as possible before the world literally goes to hell.
Sequences depicting kind-faced cult members stabbing victims until they are vomiting blood cut very deep. Allegories to both manipulative Western faith leaders and Middle Eastern fundamentalists abound, yet the film never preaches. Devereaux leaves that to his well-meaning killers, who drive their points home with disemboweling conviction. With this film, Devereaux has delivered on the promise of his earlier micro-budgeted works, establishing himself as a major name to watch. Very much a film for our times, End Of The Line is the strongest horror entry to tear out of Quebec in many a blood-red annum.
“Shocks and delights… pure horror… truly scary. “ – Bruce Kirkland, TORONTO SUN
“End of the Line has balls. I absolutely loved it. Devereaux is not afraid to push the envelope” – DREAD CENTRAL
“A super-scary shocker” – Jim Ridley, NASHVILLE SCENE
Hosted by Writer/Director MAURICE DEVEREAUX
WINNER: Public Prize, Silver Fantasia, Best American or European Film, Fantasia 2007
Director: Maurice Deveraux
Screenplay: Maurice Devereaux
Cast: Ilona Elkin
Producers: Maurice Devereaux, Adrien Morot
Distributor: Maurice Deveraux