The road to hell is paved with good intentions. I remember these lines when I think of a continuous line for a horror film The Terrible, directed by Mikhail in red.

The film tells the story of how our institutions and internalized prejudices can become barriers to helping people with mental illness. They can even lead to greater oppression, however sincere the intentions may be.

This message comes at the right time and is essential. But as they say, intentions aren’t enough.

Despite the fact that Eerie strives to give depth to the viewer, the incoherence of the plot and the refusal to formulate the message outside the convention make the film an attempt to give depth.

Our youth stories

Erie follows counselor Pat Consolación (Bea Alonzo) as she begins to discover the mysterious death of a student in the stadium. Lucia’s Academy of Girls. In her search for the truth, she had to unearth the school’s dark past, which seemed to be closely guarded by the principal of the Catholic school, Sister Alice (Charo).

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The plot of the film takes place in the mid 90’s, it has a certain nostalgia. This brings us back to the ghost stories on campus that many of us grew up with. And as in many of these fairy tales, it all starts with a student in the bathroom, only at night.

This first scene shows the wonderful craftsmanship in its creation. The tension increases when the student looks back and forth between the sounds of the stand and the mirrors in front of the stand. Unsaturated colors underline the horror of the atmosphere. Even if it is a well-known scene that ends with a scarecrow, everything seems perfect. And the film has a lot of great shots.

Like a can opener, it’s good. But do it in rehearsal, build the film on the fears we’ve all seen before without adding anything, and you make your horror powerless.

All shoes and no bite

Apart from the fact that fears are too common to leave a trace, the big problem with Eerie is that these fears are becoming increasingly ineffective – reduced to mere punctuation at work, since in many cases the film has not created enough context to build on the horror.

In the horror genre the mystery increases – the fear of the unknown that fills the holes that filmmakers consciously leave in the horror genre, overcoming the necessary illusion and hiding information at the expense of history.

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Especially in the first act of the film there is a lack of narrative momentum, because we are immersed in fears and scenes that we know should be important, but which are not presented in a meaningful way.

What’s wrong is the collateral damage in this urge to keep things foggy. The characters finish a little more than trophies (e.g. an anxious teenager, a good spirit, a shadowy priest and a male policeman).

All of this pushes the film to the edge of incoherence, and questions are ultimately asked not out of genuine interest, but out of confusion. Wait a minute, who’s under arrest? Is this a murder? I thought we were talking about suicides, is that in the past? Who’s meeting who?

A sinister attempt to restore the situation afterwards by making these characters bigger through flashbacks later in the film, but in the end they turn out to be too late or too unimportant to have any influence at all.

Too much and too little

It’s creepy, not too bad, pretty bumpy. There is potential in his technical skills, but conceptually he has too much and too little to say.

The film has many connotations, including injections into religious institutions, harassment of LGBT people, mental health stigmatization and various types of corporal punishment and government disciplinary action. We even talk about how we implicitly include cycles of depression and victimization.

However, the film makes little effort to express these ideas in an understandable story. It has a strong tendency towards conventions, and instead of undermining or renewing conventions, it confines itself to them.

They see good intentions in Creepy. Many great horrors are those caused by biting social commentary. However, Scarecrow looks more like some kind of failed excursion.

(Cross publication in Screen Anarchy.)

Relative

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