Best movie ever!

A lot of fun.

A movie that not only functions as a solid scarefest but a razor-sharp satire.

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

A woman who lost her father years before when he was gunned down in a robbery gone bad, finally tracks down the hood who killed him, only to fall in love with him when he confesses to the crime. After a few days of hanging out together he proposes to her. But his former gang members want to silence the couple & stage a hit where they kill their former friend. The woman is arrested by the police but her lawyer manages to get her released without charge. When he learns that the gang wants to kill her, he takes matters into his own hands.Ulli Lommel is a German-born director who has made quite a formidable reputation as one of the millennium's worst directors. In his heyday he made some interesting films – the 1970s art-house classic The Tenderness of the Wolves about an infamous German serial killer was featured in Time magazine at one point & Lommel's 1980 feature The Boogeyman was his biggest hit. But once the millennium came, Lommel's films became nothing more than cheap hackwork. Which is a shame for what was an interesting talent. Of his post-millennial works, the only good one (that is, the only one that was semi-watchable) was Zodiac Killer, which was disturbing enough to bypass its inherent cheapness.Absolute Evil was one of a number of ultra-cheap serial killer-themed DTV films Lommel made with his independent production company & was one of the last films to feature legendary actor David Carradine before his death. The film is typical of many of Lommel's films around this time period with mediocre plotting, awkward dialogue & acting, some traces of Lommel's infamous 'lather, rinse, repeat' style of storytelling (where he would showcase a killing over & over again with little variation to it) & brutal torture scenes but with no gore.The film has been slammed by almost everybody on the Internet, with attention paid to its flaws. But I have never outrightly hated Lommel's works. Sure, most of his post-millennial works have been frightfully cheap to the point of being overwhelmed by their low budget. Absolute Evil has many of these flaws & is not ever going to be seen as a good film, let alone a minor classic. What it does have is a story of forbidden love between a cheap hood & the daughter of one of his victims, only to find themselves torn apart by the hood's former gang mates. Lommel, for once, makes the film more character driven but he still has a problem with writing dialogue, with many of his characters being unable to talk coherently. Absolute Evil also has a mild brutality with Lommel's staging of a man being tortured by having his head dunked into a full bathtub looking like it was done for real. Christopher Kriesa, an actor who has starred in an awful lot of cheap B-grade action films & thrillers, makes a passable impression here as the lawyer but even he can't make the film work well enough to rate as anything more than disappointingly poor.

I'm not certain how Ulli Lommel's empty thriller Absolute Evil got into the Berlin film festival, but after the woeful Daniel the Magician from a few years ago, I'm surprised, very surprised. Toplined David Carradine plays a jovial sort of gangster which is a small role in this home-made thriller film. The story has a woman chasing after her father's killers about 15 years too late. A torture/waterboarding scene is the primal image in Absolute Evil -- it is the scene that Lommel cuts back to frequently, and becomes the symbol of how this movie grates on the nerves.Absolute Evil borrows from such films as Kill Bill and Planet of the Apes, but steals more heavily from Lommel's own C-grade horror efforts, such as The Boogeyman, BTK Killer, Green River Killer, Killer Pickton, and Mummy Maniac. In other words, Absolute Evil borrows extensively from other filmmakers. There are a few fancy cinematic moments in Absolute Evil, and if one looked carefully one might find these, too, have been borrowed from other movies. Absolute Evil is technically terrible -- the lighting and sound are in particular abysmal. The reviewer for Hollywood Reporter got it right when he said, the film "is quite simply excruciating to watch." Whoever wrote in the IMDb comments that this was a great movie must have mistaken Absolute Evil for some other flick.

What a pathetic excuse for a film. Ulli Lommel is infamous for his zero-budget slasher flicks, so incompetently made that even Aunt Martha's home movies look like Kurosawa, but with this abomination Lommel really hit rock bottom. The script and dialog is nonsensical and ridiculous and the "photography" doesn't deserve to be called that (just put the camera in a corner on auto setting, push record and pray for the best). Seeing other "reviewers" compare it to Fassbinder is a joke. It is obvious that the persons responsible for this laughable excuse for a movie have absolutely zero clue about film-making, framing, acting, writing, structure or taste. To be avoided at all cost.

After being caged in a Lionsgate Serial Killer Contract for more than two Years exiled German Indie Cult Director Ulli Lommel is back at his best. At the Berlin film festival he premiered and succeeded with the audience, but , as I experienced at a press screening, led also into a real controversy..Love is not colder than death,, because Death is not cool anymore. Sure Lommels new Flic is a hell of a genre mix of film noir, road movie and western with a lot of violence and torture, sure it's still a Lommel with its unique style somewhere between indie and big screen movie, but he's changing the subject. of a modern thriller. Before there were innocents who became bad, or villains, who couldn't cope with their past. But for the very first time, without playing on one's heart strings. Love and Forgiveness are presented as a solution in this deeply violent story . Maybe this alienates, because viewing habits are going to be mixed up, but you can't cheer Obama and enjoy ego shooters at the same time. Lommels Absolute Evil is more a vision for the next 40 years than a reminiscence to Love is colder than death from 1969. And to all you critics who won't understand now: You buried Fassbinder in a Museum , but you're afraid of Lommel, because he is alive!