This movie is available on Netflix as Demon Inside (for those curious). I've always been a person who believes that there are many unexplained mysteries of this world. As an atheist, I'm a firm believer in science and the answers its research can provide us. But, as I mentioned, there are many things we cannot explain. I've never been a superstitious man, so I've never once believed in psychics or clairvoyants. I mean, as an example of this, there was this octopus that used to predict the result of high-profile soccer games. According to people who monitored his predictions, he got about 86% of them correct. And I don't believe, for one second whatsoever, that this octopus had any clairvoyant skills. If I were to make 1000 predictions, all of them completely different from one another, I'm sure that I'd get more than a few of them correct. That doesn't mean that I'm some sort of psychic. But I digress, that's just a bit of backstory on why I don't believe in this sort of thing. Moving on to this flick. This is one of those where I wish I could give quarter ratings, because I just don't know what to make of this movie. It's certainly better than 2.5 stars, but I don't know if I would feel exactly comfortable giving it 3. I believe that part of the reason I don't feel comfortable giving this 3 stars is the fact that there's something awfully familiar about this. I know I've never seen it before because, if I did, I certainly would have reviewed it back then. And I don't even think the familiarity has anything to do with it. I see a lot of movies that share similarities, whether it's stylistic or settings-wise, and I've enjoyed them aplenty. Marta, a clairvoyant who reads tarot cards for a living, after a particularly violent rape, and a stay in an asylum subsequent to the rape, moves in to an dilapidated apartment building owned by her friend's uncle. Marta, very naturally and understandably, suffers from agoraphobia and is doing her damnedest to stay away from the man who raped her, whom she believes to be in jail. While staying in this apartment Marta, who's been able to see dead people since her childhood and has then attempted to help any way she can, starts experiencing strange things and images of someone's death and blood all over her bathroom wall. This leads her to believe that the previous tenant, another woman, was murdered in her apartment. And all the signs seem to point at her next-door neighbor, who's clearly got some anger issues and is prone to violence. This leads Marta to install cameras in her house pointing to the hallway outside her door, in her bedroom, in her living room, etc. just to see if she can find out what's going on and if her neighbor has any plans to fuck her up. All the while she also deals with worrying that her rapist, who was actually released, has been looking at her from outside her apartment. I will say that the movie has some really cool scenes. I wouldn't say they're scary, but they do a good job at setting up a tense tone where you don't know whether to trust Marta's mind and what exactly is going around her. Marta is trying to find out who the person was that died in her apartment to, hopefully, provide her with the help she needs to move on to the 'other side' or something. Naturally speaking, there's a twist here and it's not difficult to figure out once you find out one of the major questions the film doesn't answer. The best possible thing they did is to not dwell on it or else it would have totally given away what they wanted to be a big 'twist' at the end. It's a good twist, I think it fits given everything that the movie established, so I have no complaints about it whatsoever. I will say that the third act of the movie, while it did have to be violent given what you had seen prior to that, I think, is too violent. This is coming from someone who loved The Void, and that may be one of the more violent and goriest films of the year. But it's all about the context, The Void, being a cosmic body horror film, needed that gore and that violence. I don't think this movie needed it and, honestly, giving it to us felt like taking the cheap way out. It's not that it's bad, but it just doesn't really fit in with the rest of the movie. And, again, the film teased this violent end, for sure, but it still felt really out of place. Particularly everything that we had already seen Marta go through. But that's neither here nor there. Paz Vega is very good in her role, so I can't complain about the acting at all. While I did, in the end, give this 2.5 stars, I think it's a movie that I liked more than the score would imply. It has its flaws, for sure, and I can't overlook them, but I thought there was more than enough to make this more than watchable. I wouldn't give it a wholehearted recommendation, but it's a fine diversion if you've got 90 minutes to kill.
El thriller protagonizado por Paz Vega es un predecible cuento de horror que se cuelga de lo más básico del género: ruidos sorpresivos y visiones sangrientas.
- Título original: Espectro
- Año: 2013
- Director: Alfonso Pineda Ulloa (Restos)
- Actores: Paz Vega, Alfonso Herrera, Maya Zapata
- Fecha de estreno: 1o de noviembre de 2013
Espectro, el thriller psicológico del director Alfonso Pineda (Amor, dolor y viceversa), protagonizado por Paz Vega y Alfonso Herrera, ofrece un vistazo a lo que podría ser un caso de estrés postraumático paranormal, con una historia que de repente te hace dar saltitos en el asiento, pero nada más.
Tras ser víctima de una violación, la vidente andaluza Marta (Paz Vega) cae en una crisis emocional que la lleva a desconfiar de sus poderes psíquicos. Los recuerdos del violento episodio la atormentan mientras se aísla en su nuevo departamento, dentro del misterioso y antiguo Edificio Victoria. Con su atacante suelto, una vecina con problemas de ira y su extraña conexión con otras dimensiones, Marta oscila entre la ansiedad y la paranoia, con su mejor amiga como único contacto con el mundo exterior.
A excepción de los primeros momentos de la película y de los flashbacks, la mayor parte de la acción sucede dentro del departamento: un lugar lleno de ecos sangrientos que, según la fórmula característica de las cintas de suspenso, apuntan hacia una terrible realidad por descubrir. Sin embargo, el problema de Espectro es que dicho secreto se vuelve evidente demasiado pronto y los niveles de tensión comienzan a caer vertiginosamente hacia la mitad del argumento, con todo y las puertas que se abren solas, las luces que parpadean y las apariciones en el baño.
La creación de la atmósfera lúgubre y solitaria alrededor de Marta, como de alguien que se ha quedado atrapada en el purgatorio de su propio trauma, ayuda a mantener el interés, así como el uso de recursos narrativos que recuerdan vagamente a Actividad paranormal. El director utiliza los puntos de vista de las distintas cámaras de seguridad, instaladas por el personaje de Marta, para sumergir al espectador en un sombrío monitoreo de la casa, acentuando un poco más la sensación de paranoia y ansiedad.
El guión, esquemático y predecible, sale del departamento de vez en cuando, para narrar un episodio de la infancia de Marta. Esta historia paralela revela algunos antecedentes de sus dones paranormales, pero termina por distraer y no alcanza a conectarse del todo con la trama principal. El exceso de explicaciones y de “pistas” sobre lo que sucederá hace de este filme un reiterativo cuento de horror, cuyas principales emociones dependen de lo más básico del género: ruidos sorpresivos y cuerpos ensangrentados.
Periodista, editora en Cine PREMIERE y bailarina frustrada en sus ratos libres. Gustosa del cine, la literatura, el tango, los datos inútiles y de la oportunidad de desvelarse haciendo lo que sea.