The original 1973 version of Do not be afraid of the dark, is almost legendary in the annals of horror in terrifying a generation of children that ended on TV. One can only imagine what kind of trauma, the new stage version can inspire the public preteen, like his protagonist, unlike his predecessor, is actually a child.
In reimagining the story of this new movie (opening August 26 films District), co-writer and co-producer Guillermo del Toro has replaced the neurotic housewife played by Kim Darby with a little girl, portrayed by successful young actress Bailee Madison. She is still named Sally and still move into a new house, but it is the atmosphere considerably larger and more Victorian is located in Rhode Island, the birthplace of the invisible horrors generated by the spirit of HP Lovecraft . There are terrible things, horrible things also lurk in the shadows at Blackwood Manor, where Sally now shares with his divorced father, Alex (Guy Pearce) and his new girlfriend (named Kim, in a nice touch, and played by Katie Holmes), and while their form is not revealed in a while, we get a good taste of bad behavior, they can inspire in a twist, ambient prologue.
Del Toro, who scripted not to be afraid with Matthew Robbins, Troy Nixey hit the designer directly on the basis of the much admired Latchkey short to complain, and is a good match for the Bull's concerns. Early scenes strongly reminiscent of Pan's Labyrinth, as the girl explores her new fantasy tinged with tints more sinister games Nixey remember because none of the creatures that inhabit this environment is pleasant. Again, the father figure is negative, but Alex is not a bad Vidal maze, but also consumed with the task of restoring the old place and make the cover of Architectural Digest. He does not believe claims that Sally has made new friends at Blackwood Manor, and criticism of his antics more destructive to his daughter rather than give credence to his claims about the real culprits.
Nixey effectively keeps the little creatures Offscreen for much of the travel time, all we see is their eyes shining in dark places or claws reaching through the bars, their presence is determined more by their murmurs on the soundtrack ( some of which del Toro himself). Unlike the hairy appropriate shrunken head teleflick gnomes, these "homunculi" came to be seen entirely through CGI, and even if they get their ugly close-ups, they are most effective when seen en masse in long shot, the spin-off and ran around furniture and floors (most skin crawlingly) in and out of bed Sally as vermin oversized. Further cementing not to be afraid of the darkness like a dark fairy tale, it turns out they have a particular interest, giving them a bad connection to an icon of early childhood.
When you create a new mythology and a reduction in perspective, to more accurately reflect his personal affairs, del Toro and co-operation. remain with respect to their source material, a series of TV films touchstones might be similar here. It is not the only way for the new film, while firmly established today than in the past, a lot do not be afraid of the dark, and almost completely, and some old-fashioned boundaries Blackwood Manor, is a way to bring the fear of ' times the price, and invest in the creative team have adapted to the climate, the graphic designer Oliver Stapleton light and dark, old-fashioned score by Marco Beltrami and Buck Sanders. The only drawback is the occasional appearance of archaic horror conventions, which could have been done without the "Why do not you leave?" Lucky moments, a figure that conveniently happens to be a expert in Blackwood Manor, former residents and their occult practices and beliefs.
Also provides a link to the screen of the story is old Australian Pro Jack Thompson (the film was lensed in Melbourne, without loss of identity American Gothic), bringing gruff authority to Harris, the ground clearance which warns Sally in vain not to explore parts of manor she has not. When she does her behavior does not seem ridiculous, given the compelling mix of loneliness and curiosity of Madison projects, with uncertainty about his family situation, the little monsters attack. Pearce is serious enough, when she distracted father, but (this may surprise some viewers) posted stronger than Kim Holmes, sharing palpable step-mother / daughter chemistry with Sally, which comes gradually to see Kim as a friend, confidential and protects.
Avoid slavish retread of its source material and revisionism free, do not be afraid of the dark is the kind of remake that results when a filmmaker expresses his love for an old movie by giving it a personal touch. It's also comfortably among the ranks of the precious and Redux in the filmography of Del Toro, while standing only as a means to provide a good case of creeps.
