Some movies go too far. Others start there. Thats the tagline for Uwe Bolls Postal (2009), but its also a good definition of extreme horror, where everything is cranked up to 11 and the walls are usually painted crimson. You dont find these films playing alongside summer blockbusters; they play festivals and arthouses, quietly acquiring a reputation while their pricier competitors fade from the audiences memory. The excessive levels of physical and sexual violence means that extreme horror is defiantly anti-Hollywood, but even so, a mainstream horror film will every so often still attempt to go there. The results always prove that Tinseltown should stick to superhero flicks. Take Wes Cravens The Last House On The Left (1972), for example. Whatever your opinion of the film, it has a raw energy all of its own and is one of the few exploitation films that can be legitimately read as a comment (albeit rather ineptly expressed) upon violence itself. It's success spawned a 2009 Hollywood remake which, with its studio budget and name cast, was only ever one step away from being a generic teens in peril movie. So if youre looking for an alternative to the current crop of been there, done that multiplex horror pictures, heres where you start, but be warned: viewing may cause severe damage to your brain cells.