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At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

A movie that not only functions as a solid scarefest but a razor-sharp satire.

Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

By the time the dramatic fireworks start popping off, each one feels earned.

Death Line AKA Raw Meat is quite a unique little film.Others have described the plot etc. I'd just like to say that this is a film that really should be remade. The original, while fascinating, has many contradictions in tone, awkward transitions between procedural and horror, between mythic and comedic. Yet in the hands of a director who can see the potential for this story it could be expanded upon and updated easily into a true classic. Watch the film and then imagine it being directed by a Guillermo Del Toro or even Chris Carter or perhaps Brad Anderson giving it the 'Session 9' treatment. Also a superior level of acting would have helped astoundingly. Yet there are so many interesting ideas rumbling around in here.

Personally I found the soundtrack was very disappointing and at times detracted from the film. However, it is used sparingly and the long periods without music are used to great effect. The strange acoustics of the London underground instead provide chilling loneliness and atmospherics. There are, in my opinion, close links with Tobe Hooper's original "Texas Chainsaw Massacre" in the use of limited speech and dark, indistinct sets. For those readers/ viewers not from the UK the "Man" is saying "Mind the doors" (you'll know at which point) - I say this not as a spoiler as any London resident would be able to interpret his speech very quickly but because on reading other reviews there seems to have been a great deal of uncertainty about it. What he says is unimportant which is why I am telling you. It is the way he says it that is the key. The film also gives Donald Pleasance a rare opportunity to speak with a cutting working-class accent and features a remarkably accurate portrayal of the difficulties a pub-landlord often faces at closing time. A ridiculous cameo from Christopher Lee does at least give the viewer some wonderfully under-hand and quintessentially British insults. Mr.Lee's performance is great, just sadly unnecessary and far too brief. Watch it through to the end and you will feel you have had a taste of classic 70's British film- making. Not the greatest film ever by any means but in no way the worst. Although it is hard to like David Ladd as he went on to marry Cheryl. Lucky swine!

When an important government agent goes missing at Russell Square Tube Station in London, Inspector Calhoun (Donald Pleasence) and Detective Rogers (Norman Rossington) are assigned to the case. They discover previous disappearances in the same area, and also bring in American student Alex (David Ladd), who along with his girlfriend Patricia (Sharon Gurney), were the last people to see him alive. Lurking in a caved-in and disused tunnel near to the Tube Station is a plague-ravaged cannibal who has remained there since the cave-in years before.Known as Death Line in the UK, this film had completely eluded me until it turned up in the Grindhouse Project. It is shocking that this is so little-known, as it is an astoundingly accomplished and wittily scripted little British horror film, complete with a genuinely unsettling atmosphere, gruesome violence, and that quintessential Britishness. The first time I realised I was watching a gem is when I witnessed the technically impressive tracking shot that occurs around twenty minutes in. It is a magnificent introduction to the monster, as we move around half-decomposed bodies, dripping taps, and rats. The set design department should be proud, as everything looks real; the dampness, the stench and the squalor.The horror is not the only factor that makes this a very good film; the script, by Ceri Jones, is full of wit and great subtle touches. The two policemen are constantly taking the p**s out of each other and have great chemistry, and it all plays out so naturally. Pleasence looks like he's having a ball, whether it be the scene in which he steals whisky from a dead man's house, or when he's getting p****d in the pub and refusing to leave. And Rossington makes for a great straight-man. Even Christopher Lee pops up in an inspired cameo as MI5 agent Stratton- Villiers. A true underrated gem, then, and here's to a mass re-discovery and a cult following.www.the-wrath-of-blog.blogspot.com

"Death Line" is a horror movie that hits all kinds of unexpected notes on the horror scale. The film strikes deep into urban myth territory with its tale of something alive deep in an abandoned section of the London underground, snatching hapless victims from a nearby subway station. It preys on our deepest fears regarding our vulnerability in such places. In one extraordinary tracking shot the film takes us alone into the lair of the beast. There we find a scene of incredible rot and decay, including the man/beast himself, himself decaying, mourning the death of his only companion, a pregnant woman. He emits a primal scream that raised the hairs on the back of my neck. This is classic horror, reminiscent of films as diverse as "The Hunchback of Notre Dame" and Cronenberg's version of "The Fly", as well as tales of Appalachian inbreds. The monster that invokes both pity and dread. And yes, there's a beauty involved. There is such pathos here that it actually augments the horror of the story. The lair itself is simply indescribable. I'm used to superior art direction in British horror films, but this is a rare achievement. The other elements of the story, the police procedural plot, for example, are relatively mundane, though efficient, and Christopher Lee makes a cameo appearance that stops the show. There's a genuine scare, done without shock SFX, but by using timing, silence and suspense. Films like "Death Line", and Cronenberg's early low-budget horror films are unique and ought to be cherished. You'd be hard-pressed to do it the same way, today. You'd want CGI creatures, faster editing and more violence. The director of this film achieves a lot with little, and all that's required of the viewer is to sit back and allow oneself to be drawn in. This movie is a real find.