Regie:
Zach CreggerDrehbuch:
Zach CreggerKamera:
Zach KupersteinMusik:
Anna DrubichBesetzung:
Georgina Campbell, Bill Skarsgård, Justin Long, Jaymes Butler, Richard Brake, Kurt Braunohler, Kate Bosworth, Matthew Patrick Davis, Sara Paxton (mehr)Streaming (6)
Inhalte(1)
Traveling to Detroit for a job interview, a young woman books a rental home. But when she arrives late at night, she discovers that the house is double booked and a strange man is already staying there. Against her better judgement, she decides to spend the evening, but soon discovers that there’s a lot more to fear than just an unexpected house guest (20th Century Studios)
(mehr)Kritiken (12)
Es ist prima, dass Disney+ den Mythos eines Familien-Video-on-Demand-Dienstes zerstört und Premieren von interessanten Horrorfilmen anbietet. Mit Barbarian ist aber zu viel Hype verbunden. Dem Drehbuchautor und Regisseur Zach Cregger macht es Spaß, mit der Form zu spielen. Im ersten Drittel hat der Film eine solide Steigerung der Spannung aus dem Unbekannten. Wenn aber später das Geheimnis enthüllt wird, kommt auch die Schwäche des Films zum Vorschein, und zwar das bloße Ausleihen von Schlüsselelementen aus bahnbrechenden Werken des Genres. Im Finale wirkt Barbarian wie eine ungewollte Selbstparodie. Dabei denkt er, dass er cool ist. Diesen Film hätte ein origineller Fleischer drehen sollen, idealerweise mit europäischen Wurzeln, der keine Angst gehabt hätte, auch das Potenzial des grausamen Inhaltes der Videokassetten zu nutzen.
()
Das geschlossene erste Drittel mit dem tollen Bill ist super, das zweite hat eine unerwartete komödiantische Kante (in dem Moment, als aus dem Jump-Scare eine Reality-Farce wurde, habe ich laut gelacht), das dritte Drittel ist ein Gulasch mit fünf Knödeln, aber… Die originelle Kombination aus einem inversen Home-Invasion-Film, einer Laktationsanleitung, einem snuff VHS-Sammeln, einem Drama über eine grausame Mutterschaft und einer schwarzen Komödie über MeToo hat mich drinnen gehalten. Auch wenn einige dramaturgische Entscheidungen sehr fragwürdig sind und der Film manchmal fast zerfällt. Der Film gehört zu den High-Concept-Horrorfilmen aus Detroit (erwähnenswert sind der ausgezeichnete Film Don't Breathe oder der allegorische Film It Follows, die Barbarian in manchen Hinsichten ähneln). In dieser Kategorie ist es ein wirklich gelungenes Werk. An einem Ort, wo die Gesellschaf zerfallen ist, gedeiht die Barbarei.
()
Es macht mich ein wenig traurig und vielleicht unfair, dass in den letzten Jahren eher Horrorfilme, die Genre-Tendenzen untergraben, satirisch sind und sich lustig machen, bevorzugte Zuschauerreaktionen erhalten, anstatt einigen ambitionierten, ernsthaften und atmosphärischen Horrorfilmen traditionellen Zuschnitts, deren Bewertung im besten Fall bei etwa 58% endet. Dennoch lässt sich nicht leugnen, dass gerade Barbarian in seiner Umstürzler-Mentalität und Überraschung hervorragend funktioniert.
()
Avoid spoilers, you really don't want to know which way the initially relatively simple looking premise will go. Just the few reviews posted here now would have easily ruined the experience for me. Barbarian is a dream horror debut, the best and least predictable genre film in years, and Zach Cregger is the one Hollywood producers should be fighting over right now. Anyway, without spoilers, it's very hard to talk about this film, so I'll perhaps just give a very tentative indication that it's divided in three parts. The first one overflows with tension and culminates in a heart attack and fucking scary sequence. The second part lightens the tone, but the humour is not intrusive, rather it comes from the fact that the focus shifts to the funny character. The third part is a horror ride with a dash of gore. The overall plot is perhaps a bit wild in the end, you have to work a bit to "believe", but that is the only complaint I can have about this revelation. The sound is worth a special mention – I don't usually pay much attention to it, but Barbarian is really beautifully scored, it's almost ear-piercing.
()
Sometimes, you can tell within the first five minutes of a horror movie that, despite its seemingly classic slasher premise, there's something different about it. Barbarian is that kind of different — in the best way. It's visually refined, atmospheric, and incredibly suspenseful. Even when it inevitably veers into entertaining absurdity, it keeps you thoroughly engaged the whole time. This is exactly how I imagine a well-made modern horror film.
()
A properly intense wild piece that reminds me of my favourite Ghostland. I'm glad to see that every year some talented and unknown horror filmmaker comes along to satisfy our needs for years to come. Zach Cregger has made a very good horror film that can't leave anyone downright cold. Barbarian has perfect craftsmanship (the sound and cinematography are of Wan's caliber). Georgina Campbell and Bill Skarsgård are both perfect (Justin Long a little less so, but it’s alright). The opening is a little slower, but once the action moves to the basement, it starts a hell of an uncomfortable, chilling and intense horror with a very uncomfortable and claustrophobic setting, a properly creepy villain – the best one so far in five years. The film also emphatically emphasizes the rational behavior of the characters, which is a very nice touch. It also manages to pleasantly and unpleasantly surprise the viewer on several occasions, the mystery and thick atmosphere works as well as the fear of the unknown. There were a few heart-attack-inducing jump-scares and of course there was gore – basically, everything we want to see in this genre. I'm giving a standing ovation, tearing my hair out and roaring HELL YEA!. Anyone who is going to be mad at this movie, I'm going to be mad at them. 9/10.
()
Ignorance truly is bliss. Rarely today do I go to the movies blind, without the slightest knowledge of the premise or the cast. With Barbarian this was a double advantage because the question marks started piling up right from the first few minutes. It's a shame that the opening act is by far the best. Every little twist brings about a first-class thrill, and the last two minutes had me glued so tightly that I almost couldn't bear it. Unfortunately, the second and third acts, when compared directly, are a diluted, subversively told fairy tale that becomes weaker the clearer the who, what, and how become. When even the appealingly rational rules are violated in the finale, and the showdown begins so abruptly that I had to make sure I didn't accidentally skip fifteen minutes of runtime, it seemed almost a pity if you consider the massive yet rather quickly blown potential.
()
I can't deny the film's style, ideas and the great feeling of the unknown I had while watching it. Unfortunately, I have to criticize it for being terribly, terribly long, and the longer it gets, the more bloated and annoying it seems to me. And considering the way it's written, I think it would work much better as a series. At least for me.
()
Actually, probably the best #MeToo thing yet. It is not uncompromising, but it’s definitely unpredictable and it uses its genre playfully for strong thematization. A thrilling horror film with heart, surprises and a message... 85 %
()
Detroit's urban decay alone is haunting enough without the need for boogiemen, monsters, or mutants to spice things up. Yet, that's exactly where this film takes us. Surprisingly, it's not about the inhabitants of the city, human or otherwise, but rather centers around a single house. In that regard, the movie had promise, weaving together three distinct storylines. However, the monster itself was pretty underwhelming. It's the kind of thing that might leave the average American reaching for the ammonia, but for me, it just felt like a letdown. I couldn't help but think, "Really?" I was disappointed that the three narratives didn't intertwine in a more inventive manner. There was potential here, but it felt like the creators took the easy route. And as we all know, the path of least resistance seldom leads to greatness. It's a shame because this film had all the makings of thriller with potential. But when Justin Long popped up on screen, I had a sinking feeling. You know the drill - Jeepers Creepers, Tusk... / Lesson learned: Unpleasant places might seem cozier in the dark. 3*+
()
What was that? :D I recommend not researching the film before watching it, because the number of twists is unexpected. The film is divided into three distinct chapters. The clear winner among them is definitely the first one... Combining a rundown house in a grim part of Detroit with Bill Skarsgård looks impressive even on paper. I thoroughly enjoyed the atmosphere in this segment. And the twist at the end hit me like a rag doll. Unfortunately, the pace doesn’t hold up. With the arrival of Justin Long, the film started to lose some of its appeal. It also tried to shock the audience in every possible way. I don’t want to sound biased, but towards the end, it veered more into slapstick territory. And the ending topped it all off. If it had maintained the pure horror aspect of the first third, I would have enjoyed it more. For me, it’s 6/10.
()
Unfortunately, the decently constructed atmospherics of the first half are interspersed with utterly unbelievable screenwriting wanking, which brings unintentionally charming comedic touches (Justin Long with the wind-up tape measure is a bit of a personal highlight for me). The exterior scenes are reminiscent of It Follows in their aesthetic, and the whole thing actually flows and looks pretty good, but in the end it's unbelievable crap that barely pulls off 3 stars. Good enough for one-time viewing, but as a genre film it's just god-awful average. [60%]
()
Werbung