Reseñas de la crítica

One of the scariest, most depressing and exciting films of the 1990s.

Underpinning Rubin's approach to the story is the Bardo Thodol (Tibetan Book of the Dead), a lesson for human consciousness in the moments after death: it is revealed at the end that Jacob has died on the slab in Vietnam, felled by the bayonet of one of his own men, rendered berserk by the hallucinogens—and all the subsequent action was a depiction of his soul in a liminal state. Preposterous (and even offensive) as this might seem, the film earns it in spades

A radical experiment in genre mixing from the unlikely team of director Adrian Lyne (FLASHDANCE) and writer Bruce Joel Rubin (GHOST), it is, like the similarly cryptic and paranoid MANCHURIAN CANDIDATE (1962), a masterpiece that transcends any auteurist interpretation: Arguably, its real author is the American subconscious. It's also a beautifully acted film, something one rarely says of horror movies.

Around twenty-four hundred years ago Chuang Tzu dreamed that he was a butterfly and when he awakened he did not know if he was a man who had dreamed he was a butterfly, or a butterfly dreaming he was a man." The sense of metaphysical free-fall conveyed in this sentence from Jorge Luis Borges's great essay "A New Refutation of Time" is like the disorientation one feels after watching a gripping and involving movie — a movie like Jacob's Ladder, for instance.