Jorg Buttgereit’s horror films are something of an arthouse mutant. Sure, they have a lot of grotesque elements, from serial killers to necrophilia, but they do have a sensitivity and style that is more akin to Ingmar Bergman than to George Romero. His two Nekromantic films are masterpieces in my book, so I was anxiously awaiting to get to see this, his sophomore effort after the original Nekromantic.
The story is that similar to an omnibus, or many stories in one film. It deals with a chain-letter about Der Todesking, or the King Of Death. Everyone who reads it and responds it, goes on and commits some sort of murder/suicide. And sadly, for the most part, this movie bored the hell out of me. A lot of the stories just drag on and on, particularly the first one about the fish lover, and the guy who rents the Nazi exploitation movie. The last one however was the worst, with the bad actor repeatedly slamming his head against the wall until he gets brain damage. For stories so short, they just didn’t move quick enough.
There are some things that I liked, however. I thought the Wednesday story, about a man who meets a woman in the park during a rainy day and explains how he murdered his wife, is pretty damn interesting, mainly because of the intense performance of the lead actor. Sadly, I wish I could have actually seen the story instead of just hearing it from the mouth of the actor. However, my favorite story by far is the one featuring the psychotic, murderous camerawoman. She sticks a camera to a steadycam strapped to her body and goes on a killing spree in a rock concert. Hell, I could watch a whole movie about this character.
Another interesting aspect of the film are the sequences with the rotting corpse that pop up in between the stories. It looks like a real corpse decomposing. I’m pretty sure they used a latex dummy full of real meat inside and just let it rot, but the effect is amazing.
So I wouldn’t say this is a great movie, nor is it one of Buttgereit’s best, but it does have it’s interesting moments nonetheless.
Jorg Buttgereit’s horror films are something of an arthouse mutant. Sure, they have a lot of grotesque elements, from serial killers to necrophilia, but they do have a sensitivity and style that is more akin to Ingmar Bergman than to George Romero. His two Nekromantic films are masterpieces in my book, so I was anxiously awaiting to get to see this, his sophomore effort after the original Nekromantic.
The story is that similar to an omnibus, or many stories in one film. It deals with a chain-letter about Der Todesking, or the King Of Death. Everyone who reads it and responds it, goes on and commits some sort of murder/suicide. And sadly, for the most part, this movie bored the hell out of me. A lot of the stories just drag on and on, particularly the first one about the fish lover, and the guy who rents the Nazi exploitation movie. The last one however was the worst, with the bad actor repeatedly slamming his head against the wall until he gets brain damage. For stories so short, they just didn’t move quick enough.
There are some things that I liked, however. I thought the Wednesday story, about a man who meets a woman in the park during a rainy day and explains how he murdered his wife, is pretty damn interesting, mainly because of the intense performance of the lead actor. Sadly, I wish I could have actually seen the story instead of just hearing it from the mouth of the actor. However, my favorite story by far is the one featuring the psychotic, murderous camerawoman. She sticks a camera to a steadycam strapped to her body and goes on a killing spree in a rock concert. Hell, I could watch a whole movie about this character.
Another interesting aspect of the film are the sequences with the rotting corpse that pop up in between the stories. It looks like a real corpse decomposing. I’m pretty sure they used a latex dummy full of real meat inside and just let it rot, but the effect is amazing.
So I wouldn’t say this is a great movie, nor is it one of Buttgereit’s best, but it does have it’s interesting moments nonetheless.
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