Ever had that feeling where the closing shot of a film leaves you with such a bad taste in the mouth that you immediately reach for the nearest drink?

Or that the brain-dead stupidity of that final image wipes out all the good work that had gone before it?

I certainly have, and that sorry feeling raised its ugly head once again as I reached for the DVD remote after checking out the frankly quite enjoyable Repeaters.

You see, Repeaters contains one of those annoying little trends that has crept into modern cinema – the post-credits sequence.

I’m not quite sure who to blame for this, but so many films nowadays insist in tacking on a brief sequence as the credits roll.

It could be to set up the next film in the franchise (yep Avengers, I mean you), it could be to try and tease a potential sequel out of a horror flick, or even to just tie up a loose end.repeaters

But what it does mean is we get this awkward ‘shall we, shan’t we’ leave dance among the audience as a film ends, with coat-grabbing being followed by a mass halt in the aisle as some bonus footage flickers into life.

The vast majority of times it comes across as unnecessary, but harmless, but every so often it hits home really hard – in a bad way.

And this is where Repeaters comes in, which up until its tacked-on seconds was a reasonably nifty flick – a horror take on Groundhog Day if you will.

The set-up is pretty simple – we are introduced to three twenty-somethings (Kyle, Sonia and Michael), who are pals staying at the same addiction rehab clinic.

They each have their own problems and demons – abusive fathers, family breakdowns etc, as well as their addictions.

But things take a major turn for the weird when one evening the trio are electrocuted during a storm and awake the next morning to find they are living the same day over, and over, again.

There is no reasoning for why this has happened to them, but the three decide to make the most of it, realising that whatever they do bears no consequence – as the world simply ‘resets’ at the end of the day.

After some petty robbery for kicks, both Kyle and Sonia decide to try and use the loop to their advantage, attempting to mend the broken bridges in their family dynamics.

But Michael elects to take things in a very different, and sinister, direction – with even murder on the menu.

It all builds to a slam-bang climax that ties things up quite nicely – or so I thought.

But then director Carl Bessai decides to eradicate so much of his good work with those fateful few frames – I’m not going to say what they are, but I would be pretty surprised if anyone viewing this didn’t give it the thumbs down.

The real shame is that there is a pretty decent movie buried here – one which does nothing flashy, but does everything well.

The performances are solid, with Dustin Milligan, Amanda Crew and Richard de Klerk carrying the film along with ease.

And there is an interesting slant on redemption and putting things right, through a whole host of scenes that, while hardly pulse-racing, do hold the attention.

In that regard Repeaters gets my recommendation – just switch off as soon as the credits hit the screen.

About The Author

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Simon is a journalism tutor in London, who also just happens to be a movie fanatic, with a craving for the darker side of cinema. He has written three books - on the horror films of director Bob Clark (2014), the history of the character Norman Bates (2015) and the work of British exploitation director Pete Walker (2017). He is currently working with director Richard Loncraine to explore all avenues in a bid to orchestrate the re-release of 1978 Mia Farrow chiller Full Circle