“The Cellar” establishes a typical haunted signature, where the electricity flickers just before a power outage or the door squeaks for no visible reason. When Tom Commerford’s cinematography examines spider web-like horns and bad nothingness, the refurbished mood becomes thicker. It’s before children start reciting numbers patterns like evil math wizards. Commerford cleverly avoids architectural clues until the viewer ponders them, like ancient sayings above the entrance and etched symbols above the doorway. It’s not stupid enough to think that a new home away from the distractions of Keira and Brian is the sacred soil. However, the repulsive force is hidden by pacing, which emphasizes sustained tension rather than the fear of short bursts.
“The Cellar” is a festival flick that leans very enthusiastically towards Act 3, and it’s difficult because I have nothing to spoil. Elisha Cuthbert doubts the theory explaining their chick’s predicament, including help from a mathematician genius who can visualize numerical sequences after an unfortunate (well … lucky?) Car accident. It becomes the stereotype of. When the myth is unraveled out of control (good and evil), the rules of the haunted house become less stringent. This is because Cuthbert’s desperate performance is imposed on Eoin Macken as a voice of masculine reason. Their dramatic chemistry, along with Dylan Fitz Maurice Brady, who succumbed to the tactics of the house like another kid of corn, helps to bring any evil that tramples upstairs from the basement to the ground — and believe me. Please, it’s literally.
So I was forced to leave everything with a message of patience and fulfillment in favor of the “seller.” Brendan Maldney nails the eerie technical illustrations of the haunted house, but isn’t limited to another disposable possession or an enemy with a pale spectrum. Maldowney pulls from the depths of hell to create this fusion of devilish influences sketched around algebraic expressions like brainstormed Sam Raimi with your most disliked high school subject teacher. Elisha Cuthbert shines as a guilty-motivated patriarch in a stressful and invasive horror scenario (“House of Wax”, “Pow”), making another protagonist unbelievable. It reminds me that I am fighting an unholy code when I do. It’s a solid Friday night spook show with solid bones and a divisive finish — at least harmless horror entertainment that strives to be better than usual.
/ Movie rating: 7 out of 10
Those who say math is not scary [SXSW]
https://www.slashfilm.com/797362/the-cellar-review-who-says-math-cant-be-scary-sxsw/ Those who say math is not scary [SXSW]
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