El realizador de Oculus y Ouija: El origen del mal tiene apetito por lo fantástico, y el filme abreva en tantos tarros de pintura que algunos terminan descoloreándose.
Directed and co-written by Mike Flanagan (“Oculus,” “Ouija: Origin of Evil”), along with his frequent collaborator Jeff Howard, “Gerald’s Game” is a study of repressed memories, childhood traumas, and just how far a person will go to survive.
Flanagan has made a habit of directing female protagonists in small spaces (Oculus and Hush both feature female protagonists confined to a single location, for example), and the parameters of Gerald’s Game allow him to do what he does best — explore his female characters while ratcheting up tension.
It’s hard to overlook some of the recurring themes in his work, beginning with 2011’s Absentia and all the way through the wildly imaginative Oculus, Hush (also on Netflix ) and Ouija: Origin of Evil.
While no less horrific at times, there’s a sense of personal growth and elegance that Gerald’s Game offers, which makes it all the more wonderful that Oculus and Hush director Mike Flanagan’s take on the film ends up being something truly special.
Fortunately, director Mike Flanagan has had ample practice in the art of the mindf**k with Oculus , and he manages to turn the necessarily more literal film adaptation into a waking nightmare.