- Publicado: Martes, 26 Marzo 2013 02:04
Evil Dead, good festival terror scares and classic style of the first Sam Raimi.
Bloody. Violent. Disturbing. The Evil Dead Fede Alvarez is a very worthy remake of the original films in the saga of Sam Raimi, which pays homage to different base winks during the footage of this update also has its own personality.
What is the personality? For starters I think accomplishes the goal they had set, that is, bring back the horror haunting quality woven frames to annoy the viewer. Although it would certainly be a movie applauded and certainly not a few laughs with accomplices in any horror movie festival frequented by fans issue, the fact is that some of his sequences are downright impressive, because they suspect that behind all development classical visual effects, no computer tricks, which transmits in the eyes of the public a sense of realism even in the wildest sequences. The visual atrocities that are deployed on the screen are the tangible quality that is inevitably lost with the use and abuse of computer effects. Aside from its quality to impress or so and its ability to make us jump scares or not offered us (this is already personal basis, but the film gets some downright disturbing moments of intrigue, as the prologue sequence history or the teacher's approach to the bathroom inside which is Olivia, for example), the new Evil Dead skillfully deploys the trick finery based makeup and actors team effort and becoming a reunion with a cinema horror that we had a long time without seeing onscreen. A collection of moments that are really gore craftsmanship in its development and add truth to the story that is told even able to survive the trip to all the topics of a genre that is inevitable. With this in mind, it is important that the moments of carnage and offal, the bloody violence planes completely free to do both applaud and cheer to the fans in the horror film festivals more thug and disrupted, are served with whole deployment the more traditional makeup paraphernalia.
In my opinion, it goes to show that this new version of The Evil Dead is something that many come and saying for some time whenever we ask for horror films: these stories need traditional makeup and effects. The raw material of celluloid nightmares is not in the computer visual tricks, but in the same place where he has always been, in the hard work of makeup artists, who have been instrumental in the genre since the early days of silent movies. Whoever doubts should review classics like Frankenstein Edison shot in 1910, the jewels of German Expressionism The Cabinet of Dr. Caligari of Wiene and Murnau's Nosferatu, the films starring Lon Chaney father, The Unknown or The Phantom of the Opera, the silent version of Dr. Jekyll and Mr. Hyde starring John Barrymore in 1920, or the makeup of Jack P. Pierce for Dr. Frankenstein, starring Boris Karloff in 1931, a true masterpiece. That name a few of the first milestones of makeup as inevitable partner of horror. The same could be said of most conventional trick.
Fede Alvarez gets us concern in the body besides invoking a series of infallible concerning which he has had as models or inspiration when developing this project and whose proven to embarrass or frighten the spectators was the best guarantee to start walk this update Evil Dead. More than inspired by Sam Raimi film, which serves as a starting point, the film is very aware of The Exorcist, William Friedkin first, especially in everything related to the development of the character of Mia. It also has very much the contributions of Asian horror, especially Japanese and Korean, to the point that it is impossible not to think at times particularly sinister hentai, erotic shed Japanese cartoons, anime, in the sequence of arboreal violation between the branches of the forest.
Besides these references, the script of the film manages to dodge the naive simplification baseline that leads the characters to the cottage to find a solid base on which to build the ordeal of terror that has befallen them. The reason they are there makes these characters more believable and more interesting for the public. Each sequence reflects the effort to enforce the return of the horror film of the eighties, its forms and styles materials against the ethereal presence of computer visual effects and hackneyed arguments, satirical and repetitive patterns of youngsters killed by the shift threatens to muddle through. Gonzalez and his team get that, contrary to what usually happens in the teen horror films today, we are interested in the victims rather than the executioner. For the first time in a long time, it restores a real role that victims are to be sacrificed in the story above the executioner manager execute them. And so, the ceremony of terror returns to fully envelop the viewer.
Evil Dead is a happy return to the molds and defining characteristics of the most effective horror film.
A final warning: you have to stay until the end of the credits to see a final nod will surely delight fans of the saga of Sam Raimi.
Miguel Juan Payán
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