Sin Reaper. Underage American Samantha Walker does not sleep well and suffers from permanent tantrums mixed with neuroses not because her tender soul is burdened by the coming process of defloration, but because the girl is tormented nightly nightmares and visions of medieval Germany. Having gone with a group of different-caliber friends to the homeland of Goethe and Schicklgruber to find out the causes of these infernal paranormal phenomena, she does not even assume that this will turn into an even greater horror for her.
German horror as a separate phenomenon in European cinema, experiencing throughout its existence a craving for both expressionism and brutal artisan underground, over the past couple of years, has increasingly begun to dress up in the white robes of the typical and archetypal mainstream, pretending in such films as “The Cursed Place”, “Bela Kiss: Prologue”, “Taste of the Night” and “Extinction – Chronicles of Gene Modification”, however, not always successfully, as practice and archetypical mainstream have shown, pretending to be exclusively oriented on the horror of Hollywood, and opticism, which was not at all. It seemed that by such methods some German horror makers, mainly from the category of young and greyhound debutants, seek to give the German horror more emasculated, more attractive to the majority, killing with furious sadism its authentic rigidity, which is almost the main highlight of the cinematic Deutsche Angst. Therefore, it is not surprising at all that the first in the German horror genre, horror in 3D format, was also shot by a debutant from the world, to which the sea is kneeling, and Murnau and Buttgerait - not a decree, but the result obtained at the output completely satisfied the preferences and desires of the current postmodernized majority to distance modern German horror from the long abberant traditions of ancestors.
This film was released in 2012, the film “The Reaper of Sin” directed by Sebastian Bartolithius, which is nothing more than a very banal from the moment of the onset and the birth of the main plot plot intrigue youth horror, more inclined in its development not to mystical psychodrama, the prerequisites for which in the picture were, albeit in a very modest volume, but to a deadly slasher, in which the role of a central antagonistic maniac plays a sweet sadistic monk with a bright “Greek”. What mortal sins of a minor schoolboy, whose milk has not dried up on her lips, and the loss of virginity is the highest limit of dreams, the director does not always explain clearly, more going into spectacular and memorable bloodletting, and sometimes even including Ittenbach’s full coil in himself.
However, the thread of the plot narrative is not drowned in the next sadistic death of another peripheral character, and the detective mystery remains unsolved until the final, although, of course, the excessive plot originality of the Reaper of Sin is not in force, representing a cross between the motives of all parts of the Scream and a couple of paintings of such a subgenre as nunsploitation, only this time with a masculine flavor, because instead of the usual mad sexually concerned nun of the audience, a monk will wait for a violent monk. But, as you know, from the rearrangement of the parts of the final sum does not change.
That for which all the riot was started - violence, violence and once again violence, but without perversions - turns out to be, perhaps, the only highlight that fully pays off the plot secondary picture, and the parade of failed heroes, and the almost complete absence of tension and atmosphere in the film, for Bertolithius once again does not build Hitchcock himself, does not tear the patterns, but does not drown in them completely, creating at the output, even if not always original, but at the same time quite integral, stylistically balanced and rather cruel horror film with a very transparent morality, although this conclusion is not guilty, although this is not at all guilty.
7 out of 10