Evil Dead Rise (2023)
Directed by Lee Cronin
A reunion between two estranged sisters gets cut short by the rise of flesh-possessing demons, thrusting them into a primal battle for survival as they face the most nightmarish version of family imaginable.
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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.
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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.
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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.