
Down Fahrstuhl In Den Tod Co myślisz o tym artykule? Skomentuj!
Während die große Metropole in der einsetzenden Nacht langsam zur Ruhe kommt, erwachen unheimliche Kräfte im Herzen der Stadt. Das Millennium Building, der Stockwerke hoch in den Himmel ragende architektonische Stolz von New York, wird zum. Meisle: Mildred. Down (Alternativtitel: Down - Steig ein, wenn du dich traust) ist ein US-amerikanisch-niederländischer Horrorfilm von Dick Maas aus dem Jahr Es handelt sich um eine Neuverfilmung des Filmes Fahrstuhl des Grauens,. sawchain.eu - Kaufen Sie Down günstig ein. Dieser Artikel:Down von James Marshall DVD 9,23 € Fahrstuhl des Grauens von Huub Stapel DVD 36,99 € mit einer Gruppe neuer Opfer, die ahnungslos an der Schwelle zum Tod stehen. Down – Fahrstuhl in den Tod: Sendetermine · Streams · DVDs · Cast & Crew. Down / AT: Fahrstuhl in den Tod; Down - Fahrstuhl ins Jenseits. Down ist ein Science Fiction-Film aus dem Jahr von Dick Maas mit James. Eine Gruppe schwangerer Frauen ist ebenfalls mit dem Lift unterwegs, als die Technik erneut verrückt spielt: Der Aufzug rast in die Tiefe und als sich im. Down - Fahrstuhl in den Tod im Fernsehen - Horrorfilm. Die besten Filme der Welt - Highlights aus Holland! TELE 5 zeigt vom bis Mai dreimal samstags.

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Hauptseite Themenportale Zufälliger Artikel. Deutscher Titel. FSK Dick Maas. Laurens Geels Dick Maas. Paul M. Marc Felperlaan. Bert Rijkelijkhuizen.
I'm surprised this ever got made in all honesty. Somehow all the crap comes together in such a way that is thoroughly enjoyable.
It's wayyyyyy too long for sure but it never gets boring. I love the biotechnology theme, it's…. Dick Maas reinvents his original horror thriller The Lift as an action horror comedy.
It has the comic flair of the better and more recent works of Uwe Boll, but it's far more visually ambitious.
The CGI effects are ridiculous, but still fun. Anyone familiar with James Marshall's more somber portrayal of Laura Palmer's emasculated boyfriend James Hurley on Twin Peaks will be surprised at his energetic performance here.
Likewise, Naomi Watts is equally plucky and sexy. The flick is populated with clever cameos that should have any genre enthusiast smiling.
A hidden gem with lots of black humor to lift your spirits. Narrative problems became more evident to me in this re-watch.
While that odd chemistry between Marshall and Watts was still entertaining, I don't see much real development in their characters. On the recently recorded commentary, director Dick Mass admits to some of its unevenness and tonal deafness, and he is lightly critical of some of the primitive CG effects Mass might be emboldened if he's witnessed the effects on Showtime's return to Twin Peaks.
Should have definitely had more elevator terror, far less camp, and probably more practical gore. In an elevator. DOWN is a bizarre little tongue-in-cheek horror thrill-avator movie.
On the one hand, nothing really works. Some of the horror is cheesy; dialog, characters, and performances fluctuate back and forth between self-aware confidence and preposterousness; special effects vary in quality.
The scenes consistently have an energy, and several of the elevator shaft scenes are clever little horror setups. The beautiful Naomi Watts in a weirdly over-acted showing with clumsy one-liners and cheesy gunplay she somehow comes out of the project with integrity in tact shares her top billing with James Marshall, whose prominent s performances always….
Sounds like it would be good, right! It's amazing that only a year later she played a reporter and was actually good. This is the second elevator movie from Dick Maas.
This one has a more beefed up cast and music and sound but I'm more fond of the first one. If I come across another killer elevator movie, I'm sure I'll watch it.
Decent remake of dutch chiller, albeit chuck full of bad acting and unintentional funny dialogue. The lead actors are terrible from start to finish, but we are treated to a handful of support actors who you'll easily recognise from a whole host of movies, but they have bit parts in this at best.
The main fun of this movie about a building and it's killer lifts, is the deaths. Truly no one is safe, and the film is certainly willing to go the extra mile with who it bumps off in its indiscriminate elevator murders.
From a particularly funny jump cut early on in the movie, I was sold on its tongue in cheek humour, and the rest of the movie followed suit in the same manner.
That's an all time great bad movie! Honestly so many quotable lines and terrible acting. Just everything you want in trash to make you love it.
This remake of Dick Maas' very own "The Lift" from does incredible things. Not only does it manage to have almost none of Maas' entertaining pulpy style as a filmmaker, but also squanders a great cast with the likes of Naomi Watts, Michael Ironside, Ron Perlman and Dan Hedaya, who all did bring their best to this.
Sure, you can yell at me, saying "It's a movie about a haunted elevator! What did you expect? This review may contain spoilers.
I can handle the truth. The doors close on limbs, the buttons are unresponsive, and then one full of pregnant women gets stuck between floors before racing downward after the power is cut.
As the injuries rise and fatalities occur—Jennifer, a New York journalist, starts an investigation. Meanwhile elevator repair technicians Mark and Jeff struggle to find anything wrong with the lifts.
Disregarding his superiors, Mark investigates the construction and history of the elevators. They believe that a military experiment concerning bio-organic self-replicating computer chips were sold to the METEOR elevator company for the operating systems.
They assume a malfunction but after Jeff is found dead in the shafts,…. Dick Maas remakes his breakout hit in America and actually manages to maybe make a better movie overall?
Nothing great about Dick's filmmaking or writing was lost in translation, as this contains his trademark pithiness and charming tongue-in-cheek sense of humor that makes his characters so fun and easy to like.
He also manages to fit in his clear distrust of the media and bureaucracies when it comes to handling public safety issues.
It feels just as accurate and biting when it's taking on the deviousness of corporate America as it does when he satirizes the city government of Amsterdam in his other films.
Meiner Meinung nach. Ihre Meinung ist falsch.
es gibt die Analoga?
Ich denke, dass Sie sich irren. Schreiben Sie mir in PM, wir werden besprechen.