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Tag: horror

  • Il seme della follia – Il capolavoro anni ’90 di Carpenter

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    In occasione del 76esimo compleanno di John Carpenter – tuttofare del cinema statunitense, tra le menti e le mani più brillanti della sua epoca e non solo – riscopriamo con questa recensione il suo indiscusso capolavoro degli anni Novanta. Se senza ombra di dubbio per gli anni Settanta e Ottanta i film più rappresentativi di Carpenter sono rispettivamente Halloween – La notte delle streghe (Halloween, 1978) e La cosa (The Thing, 1982), per il decennio in questione non possiamo non mettere al primo posto Il seme della follia (In the Mouth of Madness, 1994), un film imprescindibile, spesso assente dalle liste dei più grandi cult del regista e proprio per questo posto all’attenzione dei nostri lettori per festeggiare uno degli autori più importanti, iconici e allo stesso tempo outsider della storia del cinema americano. 

    Il seme della follia inizia all’interno di un ospedale psichiatrico, come in una delle primissime sequenze di Halloween; da Essi vivono (They live, 1988) torna il binomio tra realtà e finzione; da La cosa, invece, tornano dei mostri deformi e lovecraftiani, tanto viscidi quanto tangibili. Ma come nella migliore tradizione del noir classico americano, il film vede al centro del suo racconto – prima di rivelarsi nella sua natura orrorifica, psicologica e da disaster movie – un investigatore delle assicurazioni alla ricerca di Sutter Cane, uno scrittore di best-seller dell’orrore scomparso insieme alla sua ultima creazione. Carpenter mette in scena un neo-noir ispirato dai racconti di Howard Phillips Lovecraft che nel suo modo di maneggiare il racconto e la materia filmica sembra quasi anticipare la chiave surrealista della seconda metà dell’opera di David Lynch. Proprio da Il seme della follia sembrano arrivare alcune soluzioni visive lynchiane presenti in Strade perdute (Lost Highway, 1997) (su tutte, la rappresentazione notturna dell’autostrada), la discesa nella follia, la presenza di un artista oscuro che con la propria penna o con la macchina da presa è capace di riscrivere la realtà.

    “Quello che spaventa nelle opere di Cane è ciò che accadrebbe se la realtà desse ragione a lui” o ancora “È reale quello che noi crediamo che sia reale, sani e pazzi potrebbero scambiarsi i ruoli, se un giorno i pazzi fossero la maggioranza lei si troverebbe rinchiuso in una cella imbottita”. 

    Dichiarazione esplicita d’intenti, Carpenter non eccede in didascalismo ma rende ben nota la riflessione che vuole porre all’attenzione dello spettatore. Chi detiene il monopolio della ragione e dunque del sapere? Esiste una realtà oggettiva o quello che vediamo è una montatura, una finzione, come in Essi vivono? Qual è il limite che separa i “pazzi” dai “sani”? Sono tutti interrogativi lasciati aperti dal regista, in un film che vede allargare il suo raggio d’azione a ben oltre la durata del suo minutaggio effettivo.

    Ci troviamo di fronte a una narrazione che si espone, si auto-alimenta e si auto-influenza, in un delirio in cui i limiti tra realtà, finzione e immaginazione si fanno sempre più sottili, fino a disintegrarsi del tutto. Diventa lampante come la produzione culturale possa plasmare il reale, dunque come anche la letteratura o il cinema (per non estendere il discorso al teatro o ad altre forme artistiche e di comunicazione di massa) abbiano la capacità di influire sugli eventi della quotidianità, di creare un immaginario, di stabilire nuove tendenze, in un discorso pregno e carico anche di una forte valenza politica, meno marcata rispetto ad altri film dello stesso regista, ma comunque presente e fondamentale.

    Sul piano della rappresentazione stupiscono la simmetria nella composizione dell’immagine e i movimenti di macchina che elegantemente raccontano la realtà dell’ospedale psichiatrico. Il male che contagia la popolazione ne sfigura i volti, con delle trovate visive che toccano le vette del miglior body horror. Linda, tra le protagoniste della vicenda, dopo aver letto la realtà nel libro di Cane piange sangue come la Rosie Kelvin di Paura nella città dei morti viventi (1980) di Lucio Fulci. Tra effetti speciali artigianali e digitali la fantasia visiva di John Carpenter sembra non avere freni, in un film che risulta essere un piacere tanto per la mente quanto per gli occhi, e il cui minutaggio vola via prima ancora di far accusare allo spettatore alcun segno di stanchezza.

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    Alessandro Corrao,
    Redattore.

  • Due film per lo stesso personaggio: Nicolas Cage in Bringing Out The Dead e Mandy

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    Cosa possono avere in comune due opere tanto diverse e appartenenti a periodi storici così lontani come Bringing out the dead e Mandy? Martin Scorsese e Panos Cosmatos non sembrano avere molto da condividere, così come le atmosfere malinconiche e l’esistenzialismo del primo cozzano decisamente con la follia psichedelica e la violenza del secondo. C’è un solo ponte che lega questi due film, la presenza ingombrante e fondamentale di un personaggio protagonista alla costante ricerca di uno scopo, interpretato in entrambi da un incredibile Nicolas Cage.

    Il paramedico che non riesce a salvare nessuno

    Bringing out the dead (in Italia Al di là della vita) è un film del 1999, scritto da Paul Schrader e diretto da Martin Scorsese, che sceglie Nicolas Cage per interpretare il protagonista. Frank è un paramedico di New York, e le nottate passate nei lunghi servizi in ambulanza lo stanno distruggendo sempre di più. Dopo aver commesso un fatale errore nel tentativo di rianimare una giovane senzatetto, da mesi Frank non riesce a salvare nessuno, e la sua vita sta piano piano precipitando nella depressione più totale.

    Un barlume di speranza arriva quando, dopo la chiamata per un uomo in arresto cardiaco, Frank conosce la figlia del paziente, Mary, e la sua travagliata storia con il mostro della tossicodipendenza. Sarà proprio la giovane Mary a ricondurre Frank alla realtà, riportando indirettamente un significato alla sua esistenza.

    Tuttavia, per ricominciare a vivere, Frank sarà costretto a lasciare andare qualcosa. Il padre di Mary, nonostante i mille tentativi di salvarlo, finirà per soccombere al suo grave problema cardiaco, non importa quante volte Frank tenti di riportarlo in vita sul letto d’ospedale. Il nostro protagonista dovrà imparare che attaccarsi al passato e ai suoi errori finirà per distruggere il suo futuro. E il finale ci dimostra come, in cambio di una vita che scompare ne arriverà un’altra da salvare: infatti, nell’ultima parte del film, Frank riuscirà a soccorrere un uomo da una caduta mortale, la sua prima vita salvata dopo mesi.

    Il taglialegna con sete di vendetta

    Uscito nel 2018, Mandy è il film più famoso del regista greco Panos Cosmatos, un thriller-horror con punte action disponibile su Amazon Prime Video. I protagonisti, Red e Mandy, interpretati da Nicolas Cage e Andrea Riseborough, sono una coppia che conduce una vita affiatata e pacifica, innamorati e felici. Il loro piccolo paradiso viene, tuttavia, distrutto quando Mandy finisce nel mirino di Jeremiah, il leader di una setta religiosa chiamata “Figli della Nuova Alba”. Con l’aiuto di una banda di motociclisti, Jeremiah ci mette poco a rapire la donna, ferire Red e sottrargli l’amore, tutto ciò che aveva, che riteneva importante e che dava significato alla sua esistenza. La sete di vendetta di Red lo porterà a mettersi sulle tracce della setta, e chi oserà ostacolare il suo cammino dovrà vedersela con la sua balestra.

    Cosmatos trasforma pian piano il personaggio di Red in una sorta di eroe dello slasher, un cacciatore che non si ferma davanti a niente e nessuno per raggiungere la sua preda, il sadico Jeremiah. Inutile dire che il volto di Cage sarà ben presto ricoperto di sangue. Qui non si tratta di salvare nessuno se non il proprio orgoglio e l’onore di una persona amata scomparsa troppo presto. La violenza chiama altra violenza, e il nostro eroe Red non ha alcuna intenzione di lasciare in vita i responsabili della fine di Mandy.

    Le scene finali del film mostrano Red in auto, ricoperto di sangue dalla testa ai piedi, che si volta verso il sedile del passeggero e vede sua moglie seduta accanto a lui mentre fuma tranquillamente una sigaretta. Inutile dire che Red sembra essere impazzito del tutto, i suoi occhi completamente fuori dalle orbite e un sorriso inquietante stampato sul viso. Eppure la scena trasmette una calma quasi surreale, la macchina viene messa in moto e noi salutiamo per sempre questa storia allucinante.

    Frank e Red, cosa state cercando?

    In Bringing out the dead, Frank è disperato, il suo lavoro da paramedico lo distrugge perché non riesce a salvare nessuno. Non ha potuto rianimare quella ragazza e ora ogni suo intervento finisce per concludersi in tragedia, non importa quanto lui si impegni. In entrambi i film i due personaggi si ritrovano a un punto morto, non sanno come agire, né dove andare, hanno perso di vista il significato delle loro vite.

    Ma quando succede qualcosa di totalmente inaspettato, la chiamata di Mary per Frank e il rapimento di Mandy per Red, la loro vita ha una svolta. Perdere il proprio scopo ha distrutto i due personaggi, ma allo stesso tempo ha dato loro nuova forza. Da un lato, un paramedico che ritrova in se stesso la forza per tornare a salvare le persone, dall’altro un uomo completamente prosciugato dell’amore che decide di trovare una nuova forza nella vendetta più pura e più violenta possibile.

    Uguali ma diversi, sono entrambi uomini disperati alla ricerca di una redenzione, disillusi, angosciati, tormentati dal senso di colpa e profondamente depressi, traumatizzati da una perdita che non hanno potuto evitare. Due diversi modi di affrontare una situazione di immobilità e di dolore. Frank non abbandona la propria vocazione da paramedico nonostante le tragedie che continuano ad accadere davanti ai suoi occhi, ma decide di capire il vero significato che sta nel salvare una vita; così ha modo di tornare alla realtà e di uscire dalla spirale di dolore che lo stava lentamente risucchiando. Red, d’altro canto, non ha più neanche una vocazione, o meglio ha trovato nella vendetta pura la sua redenzione; ma la vendetta porta sempre con sé un prezzo, e in questo caso sarà precipitare nella follia, alla guida di un’auto che si perderà nel bosco e forse non farà più ritorno.

    Si può dibattere su quale delle due strade sia quella “giusta”? Certo, eppure né Scorsese né Cosmatos si sentono di giudicare i propri protagonisti. Perché dovremmo farlo noi?

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z_index_hover="" overflow="" background_type="single" gradient_start_color="" gradient_end_color="" gradient_start_position="0" gradient_end_position="100" gradient_type="linear" radial_direction="center center" linear_angle="180" background_color="" background_image="" lazy_load="avada" skip_lazy_load="" background_position="left top" background_repeat="no-repeat" background_blend_mode="none" render_logics="" sticky="off" sticky_devices="small-visibility,medium-visibility,large-visibility" sticky_offset="" absolute="off" absolute_top="" absolute_right="" absolute_bottom="" absolute_left="" filter_type="regular" filter_hover_element="self" filter_hue="0" filter_saturation="100" filter_brightness="100" filter_contrast="100" filter_invert="0" filter_sepia="0" filter_opacity="100" filter_blur="0" filter_hue_hover="0" filter_saturation_hover="100" filter_brightness_hover="100" filter_contrast_hover="100" filter_invert_hover="0" filter_sepia_hover="0" filter_opacity_hover="100" 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    Renata Capanna,
    Redattrice.

  • Recensione Home Education: Le regole del male – Riuscire a metà

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    Nella sperimentazione di genere, il cinema italiano non è di certo al passo con altri paesi ma risulta innegabile come negli anni la nostra penisola sia stata capace di scrollarsi di dosso la nomea di produttrice dei “soliti film tutti uguali”. Il genere sicuramente più florido di nuovi prodotti è l’horror, con diversi nuovi nomi capaci di farsi strada attraverso opere prime o seconde pellicole – già solo in questi ultimi anni abbiamo avuto come esempio l’opera prima di Ambra Principato Hai mai avuto paura, Pantafa di Emanuele Scaringi o il ritorno di Paolo Strippoli con Piove – che non sempre hanno saputo cogliere pienamente nel segno, portando in sala prodotti di certo non privi di difetti ma che dimostrano una volontà di mettersi in gioco di molti nuovi nomi.

    Tra questi si inserisce anche Andrea Niada, italiano cresciuto a Londra e che già si era fatto notare da una folta schiera di appassionati grazie al suo cortometraggio Home Education, distribuito in numerosi festival nel 2016. A sette anni di distanza, lo stesso Niada riprende il soggetto del suo corto e lo trasforma in un lungometraggio che vede nel cast Kate Reed, Julia Ormond e Rocco Fasano e con alle spalle il supporto di Warner Bros.

    Un incantevole inferno

    In un’isolata casa nei boschi calabresi vivono Carol e la figlia Rachel, giovane ragazza molto introversa che non frequenta la scuola e la cui educazione dipende esclusivamente dalla madre. Assieme a loro vive anche il padre Philip, apparentemente in uno stato catatonico – forse morto? – immobile sdraiato in un letto in soffitta. Le due però non sembrano preoccupate in quanto l’uomo parrebbe essere in procinto di “tornare”, l’importante è non smettere mai di dubitare. Tutti questi elementi erano già presenti nel cortometraggio, che nella fugace durata di 26 minuti costruiva un’ottima atmosfera ricca d’inquietudine e di ansia soprattutto grazie alle ottime performance delle attrici protagoniste. Nella decisione di “ampliare” il racconto, si riempiono gli spazi con un marcato approfondimento psicologico sia della giovane protagonista che della madre, approfondendo il loro stile di vita solitario, lo studio ed il rapporto che sempre più si incrina tra le protagoniste con il procedere della vicenda in cui gioca un ruolo centrale l’inedito Dan, giovane ragazzo che sembra manifestare interesse per Rachel rischiando di rompere la campana di vetro sotto la quale la giovane sembra essere costretta a vivere.

    Julia Ormond è Carol, la madre ed insegnante di Carol

    Ciò che senza dubbio il film manifesta in modo migliore rispetto al cortometraggio sono gli ambienti, qui spiccatamente rurali e naturali, vivi e colorati ma al tempo stesso pieni di morte soprattutto a causa delle misteriose componenti magiche che sembrano ruotare attorno ai personaggi. Misteriosi visioni ed inquietanti suoni permeano infatti la vita di Rachel, sensibile come il padre ad un “mondo di là” popolato di oscurità e decadenza. Se all’apparenza si può trovare un non troppo velato rimando al Sottosopra di Stranger Things, l’intelligenza di Niada sta proprio nel rendere questo posto un’idea prima che una realtà vera e propria che dai personaggi si trasferisce allo spettatore e che proprio come i protagonisti non può far altro che aspettare qualche segnale, esso sia un misterioso fischio simile ad un grido o qualche sequenza onirica ricca di spunti visivi.

    Angoscia, non terrore

    Se la regia si dimostra particolarmente calzante, aiutata da un ottimo montaggio e da un sopraffino comparto sonoro, ciò che si dimostra come vero e proprio “tallone d’Achille” è la sceneggiatura: il dilungarsi delle vicende finisce infatti per riempire il racconto di tempi morti e di azioni ripetute, dimostrando l’incapacità di trovare delle alternative interessanti alle idee già messe in scena nel cortometraggio. Il personaggio stesso di Dan si percepisce come un’aggiunta utile nei primi momenti ad approfondire l’elemento soprannaturale ma che finisce per arenarsi presto in un guscio vuoto senza capo né coda, a cui la recitazione di Rocco Fasano certo non aiuta quasi da contraltare alle invece ottime interpretazioni di Julia Ormond ma soprattutto della giovanissima Kate Reed.

    La sorprendente Lydia Page nei panni di Rachel

    Altro elemento che può destare più di qualche problematicità all’interno del racconto è il suo obiettivo finale. Quello che vuole fare Niada non è infatti costruire un horror che terrorizzi o spaventi nel senso più classico del termine – e ciò lo dimostra la totale assenza di jumpscare – quanto piuttosto di raccontare una storia di abusi e di rapporti tossici tra una madre ed una figlia in un nucleo famigliare permeato al tempo stesso da credenze magiche: queste ultime servono infatti soltanto ad acuire il senso di disagio, non a generarlo. Proprio su questo elemento, senza eccedere negli spoiler, la pellicola arriva quasi al punto di far dubitare di ciò che lo spettatore sta vedendo, dando credito alle dicerie che additano la protagonista semplicemente come una ragazza disturbata che necessita soltanto appropriate cure mediche.

    L’ultima parola spetta quindi al pubblico: se ciò che cerca è infatti un horror capace di sconvolgere, spaventarlo e non farlo dormire la notte grazie a mostri spaventosi o suoni terrificanti, non potrà allora fare a meno di rimanere deluso davanti a questo film; se invece si è disposti a lasciarsi trasportare in un racconto lento ed angosciante ricco di spunti visivi e tematiche interessanti – ed a passare oltre alcuni evidenti difetti soprattutto di ritmo – allora quest’opera prima di Andrea Niada merita senz’altro almeno una visione.

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z_index_hover="" overflow="" background_type="single" gradient_start_color="" gradient_end_color="" gradient_start_position="0" gradient_end_position="100" gradient_type="linear" radial_direction="center center" linear_angle="180" background_color="" background_image="" lazy_load="avada" skip_lazy_load="" background_position="left top" background_repeat="no-repeat" background_blend_mode="none" render_logics="" sticky="off" sticky_devices="small-visibility,medium-visibility,large-visibility" sticky_offset="" absolute="off" absolute_top="" absolute_right="" absolute_bottom="" absolute_left="" filter_type="regular" filter_hover_element="self" filter_hue="0" filter_saturation="100" filter_brightness="100" filter_contrast="100" filter_invert="0" filter_sepia="0" filter_opacity="100" filter_blur="0" filter_hue_hover="0" filter_saturation_hover="100" filter_brightness_hover="100" filter_contrast_hover="100" filter_invert_hover="0" filter_sepia_hover="0" filter_opacity_hover="100" 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    Mattia Bianconi,
    Redattore.

  • Nosferatu di Robert Eggers – Svelate le prime immagini del film

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    Arrivano buone notizie per i fan dell’orrore! 

    Infatti in una recente intervista di Empire, Robert Eggers, regista di The Witch, The Lighthouse e del più recente The Northman, ha parlato del suo prossimo e attesissimo progetto, ovvero il remake Nosferatu.

    Per l’occasione sono state rivelate due immagini, una che dovrebbe essere la copertina del film e l’altra che rappresenta una scena del film , in seguito pubblicate sui vari profili social del film.

    Prima di rivelare le immagini vediamo brevemente la trama della pellicola che ripercorre il capolavoro del 1922 diretto da F.W. Murnau e quello del 1979 diretto da Werner Herzog.

    Trama ufficiale:

    Nosferatu racconta una storia gotica sull’ossessione tra una giovane donna tormentata nella Germania del XIX secolo e l’antico vampiro della Transilvania che la perseguita, portando con sé un orrore indicibile.

    LINK IMMAGINE COPERTINA

    LINK IMMAGINE SCENA

    Come si può notare nella seconda immagine, la protagonista è Lily-Rose Depp che veste i panni di Ellen Hutter. Quest’ultima, afferma il regista, “È ancora più fedele alla storia di Ellen rispetto alle versioni precedenti” per poi aggiungere, “e Lily-Rose è assolutamente fenomenale”.

    Oltre alla Depp nel cast troviamo Nicholas Hoult che interpreta il marito di Ellen, Willem Dafoe, Simon McBurney, Emma Corrin, Ralph Ineson, Aaron Taylor-Johnson e per ultimo Bill Skarsgård che interpreta il terrificante Conte Orlok.

    Proprio su quest’ultimo, Eggers, ha commentato, “Dirò che Bill si è così trasformato” evidenziando l’incredibile lavoro dell’attore, per poi aggiungere, “aveva voglia di onorare chi era venuto prima di lui. È tutto molto sottile”

    Infine il regista parlando del film ha dichiarato:

    “Sì, è un film spaventoso. Un horror, un horror gotico. È da un po’ che non vediamo un film horror vecchia scuola che fa veramente paura. Credo che la maggior parte del pubblico appassionato qui lo troverà”.

    Non sono ancora noti molti dettagli sulla pellicola ma sappiamo che è in preparazione per il 2024, perciò non ci resta che aspettare maggiori notizie.

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    Michael Pierdomenico,
    Redattore.

  • Recensione Thanksgiving – L’eredità dello slasher

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    2007: nei cinema arriva il folle progetto partorito dalle menti di Quentin Tarantino e Robert Rodriguez Grindhouse, in cui i due registi manifestarono il loro amore per i film a basso costo spesso presentati nelle sale attraverso i “doppi spettacoli” tipici soprattutto degli anni ’70. Il progetto consisteva in due pellicole – girate rispettivamente dai due registi – mostrate in successione e precedute ed intervallate da alcuni fake trailer creati appositamente per questa operazione. Accantonata l’idea iniziale di girarli tutti loro stessi, i due cineasti affidarono ad alcuni amici e colleghi il compito di creare i loro fake trailer. Il più famoso è senza dubbio Machete, girato dallo stesso Rodriguez e divenuto pochi anni dopo un film vero e proprio con protagonista Danny Trejo, mentre per gli altri si scelsero nomi tutt’altro che sconosciuti: parliamo infatti di Edgar Wright, Rob Zombie ed Eli Roth. Proprio quest’ultimo propone un fake trailer dal titolo Thanksgiving con il quale il cineasta statunitense mostra tutto il suo amore per l’horror in uno slasher parodico ambientato, per l’appunto, in occasione del Giorno del Ringraziamento. Dopo 16 anni di attesa, finalmente Roth ha avuto la possibilità di eseguire un’operazione simile a quella operata da Rodriguez 13 anni prima e di rendere il suo fake trailer realtà e possiamo dirlo fin da subito: Eli Roth ha fatto centro.

    Questa volta non rimarranno avanzi

    Soggettiva. A schermo compare la scritta “Plymouth, Massachusetts. Giorno del Ringraziamento”. Mentre in sottofondo sentiamo un respiro profondo l’inquadratura si avvicina passo dopo passo all’ingresso di un’abitazione. Non è però il giovane Michael Myers pronto a scatenare una carneficina, bensì lo sceriffo Eric (Patrick Dempsey) che si appresta a cenare a casa di amici. Ad arricchire un incipit deliziosamente citazionista, Roth ci presenta poi i giovani protagonisti del film che di lì a poco causeranno una violenta rivolta tra le persone in fila davanti ad un negozio in occasione delle offerte per il Black Friday e che porterà ad una serie di violente morti ed altrettanti feriti. Con un time skip di un anno, ci viene mostrata una misteriosa figura in cerca di vendetta per gli eventi dell’anno precedente.

    Già la sequenza iniziale basterebbe a mostrare la genialità del regista, capace di raccontare la realtà americana dei nostri giorni – le pompose cene tra parenti con il tacchino e le candele sulla tavola seguite dall’irrefrenabile e violenta frenesia nell’accaparrarsi una delle cento piastre per waffle in omaggio per il venerdì nero – con un gusto per il gore davvero sopraffino. Da amante del genere – basta guardare una qualsiasi delle puntate della sua serie Eli Roth’s History Of Horror per verificarlo – Roth mette infatti in scena fin da subito una sequenza di morti davvero violente e piene di sangue senza mai tralasciare il puro intrattenimento, in cui un ruolo d’eccezione giocano senz’altro gli effetti pratici tipi degli horror di altri tempi. Le persone vengono tagliate a metà, decapitate, tagliate a pezzetti e cucinate nel forno, ma tutto questo non avviene mai soltanto per il puro gusto del macabro ma sempre con il desiderio di raccontare una storia ricca di spunti su cui riflettere.

    L’apice di carriera di Eli Roth

    La grande abilità del regista si manifesta poi nell’elemento fondamentale di uno slasher: il villain. Se da anni si faticava a creare un nuovo boogeyman – unica possibile eccezione la si può trovare nel Gabriel di Malignant (James Wan, 2021) – e si preferiva infatti ricorrere alla “rinascita” di vecchie glorie, da Jason a Freddy Krueger fino a Michael Myers e Chucky, con reboot, sequel e remake vari, Thanksgiving pesca direttamente dalle radici della storia americana e mette in scena un killer armato di ascia, con abiti seicenteschi e che indossa la maschera di John Carver, storico governatore della Colonia di Plymouth, imbarcato in una missione di vendetta e di giustizia malata.

    A fare da contraltare sono i giovani protagonisti a metà tra lo stereotipo e la riscrittura moderna, unico elemento che può presentarsi come difettoso all’interno di una produzione invece sempre ad alti livelli ma affidata a giovani attori che tutto sommato riescono a portare il lavoro a casa, soprattutto nel caso della protagonista interpretata da Nell Verlaque. Tra gli adulti invece si annoverano nomi come Rick Hoffman – storico collaboratore di Roth in diverse sue pellicole –, Ty Olsson, Karen Cliche e Gina Gherson incanalati in personaggi sicuramente interessanti ma poco presenti a schermo, ad eccezione del già citato Dempsey che, visto anche il ruolo chiave nella narrazione, riesce ad accaparrarsi una fetta maggiore di spazio.

    Piccola parentesi sulla durata del film, che si assesta sull’ora e quaranta, classica durata di film di questo genere ma ormai anacronistica tra le produzioni di oggi e che di certo non può che far tirare un dolce sospiro di sollievo, oltre a rendere la visione mai noiosa o pesante.

    Conclusioni

    Dopo 16 anni di attesa, Eli Roth porta finalmente sullo schermo il suo Thanksgiving, un film pregno di amore per il genere e che dimostra tutta la crescita lavorativa del regista capace di mettere in scena una storia che cita fortemente le origini del genere ma senza dimenticarsi di mostrare qualcosa di nuovo. Tanto sangue e tanta violenza circondano dei protagonisti forse troppo stereotipati ma comunque interessanti ed un villain già iconico, aggiungendo una non troppo velata critica allo stile di vita americano dei giorni nostri capace di sollevare diverse riflessioni interessanti. In altre parole, Thanksgiving è tutto ciò che uno slasher dovrebbe essere e forse anche di più, dimostrandosi senza difficoltà come uno dei migliori horror dell’anno.

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    Mattia Bianconi,
    Redattore.

  • Recensione Saw X – There is some movie in your gore

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    John Kramer è tornato, e ha progettato un nuovo gioco tutto per voi. Urlare vi farà solo perdere tempo.

    Dopo l’accoglienza non particolarmente calda dello spin-off Spiral – L’eredità di Saw (2021), Lionsgate e Twisted Pictures riportano in sala nel 2023 la fortunata saga horror di Saw, nata nel 2004 dalla mente di un giovane e ambizioso James Wan. Un franchise di tutto rispetto nel panorama dell’horror di serie B, da sempre incentrato sulla rappresentazione di un gore estremo e famoso per gli incredibili colpi di scena finali. Il nuovo film Saw X, decimo capitolo della saga, ci riporta indietro nel tempo e ci mostra un inedito momento della vita di John Kramer. E state tranquilli, il pupazzetto Billy farà la sua comparsa in una scena cruciale!

    Indietro nel tempo

    La storia narrata in Saw X si inserisce tra il primo e il secondo capitolo della saga, periodo in cui Kramer è ancora vivo alle prese con la malattia e con la sua doppia vita da Jigsaw. La trama è molto semplice, come del resto praticamente tutti gli altri film precedenti, e si concentra sul viaggio di John in Messico per sottoporsi a una cura sperimentale per il suo cancro al cervello. Non tutto andrà come previsto, ed è piuttosto chiaro il riferimento a un recente caso di cronaca che ha sconvolto gli Stati Uniti, la start-up Theranos.

    Nonostante il tempo trascorso dai film più “classici” della saga, Saw X cerca di tornare sui passi dei più apprezzati predecessori per quanto riguardano regia, fotografia e stile di montaggio. Ciò può essere visto come un ottimo tentativo di rendere omaggio all’estetica dei primi 2000 che ha così influenzato il franchise nei suoi anni più fortunati. Eppure, proprio in virtù del tempo trascorso, è forse arrivato il momento di staccarsi dallo stile “B movie” e provare qualcosa di diverso? È possibile che si prenda questa strada in futuro perché sì, molto probabilmente la saga continuerà ancora. Almeno a giudicare dal finale di questo decimo capitolo!

    Gore, colpi di scena e spettacolo puro

    Parliamoci chiaro, nessuno si reca a vedere Saw X aspettandosi qualcosa di più di un buon thriller- horror con tanti spargimenti di sangue, urla di dolore e trappole mortali terrificanti. E il gore non delude affatto, per gli amanti del genere assolutamente ci sarà da divertirsi (non per nulla il film è vietato ai minori di quattordici anni).

    La regia torna nelle mani di Kevin Geutert, che aveva già diretto Saw VI e Saw 3D, capitoli non particolarmente apprezzati se non forse per il buffo cameo di Chester Bennington nel secondo. Geutert sembra qui decisamente più sicuro di sé rispetto al passato anche se, forse, il “filtro Messico” si sarebbe potuto evitare! Le famigerate trappole hanno già fatto parlare di sé, e ovviamente non deludono: complesse, brutali e basate su un vero e proprio contrappasso. Pane per i denti dei fan. Intrattenimento puro, quindi, costellato ogni tanto dei classici “insegnamenti” (se così possiamo chiamarli) partoriti dalla mente dell’Enigmista. Tobin Bell dimostra qui ancora una volta di possedere completamente il personaggio, suo di diritto e che riesce a muovere a piacimento, mostrandone ogni tanto dei lati nascosti che in precedenza non avevamo avuto modo di vedere. Splendido ritorno anche quello di Amanda, uno dei personaggi più amati della saga, interpreta da una bravissima Shawnee Smith.

    Sia chiaro, non si tratta naturalmente di un capolavoro, ma di una buona aggiunta a una saga che recentemente aveva subito un certo declino e che forse ora riuscirà a risollevarsi. Intrattenimento allo stato puro, sequenze memorabili e spargimenti di sangue come solo Jigsaw sa fare! Buon divertimento a chi di voi deciderà di andare in sala e mi raccomando, rispettate sempre le regole!

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    Renata Capanna,
    Redattrice.

  • Recensione The Nun II – Raschiare il fondo

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    In un’epoca piena zeppa di prequel, sequel e spin-off, la saga di The Conjuring è di certo il caso più curioso: partita con due film di ottima fattura diretti da James Wan, lo sviluppo dell’universo condiviso a cui si è cercato di dar forma si ritrova presto costellato di pellicole mediocri e fallaci. Nonostante le valutazioni pressoché negative, il successo al botteghino è comunque per questi film sempre assicurato, come dimostrato anche dall’ultimo The Conjuring – Per ordine del diavolo. Non sorprende quindi che Valak, la figura senza dubbio più iconica della saga, continui a tornare ciclicamente in sala con una nuova pellicola, a questo giro affidata a Michael Chaves, ormai veterano del Conjuringverse dopo aver diretto La Llorona – Le lacrime del male (2019) ed il sopracitato The Conjuring – Per ordine del diavolo (2021).

    Un noioso more of the same

    Lasciato il monastero di Cârţa sfruttando il corpo di Maurice (Jonas Bloquet) come visto nel finale della pellicola precedente, Valak viaggia ora per l’Europa, spostandosi di paese in paese e lasciando dietro di sé una serie di morti tra le figure clericali. Suor Irene (Taissa Farmiga), ora ritirata in un convento di suore, si ritrova quindi costretta ad affrontare di nuovo, questa volta assieme alla giovane suor Debra (Storm Reid), il malvagio demone.

    Già banale sulla carta, la sceneggiatura si dimostra anche fortemente confusionaria, complice la scelta di rimbalzare continuamente lo spettatore da un luogo all’altro cercando di raccontare diverse linee narrative parallele che finiscono però per intrecciarsi soltanto sul finale, creando così un costante senso di smarrimento a cui fanno da contraltare alcune sequenze che vorrebbero alzare la tensione ma che si risolvono semplicemente – ed in maniera fastidiosamente ripetitiva – nel più spicciolo uso del jumpscare.

    Se si pensa al terrore che si prova a vedere una pellicola come Halloween o nel “vedo-non vedo” di un giallo di Dario Argento, si può notare come meno  l’elemento inquietante si trovi a schermo più esso riesca a generare tensione, sfruttando appieno l’innata paura dell’ignoto presente in tutti. Inevitabilmente, più l’elemento inquietante compare a schermo meno lo spettatore lo troverà spaventoso e ciò è esattamente quanto accade in questo film con Valak, che alla sua terza pellicola dedicata diventa una figura completamente incapace di spaventare per davvero.

    Ma in linea generale sembra esserci stata una forte svogliatezza nella scrittura di tutti i personaggi, a partire dall’Irene di Taissa Farmiga – che interpreta qui con il pilota automatico una protagonista ben poco carismatica – passando per il Maurice di Jonas Bloquet che, in balia di un destino già scritto da dinamiche extra-filmiche, porta lo spettatore a disinteressarsi completamente riguardo alla sua storia già dopo i primi minuti. In minima parte risulta più gradevole la storyline legata alla piccola Sophie (Katelyn Rose Downey), attraverso la quale il film gioca sulle dinamiche collegiali di convivenza e bullismo; decisamente peggio invece il personaggio di Storm Reid, tanto abbozzato da risultare inutile ai fini della trama, che si ritrova con il solo scopo di fare presenza scenica assieme alla Farmiga.

    Sul lato tecnico si possono poi spendere ben poche parole riguardo ad una regia modesta, che fa il suo lavoro nelle sequenze più tranquille ma che finisce per annoiare ben presto per la ripetitività di alcune sequenze più concitate. Buono invece il make up di uno dei villain sul finale, decisamente più inquietante rispetto a quello principale, ma comunque poco incisivo.

    Conclusioni

    Dopo un primo capitolo nato per cavalcare l’hype del personaggio di Valak ma che in qualche modo provava – con risultati altalenanti – a raccontare una storia che si intrecciasse con i percorsi tracciati dagli altri film, con The Nun II Chaves impacchetta un film scialbo e noioso, in cui i protagonisti procedono a tentoni in un percorso costruito ad hoc per portare ad alcune sequenze con l’intento di spaventare ma che falliscono miseramente nell’intento, decidendo di puntare tutto sul jumpscare più classico. Questo The Nun II si dimostra quindi come uno dei peggiori film del Conjuringverse dimostrando, per quanto prevedibile, come anche con questa saga si possa fare sempre di peggio.

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    Mattia Bianconi,
    Redattore.

  • Thanksgiving – Teaser trailer del nuovo horror di Eli Roth

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    Da pochi giorni è stato rilasciato lo spietato teaser trailer di Thanksgiving, il prossimo film horror di Eli Roth con protagonista Patrick Dempsey.

    TRAILER IN ORIGINALE

    Nel trailer viene mostrato un freddo e sanguinario killer che viene contrapposto all’ambientazione festiva per il giorno del ringraziamento.

    Infatti la trama ufficiale ci dice che:

    Dopo che una rivolta del Black Friday si è conclusa in tragedia, un misterioso assassino ispirato al Ringraziamento terrorizza Plymouth, Massachusetts, il luogo di nascita della famigerata festività.

    Il cast, oltre a Patrick Dempsey (Grey’s Anatomy), è formato da vari attori poco noti, soprattutto perché emergenti, che sono: Nell Verlaque, Gabriel Davenport, Tomaso Sanelli, Jenna Warren, Gina Gershon, Jalen Thomas Brooks, Milo Manheim, Tim Dillon e Rick Hoffman.

    La sceneggiatura è basata sul “fake trailer” scritto da Roth per il film Grindhouse di Quentin Tarantino e Robert Rodriguez ed è scritta da Jeff Rendel. 

    La regia invece, come già accennato prima, è affidata a Eli Roth, regista di film come The Green Inferno, Knock Knock oppure la famosa trilogia Hostel.

    La pellicola prodotta da Sony Pictures sarà distribuita a partire dal 17 novembre nelle sale statunitensi, mentre non è ancora nota la data per le sale italiane.

    Oltre al trailer la Sony ha diffuso sui canali social il poster ufficiale del film.

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    Michael Pierdomenico,
    Redattore news.

  • Recensione Hai mai avuto paura? – (Ri)Tornare al genere

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    Bava, Fulci, Argento, Deodato, Soavi, Avati, D’Amato: grandi nomi che tra gli anni ’60 e ’90 furono capaci di donare linfa al cinema italiano grazie alla decisione di puntare sul “genere”. Presi come forte fonte d’ispirazione da moltissimi registi negli anni, è indubbio che senza di loro buona parte dei film horror contemporanei più apprezzati, anche ad opera delle grandi produzioni americane, non sarebbero mai esistiti.

    Da qualche anno a questa parte, dopo un decennio di oscurità quasi totale, la produzione cinematografica italiana sembra essere intenzionata a puntare di nuovo proprio su produzioni legate al cinema di genere. Sono infatti arrivate al cinema pellicole come Lo Chiamavano Jeeg Robot e Freaks Out di Gabriele Mainetti, Veloce come il vento e Il primo re di Matteo Rovere o il recentissimo L’ultima notte di Amore di Andrea Di Stefano, film capaci di conquistare sia la critica che il pubblico e di rivitalizzare un cinema creduto morto fino a pochi anni fa. Anche nell’ambito del genere horror però è da ormai diversi anni che qualcosa sembra smuoversi, con alcuni nuovi nomi che si lanciano nell’ardua impresa di portare al cinema l’horror “come piace al popolo” ma senza rinnegare troppo il loro paese e le loro origini. Arrivano quindi Lorenzo Bianchini, Roberto D’Antona, Lucas Pavetto, Roberto De Feo, Daniele Misischia, Denis Frison, Paolo Strippoli: quasi tutti esordienti – qualcuno è ormai già alla seconda o terza opera – che a volte centrando l’obiettivo ed altre volte meno, sono comunque sintomo di una rinascita che non si trova più in un futuro prossimo, ma in un presente già avviato.

    E’ in questo “movimento” che si inserisce anche Ambra Principato e che ha esordito in questi giorni al cinema con Hai mai avuto paura?, di cui ha anche curato la sceneggiatura liberamente ispirandosi al romanzo in prosa Io venia pien d’angoscia a rimirarti di Michele Mari.

    Giacomo (Justin Korovkin), Orazio (Lorenzo Ferrante) e Pilla (Elisa Pierdomenici)

    E quindi uscimmo a riveder le stelle

    “O graziosa luna, io mi rammento

    Che, or volge l’anno, sovra questo colle

    Io venia pien d’angoscia a rimirarti”

    (Alla Luna, Giacomo Leopardi)

    Italia, 1813. L’adolescente Giacomo (Justin Korovkin), che oltre al nome condivide con il famoso poeta anche la forte passione per la poesia ed una nascente gobba, è il primogenito di una famiglia nobile divisa tra la madre contessa (Marta Paola Richeldi) fortemente religiosa e bigotta ed il padre conte (David Coco) legato all’ambito scientifico ma uniti dal disprezzo per la scrittura e dalle preoccupazioni dovute alla gestione del piccolo paese sotto il loro controllo. Ad allietare leggermente le sue giornate ci sono però i fratelli minori Orazio (Lorenzo Ferrante) e Pilla (Elisa Pierdominici), ancora piccoli per le preoccupazioni della famiglia ma già impegnati nello studio delle formalità nobiliari di quegli anni. È quando cominciano a circolare delle voci in paese su una strana bestia assassina però che l’apparente perfezione della famiglia comincia a sgretolarsi sotto i loro piedi.

    La prima cosa che senza dubbio colpisce è la decisione di ambientare la storia così tanti anni nel passato, dalla quale ne deriva una necessità di adattamento a livello di costumi, stile di vita e dialoghi dei personaggi. Proprio su quest’ultima è stato svolto un lavoro encomiabile che ricorda molto da vicino l’accurata ricerca storica di Eggers in lavori come The VVitch o The Northman, costruendo personaggi dotti che si destreggiano in lunghi periodi ricchi di termini aulici e popolani che invece dimostrano una minore padronanza della lingua, senza però mai farli scadere nell’eccesso o nello stereotipo.

    In secondo luogo, è la riflessione sulla paura presente anche nel titolo che finisce per catalizzare l’attenzione e che diviene ben presto il fulcro vero del racconto. Il mostro che terrorizza il piccolo paesino, infatti, è sempre nell’ombra e lo si vede agire soltanto attraverso le sue inquietanti soggettive – quasi fossimo in uno giallo argentiano – perché l’orrore su cui si punta non è tanto quello visivo quanto quello suggestivo, l’inquietudine che scaturisce dalla situazione e che finisce per far cadere le maschere e mostrare il proprio io, sia nel bene che nel male. L’incontro-scontro che ne scaturisce quindi tra la religione, la scienza e le credenze popolari, ognuna con il proprio modo di affrontare la situazione screditando le altre, arricchisce enormemente il racconto, trasportando al tempo stesso una riflessione applicabile senza difficoltà anche al nostro presente di tutti i giorni.

    Scajaccia (Mirko Frezza) guida una spedizione di contadini per cacciare la bestia

    Gothic Horror ma con poco sangue

    A creare la giusta atmosfera, oltre alle ottime scenografie e i meravigliosi costumi, ci pensano poi gli attori scelti, in primis gli interpreti di Orazio e Giacomo e lo zingaro Scajaccia interpretato da Mirko Frezza – truccato in maniera tale da renderlo a mani basse il personaggio più iconico della pellicola – ma anche tutti gli altri personaggi secondari riescono comunque a spiccare; la fotografia curata da Davide Sondelli, capace di esaltare ottimamente gli interni donandogli sempre un aspetto antico e realistico e mai di “ricostruzione” posticcia, ma soprattutto i numerosi shot esterni in notturna, mai troppo bui perché sempre illuminati da una luce lunare, funzionale ma al tempo stesso sempre simbolica; la regia della Principato, che riesce a donare vita ad un racconto popolato da pochissimi personaggi e in ambienti dalle dimensioni ridotte.

    L’elemento che forse meno riesce a conquistare è quello più puramente horror. Se infatti la decisione di nascondere il mostro per riflettere sul tema funziona, nella creazione dell’orrore ciò riduce al minimo una presenza scenica che di per sé avrebbe fatto buona parte del lavoro ed alla quale vanno poi ad aggiungersi diverse sequenze caratterizzate dalla classica musica di tensione e che si concludono nel classico jump scare. L’asticella si rialza un po’ sul finale, dove si decide di premere sull’acceleratore fino in fondo mostrando finalmente il sangue e l’orrore visivo che forse si sarebbe potuto mostrare anche prima.

    Conclusioni

    Se tutti i registi esordienti avessero almeno la metà della voglia di rischiare e di sperimentare di Ambra Principato, in Italia basterebbero forse giusto un paio d’anni per tornare ai grandi fasti del cinema di genere italiano che ci ha rappresentato per diversi anni. Hai mai avuto paura? è infatti uno dei film di genere italiani più interessanti degli ultimi anni, capace di unire un ottimo cast ed un comparto tecnico che funziona ad una sceneggiatura curata e con scenografie e costumi capaci di creare un bellissimo ma inquietante spaccato di vita ottocentesca, manifestando in maniera geniale lo scontro tra religione, scienza e credenze popolari dure a morire. 

    Solo il futuro potrà dire se siamo davanti ad una piccola fiamma destinata ad estinguersi o ad una scintilla che aiuterà il genere a rinascere. L’unica cosa che possiamo fare è correre in sala per supportare questi film il più possibile.

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    Mattia Bianconi,
    Redattore.

  • Recensione Piggy – Tanto sangue per nulla

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    Piggy è l’esordio sui grandi schermi di Carlota Pereda, presentato in anteprima mondiale nel gennaio 2022 al Sundance Film Festival e frutto dell’estensione dell’omonimo cortometraggio della regista spagnola, che ai Premi Goya e Forqué del 2019 si era aggiudicato le statuetta nella categoria “miglior cortometraggio”. Ma Piggy è anche il nome con cui viene bullizzata Sara (la convincente Laura Galán), un’adolescente che vive in un borgo dell’Estremadura e che viene continuamente vessata da tre sue coetanee per via del suo fisico in sovrappeso. In più, Sara non può nemmeno contare sul supporto della famiglia, a cui non interessa minimamente comprendere la sofferenza della ragazza. Un caldo giorno d’estate sta passando il pomeriggio nella piscina comunale quando, dopo aver nuovamente subito le angherie verbali delle tre ragazze, queste vengono interrotte dalla presenza di un sconosciuto in acqua. Il misterioso individuo si rivelerà presto uno spietato serial killer che catturerà le tre bulle e manifesterà anche una certa attrazione verso Sara, che assistendo all’evento dovrà decidere se vendicarsi o salvare le ragazze.

    Laura Galán nei panni di Sara

    Bully horror

    L’ampliamento del cortometraggio del 2018 Cerdita – traducibile in inglese Piggy, per l’appunto – estende in realtà la sequenza della piscina su cui era interamente basato il corto, che cinque anni fa vedeva un finale assolutamente più pungente con Sara che lasciava le tre prepotenti in balia del maniaco omicida, non prima di aver ripreso con serenità i suoi effetti personali. Resta però la vena del bully movie grazie al tema centrale (fino a un certo punto) del body shaming, che la presenza scenica della sbalorditiva Laura Galán riescono a portare sullo schermo con grande credibilità e intensità. In questo aiuta sicuramente la scelta del formato 4:3 scelto intelligentemente da Pereda per ingabbiare l’adolescente (nella realtà trentasettenne) e creare un’aura di claustrofobia attorno al corpo di Sara, trasudante di una corpulenta fisicità mai affrontata con pietas o indulgenza.

    E’ proprio per questo che il film funziona benissimo per tutta la prima parte, quando Sara si sente ripetutamente sbeffeggiare con appellativi come piggy (porcellina), whale (balena) o miss bacon, paradossalmente prima della svolta finale gore e grand guignol; guarda caso fino alla scena della piscina, quando gli elementi bully e shaming erano ancora il perno del film e riuscivano a farci entrare sottopelle il doloroso processo d’interiorizzazione di Sara: di lì in avanti subentrano i problemi che spesso i registi esordienti incontrano quando decidono di trasformare un loro corto in lungometraggio (ricordate per esempio Lights Out – Terrore nel buio?), ovvero la perdita di focus e di coerenza di un’idea che, se funzionava nel breve minutaggio, con più di 90 minuti si annacqua e sfuma d’incisività.

    Le tre bulle non vengono mai approfondite

    Il gore non basta

    Il film perde di sostanza e diventa più vacuo perché Pereda non sa bene che direzione imprimere alla sceneggiatura. Gli sprazzi di black comedy appaiono sempre out of context, non riusciamo mai a cogliere la sensatezza del velo d’ironia che permea certe sequenze dal momento che i personaggi di contorno (coloro che portano in scena questo strato sarcastico) non sono mai approfonditi o più che abbozzati, a partire dalle tre bulle per arrivare ai familiari di Sara. Ad infastidire maggiormente è il tradimento delle premesse iniziali, con il completo abbandono delle componenti body e bully a causa dell’inserimento di un agente esterno al quadro iniziale, il serial killer, abbastanza fuori luogo e di difficile comprensione ai fini drammaturgici.

    Il 4:3 che intrappolava Sara diventa completamente superfluo ai fini della narrazione, non c’è una riflessione sul corpo (a meno che non basti il sangue di cui è ricoperto sul finale) né si assiste a uno struggente revenge movie capace di sollevare problemi morali in un mondo che non sa cosa sia la moralità. Anzi, tralasciando le esplosioni di emoglobina e l’incursione nello slasher, il film pare quasi rinnegare la sua natura orrorifica optando per un finale eticamente più tenue e consolatorio del cortometraggio, senza problematizzazioni e rifiutando quell’inquietudine persecutoria che l’horror dovrebbe lasciarti addosso per i giorni successivi alla visione.

    Il serial killer e Sara

    Vedendo Piggy balza in mente la spaventosa somiglianza con un caso speculare datato 2012, quello di Excision di Richard Bates Jr., anch’esso presentato al Sundance, basato sull’omonimo cortometraggio del regista e avente al centro i disagi di una ragazza (ai tempi di natura prettamente sessuale): entrambi i progetti faticano a capire che direzione prendere cercando il clamore nel gore e nell’estetica indi (di cui il Sundance è storicamente ghiotto) ma senza un’idea chiara di cosa narrare.

    La scelta di estendere la breve idea iniziale rema contro il risultato finale e non dà giustizia alla confezione discreta, soprattutto se si sta decidendo di affrontare il genere per antonomasia dove la ricerca dello shock e del turbamento necessitano di un lavoro consapevole in fase di scrittura, per restare coerenti e ben legati alla materia narrata e non lasciare apparire certe sequenze come gratuite e fini a sé stesse. E’ davvero un peccato: tanto sangue per nulla.

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    Alberto Faggiotto,
    Caporedattore.