Regie:
Robert ZemeckisDrehbuch:
Clark GreggKamera:
Don BurgessMusik:
Alan SilvestriBesetzung:
Harrison Ford, Michelle Pfeiffer, Diana Scarwid, Joe Morton, James Remar, Miranda Otto, Katharine Towne, Ray Baker, Wendy Crewson, Jennifer Tung (mehr)Streaming (4)
Inhalte(1)
Claire und Norman Spencer führen eine glückliche Ehe. Dass Norman, ein berühmter Wissenschaftler, vor einem Jahr eine Affäre mit der attraktiven Studentin Madison gehabt hat, weiß seine Frau nicht. Oder zumindest nicht mehr. Denn kurz nachdem sie die beiden in flagranti ertappt hatte, erlitt Claire einen schweren Unfall und verlor das Gedächtnis. Doch dann geschehen im Haus plötzlich merkwürdige Dinge - Türen öffnen sich von selbst, Badewannen füllen sich mit Wasser. Als Claire Visionen von einer toten Frau hat, erklärt ihr Mann sie für verrückt und schickt sie zu Dr. Drayton, einem Psychiater. Trotzdem werden die Erscheinungen immer eindringlicher. Langsam beginnt Claire die fürchterliche Wahrheit zu ahnen ... (Verleiher-Text)
(mehr)Kritiken (9)
The most entertaining thing about Zemeckis is that you never know if his next work will receive the loudest applause and enchant the viewer with perfect filmmaking or if he will embarrass himself in a genre shootout and suddenly lose the respect of his fans with a gaping flaw. A horror without atmosphere, with an unfinished twist ending and several rather disturbing jump scares. Everything here is for the sake of effect, and unfortunately, completely out of place.
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Die Regie von Robert Zemeckis ist handwerklich gesehen gut. Das Drehbuch ist aber ein unglaublich abgedroschenes Thriller-Klischee. Ich habe meinen Augen nicht getraut! Und Silvestri kopiert Herrmanns Musik aus Psycho. Das kann doch wohl nicht wahr sein! Silvestri und Zemeckis wollten Schatten der Wahrheit als Hommage an den beliebten Hitchcock gestalten. Sie haben aber vergessen, was der Unterschied zwischen einer Hommage und einem billigen Kopieren ist. Eine Schande.
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I saw it in the darkness of an empty cinema, and I was scared. The last time something like this happened was two years ago with Raimi's The Gift. Zemeckis is a great director who plays with the viewer like a cat with a mouse and although I don't like ghost stories, I enjoyed this likeable horror film, including the final half hour, which blew me away. Just when you expected the climax, there was another and another, and surprisingly I didn't feel like I was being set up at all. Whether it's an homage to Hitchcock, or a rip-off of Hitchcock and all that blah blah blah, I don't care. PS: Years later I watched it a second time and it didn't have the same power. But still, very good job Mr Zemeckis!
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A solid thriller with good actors, decent direction, a rather underwhelming script and an excessive running time. Average to watch once.
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This decent but overly routine thriller relies on a quality star cast led by Harrison Ford and the professional, experience-backed direction of Robert Zemeckis. It's good entertainment for one viewing, but I don't feel the need to revisit this film. In this case, I also disliked the combination of the criminal case with paranormal elements. Overall impression with narrowed eyes: 70%.
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Truly a high-quality surprise. Harrison Ford and Michelle Pfeiffer fit together amazingly, and the intimate horror genre suits them well. The transformation of both is a delightful pleasure. I still remember them as a cinema novelty.
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The script is slightly clichéd, but the atmosphere was palpable and the music was excellent. So what if any decent filmmaker can shoot something like this just as well or better than Robert Zemeckis?
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Unlike the rest of the world, on the other hand, I enjoyed the ending, where the film suddenly started acting like the delivery room attendant in a Monty Python sketch who brought in the most expensive machines for the sake of the visiting boss. After all, shelling out 100 million (about the budget of one LOTR installment) to have the camera drive around an overacting Pfeiffer crawling around the house isn't the best way to disguise the fact that we're watching a film that was made primarily as a fat paycheck for the cast, because otherwise there's not much reason for it to cost that much. I remind you that Contact, three years older, cost 90 mil and Forrest Gump, six years older, cost 55. Somehow, that's how millionaire hubris oozes from this movie. And unfortunately I don't have the ability to connect with a spoiled middle-class housewife who drags herself around the really hideous white interior of a giant house and makes gift baskets in her spare time. I'd give the film a Best Bathtub Scene award, although maybe not so much.
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What Lies Beneath is Robert Zemeckis' first foray into horror that isn't comedic but is taken seriously. It's evident that he's capable of taking the basic building blocks of the contemporary horror genre and creating a scare scene, but it just didn't feel right to me; it felt contrived and didn't work as well as the creators might have hoped. The effort was good, but the result didn't impress that much.
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