Barbie World or something. This film is rather not a film, but one large and Hippo colorful broken video clip, advertising in all (except the most desirable) angles Makarena Gomez, who is a woman in herself is undoubtedly spectacular, which was noticeable even in Dagon even if she has tentacles there. The thing, however, is that for a cool kin, one Macarena will not be enough - it is desirable to attach the plot to it, and visually submit everything somehow so that the domestic non-Latinos would not then be painfully hurt for not knowing Spanish and trying to be content with underground Russification.
It is especially disappointing that the picture is completely in order at first, and the first half hour is catchy: a fleeting nude already in the second second second of the film (this will pull a record, probably), wonderful opening credits, two interesting examples of film design in the form of TV inserts like commercials, one almost ridiculous imitation of a TV report, one damn cool semi-black white attack towards slashaks, and another strange beach-musical bay in the form of an unnecessary, but unstressing flueback. After that, it is assumed that the film will continue to run in exactly the same positively sloppy way, but this is a deception - the flow of directorial creativity and the desire to push into your project and one and the other, and the third, and without bread ends here. And in the conditions that “Killersha” is almost plotless, or rather, its entire narrative essence fully fits into three sentences from the synopsis, the sharp cutting off of such a visual and editing range looks like a cruel taking of candy from a child.
The middle of the film, respectively, look average (pun intended) and makes the film in the likeness of a cabbage, unevenly balancing on the edge of incompatible genres. Here it is worth noting that the musical component of the action is at least disgusting completely correlates with its summer-disco style and only once again emphasizes it. The declared comedic affiliation of the tape is expressed quite conventionally and floats somewhere at the level of USC and deeper. Meanwhile, it is noticeable that the murders and the little that is called special effects, for comedy put quite at the level, and this allows you to feel in the author's concept some such fresh and fragmentary originality.
The third half-hour is designed to finally respond to the right dissatisfied remarks: “Where is the zombie, how long can you wait?” But they, handsome, and after all, makeup is really good, but in terms of action, the pale-eyed victims of the reanimator are not much in demand for regret: the meatman is of a parochial nature and is designed rather to revive the stalling story and bring it to the finishing curve, than to provide the suffering scenes of remote self-mutilation and brain kicking out. Behind the created appearance of a farcical final brawl follows, on the contrary, a uniquely soulful and seemingly slicked from Timoberton's fairy tales finale, which puts in all this sloppiness a lean and inadequately beautiful point.
As a result, there is a bright as New Year's tinsel, sparingly thrashy and relatively cheerful (relative to "Dogville", for example) movie object, unobtrusively parasitizing on the slasher genre, combining it with a fair showroom. Recommended for fans of channels like MTV or TNT and fans of films with a completely absent semantic component. Among the fans of Macarena Gomez, if there are, meanwhile, can be considered an obvious icon.
6.5 out of 10