The Signal Review, by Jeremy Knoxx of Film Threat

"The Signal" begins with a short clip of an extremely faithful recreation of a 70's era Grindhouse film (It's "The Hap Hapgood Story, directed by "Signal" co-director Jacob Gentry for you trivia buffs.), then it blurs and distorts into something alien. You can almost make out shapes in the flickering lights, as if something was alive in there. Thus are we introduced to the titular signal.

The TV that it's playing on when we first see it belongs to Ben, with whom a married woman named Mya is having an affair. Both are sleeping at his place when the signal starts. In fact, the TV has actually turned itself on. Ben stumbles over to it and shuts it off. Now awake, Mya realizes she's stayed over way too late and has to get back home immediately. The two have a tense conversation about where their relationship is going, with Ben saying that nothing is impossible. They could be together. She could leave her husband. They could go anywhere, they could go (He picks a place at random) to the train station at terminal 13. They could leave and never come back.

Mya is touched, and almost convinced, but goes home anyway. It's on the trip back that she slowly begins to notices that things are wrong. A homeless guy in front of her car has been attacked and is bleeding; another man comes at her babbling nonsense. When she arrives at her tower block you can hear screaming arguments in every single apartment. The mood can be best described as "eerie chaos".

It isn't long before things get really bad. Her husband Lewis and his friends are trying to watch a baseball game but all they can get is the signal and they've been exposed to it for God knows how long as they try to get the TV to show the game, then the screaming arguments from earlier start to degenerate into just screaming and it gets even worse from there. In the space of a few minutes several dead bodies litter the hallway and a man with garden shears is coming for Mya.

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THE SIGNAL