Territories (2010)

It's funny watching the elements come together in this complicated scam. On one hand, the set-up isn't quite as complex as it seems, but there's an easy sense of fun in every exchange.

The film may be flawed, but its message is not.

This is a dark and sometimes deeply uncomfortable drama

By the time the dramatic fireworks start popping off, each one feels earned.

When I read the synopsis of this movie I was so excited to see it. The concept just seemed so interesting and original.It starts off with a kick, within minutes I was feeling the uneasiness that this movie is meant to inflict. Most of the actors are phenomenal, it's when I see movies like this that I don't understand how Hollywood can't cast better actors 90% of the time.The movie keeps a good steady pace, I wasn't bored at any point. Which is a feat considering my minuscule attention span.It was such a great movie until there was about 20 minutes left in the film. It takes a strange turn. I can't say much without giving it away. But when you see it you'll understand what I mean.I completely suggest it because other than that it's great. And who knows? You may like the ending more than me.

The French have never let me down before. I've seen and loved many a French horror film, with four of them possibly being my favourite horror films of all time (Inside, Martyrs, Frontiers and The Ordeal). However, I'd never heard of Territories before. Perhaps it's because it isn't French language, but for some reason it slipped under my radar and it sounded right up my street, as I'm into the whole kidnapping, survival type horror film and I know that the French are so good at it, such as the brilliant, under-rated Caged. Unfortunately Territories is my first French horror disappointment, and I can now see why it is so unknown. It may have the premise of Frontiers, but it certainly does not have the execution.Territories isn't as bad as people have been saying. It's certainly not the worst horror film I've seen and it does have some redeeming factors. The style of the film is brilliant with its grainy and often raw hand-held direction it feels like a typically French horror film. The cinematography is also often surprisingly brilliant and I did like its brave and ambiguous ending, which many people feel strongly against. The opening 20 minutes were also fantastic, diving you straight into the action with brilliantly suspenseful dialogue and characters you can feel sympathy for. I love how the whole situation started off customary but then escalated into a complete nightmare, full of tension and suspense.The leading of the group into their cages also looked as if the film could be little unknown French gem like that unfortunately over-looked 5150 Elm's Way. However, it's from here that things begin to go downhill and the film turns into quite a mess, with nothing of any interest to say and with very little excitement to give. Now, Caged may have been unoriginal but it was thrilling and brimming with suspense. Territories looks good and feels good, but is actually quite uninteresting. With several heavy re-writes Territories could've been that fantastic gem that it promised to be in its opening, but unfortunately the screenplay is a complete mess.The film spends a lot of the time showing the group being terrorised and tormented, which is fine but then the film starts to drag on, without building on its already thin characters. I think the film could've benefited from a 10-15 minute introduction to the characters so that we get to know them and care for them, or at least build up their characters during the horror. Territories fails to show any interest in its victims at all, paying more attention to the torturers and later on the Nigel Havers detective (more on him later). I don't mind the film giving screen time to the torturers, in fact I applaud it for doing so as it's the villains who are often under-developed (Eden Lake is a great example of creating perfect balance between the two) but the villains were there so much that it ignored the victims of the story.Scenes also tended to drag and didn't bring a lot to the film such as the interrogation scene which was brilliant for 5 minutes, but then it started to drag and felt longer than it actually was. What was especially annoying was that the film completely detracted from its original plot-line and started to introduce this private detective who looked like a tramp version of Nigel Havers who'd just stepped out of the 80's! Here the film completely abandoned its characters to make way for a new one to fill up the final 25 minutes. It's as if the writers were making it up on the spot. Either make a film about victims, or make a film about a detective, don't abandon one and go for the other mid-way! Territories ultimately lacks focus. The detective should've at least ran parallel with the main narrative, instead of being shoved on at the end. He ultimately brought nothing to the film accept false hope, which I', all for, but if that's all he's going to bring, don't make him into a huge plot point!Ultimately Territories was a disappointment. It promised so much, but quickly deteriorated into a mess. I also felt that the film was trying to mask itself up as something more intelligent than it actually is, with its political references and sometimes weird philosophical questions. Now the film does have some good points such as the direction and cinematography, but the messy screenplay outweighs its good points, which brings us out of the story thanks to its lack of interest for its characters and illogical structure. Territories is no French great, and should remain unnoticed from people's radars.

Oddly enough, the bad reviews on this site were what enticed me to actually watch the film. Besides the first review by Coventry, which had some constructive criticism and actually compared this film with others within its genre, the reviews all took issue with the episodic quality of the films plot. It seems that they haven't been introduced to the concept of art cinema - a mode of film practice which subverts and breaks from classical filmic conventions like continuity editing, and strict causal relations between narrative events, instead focusing on the psychological depth of its characters and the "everyday" realism of disjointed, unrelated events. This film definitely shows various qualities of the art cinema, especially its episodic structure and focus on character psychology. I found the plot intriguing and despite what some of the other reviewers said, I think that the introduction of the private detective was not arbitrary but actually contributed to the creation of the expectation that the tortured would be rescued. By building this character who can sympathize with the families of the missing, as he has ostensibly lost his own daughter, the director effectively takes the audience out of the roll of victim-by-proxy and into rescuer-by-proxy. This is clever because by the time this plot line is introduced, the viewer has become frustrated with the course of events (as trapped in them as the tortured) and the detective becomes the voice for the audience, while also giving them a view onto the other side of the tragedy of kidnapping/forcible confinement.As for the ending ... I cannot believe that one of the previous reviewers complained about the fact that the ending did not gesture to a sequel. I'm sorry bud, but sequels did not exist before the late 80s early 90s and the dawn of the multiplex theater. I also disagree with the suggestion that the film doesn't allow the audience to interpret the final events in any way that they wish - because that is exactly what the ambiguous ending does. The lack of closure makes it the viewers responsibility to interpret the ending in whatever way that they can.Overall, the film was esthetically pleasing and definitely generated the reactions thrillers are supposed to. Maybe for Coventry the film is just another in a long line of psychopath/kidnapping/torture stories, but I have seen few which are as dedicated to the art of film and not very tangibly grasping at demographics in hopes of being successful. Also I would say that Territories fell well within the range of the independent film mode, and far from that of the B-film - despite its low budget and virtually unknown cast. Definitely a film worth watching - at least for those who can appreciate films which reveal their artifice by making the viewer think.

Deranged and sadistic psychopaths kidnapping randomly unfortunate travelers in remote areas with as sole purpose to humiliate, torture and eventually massacre them. There have been SO many movies with this exact same plot outline over the past five-ten years that it has almost become a sub-genre on its own; a hybrid between hillbilly-horror and torture-porn. The only more thing directors of these films can do to distinguish their effort from the others is being as creative and extreme as possible in drawing the characters of the psychopaths. The crazier, blood-thirstier and more perverted, the better. Olivier Abbou clearly understood that message, as the villains in his film "Territories" are uncannily straight-faced and nihilistic killers who recreated their very own and private mini-version of Guantanamo Bay in a deep-hidden forestry region on the Canadian border with America. Dressed as border patrol officers, the two apprehend a car full of twenty-something Americans returning home from a wedding. Okay, they have a broken headlight and were carrying a small dose of soft drugs, but the main reason they stopped the car is because the driver of the group is called Jalil El-Haddad. The fake officers accuse Jalil of terrorism and before they properly realize, the entire group is locked up in separate cages in the middle of the woods. Although well-made and occasionally very atmospheric, "Territories" inevitably remains a derivative and forgettable effort. The first half of the film is admirably tense and contains a number of unsettling shock-moments (the interrogations with the prisoners who are weakening physically as well as mentally), but still you can't escape the impression you have all seen this a dozen of times before. Then, rather incomprehensibly, the tone swifts during the third act with the introduction of a completely new protagonist. A hired private detective is on the lookout for the missing tourists and all of a sudden the plot exclusively follows him around, even to restaurants where he seduces waitresses and his motel room where he stuffs up his veins with heroin. He confronts the kidnappers a couple of times, but the victims and their continuously deteriorating conditions suddenly don't seem all that important anymore. The acting performances are more than decent and the filming locations are very effective, but the main impression raised by "Territories" is déjà-vu.