She dresses almost like the character Saya, she monologues very much like Saya, and there's even an instance where she paralyzes a victim and tortures them as they lay helpless. Failing that, Johnson then borrows from "Henry Portrait of a Serial Killer" closing the film with a mysterious case we know is just filled with her last victim. "She's Crushed" is much too caught up with flash and dazzle to create an original story, and when it tries to actually tell it's story, it doesn't do much except yank whole devices from other better films, and leave us immensely underwhelmed by the lack of empathy we feel for every character in this piece. Ray's war flashbacks ultimately add nothing to the film and hold little relevance to the resolution of the film, and garnering flashbacks of her own, Johnson is never quite sure if he wants to make Tara in to a villain with a tragic background, or just a scowling monster we should want payback against. There are even allusions made that Tara could all be a figment of Ray's traumatic war history, that's never actually realized and completely ignored once Johnson falls back in a simple torture, and chase finale that ends on a thump and clunky symbolism.

Director Patrick Johnson has admirable ambitions toward his film trying to squeeze in his own original premise that's sadly overpowered by his incessant need to rip whole scenes from better films, but the stale characters, utterly unfocused narrative, and hazy intentions toward his main characters make "She's Crushed" a ninety minute practice in redundancy.