13 Ghosts movie review & film summary (2001)

 "13 Ghosts" is the loudest movie since ''Armageddon.'' Blink frameworks attack the eyeballs while the theater trembles with accidents, bangs, shatters, screams, rumbles and roars. Ignore combating the ghosts; they should attack the sub-woofer.

The experience of watching the movie is literally unpleasant. It harms the eyes and ears. Aware that their tale was slim, that their personalities were constantly retracing the same ground and duplicating the same words, that the uneven modifying is aesthetically incoherent, perhaps the filmmakers thought if they shown up the quantity the target market may be tricked right into thinking that something was happening.

When the activity pauses enough time for us to see what's on the screen, we need to appreciate the art instructions, unique impacts, outfits and make-up. This is a movie that's all craft and little art. It mainly occurs inside a house that's among the best-looking scary sets I've seen, and the 12 ghosts appear like web pages from Hefty Steel, brought to grotesque life. (The 13th ghost is, of course, the key to the mystery.) The screenplay, inspired by the 1960 William Castle movie of the same name but written in an area all its own, involves dead Uncle Cyrus (F. Murray Abraham), whose investigates right into the occult consisted of a middle ages manuscript presumably determined by the evil one. He fallen leaves his house to his nephew Arthur (Tony Shalhoub), whose spouse has tragically died; Arthur relocate with his child Bobby (Alec Roberts), his child Kathy (Shannon Elizabeth) and Maggie the baby-sitter (Rah Digga). They're signed up with by a wise-cracking ghostbuster called Rafkin (Matthew Lillard) and Kalina (Embeth Davidtz), a paranormal that knows a great deal about Uncle Cyrus, his research, and how your home works.

And does it ever work. Outside steel panels slide backwards and forwards, exposing glass container-cages inside which hold the 12 invisible ghosts, which Cyrus needed in purchase to... oh, don't bother. What intrigues me is that this house, its shrieks of terror and its moving wall surfaces draw in no attention at all from the next-door neighbors, also late in the movie when really worrying points are happening. Perhaps the next-door neighbors read the screenplay.

The unbreakable glass cages, we learn, are etched with ''containment spells'' that maintain the ghosts inside. You can see the ghosts with unique glasses, which the actors is issued; when they see them, we see them, usually in shots so maddeningly short we do not obtain a great appearance. Our consolation, I guess, is that the actors has the glasses but we'll have the pause switch when ''13 Ghosts'' appears on DVD. The just switch this movie needs greater than pause is erase.

Your home, Kalina explains, is truly an infernal device: ''We remain in the center of a device designed by the evil one and powered by the dead.'' Equipments work and bars shatter backwards and forwards, looking truly cool, and wheels transform within wheels as it is exposed that the purpose of this machine is to open up the ''Oculorus Infernum.'' When a personality asks, ''What's that?'' the answer isn't helpful: ''It's Latin.'' Later on we learn it's the Eye of Heck, and... oh, don't bother.

If there are 12 ghosts there must, I suppose, be 12 control cages, but when little Bobby wanders off to the subterranean location with the cages, he obtains shed, and his dad, sibling, the baby-sitter, the psychic and the ghostbuster roam endlessly backwards and forwards what must coincide couple of corridors, yelling ''Bobby! Bobby?'' so very, very, very often times that I wanted to applaud when Rafkin finally said what we had all been thinking: ''Screw the youngster! We gotta leave this cellar!'' The manufacturing is first-rate; the execs consisted of Joel Silver and Robert Zemeckis. The physical appearance of the picture is remarkable. The screenplay is dead on arrival. The sound degree is torture. I hope "13 Ghosts" plays mainly at multiplexes, because it is the type of movie you want to watch from the next theater.

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13 Ghosts movie review & film summary (2001)

 "13 Ghosts" is the loudest movie since ''Armageddon.'' Blink frameworks attack the eyeballs while the theater trembles with accidents, bangs, shatters, screams, rumbles and roars. Ignore combating the ghosts; they should attack the sub-woofer.

The experience of watching the movie is literally unpleasant. It harms the eyes and ears. Aware that their tale was slim, that their personalities were constantly retracing the same ground and duplicating the same words, that the uneven modifying is aesthetically incoherent, perhaps the filmmakers thought if they shown up the quantity the target market may be tricked right into thinking that something was happening.

When the activity pauses enough time for us to see what's on the screen, we need to appreciate the art instructions, unique impacts, outfits and make-up. This is a movie that's all craft and little art. It mainly occurs inside a house that's among the best-looking scary sets I've seen, and the 12 ghosts appear like web pages from Hefty Steel, brought to grotesque life. (The 13th ghost is, of course, the key to the mystery.) The screenplay, inspired by the 1960 William Castle movie of the same name but written in an area all its own, involves dead Uncle Cyrus (F. Murray Abraham), whose investigates right into the occult consisted of a middle ages manuscript presumably determined by the evil one. He fallen leaves his house to his nephew Arthur (Tony Shalhoub), whose spouse has tragically died; Arthur relocate with his child Bobby (Alec Roberts), his child Kathy (Shannon Elizabeth) and Maggie the baby-sitter (Rah Digga). They're signed up with by a wise-cracking ghostbuster called Rafkin (Matthew Lillard) and Kalina (Embeth Davidtz), a paranormal that knows a great deal about Uncle Cyrus, his research, and how your home works.

And does it ever work. Outside steel panels slide backwards and forwards, exposing glass container-cages inside which hold the 12 invisible ghosts, which Cyrus needed in purchase to... oh, don't bother. What intrigues me is that this house, its shrieks of terror and its moving wall surfaces draw in no attention at all from the next-door neighbors, also late in the movie when really worrying points are happening. Perhaps the next-door neighbors read the screenplay.

The unbreakable glass cages, we learn, are etched with ''containment spells'' that maintain the ghosts inside. You can see the ghosts with unique glasses, which the actors is issued; when they see them, we see them, usually in shots so maddeningly short we do not obtain a great appearance. Our consolation, I guess, is that the actors has the glasses but we'll have the pause switch when ''13 Ghosts'' appears on DVD. The just switch this movie needs greater than pause is erase.

Your home, Kalina explains, is truly an infernal device: ''We remain in the center of a device designed by the evil one and powered by the dead.'' Equipments work and bars shatter backwards and forwards, looking truly cool, and wheels transform within wheels as it is exposed that the purpose of this machine is to open up the ''Oculorus Infernum.'' When a personality asks, ''What's that?'' the answer isn't helpful: ''It's Latin.'' Later on we learn it's the Eye of Heck, and... oh, don't bother.

If there are 12 ghosts there must, I suppose, be 12 control cages, but when little Bobby wanders off to the subterranean location with the cages, he obtains shed, and his dad, sibling, the baby-sitter, the psychic and the ghostbuster roam endlessly backwards and forwards what must coincide couple of corridors, yelling ''Bobby! Bobby?'' so very, very, very often times that I wanted to applaud when Rafkin finally said what we had all been thinking: ''Screw the youngster! We gotta leave this cellar!'' The manufacturing is first-rate; the execs consisted of Joel Silver and Robert Zemeckis. The physical appearance of the picture is remarkable. The screenplay is dead on arrival. The sound degree is torture. I hope "13 Ghosts" plays mainly at multiplexes, because it is the type of movie you want to watch from the next theater.

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