Film Reviews

Drag Me To Hell

Sam Raimi has had his fair share of cock-ups in horror films recently. The Grudge, The Boogeyman and The Messengers being prime examples, however it is in Drag Me To Hell that he makes his triumphant return to the genre that he defined. The plot revolves around Christine Brown (Alison Lohman), an up and coming banker with a bright future. Until she gets on the wrong side of an old gypsy and has an ancient curse bestowed upon her, this is when her life is thrown into a world of torment and the promise of spending eternity in hell.

Now we have the perfect formula for a good horror film, an unbelievable plot, shock opportunities and plenty of sidesplitting moments. Drag Me To Hell certainly fills the gap that’s been missing in cinema for the past 20 years. Shot on a presumably high budget it still has the look and feel of an independent, cheap horror film, reminiscent of Evil Dead.

Sam even returns to some of the techniques he used in Evil Dead, using the trademark “deadite” voice for a possessed servant, as well as including laughing household objects. Comedy aside, Drag Me To Hell has its genuinely scary parts, the tense sections will keep you on the edge of your seat, and the jolty bits will get you jumping right out of it.

I really don’t want to ruin the plot of the film for you because there are so many twists and turns you need to experience it first hand. My only criticism for it is the end genuinely lagged on, about 20 minutes before the actual ending they could have wrapped everything up and had a good, well rounded conclusion, unfortunately this was not the case and I was sat looking at my watch thinking how pointless the last part is.

Nonetheless Drag Me To Hell is probably one of the best horror films of the last decade, possibly even the last 2. Sam has done himself proud by creating another film that defines its genus, something that will solidify his cult following. If you want an experience that is genuinely scary, yet equally hilarious then this is definitely worth your money.

Jonathan Teggert