Re: FIYH Movie Club :: Suggestion Thread
Not being a fan of horror movies particularly, I don't have lots of context for this film (though I could swear that I saw it on home video like 25 years ago, but apparently remembered nothing about it). However, I think it would be good in a double-bill with Cabin in the Woods (which I've also never seen, though I know it by reputation, and really want to see it now), just because it seems like The Evil Dead could be the beginning of the postmodern, for lack of a better word, trend in horror (with Cabin in the Woods being its culmination).
It's hugely self-conscious and (self-)referential. That's definitely what struck me the most. In the cellar there's what must be a bit of theatrical poster for Wes Craven's The Hills Have Eyes; Ash does the old mirror gag from Jean Cocteau's Orphée (see also The Matrix); the ridiculously OTT sequence with the projector in the cellar shining on Ash which gradually gets covered in blood. (Geez, how more meta can you get?)
Of the horror/exploitation films that preceded this, I've only seen Romero's two zombie movies and The Texas Chainsaw Massacre (and all a long time ago), but I don't remember any of them being explicitly self-regarding in this way. Dawn of the Dead has some comedy and social commentary, for example, but this is something else entirely.
Normally I find all that crap unbelievably annoying (which is largely why I'm not a fan of The Princess Bride), but I actually don't mind it here. Maybe that's partly because I'm not really well-versed in the genre, so it seems fresher, but I'm sure part of it is the the obvious enthusiasm that Sam Raimi brings to the material. I really do get a sense of glee from the direction and the again OTT makeup effects.
I suppose the thing that's the biggest letdown is the script and the characterization. The actors don't seem to be much more than props that move around (maybe not hugely surprising, given where Raimi's interests obviously lie). It's like the script doesn't bother even with the cliched genre-staple characterizations. That's actually another reason why I really now want to see Cabin in the Woods -- to see what Whedon/Goddard do with this idea in terms of the characters (though they apparently have other fish to fry in terms of heading off into the meta-stratosphere).
Week 2 :: 6 :: sellew :: Solaris (2002)
Duncan Jones, but with a little more money. How does this film only have a 6.2 rating on IMDB?
Last edited by sellew (2015-04-04 17:02:48)