Taste of revenge Performed in light and simple concepts, the subgenre torture-porn is not so often pleasing with high-quality material, and even less often gets to the big screen. Unfortunately, even if this happens, the video sequence is compressed and significantly censored, not too much revealing its potential. In this case, there is the same problem - the plot in which the sex of the film the girl is raped, and the film floor she is sophisticated revenge, killing the offenders, although she claims to be very spectacular entertainment, with elements of a tense thriller and meat torture horror, but some completeness and emancipation as a result is not felt.
The remake in principle follows in all the footsteps of modernizing the plots. The seventies have sunk far from memory, and on the threshold of the age of laptops, digital cameras and mobile communications. Of course, now it is not enough to rape a girl with friends - you need to shoot everything as a memory, and to feel the fear of loneliness you need to either climb into the wilderness, where the phone is banal, or drown her in the toilet. Having collected a bunch of banal clichés of fashion horror films, pretty loosening the action with very monotonous scenes of mysterious noises and taps, the film barely manages to gain material to create an atmosphere in order to somehow get the audience’s attention for the main action.
Why it was necessary to stretch the prologue so much and crumple the ending so indistinctly remains unclear, as well as adding a few completely unnecessary characters to the plot. The film was not just modernized to the style of the current cinema of this genre, but supplemented with unnecessary elements and stretched in similarly unnecessary details. The rest came out exactly what should have been. Pretty Sarah Butler is repeatedly exposed in a variety of angles from all sides, her heroine is repeatedly abused, and then miraculously not parting with life feels a sweet taste of revenge, inventing very original ways of execution. Thus, with all the unnecessary details and general drag, the video series soon begins to develop into a dynamic erotic thriller, if not semi-porn, and then into a bacchanalia of madness and cruelty.
It is with the beginning of the key events of the film that overgrown the atmosphere, tension, elements of suspense and disgust, the horror film perfectly does its job, having time and entertain and scare. And if the original film centered on the inner experiences of the heroine and her madness, the remake presents a merciless and cold revenge in a more brutal way, extensive dynamics and originality of torture. Scenario ideas, as well as the director's presentation of scenes, I want to praise. Everything is written and filmed as required in the genre framework and modern trends. At the same time, without going into any pseudo-documentary filming, or glossy glamour, but developing in a given direction in almost all the charms and details.
Of course, there is a lack of completeness, not enough attention to detail where it would be especially necessary. There is no such savor of cruelty, as for example in “Saw” and the rebellion of eroticism in the spirit of “Informants”, but this remake simply knocks out something similar to last year’s remake of “The Last House on the Left”, surpassing that lousy and completely crooked, both filmed and conceived, a real example of expressiveness and demonstrative action. Stephen Monroe once again proved that working with a minimum of computer graphics, he perfectly shows his talent. And let this film, of course, can not claim any loud statements and the status of a masterpiece, he very decently holds the bar of justifiability of expectations, pleases, surprises and leaves behind quite good impressions.
Comparisons with the original here on the one hand is easy, on the other – even difficult. To the original there is an extended unrated version, which from the bottom of my heart I want to wish for a remake. In this film, of course, the main character came out brighter and more cute, and the ideas for the implementation of murders were both spectacular and simply interesting. The original film caused more sympathy for the main character and showed her behavior much more believably after shock and abuse. And the characters were still brighter in the picture of the seventies, while here the rapists are generally one person and in a single type of appearance, and the sheriff, although different from them, but also something memorable from himself hardly can represent. And if the picture of Meyer Zarka is rightfully considered a standard of torture-porn genre, a colorful film that reveals its potential to the fullest, with an abundance of memorable scenes and characters, then the new film will be remembered only by the fact that it is just a good genre film, cruel and erotic.
7 IS 10
Original