Shooting on digital video and making full use of the premise, Evans cranks up the tension from the beginning with invasive camera angles, atonal music and the incessant soft whirring of the camera motors. He also plays with image quality, lighting, sound and even night vision photography, which makes the actors look like demons with green-glowing eyes! And amid the black humour and grisly surprises, there are echoes of other horror films--a glimpse of an axe here, a bullet there, a shower curtain, urban legends, ghost stories. The fresh-faced cast is terrific, almost too authentic as characters that never become stereotypes. They are everyday people, self-absorbed and self-righteous and pushed into very nasty corners. The whole thing has an improvised feel to it that makes it hard to suspend our belief; it really is like we're voyeurs watching what we should not be seeing. On the other hand, the film has a disturbingly misogynistic streak, as only the women ever appear naked or helpless. And to be honest, there's not much to the film, really. It's a lot of style over very little substance. But there are just enough twists in the tale to make it far more satisfying than almost any horror film in recent memory.