begob
दिस॰ 2010 को शामिल हुए
नई प्रोफ़ाइल में आपका स्वागत है
हमारे अपडेट अभी भी डेवलप हो रहे हैं. हालांकि प्रोफ़ाइलका पिछला संस्करण अब उपलब्ध नहीं है, हम सक्रिय रूप से सुधारों पर काम कर रहे हैं, और कुछ अनुपलब्ध सुविधाएं जल्द ही वापस आ जाएंगी! उनकी वापसी के लिए हमारे साथ बने रहें। इस बीच, रेटिंग विश्लेषण अभी भी हमारे iOS और Android ऐप्स पर उपलब्ध है, जो प्रोफ़ाइल पेज पर पाया जाता है. वर्ष और शैली के अनुसार अपने रेटिंग वितरण (ओं) को देखने के लिए, कृपया हमारा नया हेल्प गाइड देखें.
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रेटिंग1.1 हज़ार
begobकी रेटिंग
समीक्षाएं755
begobकी रेटिंग
While gathering the left overs of her suicided mother's life, a woman is called away on a live-in carer's job for an old woman in an old house in the countryside. Where she finds a red door to the cellar, guarded by folk charms ...
Not really a horror, but a study in generational paranoid schizophrenia - with folk horror influences: The Wickerman and Penda's Fen come through strong in the climax. The plot device is the taking of children by the Sidhe, fairy entities that appear as goats and as humans too - but which are stand-ins for altogether more material demons from the past.
Interesting, with good performances, and some quality cinematography. But it is uneven. Early on there's a really striking image of the hanged mother in her wedding dress; later on, another wedding dress appears, but without any spooky touches - it's just there on a clothes hanger. And the folk horror details weren't delivered with enough style - think of the smile figures in the recent Smile 2 for the spookiness of good choreography. On the plus side, the visiting supervisor was just right in her buttoned down insanity - although her role trailed off into nothing. And the Father Ted style decor reeked of layered-on ignorance and obsession.
The dialogue is mostly in Irish, but lacking in lyricism - there is one powerful description by Peig of the other world, but otherwise the exchanges are quite banal, with lots of Ceart go leors ('alright') popping up. I noticed the phrase Geallaim duit ('I promise you') repeated 3 times, but the subtitles gave the final use a different translation even as the old woman marked it as the third time.
The outstanding element is the music and sound design: industrial folk doom, if that's a genre. Delivered by the mighty Die Hexen.
As a descent into madness, the story is good, but not of the first order since it shows us no way out. Not that the way out has to be taken, but its existence heightens this kind of drama. There is a little post-script after the end credits, which reinforces the theme of taking children, but too little to add extra enlightenment.
Overall: Interesting but uneven. And the title, so I'm told, is a phonetic version of the Irish for roots.
Not really a horror, but a study in generational paranoid schizophrenia - with folk horror influences: The Wickerman and Penda's Fen come through strong in the climax. The plot device is the taking of children by the Sidhe, fairy entities that appear as goats and as humans too - but which are stand-ins for altogether more material demons from the past.
Interesting, with good performances, and some quality cinematography. But it is uneven. Early on there's a really striking image of the hanged mother in her wedding dress; later on, another wedding dress appears, but without any spooky touches - it's just there on a clothes hanger. And the folk horror details weren't delivered with enough style - think of the smile figures in the recent Smile 2 for the spookiness of good choreography. On the plus side, the visiting supervisor was just right in her buttoned down insanity - although her role trailed off into nothing. And the Father Ted style decor reeked of layered-on ignorance and obsession.
The dialogue is mostly in Irish, but lacking in lyricism - there is one powerful description by Peig of the other world, but otherwise the exchanges are quite banal, with lots of Ceart go leors ('alright') popping up. I noticed the phrase Geallaim duit ('I promise you') repeated 3 times, but the subtitles gave the final use a different translation even as the old woman marked it as the third time.
The outstanding element is the music and sound design: industrial folk doom, if that's a genre. Delivered by the mighty Die Hexen.
As a descent into madness, the story is good, but not of the first order since it shows us no way out. Not that the way out has to be taken, but its existence heightens this kind of drama. There is a little post-script after the end credits, which reinforces the theme of taking children, but too little to add extra enlightenment.
Overall: Interesting but uneven. And the title, so I'm told, is a phonetic version of the Irish for roots.
On moving to a new house, a family that's split right down the middle in its sympathies finds a ghostly presence ready to upset the balance.
Nobody beats this director for camera use in telling a story - from the very first shot he takes us into the presence and never lets us leave, right up to the return to the original shot and then the final shot, when the presence disappears. And we also get clues to the mystery fed in from the start, with the 'spectacular' mirror and so on.
Performances are good, with oftentimes cryptic dialogue to fill in the back story - so we need to pay attention as the real threat begins to emerge. The family dynamic is brittle, with each parent desperate to hold on to one of the children, while the children act out their spite against each other.
I enjoyed the pace: it's a short run time and kept me engaged all the way. The score is simple piano and lush strings, more wistful than mournful, and light in mood.
As for the shape of the story, it has a final reveal that fits all the fleeting clues into place. Watch out for the comment about the 'decent man inside', and the psychic's observation on the nature of time.
Overall: Elegant, unfussy ghost story.
P.s. The end credits have a random photo of a machine keyboard at the very end. Huh?
Nobody beats this director for camera use in telling a story - from the very first shot he takes us into the presence and never lets us leave, right up to the return to the original shot and then the final shot, when the presence disappears. And we also get clues to the mystery fed in from the start, with the 'spectacular' mirror and so on.
Performances are good, with oftentimes cryptic dialogue to fill in the back story - so we need to pay attention as the real threat begins to emerge. The family dynamic is brittle, with each parent desperate to hold on to one of the children, while the children act out their spite against each other.
I enjoyed the pace: it's a short run time and kept me engaged all the way. The score is simple piano and lush strings, more wistful than mournful, and light in mood.
As for the shape of the story, it has a final reveal that fits all the fleeting clues into place. Watch out for the comment about the 'decent man inside', and the psychic's observation on the nature of time.
Overall: Elegant, unfussy ghost story.
P.s. The end credits have a random photo of a machine keyboard at the very end. Huh?
Struggling to raise her family in a neglected home, a widow is confronted by a menacing figure sitting right out front in the yard.
Ooh, I wasn't expecting this, and the experience was kinda mixed - but overall a powerful movie.
First up, the direction is very stylish, with some wowser cinematography and sound design that generate queasy adrenalin in what is a low-key domestic drama. The editing and pace are also good. But the stand out for me is the score, which turns things around after the story looks like it's taken a fatal fall before the climax.
The performances are good, in what is basically a 3-hander, although the boy lacked a little urgency, and both kids were strangely under-powered in the chase scenes toward the end. At that point I was thinking, 'Whoops! Turning into a turkey' ... It had been coming from a long way off, since the concept of a black figure parked outside your house for no apparent reason, while creepy, lacks the context to generate a sense of mortal danger. Essential in a horror, so none of the characters seem to be in real jeopardy because this woman is just ... a symbol, and the attempt to impress her reality outside the protagonist's point of view begins to feel artificial.
But ... the story plays a subtle trick with mirroring, flagged early on by the girl's copy-book mistake and the movie title outside a theater during the restaurant scene. When the full effect comes on, suddenly the climax switches to a different consciousness, with the music score filling out this reverse world of mental illness. It makes the character's final dilemma feel real, as if you're with her in this fatal moment. I sensed the string orchestrals were a nod by the composer to Badalamenti's work in Mulholland Dr., so fair dues to Blumhouse for allowing the talent to express itself.
As for the ending - well, it is a pile-up of Spielbergish reassurances ... but the score never lets up and haunts its way through the credits. Plenty to think about, despite the resort to sentimentality.
Overall: Close to collapse, but pulled itself together. A generous 8/10.
Ps. I watched 825 Forest Road a couple of weeks ago, and noticed for the first time in a movie's credits an advice blurb about mental illness. And this has one too.
Ooh, I wasn't expecting this, and the experience was kinda mixed - but overall a powerful movie.
First up, the direction is very stylish, with some wowser cinematography and sound design that generate queasy adrenalin in what is a low-key domestic drama. The editing and pace are also good. But the stand out for me is the score, which turns things around after the story looks like it's taken a fatal fall before the climax.
The performances are good, in what is basically a 3-hander, although the boy lacked a little urgency, and both kids were strangely under-powered in the chase scenes toward the end. At that point I was thinking, 'Whoops! Turning into a turkey' ... It had been coming from a long way off, since the concept of a black figure parked outside your house for no apparent reason, while creepy, lacks the context to generate a sense of mortal danger. Essential in a horror, so none of the characters seem to be in real jeopardy because this woman is just ... a symbol, and the attempt to impress her reality outside the protagonist's point of view begins to feel artificial.
But ... the story plays a subtle trick with mirroring, flagged early on by the girl's copy-book mistake and the movie title outside a theater during the restaurant scene. When the full effect comes on, suddenly the climax switches to a different consciousness, with the music score filling out this reverse world of mental illness. It makes the character's final dilemma feel real, as if you're with her in this fatal moment. I sensed the string orchestrals were a nod by the composer to Badalamenti's work in Mulholland Dr., so fair dues to Blumhouse for allowing the talent to express itself.
As for the ending - well, it is a pile-up of Spielbergish reassurances ... but the score never lets up and haunts its way through the credits. Plenty to think about, despite the resort to sentimentality.
Overall: Close to collapse, but pulled itself together. A generous 8/10.
Ps. I watched 825 Forest Road a couple of weeks ago, and noticed for the first time in a movie's credits an advice blurb about mental illness. And this has one too.