Baskin

If "being a good horror movie" was purely a matter of inserting cruel images, nightmarish scenery and petrifying characters in your movie, then "Baskin" inarguably was one of the greatest horror masterpieces of the past 2-3 decades. This film is literally chock- full of grueling gore and the decors are so disturbing that viewers with a weak stomach won't even be able to digest them. Unfortunately, however, "being a good horror movie" is also about a solid script, originality, a coherent structure and a minimum of empathy with the lead characters. These are all elements that I missed in "Baskin" and which prevent me from labeling as a true genre delight. What remains is nevertheless a more than remarkable and grotesquely violent horror movie from Turkey. This country has a rather bizarre tradition when it comes to making horror/cult movies. During the 70s and 80s they mostly just made shameless and unintentionally hilarious imitations of famous blockbuster, like "Turkish Superman" or "Seytan" (a blatant copy of "The Exorcist"), but since a few years there's a new generation of Turkish horror directors and at least they want to uplift the quality level of their national horror cinema a bit. The protagonists in "Baskin" are five police officers and, I don't know whether it was director/co- writer Can Evrenol's intention or not, but the film doesn't exactly draw a positive image of the Turkish authority figures. They're sitting in a filthy roadside diner, telling vulgar stories about their meeting with (male) prostitutes to each other and collectively harass a young waiter. Kind of like Joe Pesci did in "Goodfellas"; they pick on a poor sucker because he dared to laugh with their stories even though he wasn't invited at the table to laugh. A few moments later they decide that the physically ill person of the bunch can drive the van and they have a little karaoke party in their service vehicle. Doesn't really encourage you to trust the Turkish police, now does it? They subsequently receive a vague radio report that leads them to an abandoned mansion where a satanic sect is in the middle of holding a black mass. The high-priest is excessively cruel in his execution rituals, but there also seems to be a link between the events here and the recurring nightmares of the youngest cop Arda. I've read a review on "Baskin" that described the film like a compound between the narrative styles of David Lynch and Rob Zombie. The comparison definitely makes sense, although our pal Can Evrenol is not (yet) as skilled and experienced as those two. Many, many sequences are truly sickening to watch, with explicit footage of eye-stabbings, slit throats and cut open stomachs. One last thing I simply have to mention - and genuinely applaud – is the terrific casting work! Particularly the supportive roles are masterfully cast; most notable two actors with faces that were seemingly made to have a career in horror cinema (although this may come across as very disrespectful because they both obviously suffer from a physical condition that makes them look that way). Mehmet Cerrahoglu depicts the high-priest and he's the kind of actor who only looks scarier from the moment he removes his mask. The other actor is named Seyithan Özdemir and he is credited as "giant man/frog hunter". He instantly reminded me of 1940s actor/horror icon Rondo Hatton! I would strongly advise Mr. Özdemir to pick up a few words of English and purchase a plane ticket to Hollywood, as he can surely make it big in Hollywood with a mug like that.

Baskin comes from a country for which horror genre outings are quite atypical to see. Despite not having much to compare with locally, it is clearly a passionate and well-made horror even when examined against countries that contribute to the genre much more frequently. Not terrific, but a great start to a young filmmaker's career.

The film is about a set of five cops who are patrolling their neighbourhood at night. They receive a call for backup coming from a part of town associated with many fantastic and far-fetched story. Upon entering it, they find themselves in a place none other than Hell.

I was quite entranced by Can Evrenol's direction, it was surprisingly confident for a first feature, daring to aim for difficult scenes and set-ups right off the bat. The opening 15 minutes in the restaurant were my favourites. They use numerous very long, very slow takes, which captured a sense of slow building dread despite the hilarious conversation going on between the cops. His flair for beauty and the abstract persists later on as well, especially in scenes where he combines multiple perceptions of reality (loved the room filling up with water). I am definitely a fan of his after seeing this movie.

I do think that the first third of the film is its strongest, because oh the sense of undefined dread. Once the cops enter "hell", the movie is still entertaining but becomes more of a torture-porn outing, without that much story. I like the reference to the mythological hellish trials and tribulations from Greek mythology, but I would have preferred a stronger plot. The circular reference of the film kind of bothered me, because it is an extremely common trope of "characters in limbo/hell" movies (like House Hunting, Haunter, etc), and I would have liked to see something more original.

The acting was quite fantastic for the budget. All of the cops did a great job, the likable ones managed to be truly likable, the hateable ones easily made themselves repulsive to the viewer. The physically "unique" actor who played the master of the hell domain was very creepy and good in his role, with zero prosthetics to boot! Great casting choice.

Overall, Baskin could have used improvements in terms of storytelling, but it is absolutely worth seeing as a piece of horrific art, morbidly beautiful to watch. 7/10

I saw the premise of the film and was interested. Adding to my interest was the fact that the film was foreign. I was curious what a Turkish horror movie would look like.

The movie starts out with an amazing film score that sets this tone for an early 80s euro giallo style.

It takes a while for the Horror to begin as we watch a group of cops go through some strange events before the real deal goes down.

And when the horror sneaks up to ya, it's very freaky and deranged, almost torture porn like. It made me squirm in my seat.

I must admit that overall I thought the movie was far too corny. It could be the culture gap, or it could be the Tarantino like built up to the horror with a lot of dialog, that may have been more interesting in the native language.

Can't really say that I like it all that much, though it made me uncomfortable, it was not in a scary way.

Came across this title while browsing on IMDb. Read very positive reviews by regular posters in the cinema board section.

The movie starts very promising. Cops chatting n dining in some very creepy motel. The atmosphere is creepy. The chat goes on. A lil boring in the beginning but the patience pays off very well once they get to the abandoned building when hell is truly unleashed.

Its like a Freudian, giving way to a claustrophobic sense of approaching dread of darkness and of death.

The set lighting is extremely poor (may b the low budget n debut direction).

Some of the sequences have less of an impact than they would have if we were able to see more of what was going.

Thankfully it wasn't shot in hand held shaky cam stuff.

The dark, desaturated cinematography is perfectly suited to this aesthetic and adds to the grime.

The movie is very surrealistic, like a trip to hell n back.

When the end credit rolls, u feel like u jus awoke from a mind-*uckin nightmare.

Curious to see what its director will do next.

Fans of Clive Barker, Lucio Fulci, David Lynch, Dario Argento n Wes Craven will definitely enjoy this movie.

The actor who played Baba has an extremely unique look, like a true Satan waiting in hell.

In BASKIN, the horror starts right away with an opening straight out of childhood nightmares.

The scene switches to five cops hanging out in a diner. There's something just not right about the place, and some disturbing things occur without the knowledge of these policemen. A building sense of dread and uneasiness sets in before anything even happens. It's established immediately that these guys are hardened characters who have probably "seen it all". These are NOT the cops you want to pull you over in the middle of the night!

Upon leaving the diner, there's a call for backup on the van radio. The creep-factor continues to rise, as incidents take place which have no plausible explanation. Then, some unearthly line is somehow crossed, and away we go! The best way to describe what transpires next, is a collective nightmare interrupted by spurts of semi-reality. Arriving at their destination, the weirdness only gets... weirder! Entering a decrepit mansion, the true madness begins. If you've ever wondered what a fun house in hell's sub-basement would be like, well, here it is!

BASKIN is genuinely scary and completely messed up. Ultimately, it's a terrifying tale of supernatural retribution and doom. There is plenty of gore and degradation for these men, but what makes the movie so blood-freezing is the atmosphere of total malevolence that it conjures. True wickedness. Without this, BASKIN would be just another mindlessly debauched splatter film. By the time you reach its finale, you'll know what I mean...