Down: Discesa infernale

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.

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)

After being completely disappointed with The Ool, my friends and I stuck in The Shaft only to be completely delighted (ouch, bad one). The Shaft (or Down,as it was apparently called at one point) follows the exploited elevator industry as the poor machines have to fight off babies and blind men and roller bladers.

The Shaft is a perfect fit for anyone who wants some fun. I mean, look at that cast! It's B-movie heaven. Watching Ron Perlman's impassioned defense of the elevator industry is golden, and Naomi Watt's 'acting' is once again fun to watch.

The pacing is the real villain in this flick, as it drags on with useless characters and stupid tangents when elevators killing people really should have been the sole focus of the movie.

The climactic battle between the evil elevator which includes, yes, a rocket launcher that shoots invisible rockets, is golden. I will admit with little uncertainty, that this is simply the best Hedaya/Herrmann/Perlman/Ironside/Watts v. possessed elevator movie out there, and, for my money, was worth the fifty cent rental.

Rating: 2/10

....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.

It all begins with a sweeping, awe-inspiring shot of The Millennium Building, one of New York City's premier hotels, housing all of 100-some odd floors. We zero in on two goombah bellboys spying on an old man and two old-looking women boinking in a highrise across the street; this scene brings to mind Brian De Palma's "Body Double," and the decent production values mixed with aforementioned homage give the viewer an (admittedly misleading) impression of what's to come. While fully aware of the (admittedly deserved) bad reputation most DTV efforts have, "The Shaft" at least starts off with promise. Writer-director Dick Maas (remaking his 1983 Dutch original, "The Lift") has a knack for framing scenes, building suspense, and keeping his camera firmly in the moment. The problem is, his script is a muddled misfire, never quite settling on a solid path; the result is an accidental bending of sci-fi, horror, and flat-out action that never gels as well as it should. After an elevator in the Millennium knocks off a bunch of victims in extravagant fashion, the plot devolves into a drawn out (and ultimately unsuccessful) search for The Truth--suddenly elevator repairman James Marshall (imagine a cut-rate Brad Pitt) and fetching reporter Naomi Watts (pre-"Mulholland Drive") are standing in for Guy Pearce and Russell Crowe, turning this into "El.A. Confidential." And in the final act, Maas spins the film into the outer limits of absurdity with a Michael Bay extravaganza of stunts and explosions, throwing in some references to Osama bin Laden and terrorism (pre-9/11!) for good measure. Save for Watts' lead role, most of the big names on the video box (including Ron Perelman, Dan Hedaya, Edward Herrmann, and Michael Ironside) are relegated to smaller 'guest appearances' (though every little bit helps). Big names aside, the premise is stretched so thin that you'll be hard-pressed to care about anything by the time the noisy climax rolls around. "The Shaft" takes a concept with genuine horror potential and transforms it into a bowl of cold oatmeal.