ABSTRACT
Mr. Cheney's ghoulish imagination ran wild, and he dragged the untested president and jittery country into his house of horrors. On 11 September 2001, the worlds of the living and the dead collided with a cataclysmic force and so the United States notoriously difficult rapport with the actuality of death intensified. In United States today, the currency of shame is notoriously hazy by reason of nation's urgent and politically obligated endeavours to eradicate its own transgression. The fresh invigoration of anxieties, including the infamously real/unreal political universe sustained by Bush regime's pursuit of seemingly make-believe weapons of mass destruction, would provide fertile soil for Post-9/11 Heartland Horror film to thrive. The isolation and alienation of Kreeg is emphasised following the dynamic finale, which synthesises horror with instances of action and silent poignancy. One final knock at the door by the penultimate uninvited cues Kreeg's worst nightmare when the drenched and incensed amphibiously resurrected bus passengers return for retribution.
