VALUTAZIONE IMDb
5,2/10
10.958
LA TUA VALUTAZIONE
In occasione delle festività di Halloween, un gruppo di amici intraprende un viaggio per visitare le case infestate del paese, ma ben presto si trova coinvolto in una serie di sinistri event... Leggi tuttoIn occasione delle festività di Halloween, un gruppo di amici intraprende un viaggio per visitare le case infestate del paese, ma ben presto si trova coinvolto in una serie di sinistri eventi.In occasione delle festività di Halloween, un gruppo di amici intraprende un viaggio per visitare le case infestate del paese, ma ben presto si trova coinvolto in una serie di sinistri eventi.
- Premi
- 4 vittorie
Trama
Lo sapevi?
- QuizAt one point on the road someone asks: 'has a zombie ever fired a gun in the history of cinema?'. Mike replies "no", but the truth is George Romero incorporated at least two instances of gun-toting zombies in his films: The first was 'Day of the Dead' (1985) where the now-famous zombie Bub is the first zombie to ever hold and fire a gun. The second instance was 'Land of the Dead' (2005), where there are multiple zombies using an assortment of firearms.
- BlooperThe characters state that in no point in film history has a zombie fired a gun. In George Romero's Land of the Dead, a zombie does indeed fire a gun. Also, there is an entire film dedicated to this - Fast Zombies with Guns (2009). If the characters were the horror fans they claim to be, they would have known that.
- ConnessioniFeatured in 31 Horror Movies in 31 Days: The Houses October Built 1 & 2 (2019)
Recensione in evidenza
Nevermind the actual film, the idea is one of the most potent I've seen in some time.
A group of friends set out in a van in search of horror, haunted house attractions scattered around rural America. It's the days leading up to Halloween so we can have a pervasive atmosphere of masks and monsters roaming the streets. I like that it's a glimpse outside the usual and tied to a larger fabric of make-believe.
The idea is that we'll venture into these houses where horror is supposed to be controlled around us, the work of fiction, only to discover more slippery boundaries of truth. This would touch at the very essence of horror, exploiting the same perturbations that move viewers in both the actual houses and film; see, we know it's not real, but what to do when your body tells you otherwise?
So nevermind that it's actors we see and scripted reactions. Some of the most potent footage here are from within these houses where we go in with a camera and a swirl of monsters lunges at us, staged but it comes alive. I'm guessing these are actual places that partnered with the filmmakers and this is what tantalized me going in; it would be at least in part an actual tour of that America that goes to pilgrimage in actual places.
They manage to bungle this for my taste, the part where fiction blurs and we go to something that comes alive in the moment of watching.
For one, they chose the "found footage" mode (silly name, largely the baggage of Blairwitch - it really means "someone is filming this now"). It's the most apt choice I've seen since Last Exorcism, but no one ever films a sense of place and passing time, a physical sense of journey; they waste it on lots of blathering around a camera so that it ends up feeling like an episode of cable TV. Indicative of the actual makers holding the camera I guess.
And then there's the ending. This is where the staged scenarios in these attractions don't cut it any more as the characters push for more and more "real" stuff. Lo, there's rumor of a secret place that you can only reach by invitation. But once there, it's the most obviously staged part of the film, the complete opposite of where we were meant to be viewing-wise.
So this is a miss, filmmakers with maybe the strongest idea of any of their peers this year but none of the tools of insight to cultivate it. They outline enough for me to imagine it in more intuitive hands so all in all I would have this over the next paranormal film.
Someone has gone out with the urge for horror in mind (and it's our very urge to inhabit illusion that made us build these houses), thinking he knows illusion from real, but it begins to spill outside, perturbing reality. From a certain point on, the apparitions become aware of someone watching, aware inside the fiction, so conspire to stage the real thing as a cosmic prank that shatters lives.
Watch The Funhouse, Hooper's film driven by the same instinct, a funhouse that extends from the actual place to haunt the whole film.
A group of friends set out in a van in search of horror, haunted house attractions scattered around rural America. It's the days leading up to Halloween so we can have a pervasive atmosphere of masks and monsters roaming the streets. I like that it's a glimpse outside the usual and tied to a larger fabric of make-believe.
The idea is that we'll venture into these houses where horror is supposed to be controlled around us, the work of fiction, only to discover more slippery boundaries of truth. This would touch at the very essence of horror, exploiting the same perturbations that move viewers in both the actual houses and film; see, we know it's not real, but what to do when your body tells you otherwise?
So nevermind that it's actors we see and scripted reactions. Some of the most potent footage here are from within these houses where we go in with a camera and a swirl of monsters lunges at us, staged but it comes alive. I'm guessing these are actual places that partnered with the filmmakers and this is what tantalized me going in; it would be at least in part an actual tour of that America that goes to pilgrimage in actual places.
They manage to bungle this for my taste, the part where fiction blurs and we go to something that comes alive in the moment of watching.
For one, they chose the "found footage" mode (silly name, largely the baggage of Blairwitch - it really means "someone is filming this now"). It's the most apt choice I've seen since Last Exorcism, but no one ever films a sense of place and passing time, a physical sense of journey; they waste it on lots of blathering around a camera so that it ends up feeling like an episode of cable TV. Indicative of the actual makers holding the camera I guess.
And then there's the ending. This is where the staged scenarios in these attractions don't cut it any more as the characters push for more and more "real" stuff. Lo, there's rumor of a secret place that you can only reach by invitation. But once there, it's the most obviously staged part of the film, the complete opposite of where we were meant to be viewing-wise.
So this is a miss, filmmakers with maybe the strongest idea of any of their peers this year but none of the tools of insight to cultivate it. They outline enough for me to imagine it in more intuitive hands so all in all I would have this over the next paranormal film.
Someone has gone out with the urge for horror in mind (and it's our very urge to inhabit illusion that made us build these houses), thinking he knows illusion from real, but it begins to spill outside, perturbing reality. From a certain point on, the apparitions become aware of someone watching, aware inside the fiction, so conspire to stage the real thing as a cosmic prank that shatters lives.
Watch The Funhouse, Hooper's film driven by the same instinct, a funhouse that extends from the actual place to haunt the whole film.
- chaos-rampant
- 1 nov 2015
- Permalink
I più visti
Accedi per valutare e creare un elenco di titoli salvati per ottenere consigli personalizzati
- How long is The Houses October Built?Powered by Alexa
Dettagli
- Data di uscita
- Paese di origine
- Siti ufficiali
- Lingua
- Celebre anche come
- Halloween: buscando el terror
- Luoghi delle riprese
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
- Tempo di esecuzione1 ora 31 minuti
- Colore
- Proporzioni
- 1.78 : 1
Contribuisci a questa pagina
Suggerisci una modifica o aggiungi i contenuti mancanti