Rendező:
Samuel BodinForgatókönyvíró:
Chris Thomas DevlinOperatőr:
Philip LozanoZeneszerző:
Sofia HultquistSzereplők:
Lizzy Caplan, Antony Starr, Cleopatra Coleman, Woody Norman, Anton Kottas, Aleksandra Dragova, Jay Rincon, Luke Busey, Ellen Dubin, Steffanie SampsonStreaming (2)
Tartalmak(1)
A nyolcéves Petert folyamatos rémületben tartja a rejtélyes, állandó kopogás, amit a falak mögül hall szobájában. Szülei váltig állítják, az egész csak a képzelete műve. Ahogy a fiú félelme nőttön nő, kezdi úgy vélni, apja és anyja valami szörnyű és veszélyes titkot őriz. Egyre inkább érzi, nem bízhat meg bennük - s egy gyermek számára mi lehet ijesztőbb annál, ha a családi fészek a félelem fészkévé válik? (Fórum Hungary)
(több)Videók (4)
Recenziók (8)
Kár, hogy a gonosz fizikai képességei és mozdulatai annyira eltávolodik a valóságtól, pedig egyébként a film nagyon igyekszik benne maradni. És kár a sok furcsa és átgondolatlan pillanatért a szereplők viselkedésében, illetve általában a jelenetekben történő beállításában. Mert egyébként ez a holdenfieldi „rémségek lánya” nagyon érdekesen bánik a műfaji klisékkel, tud meglepetést okozni és örömet szerezni a finom operatőri, vágási és filmzenei ínyencségekkel is.
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For four fifths of the running time, this was the best horror flick of the year. Beautifully atmospheric, like a walk through a visual horror gallery where pretty much every shot has something going on for it. A weird mum, a weird dad, a weird house; poor boy. It feels like a bizarre, psychotic nightmare about monsters in the family that you can't wake up from. The whole thing is so out of step with the logic of everyday life and behaviour that I felt it had the makings of a future cult-classic with a legion of fans who will return to it fondly. Unfortunately, the ending kind of throws a wrench in the works, and many moments suddenly don't work as they should. Maybe it needed more money for visual effects, or a more experienced editor, I don’t know, but by the end I lost that feeling of full immersion, and in the moments where there was supposed to be a terrifying climax, it was hard for me not to grin in amusement. Not to mention that the hitherto appreciated “dream illogic” becomes, well, just stupid illogic as the story progresses. And please, for the next time, the monster shouldn’t have a long expository monologue.
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Right behind Evil Dead Rise, the best mainstream horror flick of the year! So far, this year has been weaker with horror films (the second half is more crowded though, so the stats and rankings will hopefully be rehashed), while I was disappointed by this year's dark horses, Boogeyman and Talk to Me both sadly didn't blow me away as I had hoped and wanted, but the excitement came where least expected. Cobweb is a modest but very gratifying horror film that doesn't play with the genre, doesn't have much ambition to bring something fresh, doesn't cross over into art, and doesn't rely on cheap scares either, but it works very well. Its great strengths are the excellent performances of the two parents. Lizzy Caplan is a likeable and skilled actress and Antony Starr is literally the devil again. (just as Ryan Reynolds has been marked by Deadpool, Starr has been marked by Homelander, whom I saw in that demonic mode here, he's a damn fine actor). The first half of the film is admittedly a sort of traditional family kid horror movie, with the boy hearing strange voices from behind walls, being bullied, and his parents acting strange. But it's delivered in such a way that the film manages to hold the viewer's attention. I enjoyed the uncertain and unsettling atmosphere in the air, where you can feel that something evil is about to happen, but you don't really know what or where from. Once the first twist is dealt and the cards are on the table, the film shifts into decent and brutal savagery with attractive kills. The atmosphere is divine, the monster evokes Mama and develops an intriguing plot backdrop, the corpses mount and my enthusiasm only increases. There's guts and decapitation (finally some R-rated mainstream again), though I think the brutality could have been more gory. But as I say, the great craftsmanship, solid actors, decent atmosphere and an action-packed finale make this an engaging horror ride that I thoroughly enjoyed. 85%
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Once again, we have delinquent youth behind bars. They should get a haircut and find a job. A slightly offbeat mother describes her son, whose young actor charmingly poorly tries to act being frightened, as someone with a "great, big, beautiful imagination." This is something the creators here lacked, and when the hairy creature with suction cups appears in all its glory, it becomes fully apparent. The result is a Halloween pumpkin that’s quite hollowed out and carved according to established procedures.
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There hasn't been such a rich and dense mix of genres for a long time, and if someone did it even slightly differently, I wouldn't be afraid to give the film a Boo! rating with a shake of my head in disbelief at how someone could think of mixing these genres. But he creative team behind Cobweb is skilled enough to deliver a total mindfuck that in the first half is a depressing story about a weird family and the strange and harsh upbringing of their son, and in the second half it turns into a bloody body-count violent horror thing with perfect fantasy elements. The cinematography is brilliant, with dazzling angles and shots, the work with tension and music do a tremendous job of keeping the viewer in constant suspense and fear, and when the film switches genres halfway through it actually feels pretty natural and pretty damn impressive. Up until the last 10 minutes, I was convinced to give it a full score and attend a re-screening after tonight's home premiere, but the ending feels terribly unsatisfying and pretty much spoils all the build-up before it, and it fizzled out oblivion...
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Galéria (82)
Photo © Lions Gate Films Inc.
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