'Bug' concerns Agnes White (Ashley Judd), a lonely woman living in a motel room who meets Peter Evans (Michael Shannon), an unnerving but apparently good willed war veteran. However Peter soon has explosions of mania, claiming conspiracy and evil government corruption. The film is a disturbing look at total madness and paranoia, a look at how the disillusioned reason with themselves until they are driven to total and utter insanity. The final thirty minutes of this film are truly captivating, I was so engrossed by the intensity that it had ended before I knew it. It's rare that a film set in such a confined environment can be so gripping. One problem I had with the film was the rate at which Agnes is indoctrinated by Peter; it's slightly implausible considering that she seems to be a rational, measured woman. The performances are excellent. William Friedkin's trademark ease- inducing presence shows in the lead actors' total unhinged lunacy in the final act; it takes a special working environment to unwind so completely. It's likely to polarise audiences, but I found it a powerful, taut film that compels and disgusts you.

When Bug was released in 2006, I all but ignored it, thinking it was going to be nothing more than a cheap, straight to DVD horror flick with giant cannibalistic ants and shit. It wasn't until I took notice of actor Michael Shannon that the film resurfaced again and found it's way onto my 'to see list'. I took me a while to get a hold it though and as a result it fell off my radar again until I was reminded of it recently. Now, I'm glad to say that I have seen it and it wasn't at all what I thought it was going to be. It far exceeded my expectations. Agnes (Ashley Judd) is lonely woman who moves into a rundown motel to escape her husband Jerry (Harry Connick, Jr) who has just been released from prison. She is introduced to eccentric drifter Peter (Michael Shannon) who seems to be hiding something and is prone to the occasional conspiracy theory. Not before long, things start to unravel as bug infestation takes over the motel room. Based on the play by Tracy Letts and set largely within the confines of a remote rustic motel room, it's easy to see why this material would have played well on stage. It's claustrophobic atmosphere is captured straight away by Friedkin and his unsteady camerawork lends a perfect sense of unease within the characters and their confined space. It begins slowly building with a gradual pace but with the arrival of an on-edge and abusive Connick, Jr and an unsettling and creepy turn from Shannon, the pace escalates to one of unbearable and visceral intensity. This is less of a gory horror and more of a psychological, character driven chamber piece that benefits from three brilliant performances. Unsurprisingly, it's Shannon who once again stands out. He's an actor that possesses a natural intensity and this is a role that's fully suited to his abilities. In fact, it might even be Shannon's finest performance and that's saying something. However, it could also be seen as to why Shannon has now, seemingly, been type-cast as a loon-ball. Particularly impressive is Friedkin's handling of the material though and how it grips with a plot that's entirely unexpected while exploring the heavy issue of psychological trauma, emotional dependency and delusional paranoid schizophrenia. It's only towards the end that the film starts to show it's faults. It does contain a lot of ambiguity but it's rushed and plot holes do become apparent at this time. So much so that a couple of characters appear and disappear without explanation. This will not appeal to everyone and those expecting an out-and-out horror will probably be disappointed but if you enjoy your horrors in a more cerebral, psychological fashion then this certainly delivers.