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Christmas Countdown: Top 25 Movies of 2009 – No.23

Day 3 and we’re down to my 23rd best movie of 2009. My choice today has divided opinion between critics, fans and the general movie going public but I’m firmly on the side that it’s a really good movie.

The first horror to make my list it’s…

Drag Me to Hell sees Sam Raimi’s long awaited return to the horror genre that made his name. The story centres on Christine, a Los Angeles bank loan officer who is desperately seeking promotion. When Christine turns down a loan for an elderly gypsy woman, Mrs. Ganush, she damns Christine’s soul with the curse of the Lamia, a fearsome mythical beast intent on dragging her of to hell.

Why it’s worthy: This movie is quick and dirty in the old Sam Raimi way. Tons of delightfully Grand Guignol type horror permeate the screen, but the movie never allows the gore get in the way of the sheer joyful abandon and dark comedy of Ivan Raimi’s script. The scares are beautifully choreographed, while the laughs come quick and fast like a runaway ghost train. Keeping the whole thing on track is the sure and steady direction of Raimi, periods of tension give way to sudden scares only to go back to the slow tense build-up again. There’s a very black sense of humour throughout and the performances from Alison Lohman, as Christine, in particular are outstanding. Her character suffers some outrageous predicaments, from vomiting flies, to jet-propelled nose-bleeds, to demonic possession, but Lohman takes it all in her stride in easily her best performance to date. The supporting cast of Justin Long, as the boyfriend and Dileep Lao, as a spirtual saviour are good, but the real star is Lorna Raver, as Mrs. Ganush. She seems to reveal in a role that allows her to cast malignancy after malignancy on a poor unsuspecting girl. Stylistically the movie hits all the right notes too, using old-school puppetry and prosthetic make-up combined with CGI, to give the movie a old-fashioned yet fresh feel. Christopher Young’s score sets the right tone musically with creepy tunes and unnerving symphonic blasts.

Fatal flaws: There’s really no dialogue to speak of as the director uses the visual medium to convey his intent, there’s also not a whole lot by way of plot. Also at times the sheer goriness can get overwhelming. If you’re not a Raimi fan you may find some of the humour decidedly off-kilter and it’s not to everyone’s taste. There’s an air of predictability to how the third act unfolds, it’s no harm really as the movie has to go this way, but it will disappoint some. The whole movie is cheesy, I found it delightfully cheesy, but some won’t agree. There is no real depth to any of the characters, there are throw away plot items (including a seance) that are completely unnecessary, and the whole movie is very, very loud.

Verdict: It’s brash, it’s vulgar, it’s nonsense, but it’s damn good fun. A fantastic return to form from one of cinemas finest masters of the genre.