Lee Cronin
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We have a character who pukes blood (one of the franchise’s signature gores), a bloodied protagonist (Lily Sullivan’s Beth) and even a homage to one of the iconic scenes from Stanley Kubrick’s The Shining (1980).
At the end of “Evil Dead Rise,” Lee Cronin bathed every inch of the frame like Stanley Kubrick did in “The Shining,” he (probably) paid homage to Neill Blomkamp’s “Zygote,” he tipped his hat to the great Sam Raimi, and it felt like some kind of cinematic religious experience.
There’s also more than a handful of references to Stanley Kubrick’s The Shining, such as the elevator and the bottom-to-top perspective the film uses as Beth holds the door when Ellie is outside of the apartment, which are unexpected but nonetheless cool to spot.
Cronin leans hard into the anonymity of the setup, setting his Evil Dead in a dilapidated apartment high-rise that suggests a haunted house attraction at a theme park, or a wax museum variant of the Overlook from Stanley Kubrick’s The Shining , which is quoted again late in the film in a much more overt way.
One of them, Kubrick's classic The Shining, gets bluntly referenced towards the end.
Cronin also has sequences that appear to reference everything from The Shining and Aliens to The Thing (I even thought there was a little bit from The Last of Us: Part II in this one).
“Evil Dead” borrows some ideas from the 1986 sci-fi horror movie “Aliens” but it’s not a complete ripoff.
As well as horror, there are also echoes of another classic, in Ridley Scott’s 1986 Aliens; there are clear nods to it, with a horror taking place in a confined space, and a relationship developing similar to that of Ripley’s protective relationship over young girl Newt.
Cronin also has sequences that appear to reference everything from The Shining and Aliens to The Thing (I even thought there was a little bit from The Last of Us: Part II in this one).
It must have taken an enormous amount of restraint for Sullivan not to quote Ellen Ripley during the finale (“Get away from her, you bitch!”), but the “surrogate mother” dynamic she develops with young Fisher can’t even clear the bar set by Mimic , let alone Aliens .
Though this makes the film initially feel more like a remake of Lamberto Bava’s Demons 2 or a [REC] rip-off (or, heck, even a nod to that terrible Critters sequel with li’l Leo DiCaprio in his film debut), the eventual appearance of the Necronomicon means we’re clearly in Lovecraft country by way of Sam Raimi and his Deadites.
Evil Dead Rise picks up on the tone and style set down by the 2013 reboot of Evil Dead and places it in a high-rise building, a setting that frankly has been hungry for demons to run through since 1986’s Demons 2 .
Cette fois, les esprits frappeurs investissent un immeuble très urbain (on pense bien évidemment à Démons 2 de Lamberto Bava pour le point de départ similaire).
It is hard not to compare the Scream franchise with Evil Dead Rise because each genre-defining horrors are going through a modernization phase.
It may be a contemporary horror, but it’s not as forgiving as a Scream movie these days, for people get axed in the most fatal, celebloodtory manner.
Just like Scream VI , Evil Dead Rise relocates its horror to a tiny apartment in a big city.
L’operazione di La casa – Il risveglio del male è per certi versi simile a quella compiuta da Tyler Gillett e Matt Bettinelli-Olpin coi loro nuovi Scream, sia per come entrambi hanno ripreso in mano un marchio fortemente legato all’autore originario (lì Wes Craven, qui Sam Raimi) sia per come l’ambientazione storica della saga viene spostata, reinnestandosi in un nuovo setting urbano (e qui il paragone è ovviamente col recentissimo Scream VI).
Evil Dead: El despertar es una de esas raras secuelas/remakes (como las últimas cintas de Scream ) que rinden un homenaje a su pasado pero al mismo tiempo no teme ir a lugares nuevos para seguir desarrollando su universo.
A bathtub and a blood-flooded elevator are also used effectively on their own while also paying homage to a certain horror classic, and there’s a suspenseful and gloriously bloody showdown in a parking deck that recalls “Jurassic Park” where characters hide in an enclosed space.
Dediğimiz gibi filmin yapımcıları arasında Sam Raimi ile Bruce Campbell olunca 1981-1993 arasında çekilmiş olan orijinal üçlemeye göndermeler bulunması kaçınılmaz, neyse ki bunları Jurassic Park’ın en yeni ayağında olduğu gibi “ürün yerleştirme” mantığıyla yapmamışlar, zira dikkat edilmezse bazıları kolayca gözden kaçabilir.
As well as horror, there are also echoes of another classic, in Ridley Scott’s 1986 Aliens; there are clear nods to it, with a horror taking place in a confined space, and a relationship developing similar to that of Ripley’s protective relationship over young girl Newt.
Sutherland, on the opposite end, is chaos incarnate, a Tori Amos meets Reagan from The Exorcist meets Pennywise-type of energy that cannot be matched by any of her, admittedly incredibly talented, peers.
Evil Dead: El Despertar ( Evil Dead Rise , 2023), nuevo capítulo de la retahíla del espanto que se propone independiente pero retoma a nivel conceptual lo hecho por Álvarez en Posesión Infernal , es el segundo largometraje del cineasta irlandés Lee Cronin, aquel de la interesante y remotamente similar El Bosque Maldito ( The Hole in the Ground , 2019), esa cruza entre La Invasión de los Usurpadores de Cuerpos ( Invasion of the Body Snatchers , 1956), de Don Siegel, La Mala Semilla ( The Bad Seed , 1956), de Mervyn LeRoy, El Otro ( The Other , 1972), de Robert Mulligan, El Resplandor ( The Shining , 1980), de Stanley Kubrick, y The Babadook (2014), gran obra de Jennifer Kent acerca de la histeria familiar.
Evil Dead: El Despertar ( Evil Dead Rise , 2023), nuevo capítulo de la retahíla del espanto que se propone independiente pero retoma a nivel conceptual lo hecho por Álvarez en Posesión Infernal , es el segundo largometraje del cineasta irlandés Lee Cronin, aquel de la interesante y remotamente similar El Bosque Maldito ( The Hole in the Ground , 2019), esa cruza entre La Invasión de los Usurpadores de Cuerpos ( Invasion of the Body Snatchers , 1956), de Don Siegel, La Mala Semilla ( The Bad Seed , 1956), de Mervyn LeRoy, El Otro ( The Other , 1972), de Robert Mulligan, El Resplandor ( The Shining , 1980), de Stanley Kubrick, y The Babadook (2014), gran obra de Jennifer Kent acerca de la histeria familiar.
Teresa begins reading Emily Brontë’s classic Gothic 1847 novel “Wuthering Heights” while complaining to Jessica that this party is dead and she wants to leave.
Uiteraard kunnen we Emily Brontë’s Wuthering Heights niet uitvlakken als een subtiel, maar cruciaal verhaalelement.
The tagline of the film Mommy loves you to death promises to take the audience in uncomfortable territories a la The Babadook and the director Lee Cronin's own The Hole in the Ground .
Evil Dead: El Despertar ( Evil Dead Rise , 2023), nuevo capítulo de la retahíla del espanto que se propone independiente pero retoma a nivel conceptual lo hecho por Álvarez en Posesión Infernal , es el segundo largometraje del cineasta irlandés Lee Cronin, aquel de la interesante y remotamente similar El Bosque Maldito ( The Hole in the Ground , 2019), esa cruza entre La Invasión de los Usurpadores de Cuerpos ( Invasion of the Body Snatchers , 1956), de Don Siegel, La Mala Semilla ( The Bad Seed , 1956), de Mervyn LeRoy, El Otro ( The Other , 1972), de Robert Mulligan, El Resplandor ( The Shining , 1980), de Stanley Kubrick, y The Babadook (2014), gran obra de Jennifer Kent acerca de la histeria familiar.
Invasion of the Body Snatchers (1978)
Directed by Philip Kaufman
influenced Evil Dead Rise (2023)
Themes
Evil Dead: El Despertar ( Evil Dead Rise , 2023), nuevo capítulo de la retahíla del espanto que se propone independiente pero retoma a nivel conceptual lo hecho por Álvarez en Posesión Infernal , es el segundo largometraje del cineasta irlandés Lee Cronin, aquel de la interesante y remotamente similar El Bosque Maldito ( The Hole in the Ground , 2019), esa cruza entre La Invasión de los Usurpadores de Cuerpos ( Invasion of the Body Snatchers , 1956), de Don Siegel, La Mala Semilla ( The Bad Seed , 1956), de Mervyn LeRoy, El Otro ( The Other , 1972), de Robert Mulligan, El Resplandor ( The Shining , 1980), de Stanley Kubrick, y The Babadook (2014), gran obra de Jennifer Kent acerca de la histeria familiar.
Sutherland's Ellie delivers some of the most chilling lines since 1987's Hellraiser , like her terrifying insistence that "Mommy is with the maggots now" from the trailer.
Lee Cronin uses just about every imaginable tool in his box, including but not limited to: Hellraiser -style orchestral score, a “POV” of the demonic entity, a modern day equivalent to the original’s vine-rape, and the greatest bloody elevator sequence since The Shining .
Ou seja, Cronin aplica as lições de um terror nostálgico, sobrevoando o legado “Evil Dead” e piscando os olhos a “Night of the Demons” (de Kevin Tenney [1988], um dos filhos da saga de Raimi, e dos quais implicou-se em afastar do burlesco que a sequelas / revisões se tornaram), como aventurando-se através de salpicos de “The Thing” (o body horror maleavelmente diabólico) ou, como já fora mencionado, “A Nightmare on Elm Street”, mais concretamente Freddy Krueger, o fala-barato assassino de slasher santificado por Robert Englund, que intimidava as suas vítimas através de espectáculos / encenações de automutilação, sendo demonstrações das duas capacidades corporais, além da mera carne, para lá do seu estado terreno.
Towards the end, the demons reconfigure as an amalgam of possessed people, multiple heads, arms and legs, a little like a mobile version of the infamous group sexual ‘shunt’ at the end of Society (Brian Yuzna, 1989).
Some of the movements of the female demons owes much to the extreme, performance-based movements of Sadako, the otherworldly protagonist of Japan’s Ring franchise (Hideo Nakata et al, 1998 onwards).
Weapons sees Evil Dead Rise’s cheese grater and raises it a vegetable peeler…
People were squealing about the cheese grater in Evil Dead Rise, but just wait to see what Justine does with a peeler.
Friday the 13th Part VIII: Jason Takes Manhattan (1989)
Directed by Rob Hedden
influenced Evil Dead Rise (2023)
The change of scenery immediately reminds me of the recent Scream VI (it took place in Manhattan instead of the fictional Woodsboro town) and of course, Friday the 13th Part VIII: Jason Takes Manhattan thirty-four years ago.
It’s an atmospheric movement that reminded me of a demonic survivalist cover of The Towering Inferno or even Die Hard .
These include Ellie’s slow rise from the bathtub to reveal her demented grin à la the demon in the basement in Evil Dead / Evil Dead II, her being restrained in a similar manner as previous female characters but with electrical wires instead of branches and vines, and the sequence where someone chokes on a severe eyeball, itself yet another Evil Dead II reference.
Nostalgically speaking, words can not express the sheer joy I felt at hearing the deadites spouting “dead by dawn!” in obvious tribute to 1987’s Evil Dead II .
The next movie, Evil Dead II , really kicked off the horror-comedy sub genre and Army of Darkness was barely horror at all, really more reminiscent of the comedy/horror crossovers of Abbott and Costello than either of the prior movies.
Sam Raimi, who wrote and directed “The Evil Dead” and 1987’s “Evil Dead II,” is an executive producer of “Evil Dead Rise.”
A choice must be made tonally whether to go with the slapstick horror-comedy stylings of Sam Raimi’s Evil Dead II and Army of Darkness or to go more for straight horror like Fede Alvarez’s 2013 reboot.
Once again trading in comedy for purist horror that hinges on all out violence and gore, Evil Dead Rise feels like a soft but gruesome continuation of the 2013 remake, using the same dark elements and plot devices that set it apart from Sam Raimi's original three films: Evil Dead, Evil Dead II, and Army of Darkness.