Reviews: Criticism of “Evil Dead: The Awakening” (“Evil Dead Rise”), by Lee Cronin

After the already legendary original trilogy by Sam Raimi with Bruce Campbell, made up of The Evil Dead: Devilish (1981), Evil Dead II: Awesome Night (1987) and Evil Dead III: The Army of Darkness (1992); and the remake Infernal possession (evil dead) that the Uruguayan Fede Alvarez released in 2013, comes this new installment of the franchise now written and directed by Lee Cronin (The Hole in the Ground), who conceived an exercise in gore pure and hard, as limited in its horizons as effective in its concretion.

Evil Dead: Awakening (evil dead rise, United States/2023). Script and direction: Lee Cronin. Cast: Lily Sullivan, Alyssa Sutherland, Mirabai Pease, Richard Crouchley, Anna-Maree Thomas, Noah Paul, and Gabrielle Echols. Music: Stephen McKeon. Photography: Dave Garbett. Editing: Bryan Shaw. Distributor: Warner Bros. Duration: 97 minutes. Suitable for over 16 years.

The original trilogy of evil deadShot with more ingenuity than budget, it has become a cult object for several generations of fans of the horror genre. Exactly a decade ago (it premiered in April 2013), the first recycling of the franchise took place with Fede Alvarez at the helm and now it is the turn of this proposal that will not go down in history for its originality, but neither for sullying the veneration that exists for the saga.

In this fifth installment, at a certain moment, an earthquake occurs in downtown Los Angeles and inside a crater that opens in a decaying building about to be demolished, a teenager finds The Book of the Dead along with some vinyl recordings from 1923 in the one where a cleric warns about the evil forces that can be unleashed if that Necronomicon is opened. But the boy cannot cope with his curiosity and thus begins a bloodbath of enormous dimensions and proportions.

And that (the splatter) is the only thing that really matters in Evil Dead: Awakening, since beyond the references, quotes, tributes, winks and ironies regarding the history of the saga, the characters, conflicts and performances are rather elementary. But let’s go back to the initial statement, as if to give an idea of ​​the plot excuse: Ellie (Alyssa Sutherland), a woman abandoned by her husband, raises their three children: Bridget (Gabrielle Echols), Danny (Morgan Davies) and Kassie (Nell Fisher). One day Beth (Lily Sullivan), Ellie’s younger sister who is an expert in guitars, appears without warning at the door of the apartment, many despise with the term of groupies and just found out she’s pregnant. As you can infer, we have four women among the five main characters because -it is becoming clear- these are times of female leadership and empowerment also within horror movies.

Cronin, in his double role as writer and director, isn’t too subtle in exposing the various facets of the characters, but together with designer Nick Bassett and cinematographer Dave Garbett they manage to create and sustain the tension during the hour and a half of story. . The profusion of visual effects not only does not conspire but also gives a certain spectacularity to a proposal that is initially quite claustrophobic, since a good part of the narration takes place inside the apartment, in the corridors, the elevator or the parking lot of the dilapidated building with scenes that They include scissors, knives, glass, various sharp elements and -as you will see in the photo that illustrates this review- even a chainsaw. Yes, everything served then for a festival of the most explicit and impressive aspect of the horror genre.

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