Joe Dante
E 'annoyed just reading a title like "The Hole - In 3D" unnatural cross between history and the device, like the old "Totò in color." But the discrete film by Joe Dante might have some justification in the current vogue of three-dimensional film, "The Hole" is one of those that best use the illusion of space expansion, which is the only (tenuous) evidence of interest 3D, rather than hurl objects at the audience like the last "Final Destination". Applies to everyday scenes such as the dialogue iniziale fra il giovane Dane e sua madre; vale tanto più quando l'amplificazione dello spazio è usato ai fini della suspense: quando i due fratelli cominciano a gettare sonde e oggetti nel misterioso buco senza fondo scoperto in cantina, la mdp si concede anche il controcampo da dentro la galleria, e il 3D esaltando la distanza aumenta l'effetto.
A guardare la produzione horror americana, metà dell'umanità è costituita da madri sole e squattrinate con due figli o figlie (di cui uno/una invariabilmente rompipalle), che traslocano in una casa infestata. Qui i fratelli Dane e Lucas trovano il buco, con una botola bloccata da lucchetti; tolti quelli, a tener ferma la botola non bastano neanche i chiodi. Il guaio è che cominciano Left out of it entities: the materialisation of the worst fears of those who are attacked. Nothing is absolutely terrifying, however, not only for the reduction of child and adolescent protagonists in the world, "The Hole" is admittedly a kids' movie, the equivalent of literary production called "young adults". From modern
good guys, who do not confide in their parents even if they were under threat from man wolf, the brothers say nothing to a mother, however, distracted and join forces with neighbors daughter, Julie, to do something without knowing what . Here Joe Dante introduces a touch of humor - keep an eye on the three hole "armed" with helmets sports baseball and pot lids as shields - that's cool, though little in keeping with a film devoid of humorous tone (but note the humor citazionistico - Dante us wallowing in "The Howling" - baptized in a glove factory Orlac) .
The script by Mark L. Smith does not shine for originality. Stephen King may demand the rights: the setting reminiscent of "It" on a small scale; King The doll is very evil which attacks the small Lucas (but when it is shipped to disintegrate into the fan is pure "Gremlins"), as well as the cop- zombies. The figure is the most successful girl ghost. His way of jerky does not seem to depend simply on the fact that limps because he has one shoe, and when we see it as an insect to crawl back into the hole, raises disturbing echoes of "Ju-on: The Grudge" Shimizu.
The best scene of "The Hole" when Julie is an old roller coaster climbs to meet the girl in ruins: it was her best friend and she was a child, for fear had left her to die in an accident (where c 'is a ghost there is always a sin?). "You've become great, Julie -" I know. I'm sorry. " The grim dialogue between a child and teenager desperate spectrum crushed by remorse, lying side by side on the edge of the void is greater than all the rest the film. Moreover, the visual solution
bolder is another. When Dane (warning, spoiler!) Flows into the hole to save the kidnapped little brother, faces his own secret fear: that of the father, who beat them cruelly (to be picky, you smell of Stephen King here). He finds himself in a house that is oddly distorted the way the hole plays her unconscious - or vice versa - and Dante build the house in terms of pure "Caligari", namely the total strain space that takes its name from the classic expressionist " Das Kabinett des Dr. Caligari. " Although the reconstruction gives rise to a conflict not unlike many other horror (the ghost that feeds on your fears is defeated if the super), cinephilia Dante is met - and perhaps that of the spectator.
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