Netflix’s haunted house thriller No one goes out alive Attempts to turn the fear of undocumented immigrants into shocking fear, but the kick-off scene reflects all the ways these goals have not been achieved. A woman was talking on the phone with her brother, sitting in a dark green living room, and the storm was raging outside. On television, a news program showed that undocumented immigrants were arrested by the Border Patrol. The sound of wet footsteps spread across the floor, and then the power source disappeared. She saw a box at the end of the hall and was suddenly attacked by a ghost with glowing eyes.
This is the opening of a standard horror movie, which aims to explain the rules of this world. If it is not so disconnected from the rest of the movie, then this sequence will work. Because for the next 85 minutes, the ghost will not execute in this way. Haunted boxes will not act in a similar way. The theme of immigration will be as remote as the TV screen. The movie takes place in a four-story Victorian dilapidated house that will be as common as other houses. We never heard any news about that character again.
Adapted from Adam Neville’s 2014 horror novel, written by Jon Croker and Fernanda Coppel and directed by Santiago Menghini, No one goes out alive It is a desperate attempt to explore the immigration crisis through horror lenses. This is a wonderful film by Remy Wicks His house. But Mengini’s movie is a hodgepodge of empty panic.
Considering the interesting premise, this is a shame. Ambar (a mediocre Christina Rodello) has just arrived in the United States from Mexico after taking care of her sick mother for a few years. Now she is seeking a degree in business management in the United States. Her wealthy and estranged uncle (David Barrera) even arranged a job interview for her. But she has one obstacle: She hides behind the truck and does not have an ID card. Without one, she could not be interviewed. She also cannot live in the motel where she rents the room because the owner now needs proof of identity. While working as a tailor in an illegal sweatshop to make money, she saw an advertisement for cheap rooms in a place called Schofield Heights.
Victorian houses are not uniquely designed. Cinematographer Stephen Murphy’s blue-green lighting is combined with turquoise wallpaper and excessive leather chairs to give this movie a steampunk aesthetic. The basement of the building made creaking and strange noises, but the landlord Reid (Marc Menchaca) did not want anyone to check the situation there. There is still green dust on the wall. The only uniquely designed room in the home is the study: the walls there are decorated with three-dimensional models of the Beatles, butterflies and skulls. A tape about the killing of ancient rituals plays in a loop. Something completely normal.
Part of the film’s minor problems stems from the adaptation. Fans of this book will notice major changes. For example, Neville’s novel focuses on a lonely woman named Stephanie, who is tired of temporary work and living in terrible housing. In their iterations, Kroc and Koper recast Stephanie as Anbar, and they live in this house with other immigrant women, such as the rare Freya (Vara Noren) and two Romanian sex workers named Maria and Petra. But the writers did not reform these women enough to sort out the deeper themes they wish to explore. Although the novel struggles with poverty, this version uses Anbar’s economic disadvantage as her motivation to enter the country, but once she arrives, the idea has no other effect.
compared to His house arrive No one goes out aliveThe obsolete elements of this movie are obvious. Like the two protagonists in the Wicks Haunted Mansion movie, Anbar is tortured by the guilt of the survivors. Every night, she listens to the voice mail of her late mother and dreams of spending days with her in the hospital. Neither her grief nor the regret of shelving her life to take care of her mother have been reflected. Outside of the scene where Anbar saw the police in the restaurant, the hostility of the outside world towards immigrants did not show up.
Cultural images have not surfaced as they did in the past His house, anyone. At the beginning of the film, Menghini introduced the Super 8 sequence in which Professor Aurhur Welles pulled out a mysterious crate from a hole in the ground in Mexico in 1963. Ambar often dreams of this crate and the puzzling creatures living in it.Where His house Shocking use of African folklore, references from the pre-Columbian period No one goes out alive Barely higher than accidental.
In addition to the actual effects of the creepy costumes and impressive glowing eyes, the ghosts living in Victorian houses also become meaningless. They do not attack Anbar. Instead, she witnessed how they died in the hands of a woman. Since the movie starts with ghosts attacking women, and it is clear that gender is not the issue they are targeting, it is strange that there is no explanation of how or why Anbar stays the same. On the contrary, the main threat to her seems to be Reid’s brother Becker (played by David Figlioli), a large group of people marked by Reid as mentally abnormal.
Ghosts represent many ways No one goes out alive Break your own rules. When this mysterious creature appeared on the screen, Montgini described it as a beast that kept the victim to sleep, and the one they loved was a phantom that the beast used to coax them into complacency. The restless state allows the colorful demon to behead its prey. However, in the ending scene featuring a lot of blood and revenge, the creature did not perform any such so-called killing rituals.
No one goes out alive It will not transform the premise of the haunted house, nor will it use its familiar structure to further scare people. It also did not use the theme of immigration to create panic or compelling comments. On the contrary, Menghini’s vision is a dull journey that suffers from uneven writing. The looseness of the immigration theme is frustrating, because horror often makes viewers rethink their misunderstandings and see the truest human nature of people. At a time when immigration is still a hot topic, and the dehumanization of immigration continues to exist on a global scale, the film not only does not provide the necessary panic, but also hardly reshapes the dialogue or provides any meaningful empathy or insight.
No one goes out alive Now streaming on Netflix.