VALUTAZIONE IMDb
6,6/10
5990
LA TUA VALUTAZIONE
Aggiungi una trama nella tua linguaCheng Li-sheung is a young, upwardly mobile professional finally ready to invest in her first home. But when the deal falls through, she is forced to keep her dream alive - even if it means ... Leggi tuttoCheng Li-sheung is a young, upwardly mobile professional finally ready to invest in her first home. But when the deal falls through, she is forced to keep her dream alive - even if it means keeping her would-be neighbors dead.Cheng Li-sheung is a young, upwardly mobile professional finally ready to invest in her first home. But when the deal falls through, she is forced to keep her dream alive - even if it means keeping her would-be neighbors dead.
- Premi
- 3 vittorie e 7 candidature
Ching Wong
- Security Guard
- (as Wong Ching)
Lai-Ling Chan
- Receptionist in Love Motel
- (as Chan Lai Ling)
Jo Kuk
- Flat 8A Female Owner's Friend
- (as Jo Koo)
Chung-man Pow
- Young Sheung's Brother
- (as Benjamin Pow)
Hee Ching Paw
- Sheung's Mother
- (as Paw Hee Ching)
Hoi-Pang Lo
- Sheung's Grandpa
- (as Lo Hoi Pang)
Norman Chu
- Sheung's Father
- (as Chui Siu Keung Norman)
Trama
Lo sapevi?
- QuizSeveral Japanese audience members passed out during screenings of the film.
- BlooperThere is a character in this film which is credited as Filipino Maid. In fact, the character is an Indonesian Maid and her dialogue in this film was spoke in Indonesian language, not Tagalog language.
- Versioni alternativeThe Hong Kong theatrical version was censored by nearly 30 seconds. The main cuts were made to the scenes of violence towards a pregnant woman, and the slicing off of genitals.
- ConnessioniReferenced in Ida, Be Thy Name: The Frightful Females of Fear (2013)
Recensione in evidenza
This is pretty awesome for what it is. Remember CATIII films from some twenty years ago? The most gruesome violence, a seamy social underbelly, usually a plot involving revenge and some terrible crime spree; bleak, nihilistic, amoral affairs of a world abandoned to the most deviant whims and sexual appetites. On at least the matter of violence, this one is a slick return to splatterfests of yore. There is no body part that isn't horribly mangled in some way. The pregnant woman isn't spared. Police don't save the day when they show up. There is no safe moral center to pivot around.
This part works, is senselessly brutal and exciting. But every now and then we veer off into extensive childhood flashbacks meant to contextualize and explain. Backstory is gradually pieced together from that direction that allows us to discern pattern in yawning madness, minutely calculated obsession. Every wild stabbing of the knife is gradually imbued with purpose.
The idea on the part of the filmmakers was probably that this was drama and human interest that would trouble how we handled violence from our end. The shift in tone would unsettle: here is a perfectly innocent young girl, and on the other end a raging psychopath.
This would grace the whole with some complexity, even respectability. The film would not be easy to dismiss but would recast aimless slaughter as greater social consequence. We learn for example that government and land proprietor thugs are ousting poor tenants from their shabby apartment blocks, in order to flatten them and build luxurious high-rise towers in their place. Prices artificially skyrocket. This is brought full circle in the end with the first news as of '08 of the coming global economic crisis. The problem is this is not handled in terribly interesting ways. It's shoe-horned at the end of a bloodbath for some weight but only drags the superficial pleasures down.
So we just learn stuff someone presumed we would need to know. The whole is tied into something someone presumed would be relevant to us all. It is but I'd rather get this part from a newspaper. A newspaper doesn't have excellent gore. So every minute spent away from cartoonish carnage and into hamfisted drama and social commentary is a minute lost for me.
Being from Hong Kong, the makers perhaps felt it was their part to address all this. Perhaps the ire is honest and comes from experience. But as far as a horror film goes, I'm surprised they allowed the lesson of A L'Interieur go wasted: brutality even more sharpened by complete awareness of the present moment.
Still, it's pretty awesome for what it is. It just means we'll have to concentrate on what was clearly poured into the most effort; the slick, ultraviolent slasher film.
This part works, is senselessly brutal and exciting. But every now and then we veer off into extensive childhood flashbacks meant to contextualize and explain. Backstory is gradually pieced together from that direction that allows us to discern pattern in yawning madness, minutely calculated obsession. Every wild stabbing of the knife is gradually imbued with purpose.
The idea on the part of the filmmakers was probably that this was drama and human interest that would trouble how we handled violence from our end. The shift in tone would unsettle: here is a perfectly innocent young girl, and on the other end a raging psychopath.
This would grace the whole with some complexity, even respectability. The film would not be easy to dismiss but would recast aimless slaughter as greater social consequence. We learn for example that government and land proprietor thugs are ousting poor tenants from their shabby apartment blocks, in order to flatten them and build luxurious high-rise towers in their place. Prices artificially skyrocket. This is brought full circle in the end with the first news as of '08 of the coming global economic crisis. The problem is this is not handled in terribly interesting ways. It's shoe-horned at the end of a bloodbath for some weight but only drags the superficial pleasures down.
So we just learn stuff someone presumed we would need to know. The whole is tied into something someone presumed would be relevant to us all. It is but I'd rather get this part from a newspaper. A newspaper doesn't have excellent gore. So every minute spent away from cartoonish carnage and into hamfisted drama and social commentary is a minute lost for me.
Being from Hong Kong, the makers perhaps felt it was their part to address all this. Perhaps the ire is honest and comes from experience. But as far as a horror film goes, I'm surprised they allowed the lesson of A L'Interieur go wasted: brutality even more sharpened by complete awareness of the present moment.
Still, it's pretty awesome for what it is. It just means we'll have to concentrate on what was clearly poured into the most effort; the slick, ultraviolent slasher film.
- chaos-rampant
- 21 gen 2012
- Permalink
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Botteghino
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- 383.158 USD
- Tempo di esecuzione1 ora 36 minuti
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