Down: Discesa infernale

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.

You know, people will probably bust up this movie, but it was really pretty good. It had a bit of a far fetched plot, but it was funny in places and the gore wasn't bad. The bit when the elevator chopped off the guy's head was a decent effect -- slow motion and relatively seamless. And the fact that they had references to terrorism in a NY skyscraper -- before 9/11 -- was pretty cool. Even made reference to the 93 attempt on the WTC and to Bin Laden -- a while before the actual event. Eerie. At least someone out there connected the dots. I'd rent it again.

Before Naomi Watts became a big star from her excellent performances in excellent films like "Huckabees", "Mulholland Drive", and "21 Grams"; she was delivering excellent performances in a lot of garbage movies like "The Shaft" aka "Down". And while her performance here does not save the movie, it does elevate (bad pun intended) it to a viewable level.

The only other reason to watch this thing is to see yet another example of the film-making phenomenon that big is not only not better, but much worse. Which is probably related to the human interest angle in journalism, where a large disaster cannot sustain interest as long as the same story on a smaller more human scale.

For those who don't already know it, "The Shaft" or "Down" is Dutch Director/Writer Dick Mass's remake of his 1983 classic "De Lift". One posted comment about the original says: "…. looks technically proficient, with fine color texture, smooth cinematography ( by Marc Felperlaan ) and tight editing ( by Hans van Dongen ), elements that help to maintain a high level of suspense. The story clearly echoes Jaws, with its obsessed hero and corrupted authority figures, who would rather disguise the truth than face it. Despite this movie being his debut, many of Maas's personal trademarks are also already in place: quick pacing, sadistic gore effects modified by edgy humor, mild satire on bourgeois preoccupations, and broadly etched supporting characters".

Apparently the title "Elevator" was already taken and "Lift" was too European for the remake he was left with two very stupid titles with which the distributors have been experimenting since 2001.

In the 1983 version, the elevator of an Amsterdam flat (another European term) misbehaves badly. The elevator begins trying to crush, suffocate and decapitate passengers. Fearless mechanic Felix does battle with the seemingly haunted machine. But the anti-technology twist is that the elevator has developed a mind of its own due to an experimental 'biochip'. Felix is assisted by a magazine reporter named Mieke de Beer ( wasn't that the name of Scotty's German pen pal in "Eurotrip"?).

The original was shot in just 30 days with a very limited budget, this constrained the production resulting in an intimate story, viewers identified with the characters and this greatly enhanced the suspense level. This time someone gave Maas a lot of money and he pumped up the production; moving it to New York, adding tons of unnecessary effects, making the elevator absurdly powerful, and geometrically increasing the size of the cast. The Amsterdam elevator was deadly but in ways that a malfunctioning elevator could be deadly. The new elevator is like a cross between a James Bond story and a poor 1950's science fiction film.

Not surprisingly the human interest wheels fall off immediately. If you ignore your strong impulse to bail and just keep watching you will see decent performances from Watts and the from various character actors who populate the cast.

Unfortunately for Mass, he choose New York City for this 2001 movie and deviated from the original by throwing in some misdirection about terrorists being behind the elevator accidents. There is even a line about the first bombing of the World Trade Center. Apparently this was embarrassing enough to insure that there was no theatrical release.

....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.

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.