Down - Steig ein, wenn du dich traust

Dutch director Dick Maas has essentially remade his own 1983 film De Lift with 2001's The Shaft (originally entitled Down), about an evil elevator system that suddenly begins killing people in a fancy-schmancy skyscraper. Artisan has shamelessly redesigned the cover art to resemble The Ring, and to highlight the presence of star Naomi Watts, though who that kid on the cover is supposed to be is really anyone's guess, because he is certainly not in the movie I watched.

In between the dull investigative drivel, Maas delivers a few fun horror moments, including a spectacular elevator door decapitation and a fun bird's-eye P.O.V. of a character's leap off the observation deck. Maas even subjects an elevator full of very pregnant women to a terrifying ride.

With the exception of a few establishing shots, it appears that much of The Shaft was shot in Europe, and the unconvincing "New Yawk" accents of most of the extras is definitely giggle-worthy. To Maas's credit, he has somehow managed to fill the film with a decent blend of familiar faces in supporting roles, including Edward Herrmann (the building manager), Dan Hedaya (a police lieutenant), Ron Perlman (the elevator repair company boss) and venerable bad guy Michael Ironside.

There are brief moments of great fun in the murderous elevator flick, The Shaft, but too much time is spent talking and the dramatic payoff is a real eye-roller, even in B-movie horror terms. Artisan has supplied a solid 5.1 surround track, but the horribly cropped 1.33:1 fullframe transfer almost negates that.

Yep, The Shaft has its ups and downs.

6*(10* Rating System)

Released in the US as The Shaft, this is Dick Maas remake of his own striking debut. 1983's The Lift was a blackly comic chiller about a skyscraper's lift that begins to take the lives of its occupants. This beefed up version keeps the original premise intact, right down to the odd bio-mechanical explanation, but takes place in New York City, pre- 9/11. Beginning with an extravagant pan through the Manhattan skyline and onto the observation deck of the CG rendered Millennium Building, Maas's film looks ever bit as stylish as its $15 million budget would suggest. Given its blockbuster production values its easy to take this absurd movie at face value, but those familiar with the original may recognise that Maas is actually attempting deadpan parody. Slickly directed in widescreen frame, Marc Felperlaan's cinematography complements both the city (which was used only for exterior shots) and the gorgeous art deco production design of the building itself. James Marshall, as the rugged young hero, has something of Christian Slater, Mark Whalberg or Josh Hartnett about him, while his love interest is none other than Naomi Watts, who shortly after became a star in another US-set remake of a foreign classic. In this and that other film she plays a reporter investigating an absurd concept, here a killer lift, there killer videotapes. They are supported by respectable cast of character actors Michael Ironside, Edward Herrman, Ron Perlman and Dan Hedaya. Kicking off the scene with the sounds of Aerosmith's Love in an Elevator, an extravagant race takes place between two incredibly skilled risk takers through New York traffic and into the basement parking garage of the Millennium Building. One of the skaters is then sucked into the lift, in an unexplained supernatural moment, only to be thrown out from the top floor. Bold, inventive and darkly humorous, this brief sequence, which has no dialogue or featured performers present, displays Maas' talent with his rehashed material to the greatest effect. This film was, unfortunately, somewhat prophetic and is laced with unintended irony as a result. Released over two years after the destructive assault on the World Trade Centre, it's not difficult to see why. The very first shot shows us those twin towers, which will forever provoke gasps of remembrance in whatever film they appear, and soon we are in a similar building where horrifying acts are occurring. This seems at first a rather tenuous reason to delay a release, but then the moment arrives when the narrative enlists comments from the fictional President, in which he expresses fear of the occurrences as a terrorist act. This remake is something of a cross between its inspirational text and the likes of high-rise horror's Poltergeist 3 (Gary Sherman, 1988) and The Tower (Richard Kletter, 1993), and is certainly superior in the execution of its novel concept than either The Mangler (Tobe Hooper, 1994) or sequels. The only thing that really lets this film down is the bad language. The F-word is used gratuitously and repeatedly throughout.

....after a blind man's and his dog's death.As the person was a vicious man ,we will not shed a tear for him,but poor dog! What saves this movie (at least in its first hour) is its sense of (black) humor.Although it's sometimes a bit over the top (the nursery school scene is sheer bad taste:it would have taken John Waters to treat it successfully),there are plenty of funny scenes if you do not take them seriously:I particularly dig the "Bergman" lines.

Unfortunately,the last thirty minutes take us back to "the invincible super hero who single-handedly fights evil ".But he was a marine,we are told.

Some kind of remake of the director's "de lift" (early eighties)with a more comfortable budget.

It's pretty good entertainment but you'd better choose Dick Maas's "Amsterdamned" instead.

This is a B-movie, no matter what anyone says, Naomi Watts does NOT make this movie an A movie, its defintly a B-Movie. Its about a killer elevator! I'll say that again: A killer elevator! Not a psycho killer, or some ghost or supernatural force, no its a killer elevator! How did this ever get made? I wonder if Namoi Watts still keeps this on her resume. There is some weird convoluted plot that they never fully explain how the government was expiermenting on bio-metal or something so stupid that it is never fully explained. Is this supposed to be a scary movie? Its very hard to write ten lines that is required to describe how crappy this movie is.

It amazes me how often deliberately cheesy, tongue-in-cheek horror films are misconstrued as poorly made garbage. Down (AKA The Shaft), director Dick Maas' 2001 remake of his own 1983 Dutch horror De Lift, opens with the camera gliding gracefully over the NY skyline to eventually come to rest on 'The Millennium Building' where two night watchmen use an observation telescope to spy on big-breasted hookers at work in a neighbouring skyscraper; it's a superbly executed and wonderfully trashy opening that should make it crystal clear that Maas knows exactly what he is doing—making a highly entertaining, campy schlock/horror that shouldn't be taken seriously—and yet there are still those who seem to have missed the joke.

Oh well, it's their loss, because when viewed as intended, Down proves to be a lot of fun, packed as it is with outrageously silly deaths, delightfully daft dialogue, and knowingly clichéd characters—precisely the kind of stuff I would expect to see in a horror film about a murderous 'living' elevator controlled by a malevolent state-of-the-art computer chip enhanced by living brain tissue.

An excellent cast clearly have a blast in their two-dimensional stock roles, with a gorgeous pre-A-list Naomi Watts as a feisty newspaper reporter, James Marshall as a cocky elevator engineer, Ron 'Hellboy' Perlman as the shady owner of the elevator company, Dan Hedaya as a grizzled NY detective, and Michael 'Scanners' Ironside as a loathsome scientist hellbent on perfecting his pet project, whatever the cost. Maas keeps the action moving along at a brisk pace, handling the special effects set-pieces, wry humour, and gruesome shocks with confidence, even going so far as to kill off women, children, and animals along the way.

And if all that isn't enough to pique your interest, let's not forget about the eerily prophetic scene in which characters discuss the possible use of a plane in a terrorist attack on the World Trade Centre; with 9/11 just around the corner, it stands out as a genuinely chilling moment in an otherwise intentionally ridiculous and wonderfully OTT piece of nonsense.

7.5 out of 10, rounded up to 8 for IMDb.