Thirty-three years ago this seemed like a tired takeoff on DON'T LOOK NOW. With the clunkers that are presently out there, it looks like a masterpiece.
Why? Well, it's not an EXACT copy – also, it has these people called ACTORS in it.
Of course, modern audiences probably wouldn't find it very exciting. After all, the botched-up tracheotomy and infantile castration are both off-screen.
Furthermore, it has a story, that thing, you know, giving you a headache and taking time away from the torture porn. No, they wouldn't like it at all.
Have you noticed those "user comments" on film sites? You know: I Don't THINK THIS IS A VERY GOOD MOVI In fact I THINK THIS MOVI SUKS AND ALL MY FRIENDS THINK SO TO I Don't KNOW WHY ANYONE WOULD THINK THIS WAS A GOOD MOVI CAUSE IT Totally SUKS Totally SO AL YOU MORANS OUT THERE WHO THINK THIS IS A GOOD MOVI GET A LIFE CAUSE YOU SUK (Was this comment helpful to you?) Originally I just thought it was because, as we all know, the Internet is for Retards. But I'm beginning to think that this may actually be a sample of the movie-going community, some of them perhaps even twelve years old or more.
Apparently, this is an adaptation of a novel by Peter Straub, who also supplied the goods in the dazzling GHOST STORY. MIA FARROW is as vulnerable as ever, and KEIR DULLEA her son-of-a-bitch husband – he should probably have stayed on Jupiter.
The traumatic loss of a child has of course long since become a stock-and-trade of horror movies, the idea being that it makes the bereaved mother more susceptible to supernatural influences (especially dead children). Nor, I'm sure, will it come as a great surprise to anyone that the juvenile ghost is "evil".
Still, the concoction is served with an enthusiasm and attention to detail and effect, from the cozy séance turning into a nightmare to the mother's gleeful confession that she throttled the little monster, that keep you watching. Unfortunately, what might have been an ominously "happy" ending is jettisoned for a standard horrific one.
There is the usual amount of body-bags and puzzlement on the part of the audience as to why missing people aren't missed – still, British professionalism is everywhere present. Jolly good show!
Why? Well, it's not an EXACT copy – also, it has these people called ACTORS in it.
Of course, modern audiences probably wouldn't find it very exciting. After all, the botched-up tracheotomy and infantile castration are both off-screen.
Furthermore, it has a story, that thing, you know, giving you a headache and taking time away from the torture porn. No, they wouldn't like it at all.
Have you noticed those "user comments" on film sites? You know: I Don't THINK THIS IS A VERY GOOD MOVI In fact I THINK THIS MOVI SUKS AND ALL MY FRIENDS THINK SO TO I Don't KNOW WHY ANYONE WOULD THINK THIS WAS A GOOD MOVI CAUSE IT Totally SUKS Totally SO AL YOU MORANS OUT THERE WHO THINK THIS IS A GOOD MOVI GET A LIFE CAUSE YOU SUK (Was this comment helpful to you?) Originally I just thought it was because, as we all know, the Internet is for Retards. But I'm beginning to think that this may actually be a sample of the movie-going community, some of them perhaps even twelve years old or more.
Apparently, this is an adaptation of a novel by Peter Straub, who also supplied the goods in the dazzling GHOST STORY. MIA FARROW is as vulnerable as ever, and KEIR DULLEA her son-of-a-bitch husband – he should probably have stayed on Jupiter.
The traumatic loss of a child has of course long since become a stock-and-trade of horror movies, the idea being that it makes the bereaved mother more susceptible to supernatural influences (especially dead children). Nor, I'm sure, will it come as a great surprise to anyone that the juvenile ghost is "evil".
Still, the concoction is served with an enthusiasm and attention to detail and effect, from the cozy séance turning into a nightmare to the mother's gleeful confession that she throttled the little monster, that keep you watching. Unfortunately, what might have been an ominously "happy" ending is jettisoned for a standard horrific one.
There is the usual amount of body-bags and puzzlement on the part of the audience as to why missing people aren't missed – still, British professionalism is everywhere present. Jolly good show!