Music Made the Moment: 'The Collector'
Feb 9th 2010 1:45PM by: Alison Nastasi

It's no surprise that writer Patrick Melton and co-writer/director Marcus Dunstan's script for The Collector was once considered for a Saw prequel film. The Feast and Saw collaborators created a raw and brutal assault on the senses with their story about a double home invasion and a masked serial killer who sets a web of traps to collect his victims.
Given its roots, it would be easy to chalk this film up to being just another torture porn fiasco, but The Collector manages to be a movie about torture without actually crossing into 'porn' territory. The film did struggle to find its place as it danced back and forth between realism and splatter film excess, but there are several elements that make the film closer to old school exploitation than pure torture porn. I'm not talking about "exploitation" in the way it has become a catch-all phrase used by lots of people who wouldn't know an exploitation movie if it sat on their face. I'm talking about something gritty, violent, low-budget and unforgiving. This is after all the same film, shot on 16 mm even, in which the director burned his own hand in order to capture the most realistic effect for a take.
Filed under: Movie Reviews, Discussion Posts

I do truly love having a seasonal horror franchise, even if I'm not the biggest fan of the last few Saw films. Now that we're getting closer to October, AKA the horror genre's month long birthday party, all the marketing materials have begun emerging from their hatcheries, and there is once again little doubt that the loudest baddie of the month will be Lionsgate and Twisted Picture's torture-cherishing
Patrick Melton
Remember
How many Feast flicks and Saw sequels do you have to write before someone lets you direct your own movie? If you're Marcus Dunstan the answer is ... wait on sec ... three Feast movies, plus Saws 4, 5 and 6 ... six! The answer is six! Dunstan, who's one of the nicest horror guys you'll ever meet (and he does one hell of a Don Knotts impression), makes his directorial debut on








