Heavy on mood, but also ultra-heavy on stupid. Plus a political message that in a normal era (unlike the current one) would have been considered too hateful and morally repulsive, insane even. Which is exactly what it is.
Horror scripts don't get any more inept than this. A movie for the Beeeh Generation and the mentally mismanaged, hence another great litmus test for common sense and intellect. You've got a fiancee and want to make sure she's not the wrong one? Play her this trash, and if she likes it and agrees with it then you are saved - from a marriage in Hell.
So thank Corinne for making this junk. The irony of incompetence actually being helpful should not be lost on you, but you should nevertheless thank her, even though she very probably hates you if you're a white male, and probably blames you for at least 15 se$ual assaults that never happened.
She must be bundles of fun at family gatherings, huh? Pointing fingers at all the men, demanding they repent for all the crimes they'd committed. I kid you not, Corinne is really out there. Susan Sontag is like an obedient, meek nun compared to her.
Kind of like the idiotic central character in this pile of junk.
It's a political film, because why would a female writer-director do straight horror? They have to play up to the Establishment, they want to make sure their Overlords (white men, ironically) know that she is obsequious, in line with the current political doctrines: never questioning, only following them. I'm not saying all female directors are like this, but many feel compelled to push the ultra-femini$t agendas, as if having a punani gives them some kind of moral superiority over men. As if being female and a director is somehow interpreted by them as a sign from God (well, no, they're atheists by default, so a sign from Lenin), a mission to "liberate women from the oppressive devious hands of the vile white male." Their delusion is staggering, and their latent narcissism immense. Too few female directors these days avoid this trap which is a shame because some of them have potential. Very few are only concerned with transporting a good story to their audience. We live in politically corrupted times, very similar to Europe of the late 20s and 30s, just before $talin and that other demon went into overdrive, ransacking the world in ways that had never been done before. We live in a world so insane that all forms of lefty radicalism are considered righteous and morally untouchable. It is a recipe for disaster and this disaster is right around the corner... To say the obvious.
This turkey is the gender equivalent to that of any movie ejected out by Jordan Peele, one of the most insidious and inept A-list film-makers in recent years, if not decades. White men are to be despised, is the degenerate message here, once again, and it is hammered with the usual lack of subtlety and total lack of intelligence, i.e. Very primitively and fanatically, as one might expect from a person consumed by hatred and with little to no savvy about the world.
"You're lucky to be alive, but you might wish you weren't."
In what kind of a hospital do nurses speak that way to heavily traumatized patients! One of the many ridiculous lines.
What kind of a place did this young new nurse Rose walk into anyway? A London hospital from 1974, or an insane asylum from 1679? (Admittedly, this bogus "70s England" looks much more like 30s or 40s UK, but hey, what would a Millennial director know - about anything.) The negativity towards Rose is so relentlessly piled up, I was half-expecting Kutscher to spring out of a corner, shouting "you've been punked!" in that annoying, overbearing way of his. None of this stuff seems realistic at all, yet it's a movie with socio-political ambitions. What better genre to do that in than a ghost story!
First, Rose is interviewed by a Matron who is some bombastic evil character right out of a Dickens novel. (Is this really 1974 London?) She speaks to the nurse as if Rose had just arrived to a prison, and for slaughtering 15 children. Then Rose has to deal with a former acquaintance who hates her guts. Then this blonde dances like a clown while on the job (in ICU no less), along with a very shady maintenance man who resembles Tim Roth but behaves more like a tipsy serial-killer. Or serial molester. (All white men are se$ual predators in Corinne's deranged world.)
And to top it all off, she's being haunted by ghosts! Really?... Corinne threw in everything but the kitchen sink. I'm surprised an alien didn't a-probe Rose, too, then a dragon appears and burns all of her hair off. And of course molests her, because this movie is really just another Red anti-male junk-pile that portrays women as slaves, as the oppressed, as perpetual victims. A laughable fairy-tale in other words.
Rose was molested as a child, then (inexplicably) haunted by ghosts (and fondled by them too), then after barely surviving that night... the doctor she fancies also wants her. So only psychopaths worked in London's 70s hospitals? He couldn't wait for a few days until he groped her? Gets her straight out of her hospital bed after a night in which several nurses died - and drags her still injured to the basement to attack her? Is this a joke, Corinne? It's as if a daft 11 year-old wrote this.
Wouldn't there be evidence of assault? Was it legal in 70s Britain? Did 99% of the male British population consist of sexual deviants? (According to Corinne, it's probably 100%, and according to her 100% of all rape claims are true, because women never lie.) Why is this clueless writer-director treating 1974 London like Caligula's Rome? Who wrote those textbooks she read about 70s London? Chomsky?
Yes, the movie hates Rose, just as Corinne hates the opposite sex. Rose is the corny, utterly pure, 100% morally impeccable innocent stereotype victim ripe for exploitation by male sadists: we get it, Corinne. Subtlety goes a long(er) way, Corinne. (Obviously, all sadists have to be men, because "if women ruled the world"...) But can't you keep it at least a BIT realistic, Corrine? This isn't 25th-century London, you know, some hypothetical time and place that you can inject with random traits. There are numerous people who lived through London's 70s who can laugh at this dumb film, because they won't even recognize this time and place. The hospital isn't located in the netherworld, either. So why all the bombast?
Why so much random violence? Those bloody silly movie ghosts are so often irrational and dumb, nothing new, but this movie takes that shtick to a whole new level. For almost an hour random nonsense just... happens. No rhyme or reason. Silly chaos that would be comedic if the mood wasn't so bleak. The kind of script only a hack could green-light. That only a dilettante can write.
One of the many key questions beg themselves: WHY is the hospital haunting only her? And on her first work day? Isn't that a bit silly?
Corinne might answer this way: "But she is an assault victim, and the ghosts were themselves molested! That's why!"
To this I would reply: "Yes, Corinne, but considering how you portray all men as deviants or at least non-opponents of assault, then how come this ghost was triggered so late into action? If ALL men are rapists then nearly ALL women must be rape victims... right? In other words, the molested ghost(s) should have gone berserk ages ago, triggered by the arrival of ANY other female worker. No need to wait for Rose."
That's a contradiction right there. Not that Corinne would ever detect any bad logic even if it landed on her...
Nevermind Rose's relative calm given the circumstances... She gets shoved to the ground by a ghost, she hears whispers in the dark, things move on their own - yet she STILL isn't searching for the Exit?! Bloody hell, is there no limit anymore to the ineptitude of these wannabe "auteurs"? Yet another director who thinks they can write. Except that she can't: Corinne is just as inept a writer as a myriad of her director colleagues who can't bring themselves to delegate: to find a proper writer for their (dumb) movies. Corinne is a capable director but of what use is that when she writes garbage scripts... There is nothing even the most brilliant director can do with a dumb script, and Corinne is anyway hardly brilliant.
Never in a million years would any sane person on this planet NOT try to run away from a building after what had just happened to her, especially since this place is completely new to her. Sillier still, it turns out she has a phobia of the dark. Extremely stupid, unrealistic script, on so many levels.
What's with the blonde witch nurse? She has more mood swings than Hillary C on a broken-down roller-coaster. She dances with the maintenance man (the blonde, not Hellary), then utters three completely non-sequitur sentences, totally unrelated statements, in a row, to Rose. The 34th minute. Rubbish writing, yet again.
The finale is the dictionary definition of "imbecile". I expect the average of this trash to plummet over the next years, as more and more sane people vote for it...
Horror scripts don't get any more inept than this. A movie for the Beeeh Generation and the mentally mismanaged, hence another great litmus test for common sense and intellect. You've got a fiancee and want to make sure she's not the wrong one? Play her this trash, and if she likes it and agrees with it then you are saved - from a marriage in Hell.
So thank Corinne for making this junk. The irony of incompetence actually being helpful should not be lost on you, but you should nevertheless thank her, even though she very probably hates you if you're a white male, and probably blames you for at least 15 se$ual assaults that never happened.
She must be bundles of fun at family gatherings, huh? Pointing fingers at all the men, demanding they repent for all the crimes they'd committed. I kid you not, Corinne is really out there. Susan Sontag is like an obedient, meek nun compared to her.
Kind of like the idiotic central character in this pile of junk.
It's a political film, because why would a female writer-director do straight horror? They have to play up to the Establishment, they want to make sure their Overlords (white men, ironically) know that she is obsequious, in line with the current political doctrines: never questioning, only following them. I'm not saying all female directors are like this, but many feel compelled to push the ultra-femini$t agendas, as if having a punani gives them some kind of moral superiority over men. As if being female and a director is somehow interpreted by them as a sign from God (well, no, they're atheists by default, so a sign from Lenin), a mission to "liberate women from the oppressive devious hands of the vile white male." Their delusion is staggering, and their latent narcissism immense. Too few female directors these days avoid this trap which is a shame because some of them have potential. Very few are only concerned with transporting a good story to their audience. We live in politically corrupted times, very similar to Europe of the late 20s and 30s, just before $talin and that other demon went into overdrive, ransacking the world in ways that had never been done before. We live in a world so insane that all forms of lefty radicalism are considered righteous and morally untouchable. It is a recipe for disaster and this disaster is right around the corner... To say the obvious.
This turkey is the gender equivalent to that of any movie ejected out by Jordan Peele, one of the most insidious and inept A-list film-makers in recent years, if not decades. White men are to be despised, is the degenerate message here, once again, and it is hammered with the usual lack of subtlety and total lack of intelligence, i.e. Very primitively and fanatically, as one might expect from a person consumed by hatred and with little to no savvy about the world.
"You're lucky to be alive, but you might wish you weren't."
In what kind of a hospital do nurses speak that way to heavily traumatized patients! One of the many ridiculous lines.
What kind of a place did this young new nurse Rose walk into anyway? A London hospital from 1974, or an insane asylum from 1679? (Admittedly, this bogus "70s England" looks much more like 30s or 40s UK, but hey, what would a Millennial director know - about anything.) The negativity towards Rose is so relentlessly piled up, I was half-expecting Kutscher to spring out of a corner, shouting "you've been punked!" in that annoying, overbearing way of his. None of this stuff seems realistic at all, yet it's a movie with socio-political ambitions. What better genre to do that in than a ghost story!
First, Rose is interviewed by a Matron who is some bombastic evil character right out of a Dickens novel. (Is this really 1974 London?) She speaks to the nurse as if Rose had just arrived to a prison, and for slaughtering 15 children. Then Rose has to deal with a former acquaintance who hates her guts. Then this blonde dances like a clown while on the job (in ICU no less), along with a very shady maintenance man who resembles Tim Roth but behaves more like a tipsy serial-killer. Or serial molester. (All white men are se$ual predators in Corinne's deranged world.)
And to top it all off, she's being haunted by ghosts! Really?... Corinne threw in everything but the kitchen sink. I'm surprised an alien didn't a-probe Rose, too, then a dragon appears and burns all of her hair off. And of course molests her, because this movie is really just another Red anti-male junk-pile that portrays women as slaves, as the oppressed, as perpetual victims. A laughable fairy-tale in other words.
Rose was molested as a child, then (inexplicably) haunted by ghosts (and fondled by them too), then after barely surviving that night... the doctor she fancies also wants her. So only psychopaths worked in London's 70s hospitals? He couldn't wait for a few days until he groped her? Gets her straight out of her hospital bed after a night in which several nurses died - and drags her still injured to the basement to attack her? Is this a joke, Corinne? It's as if a daft 11 year-old wrote this.
Wouldn't there be evidence of assault? Was it legal in 70s Britain? Did 99% of the male British population consist of sexual deviants? (According to Corinne, it's probably 100%, and according to her 100% of all rape claims are true, because women never lie.) Why is this clueless writer-director treating 1974 London like Caligula's Rome? Who wrote those textbooks she read about 70s London? Chomsky?
Yes, the movie hates Rose, just as Corinne hates the opposite sex. Rose is the corny, utterly pure, 100% morally impeccable innocent stereotype victim ripe for exploitation by male sadists: we get it, Corinne. Subtlety goes a long(er) way, Corinne. (Obviously, all sadists have to be men, because "if women ruled the world"...) But can't you keep it at least a BIT realistic, Corrine? This isn't 25th-century London, you know, some hypothetical time and place that you can inject with random traits. There are numerous people who lived through London's 70s who can laugh at this dumb film, because they won't even recognize this time and place. The hospital isn't located in the netherworld, either. So why all the bombast?
Why so much random violence? Those bloody silly movie ghosts are so often irrational and dumb, nothing new, but this movie takes that shtick to a whole new level. For almost an hour random nonsense just... happens. No rhyme or reason. Silly chaos that would be comedic if the mood wasn't so bleak. The kind of script only a hack could green-light. That only a dilettante can write.
One of the many key questions beg themselves: WHY is the hospital haunting only her? And on her first work day? Isn't that a bit silly?
Corinne might answer this way: "But she is an assault victim, and the ghosts were themselves molested! That's why!"
To this I would reply: "Yes, Corinne, but considering how you portray all men as deviants or at least non-opponents of assault, then how come this ghost was triggered so late into action? If ALL men are rapists then nearly ALL women must be rape victims... right? In other words, the molested ghost(s) should have gone berserk ages ago, triggered by the arrival of ANY other female worker. No need to wait for Rose."
That's a contradiction right there. Not that Corinne would ever detect any bad logic even if it landed on her...
Nevermind Rose's relative calm given the circumstances... She gets shoved to the ground by a ghost, she hears whispers in the dark, things move on their own - yet she STILL isn't searching for the Exit?! Bloody hell, is there no limit anymore to the ineptitude of these wannabe "auteurs"? Yet another director who thinks they can write. Except that she can't: Corinne is just as inept a writer as a myriad of her director colleagues who can't bring themselves to delegate: to find a proper writer for their (dumb) movies. Corinne is a capable director but of what use is that when she writes garbage scripts... There is nothing even the most brilliant director can do with a dumb script, and Corinne is anyway hardly brilliant.
Never in a million years would any sane person on this planet NOT try to run away from a building after what had just happened to her, especially since this place is completely new to her. Sillier still, it turns out she has a phobia of the dark. Extremely stupid, unrealistic script, on so many levels.
What's with the blonde witch nurse? She has more mood swings than Hillary C on a broken-down roller-coaster. She dances with the maintenance man (the blonde, not Hellary), then utters three completely non-sequitur sentences, totally unrelated statements, in a row, to Rose. The 34th minute. Rubbish writing, yet again.
The finale is the dictionary definition of "imbecile". I expect the average of this trash to plummet over the next years, as more and more sane people vote for it...