The film emerged a few years after the horrors of the Manson Family massacre and uses those events as the starting point from which to evaluate the decay of American culture, specifically the darkness striking at the heart of families across America. Two teenage girls (Sandra Cassel and Lucy Grantheim) are on their way to a rock concert when they are abducted, tortured, raped, and murdered by a gang of psychopaths. The parents of the girls discover their fate and taking the law into their own hands decide to wreak their own form of bloody, brutal revenge with various instruments of destruction, most memorable among them a chainsaw. –BBC Films
Rising out of the mid-western suburbs of Cleveland, Ohio, Wes Craven has become synonymous with genre bending and innovative horror, challenging audiences with his bold visions and keeping them on the edge of their seats since the release of his first feature film, The Last House on the Left, which he wrote, directed, and edited in 1972. In the 39 years since that controversial film’s arrival, Craven has demonstrated that he is a filmmaker with heart, guts, humor – and an unbridled imagination expanding into films, television, and literature.
Craven’s career is marked with both creative and commercial milestones that have made his name synonymous with genre building and innovative horror.
Craven reinvented the youth horror genre again in 1984 with the classic A Nightmare on Elm Street, a film he wrote and directed. And though he did not direct any of its five sequels, he deconstructed the genre a decade later, writing and directing the audacious Wes… read more
The snuff masks its Bergman roots: resettlement of his Virgin Spring to the '70s, the clash now generational, between the god-fearing, upstanding folk of Eisenhower’s white picket fences, and their offspring, raised against Woodstock, grass and soaring crime; the parable now of how permissive society spawns hedonism, sin. The juxtaposition is again plain, yet only aids its unsettling portrait, not only for its graphic interpolations - one of raw catharsis, distinctly evocative, in denoting the shifting social fabric of post-'Nam USA.
Wes Craven makes a lot of tonally inventive decisions in this film; namely, the splicing of badly timed comic dialogue during brutal scenes and the off-putting use of music. I think Craven's decision to alienate the viewer is deliberate... it works in a strange and nauseating way. There are a number of inspired, sickening, and beautiful compositions in this film. It's the work of a brave and important filmmaker.
Antes de embarcarse en una carrera sin rumbo y con sustos mas bien ausentes, el rey del terror moderno, Wes Craven, supo ser, a mediados de lo 70’s, un gran observador de algunos de los momentos mas… read review
Bergman’s The Virgin Spring gets a makeover for… read review