Evil Dead (2013) REVIEW “a grisly, fun splatter horror that shows remake isn’t always a dirty word”

The remake is the bane of horror. While it is true that both David Cronenberg’s The Fly and John Carpenter’s The Thing are two of the greatest horror films ever made while also being remakes, they are exceptions to the rule. Exception or no, most of the money in the industry is shared out between so-called reboots and an endless string of sequels. Regardless of what was and wasn’t remade, one of the titles that always felt safe was Sam Raimi’s splatter classic, The Evil Dead. Now in 2013 through Raimi on producer duty (along with star Bruce Campbell), the director of Short film Panic Attack, Fede Alvarez, was hired to helm the fourth Evil Dead.

Even with all that being the case, Horror fans will be very aware that the remake isn’t too far removed from Evil Dead, with the second film being a comedic inclined re-tread of the original. This makes this 2013 film third-hand material, putting even greater pressure on the film be differentiate itself from the run of the mill remake. While it’s still fits in the 5 friends go to a cabin in the woods and bad stuff happens mold Fede Alvarez & Rodo Sayagues’ script gives the group a reason. Mia is joined at the reclusive retreat by friends David, Eric, Olivia and Natalie to ensure she kicks her drug addiction.

This translates as disbelief among the group; when devilish things start happen they collectively chalk it up to extreme side effects. While this isn’t the most dramatic incentives for the film, it works as a way in. What is more problematic is the role of the book of the dead. Initially found in the basement wrapped up in a bin bag and barbed wire, it doesn’t just serve as the instigator it also serves as a constant point of reference. Where the originals felt spontaneous and out there, Evil Dead 2013 feels contrived by regularly referring events back to the book.

That’s not to place the originals on too high a pedestal, especially the original which had one notably controversial scene – the tree rape. When interviewed, Raimi states that this was the product of a fevered and childish imagination. While not copied verbatim, the role of the trees makes a return. Even if it doesn’t linger as long as the original it’s still difficult scene. By the same token, the better defining aspects make a return, specifically the camera work whereby the camera rushes and dashes making the surrounding forest feel alive. It just wouldn’t be Evil Dead without it.

This film could produce two reviews, one positive and one negative. Much of the bad has already been touched upon, the good now that’s where Evil Dead gets interesting. While the promotional claims of “the most terrifying film you will ever experience” are naturally optimistic, this is still a nasty film.

The gore, mutilation and straight up violence rival the likes of Saw, but it’s never as mean-spirited. For the simple reason that it’s as utterly over the top as its for-bearers sometimes the violence is grotesque and wince-inducing sometimes it’s plain silly. Evil Dead 2013 is much more focused on the horror of the comedy-horror hybrid, yet it never abandons its sense of humour. The on the nose divergence into slasher in the final 10 minutes typifies this perfectly. With the restorative properties of tape and someone claiming to feel better moments after they’ve lopped their arm off, sometime the only way to react is to laugh.

With Michael Bay’s Platinum Dunes at the lesser end of the spectrum and the aforementioned Fly and Thing at the top end, Evil Dead forms a second level of great horror remakes. While it’s undoubtedly problematic with David (Shiloh Fernandez) being close to blasé with the craziness unfolding in front of his face and the addiction sub-narrative allows its character to deny their reality as long as possible.

This is still a cracking horror movie with a fantastic brand of in-camera effects and splatter and a great lead performance by Jane Levy (Mia). As one might expect from this franchise, blood goes everywhere and add to that a brand of hyper-real effects by Cody Amos, this is the most savage mainstream splatter film you’re likely to see. Fede Alvarez’s debut feature film and remake of beloved material is more disgusting and downright entertaining than anyone would’ve dared to predict.