The story focuses on a group of teenagers who are trying to solve the mystery of sudden death in their small town.
Actors: Natalie Ganzhorn, Anthony Colonello (26) more composers: Anna Drubich, Marco Beltrami directors: André Øvredal Manufacturers: Guillermo del Toro, Sean Daniel (5) more
The spirit of del Toro, who was supposed to hover above Øvredal’s painting, refused to reveal his presence – it is no use to look for traces dipped in the scenario of the Mexican’s fingers.
Nobody, however, probably expected that his name in the case of this production would mean something more than a marketing lure, which was not synonymous with the fact that the hopes associated with Stories were miserable – the director responsible for them is the creator of an intriguing and fragrant hunter trolls, as well as quite successful (exemplary workshop) Autopsy Jane Doe.
Briefly: the 1960s.
A group of kids fascinated by dark stories goes to an abandoned house, the old Bellows family estate. The secluded daughter of the head of the family, Sarah, once wrote horrifying stories in a mysterious book that is now found by heroes.
Their nosy is punished and the words written in the book become more and more real. Ghostly stories after dark are closer to Goosebumps rather than the mentioned Stranger Things or Rzeczy. First of all: in Stories, action time has no role.
Netfliksowy handful draws from the era: not only horror movies, but also other movies, books or works of culture of the 80s. All elements that make up the retro climate are of great importance there, constitute the core of the identity of production, not to mention all the pop-culture recycling.
As for Well, both King’s novel and its adaptation (here we refer to the author by Muschietti), this work is directed at older viewers, a multi-layered horror about everyday life, harm, brutal and moving, all the more so as it is focused around of the world of children for whom adults are primarily a source of suffering.
Ghostly stories after dark lack the characteristics that constitute the greatest value of the mentioned productions. What’s more, there is no need to look for elements that can give the new Øvredal film any signs of uniqueness.
The characters are characterologically schematic, and their backstory either does not exist or is only licked and actually has no real impact on either their motivations or on the story’s consequences. We meet individual characters to such an insignificant degree that it is difficult to have any emotions towards them.