The Tortured

October 17, 2010 by Post Team 

The Tortured, From “Saw” has exploded onto screens in 2004, critics have thrown into the narrow term “torture pon*”, it stick to everything that’s piqued the shameless use of gore and guts. This tend to genre films has led some commentators locker wrongly classifying films as “The Tormented” than “Saw” and “Hostel” – the fact is that “Saw” has nothing to see ‘Hostel’: the original “Saw” movie is actually a summer camp is much more than “Hostel” or the million imitation torture pon* movies that influence asymmetric Saw. There is certainly much more in terms of excessive self- consciousness (just look at the villain!) And he has more in common with horror movies worth more than thrills and atmosphere of suspense above simple operation and gore.

I would put anyone who will listen that the proliferation of modern additions to torture type of operation is a natural development for a society that considers itself above the liminal segregation of minorities in his culture. When a society is advanced enough (usually in a moment of delirious self-diagnosis) not to advance the stereotype of discrimination on the screen, he turns to a subject more universal supposed to operate – everyone inside its borders. And who better to embody this most universal of a happy suburban family (Jesse Metcalfe and Erika Christensen), a young and pretty, with children and careers and a car, whose world is turned upside down when a pedophile (Bill Moseley) taking and killing of their children before police were able to intervene. The result, and the main theme of the story is the couple’s decision to take the law into their own hands when the killer is given only 25 to life, her abduction and torture.

This is not the horror of impotent middle class of the excellent “Eden Lake”, where the central couple are tormented by a gang of teenagers who take their capricious behavior disgusting anti-social distance: here, the couple are equipped the possibility of requiring some tangible revenge on the pedophile who killed their child, to see so much pain and prolonged suffering upon him is possible.

As if attempting to lock the other spectator’s filmmakers have tried to use this choice tonal (torture pon* aficionados), “The Tormented” spends too much time and effort to the moralistic agenda, having the two avengers hum harr and what they are doing is morally right. So even if Lieberman can make torture pon* and the next a little disturbed author of gore, it makes the mistake of undervaluing that one of the attractive facets (appealing to some) following the same path of evil too many other movies of torture modern operating from the end and trying to shoehorn in a message. It’s like trying to add a message of health and safety in the undercurrent to a Marx Brothers comedy that nobody wants and nobody can ignore it and just enjoy the participation of parts normally.

All others, like me, the movie is pretty dull: there is nothing new, and there is very little to make in terms of fun scenes of torture or narrative underlying the construction of the pedophile / idea stillborn. The mechanisms of horror are also very cliche: Everything points just a bad taste in the mouth, and he really does not help that Jesse Metcalfe can not act to save his life: he should probably stick to the being incredibly good looking side characters whose good looking, but who knows he has no hope of making a compelling storyline.

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