Rendező:
Sam RaimiForgatókönyvíró:
Sam RaimiOperatőr:
Tim PhiloZeneszerző:
Joseph LoDucaSzereplők:
Bruce Campbell, Ellen Sandweiss, Richard DeManincor, Betsy Baker, Theresa Tilly, Ted Raimi, Scott Spiegel, Sam Raimi, Ivan Raimi, John Cameron (több)Streaming (2)
Tartalmak(1)
Öt főiskolás, Ash, a barátnője, Linda, valamint három osztálytársuk a hétvégére kibéreli az erdő mélyén eldugott faházat. Néhány különös előjel után a ház pincéjében egy régi magnófelvételre bukkannak, amin egy régészprofesszor az okkult tudományokkal foglalkozó Necronomiconból olvas fel démonidéző szöveget. Még aznap este az egyik lányt megtámadja az erdő, és megerőszakolja egy fa. Miután ily módon megszállta a gonosz, rátámad a többiekre. Nehezen tudják megfékezni, végül bezárják a pincébe. Ám akit megsebesített, abból is démon lesz. Félelmetes öldöklés kezdődik, a gonosszal való csatát csak egyikük élheti túl. (AMC Hungary)
(több)Videók (1)
Recenziók (13)
I get why this film has cult status, but for me it’s not worthy of a full score. The first half was great, but the second has several dull moments, the plot gets stuck somewhere and all I could do was wait for an ending that was clear. The final disintegration of the demons didn’t have any atmosphere due to the not very good special effects. It needs a remake, those special effects today don’t work as they should.
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This crazy affair, changing from an atmospheric horror to a slasher to a splatter finale, holds together only thanks to the occasional crazy idea. Sam Raimi delivers fresh ideas but lacks balance. Bruce Campbell has charisma, but the others around him only serve as background. As for the suspense, the best for me was probably the laughing Linda between the doors, the thought of which still makes me laugh and scared at the same time. But the highlight remains the last visit to the basement before Raimi unleashes his gallery of disgust. The atmosphere there is palpable. In the final evaluation, it is a weaker horror flick, where the viewer can fully enjoy grabbing at various limbs and their ultimate amputation. And even though I enjoy being scared of what I can't see, it's disappointing when I don't find out anything at all.
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So I caught up on my biggest and hopefully last horror outstanding debt. I've been heavily skeptical of this film for three years now, it got worse after the remake became my favourite, but in the end The Evil Dead is a decent demonic genre film even today. The visual effects weren't too bad after all, there’s also quite a lot of gore for its age and the atmosphere is quite dark, though it dragged before the film got going. When I compare it to Halloween where blood is a foreign concept to the filmmakers and it is only two years younger, I have to give it a strong rating here. The remake, however, is well beyond insane. 70%.
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If you watch it alone, The Evil Dead seems like a depressing horror movie about a descent into madness beyond the boundaries of rational certainties. In the cinema, those levels are still there, but the entertainment value of the whole work stands out more, and that includes the unintentional elements, from the characters and their behaviour to the film’s low-budget roots, which are evident in the out-of-focus shots, among other things. At the same time, however, Raimi’s talent and creative brilliance become fully apparent on the big screen. The Evil Dead is an essential entry among the legends of enthusiastic amateurs who simply got together with some friends, picked up a camera and shot a genre milestone that opened the door to the wide world of professional productions. But the reason that thousands of others set out on the same path but only a few filmmakers actually succeed in graduating to the Hollywood big league consists in the level of talent. It’s not about Raimi picking up a camera, but everything that he does with it and how. With deflected angles and exalted gestures, poses and precise framing, he not only displays his disposition for almost comic-bookish expressive visuality, but also perfectly draws attention away from the limitations of the production environment and fascinates viewers in every respect through intense scenes.
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The first half is excellent. With a minimum of resources, Raimi manages to evoke an oppressive atmosphere of fear. The tree rape scene is something that is not easily forgotten. But the second half is terribly jumbled, as if Raimi didn't know what he wanted to do and was paying for his inexperience as a filmmaker. What I mean is that the scenes are poorly sequenced. In one scene there is a brutal death, and in the one that immediately follows, the characters look uninterested, as if not much had actually happened a few minutes before. I consider Evil Dead to be merely a good, not great, precursor to the flawless sequel.
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