Directed by:
Fede AlvarezCinematography:
Aaron MortonComposer:
Roque BañosCast:
Jane Levy, Shiloh Fernandez, Jessica Lucas, Lou Taylor Pucci, Elizabeth Blackmore, Stephen Butterworth, Jim McLarty, Phoenix Connolly, Bruce Campbell (more)VOD (5)
Plots(1)
A secluded cabin. An ancient curse. An unrelenting evil. The original producers reunite to present a genuenly terryfiing re-imagining of their original horror masterpiece. Five young friends have found the mysterious and fiercely powerful Book of the Dead. Unable to resist its temptation, they release a violent demon on a bloodthirsty quest to possess them all. Who will be left to fight for their survival and defeat this unearthly force of murderous carnage? (Sony Pictures Home Entertainment)
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Reviews (10)
After watching the movie, I thought about how I would evaluate it. Surely, I can’t rate it higher than the original. But I gave that one a single star just for the brutality of it. I admit that I was a bit too harsh back then. Now I know that the brutal irony of the original deserved at least two stars, because it was missing in this movie and so it was just a brutal flop. So brutal, in fact, that they must have used hectoliters of fake blood. I think that Alvarez did a solid job, and a true horror fan must be really excited. It’s just a shame that they wanted the remake to be so different from the original that it ended up just as a pretty disgusting horror movie with actors who have stubs for arms and legs and surprisingly, they last longer than any of us could ever imagine.
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Great potential undermined by low IQ. The film’s characters repeatedly behave like naive idiots and deal with situations
by taking unreasonable steps, just like in the worst horror B-movies. However, plenty of positives outweigh this
shortcoming (literally): violence, blood and gore are deliciously elaborated, many scenes are very intense even for
hardened horror fans, the pace of the film is killing (!), the bloody rain in the climax is impressive and the siren sound,
subconsciously causing panic in the audience, is just perfect. One of the better remakes of the horror classics we grew
up with.
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The carnage is decent, but at times the film comes across as naive and the big downside is that it doesn't really scare. On the contrary, it compensates for its lack of fear with brutal visuals and in some scenes, when it doesn't know which way to go, it just keeps on sprinkling gore to mask its uncertainty. It worked, but the ending was incredibly bizarre, and a little too hokey.
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SPOILERS AHEAD. “Feast on this, motherfucker”, or “Why Men Don’t Understand Witchcraft and Why Women Shouldn’t Play with Electric Knives”. When this absurdly phallocentric horror movie turns into a “feminine” rape revenge flick at the end – using a quote from Carrie – that is the last of a plethora of extraordinary inconsistencies in content (as opposed to the filmmaking craftsmanship on display, which remains constantly at a high level). Evil Dead gives the impression of being a film by at least two directors, or rather multiple screenwriters (which it actually is), each of which took their own approach to Raimi’s original. Some of them are obliging toward horror fans, attempting to step out of the genre in a post-modern way and to make fun of the banality of slasher flicks. The others, who unfortunately had the last word, conversely slept through several decades and loaded the film down with terrors long past their sell-by date – fear of sexually transmitted infections (a curse passed on through bodily fluids) and of the wilderness, specifically a forest (which in the climax is ironically conquered using a non-environmentally friendly chainsaw). This disjointedness is directly personified in the film by the two male characters, who represent two possible types of viewers. David is prone to sentimentality and regrets every bruise. He lacks a sense of detachment. The rational Eric, on the other hand, remains above things, because he has read the book (everything has been written already). Like a knowledgeable horror-movie viewer, he has also read the source work, he knows what to expect and, together with the cynics in the audience, he is derisive of his friend’s oversensitivity. Both of them are necessary. If David doesn’t adhere to the horror clichés in his behaviour, the film would end a few amputations early, which we bloodthirsty viewers would not accept. Through Eric, we are simultaneously made aware that one the film’s creators ranks among the knowledgeable and sympathises with the community of horror fans. Surprisingly, the one who comes out on top in the end is neither of them, but rather the representative of the previously, mostly passively suffering (and, as the case may be, self-mutilating) gender. The delay in equalising gender strengths compels us to atypically redistribute our empathy to the body, which has caused others so much unpleasantness. (With respect to the body and carnality, it’s worth mentioning that the men in the film are usually penetrated by something – pellets, a needle, nails – whereas the women lose body parts – head, arms, legs; the Freudians can analyse and interpret that however they like). Thanks to the unsatisfying culmination of the drug storyline, we also retroactively become witnesses to the harshest withdrawal scene from Trainspotting. The unclear creative direction has unintentionally given rise to the subgenre of melodramatic horror, in which tumultuous family relationships are almost given greater care than the burning of witches and other forest activities (besides the gore scenes, the melodramatic “excessive” also refers to the spectacularly postponed reconciliation between the brother and sister). What can we learn from this very inconsistent film? The soul is more important than the body and drugs make you hoarse. Appendix: I definitely would not use the twice presented “medical” procedure of putting adhesive tape on anything that bleeds. 65%
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I have already seen more useless remakes, and I quite understand that after the festival of Raimi's bloody surrealism and genre phantasmagoria, which culminated in the brilliantly unruly and nonchalantly campy Army of Darkness, Fede Alvarez wanted to go his own way. In the first half of the film, thanks to the dense atmosphere and unruly gore violence, he is quite successful, but it can't be tightened without irony, especially with the eruption of clichés at the end. Exaggeration is missing just like Ash's hand, blood sprays all the way to the next hall, but it all just fades out over time. When the new version came up with a "new" story, it should have tried to at least get something out of it (drug dumplings motif). It did not do so, and so the result is barely above average. This composition of old familiar motifs simply lacks any added value other than beautifully hysterical babes. But while all of Evil Dead was a totally misogynistic trilogy at its core, Alvarez eventually ruined it completely unnecessarily. Bleeding girls with a chainsaw are cheesy, but they can’t beat Ash with a shotgun...
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Gallery (157)
Photo © TriStar Pictures
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