Il re del twist Night Shyamalan si immerge nel vetusto genere del terrore found-footage, per poi riemergerne con inaspettata dignità ed una buona dose di inventiva cinematografica. Il macabro e geniale twist finale dona ritrovato vigore e significato a tutte le scene precedenti, che nulla hanno di speciale, se non un leggero vibe di già vista inquietudine. Shyamalan dovrebbe scrivere novelle horror, non film.
Girato in POV, con una struttura simile ad un documentario. Lo sviluppo è buono e ben strutturato, senza troppe forzature. Tensione ben dosata. Personaggi interessanti e ben sviluppati. Ben caratterizzati i figli e il dolore provato per l'abbandono del padre. La regia sfrutta le riprese POV, creando una bella narrazione, senza sminuirsi a livello di qualità visiva. Finale un po' troppo semplicistico. Montaggio ottimo
A found footage film from Shayamalan? I was a skeptic but I was very surprised! I hate this genre, but Shayamalan made a smart little horror film here. He never cheats his audience by breaking the "realism" illusion as most found footage films do. The movie builds lots of tension, is a great homage to horror classics, has a talented cast, and is even humorous and surprisingly sentimental. I thought it was a fun time!
Deanna Dunagan's movie, but sadly she isn't in every scene. A lot of the success in this movie actually comes from the direction, in so much as that is separated from writing or producing the overall concept. The frames are kind of damn pretty for a found footage movie. Kind of. Anyway, that was a fun trip on what felt like a children's amusement park ride.
In this retelling of Hansel & Gretel in the digital age, everyone is searching for normality, for the spectre of the peaceful family, either through childish, naive authenticity, or by taking other's identity, becoming someone else (a theme extended in Split). The decision to include two different cameras in the narrative is perhaps its greatest idea, as they enable both of those points of view to helm the film.
My brother picked this movie. I said, "Shamalama? Really?" It has an unfortunate amount in common with 'The Good Neighbor'. Two kids, videotaping themselves, doors banging, don't go in the basement. In this case the kids were so obnoxious I wouldn't have minded if they died. So insanely narcissistic.
M. Night is a curious case—you can't accuse him of not having good ideas, only of not filtering out the bad ones. This rebound is worth a skeptic's time, initially not a horror film but a look at filmmaking and childhood angst before it becomes solid B-horror with a high-low fusion to make Val Lewton proud. Then he ends it on a final credits sequence so incredibly wrong I'm amazed no one pulled the plug.
An old school example that you don't need blood, gore or even music to display truly horrifying images that will stick for a few following nights. Even though it's a solid horror film, at times it manages to be a touching drama, thanks to great young protagonists that are perfectly cast and masterfully characterized. It goes all over the place toward the end and it cheapens an experience of being more than what it is