I sit here after just watching this film and feel I've definitely wasted the last hour and a half, I could've cleaned the house in that time. I wonder what Ed Westwick was thinking agreeing to be in this.

The reviewers who've said this is an obvious self-flagellating, movie-referencing, over-the-top, wannabe-clever movie is right. The people who've said this has an awesome soundtrack and some fun moments are right, too.

There are bits and pieces that are absolutely god awful. I, personally, couldn't stand the constant narration or the fact that what she's saying is literally what she's doing on screen. So much of it came across as someone reading a book over the movie and it's constant. There's also an eight and a half minute exposition dump at the very beginning.

The main character is an evil Mary Sue, super rich, loves showing it off and bragging. The only time I enjoyed her at all were the scenes between her and the male lead, and even then it was only sometimes. A lot of their dialogue was nothing more than quickly spoken sentences and repeated phrases for a solid couple of minutes because that obviously equals comedy!

On the other side, it does have moments of actual fun, but they're few and far between. So, yeah, both sides are right, hence the middle-ground rating. I didn't mind it too much.

A nonsexually binary, millionaire, cannibal serial killer has a blast trapping an apprentice burglar in her home. He shows up to rent a room, but falls into a trap: she wants to eat him, literally, after taking advantage of him. This dramatic arc will evolve along the way, to finally twist the clichés of fiction for a second part that also evolves towards the improbable.

A future cult film, irreverent, where for once the voice-over is really useful.

The director, writer and main actress, Louise Linton, composes a jubilant, improbable film, a horror comedy with black humor that works perfectly by torpedoing the clichés of the horror genre. It could be a chainsaw massacre in Beverley Hills in a billionaire's house. The film also takes the opportunity to twist the clichés of the horror film, Americana and the golden boy (here in this case, golden girl). A film without mawkishness.

To add to all this, the film is plastically sublime and cheesy at the same time, cheesiness assumed thanks to the black humor and thanks to the references to the 80's, in particular for the well chosen music, with a corpus of songs perfectly complementary to the scenes. References assumed and meta with the character who speaks to the viewer.

Can't wait for the sequel. Louise Linton has just signed her masterpiece.