Creep (2004) Poster

Creep (2004)

  • Rate: 5.5/10 total 15,585 votes 
  • Genre: Horror | Mystery | Thriller
  • Release Date: 28 January 2005 (Ireland)
  • Runtime: 85 min
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Creep (2004)

Creep 2004tt0381966.jpg poster

  • IMDb page: Creep (2004)
  • Rate: 5.5/10 total 15,585 votes 
  • Genre: Horror | Mystery | Thriller
  • Release Date: 28 January 2005 (Ireland)
  • Runtime: 85 min
  • Filming Location: Aldwych Underground Station, Aldwych, Holborn, London, England, UK
  • Gross: £1,728,375(UK)(20 February 2005)
  • Director: Christopher Smith
  • Stars: Franka Potente, Sean Harris and Vas Blackwood|See full cast and crew
  • Original Music By: The Insects   
  • Sound Mix: Dolby Digital
  • Plot Keyword: Underground | Tunnel | London Underground | Gore | Subway

Writing Credits By:

  • Christopher Smith (written by)

Known Trivia

  • Advertising posters showing a bloody hand sliding down a London Underground train window were banned from the Underground as being in bad taste, even though scenes had been filmed with permission in disused stations on the Underground. Producer Julie Baines found this “highly amusing” and “a bit ludicrous”, noting that the film is “not based on real events – if it is, we are all in trouble.” The ban was later removed, although not in time for the film’s British opening.
  • The image of the bloody hand on a carriage window was allowed to be displayed in London Underground stations for the DVD release, unlike the poster for the theatrical release.
  • In the scene with Jimmy and Kate on one of the trains, there’s a dead guy (the train driver) lying on the floor. If you look closely you see he has a moustache. It was actually added on later using CGI so he wasn’t confused with the previously killed security supervisor.
  • The villain, Craig was named after the director Chris Smith’s friend, Craig Fackrell who played a homeless guy by the cash machine in the film.
  • When they were filming Franka running through a tube train, the cameraman behind her ran straight into one of the posts on the train.
  • Titles that didn’t make it: “Runt”, “Cellar Dweller”, “Horunder”, “Here Kitty Kitty”, “One Track Mind” and “Piccadilly Nightmare”.
  • They bought six yellow dresses for Franka, each one had a varying degree of dirtiness because her dress got more grubby throughout the film.
  • Franka Potente dubbed her own voice in the German Version.
  • Franka Potente was writer/director Christopher Smith’s first and only choice to play Kate.
  • The party sequence was shot in a real model agency office.

Goofs: Continuity: When the train that Kate boarded at Charing Cross comes to a halt in the tunnel, she goes to the front of the train where the car number above the door to the front cab reads 96101. After the lights have gone out and the nasty boyfriend has activated the emergency lights, Kate returns to the same front cab door and the car number has changed to 96107.

Plot: Trapped in a London subway station, a woman who's being pursued by a potential attacker heads into the unknown labyrinth of tunnels beneath the city's streets. Full summary »  »

Story: Heading home late one night after a party, Kate falls asleep while waiting for her train. She awakens to find herself trapped in the London underground, with all the doors locked for the evening. While being attacked by a co-worker who has followed her, a mysterious unseen creature drags him away and kills him. This begins a terrifying ordeal, as Kate and a young homeless couple are stalked through the dark tunnels by something dangerous with payback on its mind.Written by Mr_John_Barrymore  


Synopsis: The film opens with two sewer workers in London, Arthur (Ken Campbell) and George (Vas Blackwood), who discover a tunnel in one of the walls that neither of them is familiar with. Arthur enters and when he does not emerge or respond to George afterwards, George follows. He soon discovers Arthur, injured and in a state of shock. Moments later, a similarly injured young woman jumps out in front of them, crying for help, only to be pulled back into the darkness.

The focus then shifts to a young German woman, Kate (Franka Potente), at a party. After hearing of another party that George Clooney is supposedly attending, she decides to travel there. After unsuccessfully trying to get a taxi, she heads to Charing Cross tube station, but soon falls asleep on the platform while waiting for the train. When she awakens, she is alone and finds the entire station locked up for the night. Another empty train arrives and she boards it, but it stops abruptly. Confused, Kate makes her way to the conductor’s compartment but is unsuccessful in finding a reason for it as unbeknownst to her, the driver has been killed. Kate soon encounters Guy (Jeremy Sheffield), an obsessive acquaintance from the previous party. Guy, intoxicated by cocaine, crudely attempts to seduce her, but Kate is not interested and tries to leave the train. Guy then sexually assaults her, but is dragged off of her and out of the train by an unseen attacker.

Kate flees from the train and runs into a homeless couple, Jimmy (Paul Rattray) and Mandy (Kelly Scott), and their dog, a Jack Russell terrier called Ray (Strapper). Kate explains what has happened and Jimmy reluctantly agrees to help her after she pays him. Meanwhile, Mandy is also attacked while alone. Kate and Jimmy find Guy lying on the railway track with his back mutilated. After they pull him onto the platform, Ray appears with blood smeared on his fur. Jimmy, immediately thinking of Mandy, goes with Ray back to their shelter where she is nowhere to be found. Kate attempts to contact a watchman via speakers to get help. Suspicious of her, the watchman demands Guy to be dragged in front of the security cameras to prove that she is not lying. When she does so, Guy dies and the watchman is also killed in his office by having his throat slit by the stalker. Kate runs back to a despondent Jimmy who has shot himself full of drugs. She eventually persuades him to help her find Mandy and a way out of the station. After exploring a tunnel together, another train pulls up in front of them. Jimmy enters and is killed by the stalker, who was lurking on the roof. Kate flees into the sewer system below the station, but is soon captured by the killer; a hideously deformed, mentally ill hermit named "Craig" AKA The Creep (Sean Harris).

Kate finds herself in a water-filled cage deeper underground, presumably being stored as food for Craig. She also meets George, who is still alive and also trapped. However, before Craig can harm either of them, Kate manages to escape, temporarily incapacitate Craig, and release George. Together, they run through several dark corridors and end up in a secret, deserted abortion clinic, where they find an unconscious Mandy strapped on an operating chair and mistakenly presume her to be dead. However, before they can investigate further, Craig appears and they are forced to flee and leave Mandy alone with him, who kills her in a twisted imitation of an abortion.

George and Kate eventually find themselves in an abandoned platform and Craig soon catches up to them once again. George attacks Craig, but is impaled through the head with a serrated blade protruding out of a wall. Kate attempts to escape, but is soon cornered by Craig. She breaks down until she spots a large hook on a long chain, with which she stabs Craig’s throat. She then hears the distant sounds of an approaching train and she throws the other end of the chain over the tunnel, in an attempt to electrocute him. Her plan fails, and although severely wounded, Craig rises and attempts to crush Kate with a barrel. Then the train passes through the tunnel and smashes into the chain, which tears out his throat. Craig finally dies, and Kate makes her way through the tunnel and finds herself back in Charing Cross Station. Tattered and filthy, she collapses on a platform and Ray appears, curling onto her lap. The film ends when a man waiting for a train puts a coin next to her, thinking she is a beggar, and she breaks into hysterical giggles and tears.


FullCast & Crew

Produced By:

  • Julie Baines known as producer
  • Alexandra Ferguson known as line producer
  • Martin Hagemann known as co-producer
  • Barry Hanson known as co-producer
  • Robert Jones known as executive producer
  • Kai Künnemann known as co-producer
  • Jason Newmark known as producer

FullCast & Crew:

  • Vas Blackwood known as George
  • Ken Campbell known as Arthur
  • Kathryn Gilfeather known as Girl
  • Franka Potente known as Kate
  • Grant Ibbs known as Man
  • Joe Anderson known as Male Model
  • Jeremy Sheffield known as Guy
  • Sean De Vrind known as Friend
  • Ian Duncan known as Friend
  • Debora Weston known as Mya
  • Emily Gilchrist known as Karen
  • Craig Fackrell known as Homeless Guy
  • Elizabeth McKechnie known as Woman
  • Kelly Scott known as Mandy
  • Strapper known as 'Ray' The Dog
  • Jonathan Taylor known as Dead Driver #1
  • Paul Rattray known as Jimmy
  • Morgan Jones known as Night Watchman
  • Daniel Joseph Scott known as Dead Driver #2
  • Sean Harris known as Craig
  • Spencer Hawken known as Man On Train Platform (uncredited)



Supporting Department

Makeup Department:
  • Nicola Frost known as makeup artist
  • Uli Nunn known as hair stylist: Franka Potente (as Uli de la Lama)
  • Jan Sewell known as hair designer
  • Jan Sewell known as makeup designer

Art Department:

  • Gordon Fitzgerald known as property master
  • Ulrike Gojowczyk known as props
  • Lee Hedges known as dressing prop daily
  • Mark Hedges known as dressing propman
  • Dan Maslen known as storyboard artist
  • Jim McCallum known as stand-by props
  • Daniel Painter known as storyboard artist
  • Thorsten Sabel known as set dresser: Germany
  • Keith Stevenson known as set dresser
  • Nic Stubbings known as stand-by props




Production Companies:

  • UK Film Council
  • Filmstiftung Nordrhein-Westfalen (as Filmstiftung NRW)
  • Dan Films
  • Zero Film GmbH (as Zero West)

Other Companies:

  • ARRI Lighting Rental  lighting
  • ARRI Media  camera equipment provided by
  • Art4noise  sound post-production
  • Audiolink Radio Communications  walkie talkies
  • Film Finances  completion guarantor
  • Kodak  motion picture film supplied by
  • Lip Sync Post  digital grading
  • Lip Sync Post  sound re-recording
  • One Post  titles post-production
  • Sapex Scripts  post-production script services


  • Pathé Distribution (2005) (UK) (theatrical)
  • X Verleih AG (2005) (Germany) (theatrical)
  • Alfa Films (2005) (Argentina) (theatrical)
  • GAGA (2005) (Japan) (theatrical)
  • Golden Village Entertainment (2005) (Singapore) (theatrical)
  • Independent Films (2005) (Netherlands) (theatrical)
  • AXN (2007) (Japan) (TV)
  • Filmax (2004) (Spain) (all media)
  • Imagem Filmes (2005) (Brazil) (all media)
  • Italian International Film (2005) (Italy) (all media)
  • Lions Gate Films Home Entertainment (2005) (USA) (DVD)
  • Oy Nordisk Film (2005) (Finland) (DVD)
  • Paramount Home Entertainment (2005) (Australia) (DVD)
  • RTL Entertainment (2008) (Netherlands) (TV) (first national airing) (RTL8)
  • Transeuropa Video Entertainment (TVE) (2006) (Argentina) (DVD)
  • Transeuropa Video Entertainment (TVE) (2006) (Argentina) (VHS)
  • Universal Pictures Benelux (2006) (Netherlands) (DVD)
  • Warner Home Video (2005) (Switzerland) (DVD)
  • Warner Home Video (2005) (Germany) (DVD)



Other Stuff

Special Effects:

  • Hybrid Enterprises

Visual Effects by:

  • Phil Attfield known as visual effects supervisor
  • Robin Beard known as digital effects artist
  • Kimberley Broughton known as effects artist: Hybrid Enterprises
  • Lee Clappison known as online film editor
  • William Foxwell known as scanning and recording operator: Lip Sync Post
  • Simon Frame known as visual effects supervisor
  • Scott Goulding known as scanning & recording
  • Tom Hocking known as digital compositor
  • Katja Hollmann known as digital lab supervisor: Lipsync Post
  • Mark Kilburn known as effects artist: Hybrid Enterprises
  • Katy Lemon known as scanning and recording operator: Lip Sync Post
  • Alasdair MacCuish known as senior producer: Lipsync Post
  • Victoria McDowell known as visual effects line producer
  • Peter Minister known as effects artist: Hybrid Enterprises
  • Gruff Owen known as digital compositor
  • John Parnham known as effects artist: Hybrid Enterprises
  • Jenny Rose-Barber known as effects artist: Hybrid Enterprises
  • Dawn Whitehead-Binns known as effects artist: Hybrid Enterprises

Release Date:

  • Germany 10 August 2004 (Frankfurt Fantasy Filmfest)
  • Germany 16 August 2004 (Berlin Fantasy Filmfest)
  • Germany 17 August 2004 (Hamburg Fantasy Filmfest)
  • UK 31 August 2004 (London FrightFest Film Festival)
  • Canada 10 September 2004 (Toronto International Film Festival)
  • Ireland 28 January 2005
  • UK 28 January 2005
  • Germany 10 March 2005
  • Austria 11 March 2005
  • Belgium 19 March 2005 (Brussels International Festival of Fantasy Films)
  • Spain 23 March 2005
  • Singapore 21 April 2005
  • France 4 May 2005
  • Belgium 11 May 2005
  • Netherlands 12 June 2005 (Amsterdam Fantastic Film Festival)
  • Philippines 6 July 2005
  • Japan 16 July 2005 (limited)
  • Netherlands 4 August 2005
  • Brazil 12 August 2005 (DVD premiere)
  • Japan 13 August 2005 (Nagoya)
  • Japan 10 September 2005 (Osaka)
  • Italy 23 September 2005
  • Poland 28 October 2005
  • UK 9 November 2005 (Leeds International Film Festival)
  • Finland 23 November 2005 (DVD premiere)
  • Argentina 8 December 2005
  • Hong Kong 8 December 2005
  • USA 20 December 2005 (DVD premiere)
  • Egypt 1 March 2006
  • Thailand 30 March 2006
  • Hungary 2 June 2006 (TV premiere)
  • South Korea 15 June 2006
  • Mexico 27 October 2006
  • Venezuela 23 March 2007
  • Panama 27 April 2007

MPAA: Rated R for strong bloody horror violence, language, some drug use and sexual content (cut)



Filmography links and data courtesy of The Internet Movie Database

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Posted on September 26, 2012 by freeonlinemoviestreaming in Movies | Tags: , , , .


  1. Neil Wallace ([email protected]) from London, England
    26 Sep 2012, 5:56 pm

    This is good little shocker; not perfect by any stretch of theimagination, but tight, competent and disturbing. An excellent exampleof a simple idea developed into a compelling 90 minute script.

    The set up requires no bells and whistles, no lengthy exposition orwordy back story; Kate (Franka Pontente), a young German business womanliving in London, drifts off whilst waiting for the last tube train.She awakens to find the place deserted, but quickly comes to realisethat she is far from alone. Someone, or something, is down there withher and it’s intentions are wholly malicious.

    In fact she encounters several other characters in her quest tosurvive, including a lecherous work colleague, a homeless couple and acaged sewage worker, all of whom add pace and substance to the plot.There is a slightly awkward gear change somewhere in the middle of thefilm when tension thriller mutates into gore fest, but nothing soclumsy as to slow the hectic pace. For those of you with weakdispositions this is likely to be a harrowing ride; for those of youwho relish a bit of well executed carnal mayhem this should press allthe right buttons.

    The climax of the film is perhaps less successful than the main body ofthe film, but it is punctuated with a nice moment of unexpected socialcommentary which provides a satisfying conclusion.

    Some may find themselves feeling somewhat cheated of a clearexplanation as to the exact nature and history of the threatencountered by Kate and her confederates, however, for me this was notthe case. A horror film writer should not need feel compelled to dotevery i and cross every t, in the same way a writer of politicalthrillers might be expected to. There are enough clues here to give youa very pretty clear idea of what brought this evil into existence,making a detailed and conclusive solution superfluous. The retention ofa certain sense of mystery is to be welcomed and reminds us that inthis film the ride was always going to be more important than the exactdestination.

    My understanding is that the budget for this film was, to say theleast, minimal, in which case our applause for this British horrorshould be all the louder, for at no point does one have the impressionof corners being cut or effects failing to deliver.

    If this sounds like your kind of film then it probably is. Buy a ticketand climb aboard.

  2. cardech from Manchester, England
    26 Sep 2012, 5:56 pm

    Just saw this at a preview at the Prince Charles in London. Luckily Ididn’t have to get the tube on the way home afterwards. A great filmfor everyone who has ever got the tube late at night and thought tothemselves that there has GOT to be a great horror film in thisexperience!

    Creep is exactly what you would expect having seen the poster. It isscary in all the right places, fast paced, well edited and has a great,eerie soundtrack . Those who don’t like horror films needn’t wastetheir time but afficiondos will appreciate as a fine example of theart. It comes with the expected STUPID moments where you wish thecharacters would do something sensible but that, in many ways, is partof the fun isn’t it!?

    The lead character is pretty unsympathetic which doesn’t help but thehorrible and unflattering yellow dress she is wearing is partly toblame as well.

    The tube stations look fantastic – empty and creepy a la An AmericanWerewolf in London and the whole design is very effective.

    You know exactly what you are getting with this film – an efficientmodern horror movie with jumps and suspense in all the right places. Aswith 28 Days Later it’s setting alone makes it a must see for anyonewho lives in London or uses the tube regularly.

    Overall, four stars. It won’t change your life and it probably won’tmake you scared to get the tube but it will raise your pulse, keep youentertained and might make you think twice about getting the last trainhome.

    The director and star gave a q and a session after the screening andthey seemed genuinely nice and were clearly pleased with the film, asthey should be. Just watch out for the rats which are only pretendingto die…..apparently.

  3. Catakiosk from Toronto, Canada
    26 Sep 2012, 5:56 pm

    I just saw this film last night at Toronto Film Festival where it wasplaying under the Midnight Madness section. To tell you the truth, theonly reason why I went for this movie was because it shared its namewith the Radiohead song, and also because my friend had bought thetickets so I really didn’t have a choice :-D I went in expecting it tobe something like The Silence of the Lambs, but it turned out to besemi-gore flick. Somebody has already mentioned that none of thecharacters are likable, and that is absolutely correct. I reallycouldn’t care less if Potente’s character got her entrails ripped outby the Creep. I was rooting for the homeless to make it out alive withPotente’s character getting her just desserts. Christopher Smith hascertainly done a great job with the visual aspect of the film. However,the story is rather weak, but then again the whole point of the moviewas to scare the crap out of you and it did that quite effectively. Thescore by a Bristol band called The Insects was top notch. That, morethan anything else, really scared the crap out of me.

    The director was a really decent chap and was quite entertaining duringthe Q&A session. I really do hope he gets to make better films in thefuture.

    This one is strictly for genre fans, but I’d recommend non-fans to givethis a try anyway. It was a fun ride.

  4. Mike Keating ([email protected]) from London, England
    26 Sep 2012, 5:56 pm

    Creep is the story of Kate (Potente), an intensely unlikeable bourgeoisbitch that finds herself somehow sleeping through the noise of the lastunderground train, and waking up to find herself locked in the tubestation. After somehow meeting workmate and would-be rapist Guy on amystery train that runs after the lines have closed, things go awry andshe finds herself pursued by what lurks beneath the city's streets. Herstory is linked to that of George (Blackwood), an ex-con working in thesewer system; they meet in the final third of the film, broughttogether by their attempts to escape the monster that pursues them.

    The pair proceed through a set of increasingly unlikely locations; fromthe Tube station, they end up in the sewage works before somehowfinding themselves in some sort of abandoned underground surgery. MostTube stations don't have toilets, so how one has a surgery is beyondme. Naturally, the film cares to explain that the surgery doesn't haverunning water. Yet it has electricity? Just one of many inconsistenciesthat work against the atmosphere of everyday believability that thefilm tries to create.

    The monster itself is a problem. There's a complete lack of reasoningfor its actions, it just kills people for no obvious reason. And thenof course it keeps some alive for no real reason either, perhaps justso that they can eventually escape and give the film an extra 15minutes or so running time. I understand that natural evil is supposedto be scary, but then the film attempts to explain itself via a photoof a doctor and his son, and a few shots of some jars containingbabies, and yes, it is just as tired and pathetic as it sounds. It alsofails to explain how the creature has been underground long enough tolose the ability to speak, communicating only in raptor screams, butnot long enough for its pair of shorts to decay. Hmm.

    This doctor business leads to scene that is the film's desperateattempt to implant itself on your memory, and while it is gory anduncomfortable to watch, it just isn't enough. The final third of thefilm hinges on an emotional relationship that never existed, and thecharacters break down and recover for little or no obvious reason.George breaks down, unable to cope with something despite stating thathe wants to escape so he can see his daughter again, and Kate becomesemotionally tough seconds after going to pieces over someone thatripped her off for a travelcard. Yeah.

    After starting out as a "this could happen to anyone" movie, it quicklyfalls apart as it introduces ideas that make it more and moreunrealistic. A complete lack of emotional interest in the charactersand an absence of suspense make this one to avoid.

  5. Danny_G13 from Glasgow, Scotland
    26 Sep 2012, 5:56 pm

    Brit horror successfully marries suspense and gore to create a morethan decent movie.

    Franka Potente is Kate, a socialite on her way to a party in Londonwhere George Clooney (Yes really) is believed to be hanging at andwhere she will attempt to seduce him (Yup, I’m not kidding).

    However, she falls asleep at the subway station and misses the lasttrain, leaving her trapped inside. Jeremy Sheffield’s Guy is pursuingher though, and when a train finally arrives (Yes, the logic’s alreadydisintegrating), he appears out of nowhere and tries to rape her.Unfortunately for him, there is a real killer in the underground whodrags him off her and wounds him fatally.

    The rest of the movie is killer-pursues-Kate.

    Quite frankly the logic in this one was never meant to be particularlystrong. It’s not even obvious that she fell asleep while waiting forthe train, and instead it could have been mindgames. And indeed,mindgames seem to be the only explanation for some of the slightlyludicrous events which occur in the first half.

    Nonetheless, this movie is about running away from the bad guy, whoseappearance and identity imply he’s ‘not normal’ (Are they ever), and tothis end the film does a decent enough job. Once the bizarre first halfhour of silliness is past, it is simple enough fare, with more than ahint of severe gore.

    There’s little more that can be said, such is the basic nature of this,but if you accept the intrinsic daftness of some of it, you’ll get areasonable kick out it if you like the genre.

    Seen worse.

  6. davideo-2 from United Kingdom
    26 Sep 2012, 5:56 pm

    STAR RATING: ***** Unmissable **** Very Good *** Okay ** You Could GoOut For A Meal Instead * Avoid At All Costs

    Stuck-up career bitch Kate (Franka Potente) heads to the Londonunderground to catch a train to take her to meet George Clooney.However, after a hectic working day, she dozes off and awakens to findherself alone in a deserted platform. As she races off on a situationtaking her from one daunting encounter to the next, however, she learnsof something far more malign and evil waiting for her out there.

    In a lot of ways, the British Film Industry is really becoming one onit's own, especially in the horror thriller department, with films suchas Creep and the successful 28 Days Later (which this has strong echoesof in parts.) In terms of succeeding in what it set out to do, Creepdoes cleverly create (especially at the beginning) a scary sense ofisolation and tense fear. At it's clever running time, it also (thoughinadvertently, I suspect) manages to pay homage to some of thosepioneer high-concept horror films from the 70s that rely on shocks andfear through-out without really focusing too much on characterdevelopment and such.

    Of it's weaknesses, some scenes are a little predictable, but thesedon't really succeed in making it less scary or effective in any way.I'm not sure if the ending was meant to make it come off as some sortof morality play and it's not exactly perfect, but it's certainly veryeffective and serves it's basic function very well. ***

  7. Coventry from the Draconian Swamp of Unholy Souls
    26 Sep 2012, 5:56 pm

    "Creep" is a new horror film that, without a doubt, will please manygenre fans simply because it’s so down to the point and unscrupulous!It has many genuine shock-moments, a whole lot of repulsivegore-sequences and a rare claustrophobic tension. What it hasn’t got islogic and a solid plot but, to tell you the truth, that didn’t botherme for one second. When the end-credits start to roll, there are stillmany unanswered questions to ponder on but director/writer ChristopherSmith (in his debut) seemly preferred to fully focus on tension andadrenalin-rushing action instead of long, soporific speeches andtheories that could explain the existence of the "creep" in the Londonsubway. The story revolves on the young and haughty Kate, who leavesher own party in order to go and meet the famous actor George Clooneywho’s in town to present his new film. She falls asleep in the subway,misses the last train and she finds herself trapped in the undergroundsubway network. Things really get terrifying when she encounters amad-raving lunatic who lives in the old tunnels and kills/kidnapspeople to experiment upon. Even experienced homeless people, securityguards or sewer-workers can’t rescue her from this ravenous monster! Ireally dug the creep-character! He’s nauseating, hideous and primitivebut in a strange way fascinating. Christopher Smith only leaves usclues and hints, and it’s merely up to the viewer to guess this vilecreature’s origin and background. I reckon this isn’t very original,and I’m sure many people won’t appreciate the lack of content, but Iforgive Smith and I think it’s better this way than going over the topcompletely, "Jeepers Creepers"-style (that particular film started outgreat as well, but as soon as the Creeper’s identity was clear itturned into a very mediocre horror effort). The obvious aspect-to-loveis the outrageous gore! There’s some severe butchering going on in thisfilm and the make-up, as well as the sound effects, are veryconvincing. The ominous setting of the abandoned London subway duringnight is effectively used. There also is some acting-talent present inthis film, with Franka Potenta (Run Lola Run) returning to graphichorror nearly five years after the cool German film "Anatomie". Creepis terrific entertainment when you’re in an undemanding mood andChristopher Smith definitely is a director I’ll keep an eye on. Makesure you don’t have to take the subway right after watching thisfilm…

  8. mjw2305 from England
    26 Sep 2012, 5:56 pm

    Creep doesn't do what its title suggests, it isn't exactly creepy, butit is pretty violent and gruesome. The story is fairly linear and hasno plot holes that i noticed and the acting and script are OK.

    The problem with Creep is that it doesn't really do anything to set itapart from the rest of the Horror crowd, but when compared to some itsnot to bad.

    With floods of horror movies in recent years (Toolbox Murders, Grudge,White Noise, Descent, Boogeyman to name but a few) Creep is leftlanguishing in mediorcratity.

    For horror fanatics, its worth watching and it can hold its own in thegenre. For movie lovers in general there is not enough here to warrantyour time.


  9. lost-in-limbo from the Mad Hatter's tea party.
    26 Sep 2012, 5:56 pm

    After leaving a party one night, Kate heads to a London subway. Butbeing a bit drunk, she nods off and when she finally awakes, sherealises she's alone and has been locked in. Now she's panicking, but atrain pulls up and to her surprise no one else is on board. After a fewseconds the train comes to sudden halt and Kate comes to therealisation that someone or something is lurking down there, which hassome nasty surprises waiting for Kate.

    When watching "Creep", what entered my mind was that I was seeing thebackwoods horror slasher "Wrong Turn (2003)" basically set in a subway,but only more bloodier and incredibly cruel. I get the train to workand back, but I'm just glad that there are no subway systems on myjourneys. But there's no doubting public transport can be the pits.

    Christopher Smith the writer and director of this slick British Indiesubterranean horror flick presents one very tight and atmosphericallyGothic feature that benefits highly from its relentless surge oftwisted and ragged jolts. It's gruesome, mean-spirited and unflinchingterror is mostly delivered in a serious manner, despite the scriptbeing sprinkled with quick-witted remarks. The damp, isolated andclaustrophobic setting of the poorly lit tunnels makes a huge imprinton the disorientating cloud the audience and main protagonist face.Smith integrates some flashy and rapid techniques. The versatile handheld photography adds a real moody and intimate vibe amongst the veryeffective sound effects and creaky understated music score. Hitting themark was the graphic and always on the ball makeup effects. Theappearance of the hideously unusual subway dweller just lingers in yourmind and when it came to the kills it didn't disappoint.

    However, there are things that really do bring the film down. By thethird act it starts to wear a bit thin with predictable jumps andwearisome clichés. The story is terribly vague from the get-go.Illogical patterns and stupid circumstances unravel throughout thestring-like plot. Originality comes in minor doses, but in all, there'sa nice sense of realism and a speeding train-like pace created to keepyou mostly involved. Franka Potente gives a strong, flexible and quitecapable performance as Kate and the amusing Vas Blackwood gets caughtup in the gruel too.

    A very nasty and dour slasher that won't blow you away, but it providesthe nightmarish thrills and intensity one would hope for.

  10. Adrian Smith (trouserpress) from Eastbourne, England
    26 Sep 2012, 5:56 pm

    The London Underground has something inherently creepy about it, withits long winding tunnels, the escalators taking you deeper and deeperunderground, and of course the rats roaming the tracks.It a source ofwonder that it is not used in horror films more often. It was used inthe seventies horror Deathline aka Raw Meat, featuring a cannibalistictribe living in a disused tunnel, and the celebrated chase sequence inAmerican Werewolf in London. So I was pleased to see that someone elsehad tried to capitalise on the atmosphere of the tube at night with therecent UK production Creep.

    I thought the film started off well, with a highly effective creditsequence that was genuinely unnerving, followed by a scene in thesewers that sets up the premise of there being something evil lurkingbelow the streets of London. However, Creep went downhill from here,and I found myself wishing that I'd switched it off after this openingscene, leaving me with a favourable impression of the film. All thecharacters become unsympathetic and unlikable, even Potente herself,and the director felt the need to hit us over the head with socialcommentary about homelessness. he also made the mistake of showing the"monster" in full lighting, where he ceases to become remotely scary,and reveals his name to be Craig. How can you have a monster calledCraig? It turns into an X Files-type thing, and reminds one of theepisode Tombs. In fact, I was wishing Mulder and Scully would turn upand sort them all out for me.

    As for the infamous sexualised violence, it is very graphic, disturbingand totally unnecessary. It seems to be there merely to shock theaudience rather than for any intrinsic plot value. The trouble is it isso over the top and horrific that it actually numbs you to the rest ofthe horror, which is a mistake as it's only halfway through the film.

    So there you go. The only redeeming feature of the film for me was arare appearance from Ken Campbell, one of my favourite occasionalactors. You don't see him very often, but when he's on screen he actseveryone else into a corner. Casting him as a sewer inspector was astroke of genius, unfortunately the only one evident in the film.

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