In 1943 In the 1950s and 60s, a permanent wave of repertoire exhibitions of universal monster films and other horror films were advertised with crazy names such as "Horror Show", and were usually shown in double, triple or marathon recovery. In 1962

Ad

As all this proves, there is a long tradition of quantity-like quality in the horror cinema, a trophy that relies on the more moderate and carnival aspects of the genre. Basically, it is a capitalization of the idea that it is more when it comes to fear and that a group of undoubted characters facing numerous threats is more exciting than one. While this is a difficult unambiguous rule, there is no denial that diversity can be a welcome factor in horror films, and if it deals well, the exponential threat factor that carries it can really strengthen the suspension rather than shaming it.

This month "To Dawn" is a pretty exciting example of this principle. It is a movie that has a rotating list of Astverovs, along with the premise that poor young people trapped along with them are also stuck in a loop of death and resurrection, unless they can survive, well, to dawn. This last idea stems from the fact that the film is adapted to Video game in 2015 with the same nameAnd Instead of transferring the plot to that game of wholesaleDirector David F. Sandberg and writers Gary Daberman and Blair Butler have chosen to bring a typical video game mechanic, where the characters can die and then live to try again. The directors made a film that, while not particularly deep, manages to be fresh, engaged, nasty and fun. For mainstream horror, adapted from a game, it is a feat in itself, but what gives Dora additionally further its target, Monster Mash's existentialist turnaround, making the film do not BestBut most Horror Film of the Year.

Ad

In order to reach the Monster Mash time loop as soon as possible, "Dawn" maintains its setup quickly and neat. In the tradition of many horror film (including the similar target, however much more careful about Dr. Goddard "Cabin in the Forest"), the film sees the staff of vaguely people on the College-House of trip to a remote and hidden valley. Instead of heading there just to have fun, the group attends their friend Clover (Ella Rubin) because she is looking for her sister Melanie (Maya Mitchell), who disappeared in the area a year before. After meeting with a mysterious and eerie owner of a gas station named Hill (a player from Peter Stormar, who will recognize the game's fans), the five friends engage deeper in the valley, revealing a violent thunderstorm that mysteriously ends on the edge of a clearing edge.

Ad

After some of the group entering the house and signing the guest book, friends are attacked first by a masked psycho with an ax. After everyone succumbing to his blade, they discover that they are resurrected and transferred to the night, only psycho now joins a witch who wants to own and kill them. Soon, the group dawn that they became the latest victims of a supernatural trial that cursed this country, a endurance test in which they have 13 attempts to survive overnight. However, every attempt not only has introduced a new threat to come after them, but it brings them closer to fate worse than death.

As can be seen, "to dawn" plays in similar sand as Previous Movies for Time Loop Like "Earth Day", "Edge of Tomorrow" and especially "Happy Day of Death", the latter is a similar high concept to take over the classic horror structure and tropes. Both "Edge of Tomorrow" and "Happy Day of Death" are listed as a wise adoption of a cinema video game strategy, giving their protagonists power to try and close their loops by learning models and playing perfect play. Despite being adapted to video games, "to Dawn" smartly revises this concept, putting its protagonists in a nightmare loop where there are no learning models, where every repetition introduces an unprecedented threat and where every resurrection causes group memories to become dark. It's a clever, disturbing thing to take what originally looks like a useful device and make another obstacle for these poor children to try and survive.

Ad

Of course, so many wild ideas and exposed moments filled in a 103 -minute film means that something had to fall on the road, and in the case of "Dawn", that's the characters. Don't get me wrong, the actors' ensemble is doing a good job here; Rubin inserts her last girlfriend with the right amount of strength and vulnerability, Belmont Camelli makes a great heel for comedy facilitation, and Jii-Yang Yo applies his moments of danger with disturbing reality. This is not a movie where you are likely to confuse who is who, as each character is in accordance with a sufficiently unique species to stand out. However, you may forget their names (even as they are constantly screaming at each other), and you will surely fight to know a lot about them. Douberman and Butler give several members of the group look of the character's nail polish, but all included seem to realize that the real bread and butter of the film is not the development of characters.

Ad

This is part of the exchange with the target of a high -wire plot that the film is pulling. After all, if these characters were more grounded, they probably would either lose their minds or constantly get their grandparents trying to streamline everything that is happening to them. The film cannot afford to waste time on such things, so if these people do not scream, then they explain what happens next, and so on. This aspect can make some people check out the film, and nothing has been done to save. However, if you get to know the film in your own terms, especially if you are used to a large number of horror films in which the characters are thin papers-you will probably be blinded by everything that is happening, and you will find enough empathy to at least put yourself in the shoes of these victims for an hour and a half.

Ad

The most winning aspect of "Dawn" is that it is so clear that he is primarily involved in being an experiential good time, essentially choosing to be haunted in a movie in film form (something Sam Raimi once called "Spook-A-Blast"). That's why Sandberg is the perfect person to make the material sing; Since his debut with "Lights Out", he has proven himself what kind of director of genres, who is for lovebuil in the craft of all this, the kind of person who goes extra mile to ensure that the effect works best as you can, or that a little timing is perfect. Douberman is also this kind of old -fashioned chamber, someone who wants to accept a horror kitsch, without saying it must be a meaningless party. There is only enough weight in the "dawn" to keep it engaging without the procedure with increased trauma research and the like, and it is impressive given how the trauma is actually a major plot.

Ad

Sandberg, Douberman and their colleagues and crew clearly want to do nothing more than putting a good horror show, and the creatures, the effects and panties with which they did. There is one special moment in the movie that is grotesque brazen, wraping that beats Radio silence and "ready or not" on its own bloody game. Even if the film relies on the castle sequentially one many times, it is still powerful enough to help restore the slightly old spirit of Balio in horror. Hack, even last year's Indian experiment "In a violent nature" has become a point of conversation more about his signature killing scene from its deconstruction of pieces of tropes. In horror, the exhibition will take you away, and "Dawn" has Huzzpach and Panace to stand out in the already busy year for the genre.

Ad

Although the film is deliberately not a repeat of the video game plot, it absolutely adapts the implicit concept of the game to ask the player if they could actually survive a horror movie or not. The movie Subtextually asks these questions to its spectators all over the world, and with so many different Asters to meet, the answers will vary only to every person, never bothering more people. The variety of the film is peanut butter to the chocolate of that idea, never allowing the film to feel stuck in one regime even as it establishes its own structure. To borrow a phrase from Bobby, "to dawn" really feels like a platonic ideal for cutting the cemetery.

/Movie rating: 8 out of 10

"Dawn" opens in theaters on 25 April 2025.