Evil Dead Rise Gives Series Fans A Fresh Take And Plenty Of Gore Usually when a film series is embarking on a fifth outing the challenges of keeping things fresh and original yet being new and creative can be a massive obstacle. Horror series ranging  from “Halloween” to “Friday the 13th”, “SAW”, and “A Nightmare on Elm Street” all faced issues with moving the series along yet trying to stay true to the original film that inspired them and in every case; failing to fully capture what made the original film a hit. “Evil Dead Rise” is not only the latest entry into the series but a bold take on the cinematic series as it abandons the remote cabin setting of the first two films and the reboot in favor of an urban setting. The film does open in a remote lakeside locale before jumping a day earlier to California where estranged sisters Ellie (Alyssa Sutherland) and Beth (Lilly Sullivan) reunite. Beth has been working as a guitar technician and bristles that her sister refers to her as a groupie. Ellie is raising three children after their father left and informs her sister that the building they are living in is scheduled to be demolished so they will have to move soon which is a shock to Beth as she has learned that she is pregnant and is trying to figure out her life all the while seeing what she thought would be a source of stability for her upended. The arrival of an earthquake allows access to a hidden area in the parking garage of their building and since the locale was a former bank; the kids soon find a hidden book and records which the only son Danny (Morgan Davies) hopes he can sell despite his sister Bridget (Gabrielle Echols) admonishing him constantly to leave it alone and return it to where it was found. The book turns out to be a Necronomicon or “Book of the Dead” and as fans of the series know; nothing good ever comes from one and thanks to playing old records left by a Priest describing his thoughts on the book; a summoning incantation is read and this causes Ellie to become possessed and unleash grotesque carnage and terror on her family. What follows is a gory and at times intense game of cat and mouse punctuated by moments of levity as the demonic infestation knows no end. The film has the over-the top- gore that is expected of the series and the makeup and effects are very effective. Writer? Director Lee Cronin has done a great job capturing the tone of the series while moving it forward as he cleverly incorporates lines and nods to the series without making them seem forced. Some may find the excess of blood too much but the series has always been known for taking things to the extreme as the blend of horror and comedic parody is what made the original film such a success. In the end “Evil Dead Rise” does enough to keep fans of the series happy and hopefully, we will be seeing a new entry in the series in the future. 3.5 stars out of 5

If you are expecting an Evil Dead movie... well, I guess it depends on what generation you're from. If you are expecting Evil Dead, Evil Dead 2, Army of Darkness, the films of the unholy trilogy... you are going to be gravely disappointed. This isn't Sam Raimi's Evil Dead. This is, well, this is the Conjuring just like almost every other Horror movie past 2014. It doesn't really breathe "new life" into the franchise, instead it takes the Evil Dead and breathes the PG-13 Neo-Horror Movie breathe into a franchise that used to be a heck of a lot of campy immature fun. Here you get the same as everything else.

_Evil Dead Rise_ is mostly entertaining as a new entry of the _Evil Dead_ franchise, but it’s got some hiccups that should be ironed out in any potential sequel. The cast’s performances are all strong, with Sutherland masterfully making the most of her character with spine-tingling body language and unnerving dialogue, but as a fifth film in a well-known horror franchise, it’s disappointing to see that its most memorable moments are throwbacks to previous films. Ultimately, _Evil Dead Rise_’s biggest flaw is that it simply isn’t as good as its ten-year-old predecessor. Nevertheless, the film is fun, blood splattering carnage that will hopefully take the _Evil Dead_ franchise in a bold and exhilarating direction. Full review: https://boundingintocomics.com/2023/05/02/evil-dead-rise-review-new-mommy-demon-look-same-great-chainsaw-taste/

This is certainly a triumph for the visual and audio effects folks. Otherwise, I found it all a bit derivative and frankly a rather classless rehash of the much more entertaining original. It's tough to just keep on re-inventing these themes - they do tire, and as I reckon with the recent updates of the "Halloween" franchise, they maybe just rely too heavily on a current generation who were not around to see the originals in the cinema first time round, and who maybe just don't appreciate that the acting and the writing - though never exactly crucial to these plots - did have more of a role than just relying on well made-up (virtual) demons spinning around the ceiling emitting threatening shrieks. It's not terrible - it moves along quickly for ninety minutes and might just put you off a bath anytime shortly afterwards, but there just isn't any real sense of menace or jeopardy and to be honest I wasn't entirely sure that the family weren't nightmarish enough - before their visitor arrived. Perfectly watchable on the telly around Halloween with a drink in your hand, and it's a sort of gift that keeps on giving because you'll be able to watch it again the next year without the faintest recollection of what is going to happen!

Evil Dead Rise puts a creative spin on the classic franchise while also remaining faithful to the core experience. The story is not overly complex and admittedly somewhat generic, as the main characters find the Book of the Dead, read it, and all hell breaks loose. But the conditions surrounding this plot are what truly set it apart. For one, the high-rise setting was brilliant and created a very claustrophobic environment that worked really well. I found the earthquake to be an original idea not only for the discovery of The Necronomicon but also for the entrapment of our main characters. Speaking of our cast, this film does a really great job of setting up these characters. I genuinely liked all of them, which made it difficult to see some of them go, unlike in Evil Dead (2013). The familiar bond between them was palpable, and this could not have been done without a fantastic cast. Alyssa Sutherland is by far my favorite Deadite in the entire franchise. Her motherly connection was haunting, her facial expressions, and mannerisms are nightmare fuel. Lily Sullivan was genuinely fantastic as a final girl. Her badass nature to defend the children is incredible, and she had some really great moments to stand out in the film. The kids overall did fine, nothing that was too amazing but nothing that took away from the film either. The direction was my favorite part of the film by far. Lee Cronin did such a fantastic job with haunting camera work with subtle tilts and use of reflections. The action was top-notch, and the practical effects were amazing. So many scenes had me physically wincing with some insanely creative violence mixed with stomach-churning blood and wound effects. It is definitely a worthy successor to Evil Dead (2013) in the gore department. Overall, this may not be the best in the franchise, but I think it is one of the most refined. The story lacks in some areas, but the direction, performances, and violence really cement this as one of the best horror films of the year. Score: 84% ✅ Verdict: Great

**"Evil Dead Rise"** (2023) is a captivating and bone-chilling horror film that left me on the edge of my seat. From the opening scene to the final credits, the movie delivers a relentless onslaught of terror and gore. The practical effects are outstanding, creating some truly gruesome and memorable moments that will haunt your nightmares. The performances are top-notch, with the cast fully committed to their roles and delivering intense and believable performances. The direction by Lee Cronin is masterful, as he expertly builds tension and suspense throughout the film. The setting of an urban high-rise adds a unique and claustrophobic atmosphere, amplifying the sense of dread. "Evil Dead Rise" is a must-watch for horror aficionados who crave a thrilling and visceral experience. Brace yourself for a wild ride that will leave you both terrified and exhilarated.

Okay supernatural horror and entry into the long-running franchise that really takes off during the blood-drenched finale. Can't say I loved it and it was far too dark at times to even tell what was going on, but thought it was on par with Evil Dead 2013. **3.5/5**

As contemporary horror films go, I’ll freely admit that this is a genre about which I couldn’t care less. I find most of these films boring, predictable, stupid and not especially scary. In fact, the only ones to which I’ll even give a second look are smart horror films (like “Get Out” (2017) or “Annihilation” (2018)) or campy romps (like “Renfield” (2023)). So the fact that I somehow managed to sit through this trash heap is quite an accomplishment. (Actually, the only reason I watched was because I was channel surfing and there was nothing else on, so I decided to give it a chance (I would have been better turning on the radio).) This pointless parade of endless blood and gore is a prime example of the decline of the mainstream movie industry (how projects like this get greenlighted is beyond me, except, of course, for the obvious box office considerations). It’s so utterly ridiculous that the picture plays like something that was made up as the crew went along. I’ll admit that there was some modestly cheeky humor here, but not enough to make it a genuine camp fest. Writer-director Lee Cronin’s latest is an assault on the art of filmmaking, the kind that should carry fines and other punishments. My goodness, what has this industry come to?

Stunning, worthy of its name There are multiple ways to mess up an Evil Dead film. The formula seems straight-forward enough but given the multiple failed copycats, it turns out that the formula has to be pretty precise. In this case, the movie nails it; atmospheric, gory, tense, with good casting and directing, characters you can root for, and a scary thing in the dark chasing them. The movie works and I highly recommend it!

Why is there a random wood chipper in an apartment building parking garage? Who cares! It makes for a great finale!

(CASTELLANO) Una carnicería familiar que funciona mejor que la momia, aunque se pasa de asquerosa La tenía medio vista y hoy terminé de encajar el puzle. No había visto los primeros cuarenta y cinco minutos, por eso al principio me sonaba todo sin estar seguro, y luego, cuando llegó el edificio, la madre poseída, el parking y la máquina del sótano, ya me volvió la memoria completa. Ahora sí puedo decir que la he visto entera. Me parece bastante mejor que La momia de Lee Cronin, aunque confirma algo que ya me incomoda de su forma de entender el terror: le gusta muchísimo lo viscoso, lo corporal, lo repugnante. Aquí eso encaja más porque estamos en Evil Dead, una saga donde la posesión demoníaca, los ríos de sangre y la crueldad física forman parte del contrato. Aun así, para mi gusto hay momentos en los que se pasa. La película funciona porque no intenta copiar la cabaña de Sam Raimi sin más. Cambiar el bosque por un edificio de apartamentos le da una identidad propia y convierte la familia en una trampa. El mal no llega a un grupo de jóvenes aislados en mitad de la nada, sino a una madre, sus hijos y una hermana que aparece en el peor momento posible. Eso le da un punto de terror doméstico bastante eficaz. Alyssa Sutherland está muy bien como Ellie. Cuando la posesión empieza a devorarla, la película encuentra su imagen más potente: una madre convertida en amenaza para sus propios hijos. Eso sí tiene fuerza, porque pervierte algo muy básico. Lo que debería ser refugio se vuelve peligro, y cada vez que ella habla desde el otro lado de la puerta o mira con esa sonrisa torcida, la película consigue inquietar. Lily Sullivan también funciona como Beth, y me gustó más de lo que esperaba. Al principio me sonaba de otra película, hasta que fuimos descartando Malevolent, Maléfico y Maligno, pero más allá del parecido con otras actrices, aguanta bien el papel. Beth no es una heroína perfecta; es alguien que llega cargada de dudas y termina obligada a convertirse en la adulta que los niños necesitan. La frase de la sobrina me hizo gracia: “Algún día serás una gran madre, tía Beth... sabes mentir a los niños”. Es una buena línea porque entra con humor negro sin romper del todo la tensión. Ahí sí noto el espíritu Evil Dead: no solo sangre y gritos, sino mala leche, timing y esa risa incómoda que aparece cuando todo está ya absolutamente perdido. El problema es que algunas escenas cruzan una línea que a mí cada vez me interesa menos. Lo del ojo mordido, arrancado y luego metido en la boca de otro personaje me pareció repugnante. No me dio miedo, me dio asco. Y esa es una diferencia importante. Puedo disfrutar el gore cuando tiene imaginación, ritmo o sentido lúdico, pero cuando la película se recrea tanto en lo viscoso, me saca. También hay algo de exceso por exceso. Entiendo que en Evil Dead la brutalidad sea casi una obligación, y reconozco que Cronin sabe organizar el caos mejor aquí que en La momia. Pero a ratos vuelve a parecerme que piensa: “¿cómo puedo hacer esto todavía más desagradable?”. Y no siempre más desagradable significa más terrorífico. A veces solo significa más difícil de mirar. El uso de las grabaciones antiguas me gustó porque conecta con la original. Aquella cinta del profesor que leía el Libro de los Muertos ya era parte esencial del mito, y aquí los discos de 1923 funcionan como variación. Además, a mí me activó el recuerdo de Psilicon Flesh y aquella canción homenaje, “The Evil Dead”, con los fragmentos de audio y el “Dead, Evil Dead...” repetido como mantra. Eso le dio un punto nostálgico inesperado. El tramo final en el parking es bruto, muy físico y bastante memorable. La criatura compuesta, la maquinaria pesada y esa sensación de que todo acaba en un amasijo imposible de carne y metal tienen fuerza visual. No es elegante, ni falta que le hace. Ahí la película abraza su naturaleza de tren de la bruja sangriento y va hasta el final. También me gusta cómo enlaza con los personajes del lago del principio. Ese prólogo parecía una pieza separada, casi un arranque de impacto, y al final encaja como parte del mismo ciclo de posesión. Es una forma sencilla pero eficaz de recordarte que el mal no se ha cerrado, que la historia puede repetirse y que en este universo siempre hay alguien lo bastante idiota como para reproducir lo que no debe. Al final, la dejo en un 6. Está bien hecha dentro de lo suyo, tiene energía, buenas actrices, momentos de humor negro y algunas imágenes potentes. Pero también tiene demasiado gore para mi gusto y varias escenas que me producen más rechazo que miedo. Como entrega de Evil Dead funciona bastante mejor de lo que esperaba; como película de Lee Cronin me confirma que su obsesión por la víscera me cuesta. Salvaje, desagradable, efectiva a ratos y bastante superior a su momia, pero no una película que yo disfrute plenamente. (ENGLISH) A family slaughterhouse that works better than the mummy, although it gets too disgusting I had half seen it before and today I finally fitted the puzzle together. I had not watched the first forty-five minutes, which is why at the beginning everything felt familiar without my being sure, and then, once the building, the possessed mother, the parking garage and the basement machine arrived, the memory came back completely. Now I can say I have seen the whole thing. I think it is much better than Lee Cronin’s The Mummy, although it confirms something that makes me uncomfortable about his way of understanding horror: he really likes the viscous, the bodily, the repulsive. Here that fits better because this is Evil Dead, a saga where demonic possession, rivers of blood and physical cruelty are part of the contract. Even so, for my taste there are moments when it goes too far. The film works because it does not simply try to copy Sam Raimi’s cabin. Moving from the woods to an apartment building gives it an identity of its own and turns the family into a trap. Evil does not arrive among a group of young people isolated in the middle of nowhere, but among a mother, her children and a sister who appears at the worst possible moment. That gives it a fairly effective domestic-horror angle. Alyssa Sutherland is very good as Ellie. When possession begins to devour her, the film finds its most powerful image: a mother turned into a threat to her own children. That does have force, because it perverts something very basic. What should be shelter becomes danger, and every time she speaks from the other side of the door or looks with that twisted smile, the film manages to unsettle. Lily Sullivan also works as Beth, and I liked her more than I expected. At first she reminded me of another film, until we went through Malevolent, Maleficent and Malignant and ruled them out, but beyond the resemblance to other actresses, she holds the role well. Beth is not a perfect heroine; she is someone who arrives full of doubts and ends up forced to become the adult the children need. The niece’s line made me laugh: “You’ll be a good mom someday, Aunt Beth... you know how to lie to kids.” It is a good line because it brings in black humor without completely breaking the tension. There I do feel the Evil Dead spirit: not only blood and screaming, but nastiness, timing and that uncomfortable laugh that appears when everything is already absolutely lost. The problem is that some scenes cross a line that interests me less and less. The eye being bitten, ripped out and then shoved into another character’s mouth seemed repulsive to me. It did not scare me; it disgusted me. And that is an important difference. I can enjoy gore when it has imagination, rhythm or a playful purpose, but when the film dwells so much on the viscous, it pushes me out. There is also some excess for excess’s sake. I understand that in Evil Dead brutality is almost an obligation, and I admit that Cronin organizes the chaos better here than in The Mummy. But at times it again feels as if he is thinking: “how can I make this even more unpleasant?”. And more unpleasant does not always mean more terrifying. Sometimes it only means harder to look at. I liked the use of the old recordings because it connects with the original. That tape of the professor reading the Book of the Dead was already an essential part of the myth, and here the 1923 records work as a variation. Besides, for me it triggered the memory of Psilicon Flesh and that tribute song, “The Evil Dead”, with audio fragments and “Dead, Evil Dead...” repeated like a mantra. That gave it an unexpected nostalgic touch. The final stretch in the parking garage is brutal, very physical and quite memorable. The composite creature, the heavy machinery and the feeling that everything ends in an impossible mass of flesh and metal have visual force. It is not elegant, and it does not need to be. There the film embraces its nature as a bloody haunted-house ride and goes all the way. I also like how it links back to the characters at the lake from the beginning. That prologue seemed like a separate piece, almost just an impact opening, and in the end it fits as part of the same possession cycle. It is a simple but effective way of reminding you that evil has not been closed off, that the story can repeat itself and that in this universe there is always someone stupid enough to play what should not be played. In the end, I leave it at a 6. It is well made within its own terms, has energy, good actresses, moments of black humor and some powerful images. But it also has too much gore for my taste and several scenes that produce more rejection than fear. As an Evil Dead entry, it works much better than I expected; as a Lee Cronin film, it confirms that his obsession with guts is hard for me. Wild, unpleasant, effective at times and much superior to his mummy, but not a film I fully enjoy.