First, a caveat: the twist ending of the movie, deployed so late in the game that it really does seem like an afterthought (it was actually a suggestion by the usually level-headed Luc Besson), almost ruins the whole thing, especially because of its uneasy connection between homoeroticism and homicidal urges. But if you can handle that disappointment, then you’re free to enjoy what is arguably the greatest slasher movie since John Carpenter‘s "Halloween."
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