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It's certainly not scary, which is pretty disappointing for any entry into the horror genre, but particularly one which has no larger story or themes to grasp onto and only serves as a portmanteau of smaller, separate short films.The backbone narrative we open with and that ostensibly serves as a tethering point for the various short films is boring, illogical, and lame.But it apparently takes itself seriously, and the lines within each segment indicate that there's no tongue-in-cheek or winking-at-the-audience quality present.Which makes the constant stupidity of literally everything inexcusable.Even if that ulra-cliche and low effort soap opera parody scenario actually unfolded, why in the ever-loving fuck would you, a producer, pick this time and place to confront him?The most frustrating common thread of almost all the segments is that seemingly everyone has a total lack of muscle coordination, a complete unwillingness to pick up the various weapons available to defend themselves, and no idea when it is time to run or call the cops or both.Farther along into the segment, many characters do the same, essentially standing still as blood-covered psychopaths descend upon them.
There's no way a crew which can afford multiple high-res "button cameras" has such shitty "real cameras." There's no way that crew would bring in lights, screens, a boom mic, and four or five cameras but leave the goddamn spare batteries in the car. And then we're really gonna have this girl confess in the middle of the shoot that she's cheated on her fiance with his best friend and she's pregnant with his child?
The bike segment is the most egregious offender of this.
We literally open the scene by establishing that this guy is a BIKING enthusiast riding his BIKE on a BIKING TRAIL and he makes a CALL on his CELL PHONE, indicating that not only does he have a cellular device, he definitively HAS SERVICE, and yet this young, athletic, annoying fuck ("Thanks, babe. See ya soon, babe.") bumbles into zombie-dom with little to no resistance.
di tutti gli episodi è quello che sfrutta meglio il POV, trasformandosi ad un tratto in una sorta di videogioco survival horror, dove ci ritroviamo a scappare da un corridoio all'altro, fino all'agoniata uscita.
Con un finale tutto muco e sorrisi amari (che può ricordare le espressioni di Bruce Campbell in La Casa).