Martyn loves Sam Raimi's return to his horror roots with DRAG ME TO HELL!
OWF would like to introduce Martyn Conterio to the staff with one helluva debut review... It almost felt like a secret. The instructions, clear: arrive at the location; at the specific timecome alone. The chance to see an early, unfinished cut of Sam Raimis new film Drag Me To Hell in the bowels of a Soho screening room, months before general release, was too great an opportunity to miss. Sat in the dark, eyes wide, as the films title filled the screen and ghost train-like music played, the level of expectation and anticipation recalled the joys and fears of watching the Evil Dead trilogy - feelings bound to be replicated amongst audiences when the film hits cinema screens later in the year. Raimis career over the past 15 years has been interesting to say the least. Its been less interesting for his many horror fans thoughFor Love of the Game, anybody? Consistent work in a variety of genres in film and television over the past twenty-five years has bestowed upon Raimi a great privilege - he is a director with legions of fans (known as Deadites). Having directed the Evil Dead films and become the poster boy for the Video Nasty scare in the 1980s, it seems almost perverse that he went on to helm one of the biggest cinema franchises ever with the Spider-Man films. Drag Me To Hell, as the title denotes, and audiences can expect, his Sam Raimis glorious return to his infamous horror roots. More explicitly, Raimi has delivered his best horror film since Evil Dead II and his best film since 1998s crime drama A Simple Plan. And like his 1980s splatter classic, Drag Me To Hell, is both horrific and hilarious in equal measure. 
The screenplay, by Raimi and his brother Ivan Raimi, explores the moral dilemma and supernatural repercussions dealt to an underappreciated bank clerk Christine Brown (Alison Lohman), who in desperate bid to win a promotion at work, is cursed by an old gypsy after she refuses the old crone an extension on her bank loan. It is an interesting approach, and the moralistic tone perhaps a remnant of Raimis time on the Spider-Man films. The machinations of the plot allows for several peripheral characters to share in Christines plight; her boyfriend Clay (Justin Long) and a seer, Rham Jas (Dileep Rhao), support her attempts to avoid eternal damnation using all manner of potions, rituals and incantations including one delightful scene involving her pet cat and a book entitled Animal Sacrifices in the Service of Deities. As I noted earlier, in recent years, it seems Raimis more zanier cinematic sensibilities have been stifled by Hollywood. Drag Me To Hell is not only a return to form after the disappointment of Spider-Man 3 - it also goes full throttle with Raimis trademark see-saw camera style and crash zooms, alongside moments of complete horror madness. It is quite simply a joy to watch and recalls why Sam Raimi was such a cult filmmaker in the first place. Drag Me To Hell takes glee in its constant attempts to frighten at almost the same time as it tries for belly laughs. Raimi has referred to his film as a spook-a-blast. It is a term that serves the film very well. Unlike his earlier work however, the film is full of CGI effects (incomplete at the time of the screening) that offers the audience a vision of Hell and demonic forces that is pure Catholic fire and brimstone. 
The films set pieces are as out-there as anything Raimi served up in the Evil Dead series - one highlight involves the lead character suffering a nosebleed in her workplace that resembles a biblical flood. Another brilliant sequence is a car park smackdown that delivers chills and gasps as well as chuckles. One moment did rankle as it lead the film into an absurdity too far. As Christine attends the gypsys funeral, the casket collapses on top of her and litres of embalming fluid pours all over her face and body. Intended purely for laughs, it didnt work as well as might have been designed. Another scene in a garage involving a huge anvil had a similar effect. These are minor grumbles in an otherwise excellent film. Indeed, the proliferation of blood, snot, embalming fluid and slime would be rather puerile if it was not delivered with such wit and knowing irony. Raimi serves up a masterful banquet of outrageous and inventive mayhem. There are also several nods to the Evil Dead films, and the more alert fans will no doubt enjoy looking out for the occasional visual homage and sly dialogue including references to log cabins and trees. It is great to see Sam Raimi going home to the genre that made his name - it has been a long time coming. Drag Me To Hell revels in what Raimi does best: horror with a wicked sense of humour that is high on splatter and slapstick, and still delivering genuine scares. With game performances from the cast and with its tongue firmly in its cheek, Drag Me To Hell is Raimi reconnecting with his cult horror roots. A final, twisted scene that also suggests the potential for a new Raimi film mythology. Groovy.