The French will not rest until they’ve made the most disturbing horror film of all time; of this I am certain. After a barrage of stomach churning madness that includes the likes of the off-the-wall carnage of “Inside”, “Hitman” director, Xavier Gens, throws his beret into the ring with the brutal Frontier(s).
A gang of thieves flee the rioting streets of the Paris suburbs en route to Amsterdam. The pregnant Yasmine (Karina Testa), whose brother was shot and killed in the heist, is traveling with her ex-boyfriend, Alex (Auerelian Wilk), while their accomplices – Tom and Farid– are seeking a hideout for them on the border. The latter duo happen across a remote hostel seemingly run by two very attractive and eager young women, and Tom is more than happy to spend the night, and tells Alex and Yasmine that they – and the money – will be waiting for them here.
When the girls turn out to be "teases", however, Tom insults them, leading to a confrontation with the girl’s “brothers”. It turns out this hostel is run by a family of cannibalistic Neo-Nazis, and Tom and Farid try to escape. Tom is quickly captured and hung out to dry, so to speak, while Farid ventures into a labyrinthine system of caves beneath the property. Meanwhile, Yasmine and Alex arrive, and are whisked off to another building on the property, as the two women tell them that this is where their friends are staying. It isn’t long before Alex discovers the truth, however, and he and Yasmine find themselves locked up with the pigs.
When the Nazi family patriarch discovers that Yasmine is pregnant, he looks at this as an opportunity to extend his family bloodline (all of their other attempts to do so have resulted in inbred mutants that now populate the subterranean caverns – good luck down there, Farid!), and promises Yasmine’s hand in marriage to his eldest son, Karl (Patrick Ligardes). This, of course, culminates in the sort of big family dinner the likes only inbred Nazi cannibals can muster.
Frontier(s) liberally borrows from virtually every torture porn franchise of the last decade, with Rob Zombie’s “House of 1,000 Corpses” and the Marcus Nispel version of “Texas Chainsaw Massacre” being the most obvious influences on Gens’ film. The Nazi clan here is like some sort of twisted Brady Bunch amalgam of Corpse’s Firefly clan, and Chainsaw’s Hewitts, while the victims are something straight out of Eli Roth’s “Hostel”. It’s all terribly unoriginal, but, at the same time, it’s hard to look away as Gens’ film looks fantastic, features some great, grisly FX work, and is something of a sadist’s wet dream in terms of how far Gens is willing to go to out-torture his competition.
The DVD from Lionsgate labels this as one of the 8 Films to Die For series, but, seeing as how they’d already released eight titles from that collection, Frontier(s) is the ninth. The logic behind this, I suppose, is that Frontier(s) was deemed too intense for theaters, and I’m going to go ahead and agree with that assessment.
If you like your torture porn heavy on the torture and light on the porn (a serious lack of boobies, here, folks), consider Frontier(s) a tendon snipping, disemboweling, skin-peeling “greatest hits” collection of torment and suffering, suitable for even the most discerning of anguish aficionados.