Baskin (2015)
Directed by Can Evrenol
A squad of unsuspecting cops go through a trapdoor to Hell when they stumble upon a Black Mass in an abandoned building.
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What critics compared Baskin to
Con la fundamental Hellraiser (Clive Barker, 1987) como modelo, Can Evrenol, su joven director, se apunta a la desesperante narrativa de que las situaciones no se concatenen, de que unas no afecten a las otras, como si hubiera ideas malsanas para ciertas secuencias independientes pero se fuera incapaz de dotar al conjunto de un verdadero crescendo argumental, de una idea central homogénea, y se enmascarara todo con un indigesto onirismo mental.
The caldron of postmodern horror receives another dubious contribution with Baskin, a veritable witch's brew of knowing riffs on recent, extremist trends in European horror and the iconography of American genre staples like The Texas Chainsaw Massacre and Hellraiser .
There are myriad reference checkpoints for horror fans, spanning everything from “Hellraiser” to Coffin Joe movies, while recurrent scenes back at the diner portend an all-too-familiar final revelation.
It's an infernal nightmare along the lines of Even Horizon and Hellraiser , but with an old school Italian look and feel that combines Lucio Fulci's uncompromising gore with Dario Argento's intense coloring.
The film, which owes a debt to Clive Barker’s Hellraiser , is based on an acclaimed short film by director Can Evrenol; he’s clearly a film-maker with a flair for creating a macabre and unsettling atmosphere.
Andrés Muschietti o David F. Sandberg, por ejemplo, se quedaron en tierra de nadie con sus versiones ampliadas de Mamá (2008) y Lights Out (2013), dos pequeñas perlas que, en escasos minutos, resultaron espeluznantes, pero que perdieron fuelle en su versión extendida al venderse a los convencionalismos propios del cine de terror de multisalas.