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New Line Cinema
Wild Atlantic Pictures
Evil Dead Standalone Collection
Mommy loves you to death.
A reunion between two estranged sisters gets cut short by the rise of flesh-possessing demons, thrusting them into a primal battle for survival as they face the most nightmarish version of family imaginable.
KaalKranti
Oct 23, 2026 · via TMDB
A worth-a-watch with family Body/Splatter Horror - Thriller, just because it is an Evil Dead Franchise movie. I am giving it three stars because there are no nudity scenes in it. I had absolutely no desire to watch this film, but what can you do? It’s part of the Evil Dead franchise, so I had to watch it. Other than that, there’s no story, no meaning, nothing really.
Marco-Hugo Landeta Vacas
Oct 18, 2026 · via TMDB
(CASTELLANO) Una carnicería familiar que funciona mejor que la momia, aunque se pasa de asquerosa La tenía medio vista y hoy terminé de encajar el puzle. No había visto los primeros cuarenta y cinco minutos, por eso al principio me sonaba todo sin estar seguro, y luego, cuando llegó el edificio, la madre poseída, el parking y la máquina del sótano, ya me volvió la memoria completa. Ahora sí puedo decir que la he visto entera. Me parece bastante mejor que La momia de Lee Cronin, aunque confirma algo que ya me incomoda de su forma de entender el terror: le gusta muchísimo lo viscoso, lo corporal, lo repugnante. Aquí eso encaja más porque estamos en Evil Dead, una saga donde la posesión demoníaca, los ríos de sangre y la crueldad física forman parte del contrato. Aun así, para mi gusto hay momentos en los que se pasa. La película funciona porque no intenta copiar la cabaña de Sam Raimi sin más. Cambiar el bosque por un edificio de apartamentos le da una identidad propia y convierte la familia en una trampa. El mal no llega a un grupo de jóvenes aislados en mitad de la nada, sino a una madre, sus hijos y una hermana que aparece en el peor momento posible. Eso le da un punto de terror doméstico bastante eficaz. Alyssa Sutherland está muy bien como Ellie. Cuando la posesión empieza a devorarla, la película encuentra su imagen más potente: una madre convertida en amenaza para sus propios hijos. Eso sí tiene fuerza, porque pervierte algo muy básico. Lo que debería ser refugio se vuelve peligro, y cada vez que ella habla desde el otro lado de la puerta o mira con esa sonrisa torcida, la película consigue inquietar. Lily Sullivan también funciona como Beth, y me gustó más de lo que esperaba. Al principio me sonaba de otra película, hasta que fuimos descartando Malevolent, Maléfico y Maligno, pero más allá del parecido con otras actrices, aguanta bien el papel. Beth no es una heroína perfecta; es alguien que llega cargada de dudas y termina obligada a convertirse en la adulta que los niños necesitan. La frase de la sobrina me hizo gracia: “Algún día serás una gran madre, tía Beth... sabes mentir a los niños”. Es una buena línea porque entra con humor negro sin romper del todo la tensión. Ahí sí noto el espíritu Evil Dead: no solo sangre y gritos, sino mala leche, timing y esa risa incómoda que aparece cuando todo está ya absolutamente perdido. El problema es que algunas escenas cruzan una línea que a mí cada vez me interesa menos. Lo del ojo mordido, arrancado y luego metido en la boca de otro personaje me pareció repugnante. No me dio miedo, me dio asco. Y esa es una diferencia importante. Puedo disfrutar el gore cuando tiene imaginación, ritmo o sentido lúdico, pero cuando la película se recrea tanto en lo viscoso, me saca. También hay algo de exceso por exceso. Entiendo que en Evil Dead la brutalidad sea casi una obligación, y reconozco que Cronin sabe organizar el caos mejor aquí que en La momia. Pero a ratos vuelve a parecerme que piensa: “¿cómo puedo hacer esto todavía más desagradable?”. Y no siempre más desagradable significa más terrorífico. A veces solo significa más difícil de mirar. El uso de las grabaciones antiguas me gustó porque conecta con la original. Aquella cinta del profesor que leía el Libro de los Muertos ya era parte esencial del mito, y aquí los discos de 1923 funcionan como variación. Además, a mí me activó el recuerdo de Psilicon Flesh y aquella canción homenaje, “The Evil Dead”, con los fragmentos de audio y el “Dead, Evil Dead...” repetido como mantra. Eso le dio un punto nostálgico inesperado. El tramo final en el parking es bruto, muy físico y bastante memorable. La criatura compuesta, la maquinaria pesada y esa sensación de que todo acaba en un amasijo imposible de carne y metal tienen fuerza visual. No es elegante, ni falta que le hace. Ahí la película abraza su naturaleza de tren de la bruja sangriento y va hasta el final. También me gusta cómo enlaza con los personajes del lago del principio. Ese prólogo parecía una pieza separada, casi un arranque de impacto, y al final encaja como parte del mismo ciclo de posesión. Es una forma sencilla pero eficaz de recordarte que el mal no se ha cerrado, que la historia puede repetirse y que en este universo siempre hay alguien lo bastante idiota como para reproducir lo que no debe. Al final, la dejo en un 6. Está bien hecha dentro de lo suyo, tiene energía, buenas actrices, momentos de humor negro y algunas imágenes potentes. Pero también tiene demasiado gore para mi gusto y varias escenas que me producen más rechazo que miedo. Como entrega de Evil Dead funciona bastante mejor de lo que esperaba; como película de Lee Cronin me confirma que su obsesión por la víscera me cuesta. Salvaje, desagradable, efectiva a ratos y bastante superior a su momia, pero no una película que yo disfrute plenamente. (ENGLISH) A family slaughterhouse that works better than the mummy, although it gets too disgusting I had half seen it before and today I finally fitted the puzzle together. I had not watched the first forty-five minutes, which is why at the beginning everything felt familiar without my being sure, and then, once the building, the possessed mother, the parking garage and the basement machine arrived, the memory came back completely. Now I can say I have seen the whole thing. I think it is much better than Lee Cronin’s The Mummy, although it confirms something that makes me uncomfortable about his way of understanding horror: he really likes the viscous, the bodily, the repulsive. Here that fits better because this is Evil Dead, a saga where demonic possession, rivers of blood and physical cruelty are part of the contract. Even so, for my taste there are moments when it goes too far. The film works because it does not simply try to copy Sam Raimi’s cabin. Moving from the woods to an apartment building gives it an identity of its own and turns the family into a trap. Evil does not arrive among a group of young people isolated in the middle of nowhere, but among a mother, her children and a sister who appears at the worst possible moment. That gives it a fairly effective domestic-horror angle. Alyssa Sutherland is very good as Ellie. When possession begins to devour her, the film finds its most powerful image: a mother turned into a threat to her own children. That does have force, because it perverts something very basic. What should be shelter becomes danger, and every time she speaks from the other side of the door or looks with that twisted smile, the film manages to unsettle. Lily Sullivan also works as Beth, and I liked her more than I expected. At first she reminded me of another film, until we went through Malevolent, Maleficent and Malignant and ruled them out, but beyond the resemblance to other actresses, she holds the role well. Beth is not a perfect heroine; she is someone who arrives full of doubts and ends up forced to become the adult the children need. The niece’s line made me laugh: “You’ll be a good mom someday, Aunt Beth... you know how to lie to kids.” It is a good line because it brings in black humor without completely breaking the tension. There I do feel the Evil Dead spirit: not only blood and screaming, but nastiness, timing and that uncomfortable laugh that appears when everything is already absolutely lost. The problem is that some scenes cross a line that interests me less and less. The eye being bitten, ripped out and then shoved into another character’s mouth seemed repulsive to me. It did not scare me; it disgusted me. And that is an important difference. I can enjoy gore when it has imagination, rhythm or a playful purpose, but when the film dwells so much on the viscous, it pushes me out. There is also some excess for excess’s sake. I understand that in Evil Dead brutality is almost an obligation, and I admit that Cronin organizes the chaos better here than in The Mummy. But at times it again feels as if he is thinking: “how can I make this even more unpleasant?”. And more unpleasant does not always mean more terrifying. Sometimes it only means harder to look at. I liked the use of the old recordings because it connects with the original. That tape of the professor reading the Book of the Dead was already an essential part of the myth, and here the 1923 records work as a variation. Besides, for me it triggered the memory of Psilicon Flesh and that tribute song, “The Evil Dead”, with audio fragments and “Dead, Evil Dead...” repeated like a mantra. That gave it an unexpected nostalgic touch. The final stretch in the parking garage is brutal, very physical and quite memorable. The composite creature, the heavy machinery and the feeling that everything ends in an impossible mass of flesh and metal have visual force. It is not elegant, and it does not need to be. There the film embraces its nature as a bloody haunted-house ride and goes all the way. I also like how it links back to the characters at the lake from the beginning. That prologue seemed like a separate piece, almost just an impact opening, and in the end it fits as part of the same possession cycle. It is a simple but effective way of reminding you that evil has not been closed off, that the story can repeat itself and that in this universe there is always someone stupid enough to play what should not be played. In the end, I leave it at a 6. It is well made within its own terms, has energy, good actresses, moments of black humor and some powerful images. But it also has too much gore for my taste and several scenes that produce more rejection than fear. As an Evil Dead entry, it works much better than I expected; as a Lee Cronin film, it confirms that his obsession with guts is hard for me. Wild, unpleasant, effective at times and much superior to his mummy, but not a film I fully enjoy.
s_for_short
Aug 4, 2026 · via TMDB
Why is there a random wood chipper in an apartment building parking garage? Who cares! It makes for a great finale!
Sierbahnn
Jun 1, 2026 · via TMDB
Stunning, worthy of its name There are multiple ways to mess up an Evil Dead film. The formula seems straight-forward enough but given the multiple failed copycats, it turns out that the formula has to be pretty precise. In this case, the movie nails it; atmospheric, gory, tense, with good casting and directing, characters you can root for, and a scary thing in the dark chasing them. The movie works and I highly recommend it!
Brent Marchant
Jun 27, 2023 · via TMDB
As contemporary horror films go, I’ll freely admit that this is a genre about which I couldn’t care less. I find most of these films boring, predictable, stupid and not especially scary. In fact, the only ones to which I’ll even give a second look are smart horror films (like “Get Out” (2017) or “Annihilation” (2018)) or campy romps (like “Renfield” (2023)). So the fact that I somehow managed to sit through this trash heap is quite an accomplishment. (Actually, the only reason I watched was because I was channel surfing and there was nothing else on, so I decided to give it a chance (I would have been better turning on the radio).) This pointless parade of endless blood and gore is a prime example of the decline of the mainstream movie industry (how projects like this get greenlighted is beyond me, except, of course, for the obvious box office considerations). It’s so utterly ridiculous that the picture plays like something that was made up as the crew went along. I’ll admit that there was some modestly cheeky humor here, but not enough to make it a genuine camp fest. Writer-director Lee Cronin’s latest is an assault on the art of filmmaking, the kind that should carry fines and other punishments. My goodness, what has this industry come to?
JPV852
Jun 25, 2023 · via TMDB
Okay supernatural horror and entry into the long-running franchise that really takes off during the blood-drenched finale. Can't say I loved it and it was far too dark at times to even tell what was going on, but thought it was on par with Evil Dead 2013. **3.5/5**
User reviews courtesy of TMDB.
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Lily Sullivan
Beth
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Bridget
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Mar 16, 2023
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Versus
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When The Sunflowers Bloom
2024
NYC Tips and Tricks
Sign in to vote
Battle your watched movies head-to-head
Community Top Movies
Evil Dead II
1987 · 14 wins
The Dark Knight
2008 · 14 wins
Halloween
1978 · 13 wins
Final Destination
2000 · 12 wins
Halloween II
1981 · 11 wins
Trivia
Leaderboard →Playing as a guest — sign in to save your score and rank on the leaderboard.
Movie Trivia
Guess the movie from a clue — tagline, plot, cast and more. Pick from four posters.
What movie experience do you prefer?
What is your favorite movie genre?
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