‘Corpse’ raises what could happen after the typical film of exorcisms. What happens if the devil does not just leave the body?
In his autobiography Born to Run , Bruce Springsteen defined depression as an evil that creeps all the time behind his guest, one that can jump to bite you when you least expect it because it is always there, crouching, waiting to attack without warning . In the recent (and excellent) series The Curse of Hill House , the spirit of a man with a bowler hat followed one of the brothers, an unredeemed drug addict, as the visual representation of a terrible addiction, a “ghost” that ends up defining a life whole
Well, something similar happens with the crackling corpse of Hannah Grace, implacable persecutor of the young protagonist of this Corpse , a finished ex-police, during an interminable night in the deposit of bodies of the hospital of Boston. Hannah Grace (played by slender Kirby Johnson) is more than just a posse zombie hunting victims. What one did not expect from the film directed by Diederik Van Rooijen is that, after the usual festival of scares, there was a subtext so appropriate, emotional and obvious about all those spirits that have no body (although here) but can bring down a life from its very foundations.
Corpse is a generic horror film with ups and downs, and certainly not a great movie. His taste for the atmosphere (the industrial design of the hospital, conceived on the basis of concrete blocks) and the metaphor have to coexist with his ordinary cast, worthy of Netflix film, and the poor effectiveness of an outcome that would have needed more pomp . But what at first seemed a clumsy and horrendous chapter of exorcisms (the original title of the film, The Possession of Hannah Rose , suggests it) soon changes subgenre and of course interests: in CorpseIn addition to the grateful exchange of resources, religion can not neutralize the threat, the demon that possesses the inert body of the girl has no name and the script does not decorate it with mythology either. What matters is what represents that fascinating and terrible image of the girl Hannah Grace, naked, sullied, dead but moderately covering her chest, definitely a monster without turning back, and her harassment of another “final girl” harassed by the same worldlings demons (call it alcohol, call it anxiety, call it trauma) that opened the doors of its darkness.
Identifying that, one forgives Cadáver his easy tricks, the scant interest of some solutions. After two useless prologues (that ruin some of the later turns of the film) this one manages to generate suspense during its central section with the help of a minimalist soundtrack by John Frizzell (remember this author his operatic music for Alien: Resurrección , memorable as few) and a greater interest in suspense than in the coup d’état. His narrative maneuver, in the background, is fun and does not deceive anyone: like Sanguinario, that first Halloween sequel now erased from the map by the last installment, what is proposed is to narrate what happened after the movie of possessions and exorcisms that is settled in the first sequence of the film. And what happens takes place in a hospital, the last stop of the body without life that wants to take the fire of hell to a handful of more alive. Corpse is a horror film that meets its “target” adolescent, but has a couple of other virtues, including the visualization of a monster more human than supernatural that works really well.