This 2004 French slasher flick had pacing that kept us on the edge of our seats. The main character (Marie) hiding from a killer as he slashes up her best friends' family was enough to keep up engrossed. The second act was equally engaging, with Marie chasing down the killer and his captive on the road.
Part of the reason the plot has so much suspense is that it was inspired by the hit Dean Koontz novel, Intensity. So, we didn't really need what might stand as the worst plot twist in film history [NAUSEATING SPOILER ALERT!]: Marie is actually the killer. She is apparently hallucinating the entire existience of the other mass slasher.
We'd tell you more about the concluding act of this film, but the twist inevitably causes us to furrow our brows so severely it blocks our eyesight. We're too distracted by the gaping plot holes caused by the twist, like, "How can she be driving a truck and a sports car at the same time?" Roger Ebert commented on this, stating that the plot hole "is not only large enough to drive a truck through, but in fact does have a truck driven right through it."
We read some essays that say the film contains a lot of symbolism and metaphor, and so the plot errors we are seeing aren't really part of the film's reality. But, seriously, we just watched a dude get decapitated by a bookcase, don't try to tell us this film has some sort of deeper artistic meaning.
The worst part is, what was the point? Up until then, it was an amazing slasher film, so why screw around with completely impossible twists? Would Star Wars have been better if Luke Skywalker had been revealed to be Darth Vader? Would Citizen Kane have improved if Charles Foster Kane had secretly been a sled, all along? Stapling cliche plot reveals to otherwise classic films is just silly.