Why did I see this? One fact I wasn't aware of is that director Stephen Monroe formerly helmed It Waits, which I had mistakenly checked out on blu-ray thinking it was Larry Cohen's It's Alive. I made it through maybe 20 minutes, and now have blown 11 bucks on Monroe's remake of Meir Zarchi's Day of the Woman aka I Spit on Your Grave. Must check IMDb more often. Anyway, if you haven't heard, the plot is rape, then revenge (for a more thorough summary, see a professional critic -- Roger Ebert still hates the original and, now, equally hates the remake). The details remain pretty much the same, but scenarist Jeffrey Reddick adds the missing fifth male, who was promoted on the American poster for Zarchi's original. And although the redneck rapists are no less cretinous than before, they know their way around modern technology: they can use a Macbook, understand that a cellphone doesn't work when it's been dropped in the toilet, and, keeping with the most modern of horror clichés, one of them carries a videocamera. (Sidenote: In order to critique the viewer's implicit scopophilia, the film has to implicate him or her in the voyeur's place through identification, as in Lost Highway, Peeping Tom or Vertigo. Here, you identify with the female victim, so when she fishhooks the hillbilly auteur's eyelids, saying, "you like to watch, hunh?," there's no critique of the gaze, masculine or otherwise. Instead, the viewer will likely feel satisfaction at the spectacle of revenge.) The sheriff (the added fifth rapist) is smart enough to know that the digital recording is evidence, so he attempts to destroy it. On the other hand, he wasn't smart enough to stop the recording while the rape was going on. Not that it matters, since the victim, Jennifer Hills, isn't interested in proving her case to others.