The Evil Dead

The cult value, of course, prevails. If it hadn't become such a theme, there would be no reason to revisit this slasher, but history would have it otherwise. Today, however, the first film is like a bit of Deja vu, a strange sense of Ash having two hands, of not making fun of the Necronomicon yet, because this is the actual first encounter with evil. And, of course, Bruce is still a young innocent man here. It's interesting, but other parts of the Evil Dead phenomenon have more charm for me. (02/20/2019)

On the one hand, it is perhaps too frantic and prolonged by several unnecessarily long scenes of destroying "friends", yet on the other hand, it is definitely imaginative, playful, solidly suspenseful atmospheric fun. I saw Evil Dead for the first time today, so I really can't go on and on about nostalgia, VHS tapes and whatnot. But even so, the film has a kind of special charm that is hard to describe. I'm curious about the sequel. (07/27/2012)

To etch such an innovative notch in the annals of horror at 21 requires quite a lot of filmmaking talent, and Raimi here proves with every minute that he has more than plenty of it. The perspective shots and the visual tricks with the foggy environment in the first half generate an atmosphere that is thick as oatmeal (and also delivers rape-by-tree and the book of the death), while the great make-up and an endless dose of inventive camera movements in the second half hold the entertainment value at the highest level, even though the script is stuck in one place. The watering of the light-bulbs and the window projecting blood are immortal moments with deserved cult status. A simple premise exploited to the fullest with a very unorthodox and delicate climax – modern ghost stories can’t hold a candle to this. 80% (01/16/2019)

Crazy affair, changing from atmospheric horror to slasher to splatter finale, holds together only thanks to occasional crazy idea. Raimi delivers fresh ideas but lacks balance. Campbell has charisma, but others around him only fulfill the role of background. As for the suspense, the best for me was probably laughing Linda between the doors, the thought of which still makes me laugh and scared at the same time. But the highlight remains the last visit to the basement before Raimi unleashes his gallery of disgust. The atmosphere there is palpable. In the final evaluation, it is a weaker horror, where the viewer can fully enjoy grabbing different limbs and later their separation. And even though I enjoy being scared of what I can't see, it's disappointing when I don't find out anything at all. (03/22/2006)

If you watch it alone, The Evil Dead seems like a depressing horror movie about a descent into madness beyond the boundaries of rational certainties. In the cinema, those levels are still there, but the entertainment value of the whole work stands out more, and that includes the unintentional elements, from the characters and their behaviour to the film’s low-budget roots, which are evident in the out-of-focus shots, among other things. At the same time, however, Raimi’s talent and creative brilliance become fully apparent on the big screen. The Evil Dead is an essential entry among the legends of enthusiastic amateurs who simply got together with some friends, picked up a camera and shot a genre milestone that opened the door to the wide world of professional productions. But the reason that thousands of others set out on the same path but only a few filmmakers actually succeed in graduating to the Hollywood big league consists in the level of talent. It’s not about Raimi picking up a camera, but everything that he does with it and how. With deflected angles and exalted gestures, poses and precise framing, he not only displays his disposition for almost comic-bookish expressive visuality, but also perfectly draws attention away from the limitations of the production environment and fascinates viewers in every respect through intense scenes. (11/01/2022)