12/6/2023 0 Comments Djinn 2013![]() "Dijinn" sadly represents another weak script, but it did have some interesting elements. His best films were written by heavyweight writers like Steven Spielberg, Lawrence Block, or g Don Jakoby and Dan O'Bannon. My overall opinion of Hooper is that most of his film are only as good as their scripts. The only reason I watched it is that it was directed by Tobe Hooper, who's directed some horror classics like "Texas Chainsaw Massacre," "Funhouse," "Poltergeist," and "Lifeforce" (okay not everyone thinks 'Lifeforce" is a classic, but I do) but Hooper has also directed some serious duds like "The Mangler," possibly the worst Stephen King film adaptation. This film was sitting on my Netflix list for quite a while. All this leads to a decent twist in the end. The couple meet a bizarre, black-clad, hot neighbor. Ther is appearance of ghostly shadows lurking around the corridors. ![]() The road towards the bldg is empty n the constant fog surrounding the building n the road is kinda creepy. The couple move into an apartment in a building which was built on a haunted ruins. After the death of their new born kid, they r advised by their mysterious psychiatrist to relocate to their native place, Abu Dhabi. The movie is about a middle eastern couple residing in New York. I am surprised at the films bad vfx considering that the production company behind this film is Image Nation, a leading production company from UAE. Apart from decent direction by Hooper, the film is atmospheric n creepy. The movie is one time watch for horror fans. The theory’s merits we’ll likely never know the shame, at least, we can certify.Saw this movie few years back on a DVD. This was never to be the first horror movie, but the first Emirati horror, the first effort in the genre to tap the nation’s considerable mythological resources for an interesting new twist on well-worn tropes.Ī popular theory behind the movie’s delay, following the paradigm shift in the Arab world, involves the prospect of a project as significant as this being in foreign hands as the source of some shame. Except it’s not: the one thing “Djinn” gets right, in its production as much as its plot as much as the city it sets itself beside, is the immense internationality of the world today. Perhaps, in a sense, that’s the thinking here: the only people who could conceivably be frightened are those who’ve never before seen a horror film, a sure bet in a country yet to have one. It becomes, instead, a laughing stock that will do well to rouse a single genuine scare in its entire theatrical lifespan. “Djinn” represents, in the end, a fundamental failure to capitalize on the chance for a particularly culturally-rooted new breed of horror film. Every scare here is an insult to that word, either indulging in the aggravating quiet-loud contrast that invokes as valid an emotional response as does an onion to the eye or any amount of absurdly old-hat imagery: shapes leaning in from the wall creepy-faced kids’ toys mysteriously-moving rocking chairs. Hitchcock couldn’t have helped much with a script as insistently uninventive as David Tully’s, which takes the opportunity to act as a jumping-off point for an entire new industry and instead imports beat-for-beat the worst of the worst of the worst of American horror cinema. Indeed, it’s not so much “Djinn” as it is “The Tobe Hooper Massacre”: a repudiation of reputation that not only fails to remind us of the heights this director once scaled, but actively invites us to wonder if it’s not just our spectacles’ curiously rosy hue misinforming our recollection.īut let’s not lean too hard on Tobe, much as he may deserve it for not - at the very least - insisting outright upon an Alan Smithee. Tonally as well as technically, this is an atrocious excuse for a movie that would be strikingly bad from a first-timer. Accounts of set visits to the filming of “integral” scenes now nowhere to be found in the finished product - coupled with the well-documented difficulties of the journey from set to screen itself - suggest at least some level of interference, but if there’s a single shot in the final film for which Hooper called cut he ought to be ashamed. Conspicuous by his absence from Friday night’s world premiere, it’s unclear just how much of the blame for this titanic trainwreck is to be leveled at Hooper’s feet.
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