Posesión infernal

No entiendo por qué esta película de terror es literalmente de culto y aquí en la base de datos obtiene altos porcentajes, de los que algunos excelentes películas de terror solo pueden soñar. Supongo que estoy saturado de películas de terror más recientes y específicamente me divertí mucho con "Arrástrame al infierno" de Sam Raimi. Una estrella por las máscaras bastante decentes y otra por la excelente escena de los ojos. (14.08.2011)

I get why this film has cult status, but for me it’s not worthy of a full score. The first half was great, but the second has several dull moments, the plot gets stuck somewhere and all I could do was wait for an ending that was clear. The final disintegration of the demons didn’t have any atmosphere due to the not very good special effects. It needs a remake, those special effects today don’t work as they should. (03.01.2008)

If you watch it alone, The Evil Dead seems like a depressing horror movie about a descent into madness beyond the boundaries of rational certainties. In the cinema, those levels are still there, but the entertainment value of the whole work stands out more, and that includes the unintentional elements, from the characters and their behaviour to the film’s low-budget roots, which are evident in the out-of-focus shots, among other things. At the same time, however, Raimi’s talent and creative brilliance become fully apparent on the big screen. The Evil Dead is an essential entry among the legends of enthusiastic amateurs who simply got together with some friends, picked up a camera and shot a genre milestone that opened the door to the wide world of professional productions. But the reason that thousands of others set out on the same path but only a few filmmakers actually succeed in graduating to the Hollywood big league consists in the level of talent. It’s not about Raimi picking up a camera, but everything that he does with it and how. With deflected angles and exalted gestures, poses and precise framing, he not only displays his disposition for almost comic-bookish expressive visuality, but also perfectly draws attention away from the limitations of the production environment and fascinates viewers in every respect through intense scenes. (01.11.2022)

Crazy affair, changing from atmospheric horror to slasher to splatter finale, holds together only thanks to occasional crazy idea. Raimi delivers fresh ideas but lacks balance. Campbell has charisma, but others around him only fulfill the role of background. As for the suspense, the best for me was probably laughing Linda between the doors, the thought of which still makes me laugh and scared at the same time. But the highlight remains the last visit to the basement before Raimi unleashes his gallery of disgust. The atmosphere there is palpable. In the final evaluation, it is a weaker horror, where the viewer can fully enjoy grabbing different limbs and later their separation. And even though I enjoy being scared of what I can't see, it's disappointing when I don't find out anything at all. (22.03.2006)

The first half is excellent. With a minimum of resources, Raimi manages to evoke an oppressive atmosphere of fear. The tree rape scene is something that is not easily forgotten. But the second half is terribly jumbled, as if Raimi didn't know what he wanted to do and was paying for his inexperience as a filmmaker. What I mean is that the scenes are poorly sequenced. In one scene there is a brutal death, and in the one that immediately follows, the characters look uninterested, as if not much had actually happened a few minutes before. I consider Evil Dead to be merely a good, not great, precursor to the flawless sequel. (28.06.2002)