赛伦的领主
2024-08-10 19:47:51
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《塞拉的领主》剧照(4张)小镇上一个当地的DJ错误的释放了一个地狱般的诅咒,原来三百年前在塞拉镇上的乡民每天走着的这条街道,曾经聚集了无辜的人们,他们因为身为女巫而被判有罪并且将执行死刑 这就是塞拉的领主在塞拉实行的铁腕手段,但是四个女巫在被拷打和杀害时秘密发誓,总有一天他们会回来报仇的 然而故事的结局会如何呢 雪莉·穆恩·赞比Heidi Hawthorne梅格·福斯特Margaret Morgan布鲁斯·戴维森Francis Matthias杰弗里·丹尼尔·菲利普斯Herman 'Whitey' Salvador朱迪·吉森Lacy DoyleHerman JacksonHerman Jackson玛利亚·康柯塔·阿隆索——玛利亚·奥尔森Dream Sequence Woman罗布·赞比罗布·赞比参考资料影评:“哗啦”之后便是死寂原本只打算写一下有关《塞拉的领主》新版《疯子》的叠加评论,但发现心中对哗啦帮这个非官方美式惊悚恐怖片团体有着些许感想,便在此一并道个痛快 初中是我最迷恋哗啦帮恐怖片的时期,从《电锯惊魂》系列开始,《人皮客栈》系列、《千尸屋》系列、《隔山有眼》系列、《尸骨无存》、《死寂》、《狼溪》、《黑暗侵袭》,部部没有错过,其成员也成了我真正迷恋的第一批恐怖片导演,本土的“电锯铁三角”(詹姆斯温、雷沃纳尔、达伦林恩鲍斯曼)、“昆汀教徒”伊莱罗斯、“摇滚梦魇”罗布僵尸,再加上编外的亚历山大阿嘉、尼尔马歇尔、克瑞格麦克莱恩,当时完全为这批酷到家的以“拍摄残酷的恐怖电影”为宗旨的青年才俊所折服 后来,升入高中,看电影的时间少得可怜,渐渐也与哗啦帮有了时间上的距离 升入大学,才开始恶补错过的哗啦帮电影,却发现一切早已物是人非,喧哗过后只剩下了沉寂来供人回味 先说我最中意的伊莱罗斯,被塔伦蒂诺称作“恐怖片的未来”的他显然没把这句夸赞当回事 罗斯似乎对导演这一行失去了兴趣,《铁杉树丛》的焦躁平庸很难让人想象导演还是那个拍出过《尸骨无存》和《人皮客栈》的恐怖新贵 他对演员和制片颇为投入,但似乎也是抱着过瘾的心态,除了《无耻混蛋》的脸谱化表演,更多的则是《死亡证据》与《食人鱼3D》中的酱油角色,而对待让其扬名立万的《人皮客栈》,自己也是不负责任的交由别人胡乱搞出了部不三不四的录像带第三集来应付影迷,制片方面,质量每况愈下的《最后一次驱魔》系列足以说明用心之浅,惋惜之余,只希望由罗斯制片并担任主演的《劫后余生》能为其扳回一城 罗布僵尸无疑是哗啦帮中最全能的一位,集哥特摇滚名家、地下漫画师、神秘主义信徒、死亡装置设计师与恐怖片导演多重身份于一身的他注定了自己的作品将是哗啦帮中最狂野诡异的 从《千尸屋》系列开始,便一直追看《万圣节》和鬼马的《鬼界超级混蛋》,其为《刑房》执导的伪预告片《纳粹女狼人》也刷了无数遍,但是看过《万圣节10》和最近的《塞拉的领主》后,我发现这个蓬头垢面的狂人似乎江郎才尽了 将杀人狂弄成僵尸的新版《万圣节》在此不多说,单说一下《塞拉的领主》 一如僵尸之前的电影,《塞拉的领主》里飘荡着刺耳的重金属摇滚,布满着恐怖的死亡符号与宗教亵渎,标准先锋MV风格的画面肮脏血腥,人物颓废,充斥着对黑白恐怖老片的迷恋,可以说是集齐了僵尸作品的面子,但是对于故事的里子,本片不仅剧本残缺,而且叙事缓慢,一切给风格让路,其后果便是影片的空洞与轻浮,要知道,《千尸屋》里可是看到了《德州电锯杀人狂》和《魔界奇谭》等多座大山的身影的 接下来说说自己最失望的达伦林恩鲍斯曼,脱离“电锯铁三角”的他可谓瞬间暴露了自身的各种不足 在将《电锯惊魂》引入死胡同后,自己走为上策搞出了一现代《洛基恐怖秀》——《遗传学歌剧》,可惜犯了与《塞拉的领主》同样的错误,所以,即使其中有莎拉布莱曼,也终归是一出浮夸的烂戏 接下来,无论是那部让人哭笑不得的《11-11-11》还是毫无新意的翻拍自特罗马经典的《母亲节》,都给人一种无力感 现如今,鲍斯曼已经沦入录像带恐怖片导演的行列,估计暂时翻身无望 说到鲍斯曼的翻拍,哗啦帮的“翻拍帝”亚历山大阿嘉不能不提,通过《高压电》一鸣惊人后,阿嘉先后通过《隔山有眼》和《鬼镜》等一系列翻拍作品逐渐确立了自己重塑经典的能手形象,但是,《食人鱼3D》反而让人啼笑皆非,阿嘉开始向主流妥协 长久以来只闻其声未闻其人的《哥普拉》,与“哈利波特”合作的《角》,阿嘉主观上早已经不属于恐怖惊悚电影,即使由其编剧的新版《疯子》在视觉角度的选取和血腥场面的营造上足够精巧而骇人,但这又与剧本有多少关系呢 同样被主流招安的还有尼尔马歇尔,在此不愿多提,《末日侵袭》完全是部动作冒险片,《百夫长》我完全是冲着法斯宾德而去看的 至于澳洲的克瑞格麦克凯恩,在那部平平淡淡的《逃离鳄鱼岛》后便几乎隐退了,10年担任制片的那部《红色山丘》除了为《敢死队3》苦苦物色导演人选的史泰龙外几乎无人问津 当然了,并不是说哗啦帮已经没有了精匠鬼才,詹姆斯温与雷沃纳尔这对组合依然在“后电锯时代”为影迷保质保量的呈献出一部部精品,但是现如今美式恐怖片的衰弱大势并不是一部《死寂》或是《阴儿房》就可以力挽狂澜的,只希望《招魂》能够继续保留那最后的一缕微光,以便在将来还能再次照亮以哗啦帮成员为代表的新生代美式恐怖电影人的创作之路,即使这看起来有点理想主义的想象,有点自欺欺人的忧伤
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