The Taking of Deborah Logan (2014)
Directed by Adam Robitel
What starts as a poignant medical documentary about Deborah Logan's descent into Alzheimer's disease and her daughter's struggles as caregiver degenerates into a maddening portrayal of dementia at its most frightening, as hair-raising events begin to plague the family and crew and an unspeakable malevolence threatens to tear the very fabric of sanity from them all.
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What critics compared The Taking of Deborah Logan to
We’ve seen in previous films that there is a real-life horror show that comes along with aging (it has been recently explored in genre movies like M. Night Shyamalan’s The Visit or Adam Robitel’s The Taking of Deborah Logan ), but I think what James does here is a bit more moody and subtle, allowing the unease of what these characters are dealing with to seep into viewers as she prepares to unleash some unexpected terrors later on, and the results are enthralling.
Really, in recent years, it's been Relic and slow-burn cult favorite The Taking of Deborah Logan, and that's pretty much it.
The story is certainly a topic previously touched upon in other films, namely in the chilling found footage project The Taking of Deborah Logan, but it’s handled in a much more poignant and haunting fashion in Relic than in most other efforts.
Director Natalie Erika James’ Australian feature Relic , sees such truths play out in the most haunting and affecting way imaginable, in a sensational debut feature that has the enveloping feel of Hereditary , but is like The Taking of Deborah Logan meets The Babadook , by way of David Cronenberg.
The elderly have been portrayed as creepy in numerous horror films, from M. Night Shyamalan’s The Visit to The Taking of Deborah Logan .
Director Adam Robitel, who managed to do something fresh and upsetting with his 2014 feature directorial debut The Taking of Deborah Logan , here contents himself with borrowing … lifting…no, this is downright larceny.
Director Adam Robitel ( The Taking Of Deborah Logan , Insidious: The Last Key ) wisely compensates for the lack of gore by focusing on the mechanics of the puzzles themselves, rather than the gruesome consequences of failing to solve them.
The first wide release of 2019, director Adam Robitel’s ( The Taking of Deborah Logan , Insidious: The Last Key ) Escape Room is an inventive little horror-thriller that has a fair amount of fun with its somewhat familiar premise.
Clearly, the makers of “Escape Room,” including producer Neal H. Moritz of the “Fast and Furious” series, director Adam Robitel of the found-footage thriller “The Taking of Deborah Logan” and co-writer Bragi F. Schut of the Nicolas Cage film “Season of the Witch,” were looking to start a low-to-mid budget franchise a la the not-so-dearly-departed “Final Destination” films.
La saga que empezó con La Noche del Demonio ( Insidious , 2010) y continuó con La Noche del Demonio 2 ( Insidious: Chapter 2 , 2013), dos trabajos muy disfrutables dirigidos por James Wan y escritos por Leigh Whannell, parecía haber alcanzado su punto más bajo en aquella deslucida tercera parte, La Noche del Demonio 3 ( Insidious: Chapter 3 , 2015), a cargo del propio Whannell en modalidad director, porque el cuarto eslabón, La Noche del Demonio: La Última Llave ( Insidious: The Last Key , 2018), nuevamente con un guión de Leigh aunque ahora con dirección de Adam Robitel, éste conocido por La Posesión de Deborah Logan ( The Taking of Deborah Logan , 2014), Escape Room: Sin Salida ( Escape Room , 2019) y su también horrenda secuela del 2021, había levantado un poco el espectro cualitativo de una franquicia ya de todos modos muerta o sin nada valioso para decir o sin novedad alguna en el horizonte retórico que justifique la montaña rusa de sustos y gritos.