Baskin

I'd had my eye on this movie for over a year. Constantly checking to see if, when, and where it was getting released. The first trailer for it immediately hooked me, and I needed to see this movie. Now I finally have, and I can safely say the wait was worth it. With what little reviews are even out there at this point, critics and keyboard warriors are complaining that Baskin is 'low on plot'. Hearing that as a complaint really grinds my gears. See, there are some movies that are just devoid of enough creativity to generate an interesting plot, and then there are other movies like Baskin, that are that way by design. If you don't like the movie... fine. But, it's REALLY well made.

The 'low on plot' complaint gets more absurd the more I think about it because so many masterful and classic movies have threadbare plots and nobody even bats an eyelash. In fact, they praise how it does so much with so little. Where's THAT love for Baskin? Writer and director Can Evernol has crafted a wonderfully nightmarish movie that seems to understand the very fabric of a bad dream- a dream you keep trying to wake up from and can't. Baskin makes enough sense from scene to scene that you can follow the narrative as a movie, but there are enough plot threads and details that stick out to give the movie a thoroughly dreamlike quality.

It dives in and out of deeper dream realms, characters deliver spooky speeches about fate and death. The camera fetishizes details that look irrelevant, so your eyes are drawn in, scouring the scene for clues or hints or something lurking in the shadows. Every scene is atmospheric and moody, giving the movie an uneasy vibe even when not much is really happening. The movie has a simple plot, but that doesn't mean it's a simple movie. It leaves a lot open to your imagination, but not in the way you might think. That concept when married to horror movies usually means that the killers or the monster isn't ever really seen, or that all the gory stuff happens off screen. Neither is true of Baskin.

It lets you use your imagination when it comes to the story. There's obviously a much bigger and more complex history to the antagonists of this movie, and thinking about what that might be is just as unnerving and scary as watching them kill their victims. And, speaking of victims, by the time our protagonists, a team of five police officers, happen to stumble across their lair, an old abandoned police station- we can clearly see they've been at this for a while. This small cult has killed dozens and dozens of people in extremely brutal and ritualistic manners. Also, I've got to give props to the filmmakers for creating one of the most disturbing looking cults I've ever seen.

Especially the perfect casting of the cult leader in Mehmet Cerrahoglu. Now, obviously, that name won't mean much to most audiences because this is Mehmet's first and only screen credit. But... oh my god. His performance was deeply unsettling and extremely disturbing. I can see a bright (or dark..?) future for him in horror movies. He's like a new Michael Berryman, and I say that with as much love and fondness for this genre and the actors in it as humanly possible. He stole the whole show away from the well established leads up to that point. Mehmet had dynamic and chilling on screen presence.

A lot of Can Evernol's inspirations are readily apparent to genre fans. Clive Barker, Eli Roth, David Lynch, and Nicolas Winding Refn- to name just a few. He manages to blend an eerie Euro art-house vibe with a hardcore splatter flick vibe. Actually, no- scratch that. He doesn't blend them- he does something a lot riskier. The first half of the movie is eerie Euro art-house cinema, and the second half of the movie smashes in, rubbing our faces in the anxiety inducing, gross- out, extreme gore, of your (above) average splatter flick. Baskin might not be the bloodiest or most insane movie ever, but just because I- as a genre fan, am jaded as hell, doesn't mean I can't recognize it for the demented and wild ride that it is.

It's a sick and haunting movie that is more concerned with moods and instantly disturbing imagery than it is with backstory and plotting. The necessary story bits are told through the characters and their interactions, and that was fine to me. I liked that aspect of the movie. Baskin succeeds overall, but excels in leaving you with memorable images of things the average person wouldn't ever want to see, let alone have it stuck in their head. Baskin doesn't look cheap, or low budget. It's immersive and gritty, and it's readily apparent flaws can be chalked up to differing tastes and opinions. Some people like more plot-heavy horror movies, so obviously they might be let down by Baskin a bit, but that doesn't mean it's thin plot is a flaw.

In retrospect, the movie does feel rather small. It only really has three locations, a restaurant, a highway, and the old not-so-abandoned police station. What makes it feel small is how little actually happens in each location. The movie milks each second it can out of every setting it has, and it's surprisingly effective. In lesser hands, this movie would've been an absolute misfire. But, as is, it's a slick and well made piece of gore-splatter cinema. It's moody cinematography, vibrant colors, and synth heavy score bring to mind an extra bloody and Satanic spun Wrong Turn by way of Nicolas Winding Refn. I couldn't say that like it's a bad thing even if I tried. Baskin is destined for overnight cult status, and genre immortality. I loved it.

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.

We've seen the premise of going to Hell many times before, but few are as effective as 'Hellraiser' and 'Baskin'. While 'Baskin' is not trying to be another 'Hellraiser', one can't help but compare them. Both films depict hell as a horrible place of torture.

From the opening moment, Yavuz (Muharrem Bayrak) is depicted as an arrogant and rather crude guy, a policeman who abuses his authority. (He does undergo the most character development towards the end). He is one of five cops who are about to embark on a nightmare journey. The men are Yavuz, Apo, Seyfi, rookie Arda, and their boss Remzi. Arda is under Remizi's care since his father died.

Responding to a call for back-up, they head to Inceagac - a creepy and dangerous place. On their way, they hit a man on a dark stretch of road, and drive into a lake. Without transport or a working phone or radio - and with no sign of the person they hit - their nightmare is only just starting. They make their way on foot to Inceagac, where fellow police officers called for back-up.

If you intend having snacks with this movie, make sure you finish it before they enter the building in Inceagac - if you want to keep your food inside, that is! Once they enter the building, the film plunges you into hell from which there is no escape.

Just like 'Hellraiser' these scenes are disturbing, bloody and grotesque. This truly is the stuff nightmares are made of. The visuals and make-up effects are really good. 'Baskin' doesn't have the same good storyline and payoff as 'Hellraiser', but this is a very well made movie. Saying I liked the movie might make me sound sadistic considering its theme and nature, but yes, I actually enjoyed it.

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...

A twisted, surreal & nightmarish journey into the bottomless depths of hell, Baskin is an extremely disturbing, utterly unusual & overly ambitious tale that feels like something that came straight out of the abyss and, thanks to its stomach-churning violence & gore as well as multitudes of themes & symbolisms, it isn't an easy film to decipher in one sitting.

The story of Baskin follows a squad of five police officers who, after dining in a restaurant, receive a distress call from a nearby town and head there to investigate the issue. But once they reach the crime scene, an abandoned building that used to be a police station during the Ottoman era, they find themselves inexplicably trapped in a world of madness & suffering.

Co-written & directed by Can Evrenol in what is his feature film debut, Baskin is adapted from his short film of the same name and is one phantasmagorical ride from start to finish that's as bizarre as it is bewildering. The plot is filled with flashbacks & dream sequences and in between lies some real nasty stuff as well that's definitely not for the easily-distressed.

Each frame of it is instilled with a foreboding sense of doom and its dilapidated sets, sophisticated yet eerie camera-work, shaded colour tones, steady pace & stimulating score, all contribute greatly in enhancing its overall impact, and is all the more amplified by the gruesome brutality that Evrenol puts on the screen, for the level of violence that's on display here is absolutely sickening.

Performances are good even if the characters aren't that well-defined. More than individual inputs, it's the chemistry between the five actors that makes their characters believable. But nobody even holds a candle to the performance that comes later in the story from a first-time actor. Playing the antagonist, Mehmet Cerrahoglu chips in with a show-stealing work and makes for one intimidating villain.

On an overall scale, Baskin is one of the most shocking, disturbing & emotionally upsetting films of the year that's drenched in dread, revels in suffering & bathes in body horror. The labyrinth-like structure of its plot does go over the head sometimes but there is still an intriguing quality to it that keeps the interest alive until the very end. A convoluted mess but also an undeniably powerful experience, this Turkish horror about five cops who inadvertently wander into hell isn't for everyone. Enter at your own risk.