Maniac 2012

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Der geisteskranke Frank hat eine gestörte Beziehung zu Frauen. Er bringt seine Opfer um, skalpiert sie und befestigt ihre Kopfhaut an Schaufensterpuppen, die er im Geschäft seiner verstorbenen Mutter aufstellt. Eines Tages schafft es die. Alexandre Ajas Maniac ist ein US-amerikanisch-französischer Psychothriller aus dem Jahr Er ist eine Neuverfilmung des Films Maniac aus dem Jahr. Alexandre Ajas Maniac ein Film von Franck Khalfoun mit Elijah Wood, Nora Arnezeder. Inhaltsangabe: Frank (Elijah Wood) ist Besitzer eines Ladens für. Nach William Lustigs 80er Jahre-Klassiker "Maniac" bescherte uns Alexandre Aja dieses meiner Meinung nach durchaus würdige Remake des Slasherfilms. Schnittberichte, News (z.B. Uncut-DVDs & Blu-rays) und Reviews zu Alexandre Ajas Maniac (OT: Maniac | Frankreich, USA, | Horror, Drama, Krimi, Thriller).

maniac 2012

Original-Titel: Maniac. Filmstart in Deutschland: R: Franck Khalfoun. B: Alexandre Aja, Gregory Levasseur. Vor: Joe Spinell. Alexandre Ajas Maniac ein Film von Franck Khalfoun mit Elijah Wood, Nora Arnezeder. Inhaltsangabe: Frank (Elijah Wood) ist Besitzer eines Ladens für. "Herr der Ringe" - Star Elijah Wood gibt sich in dieser Neuinterpretation des Kultschockers Maniac als manischer Triebtäter die Ehre.

The Hollywood Reporter declared, "The nerve-shredding score, by the mono-monikered Rob, salutes the music Italian prog-rockers Goblin provided for [Dario] Argento 's early horror-thrillers, the s electronica lending a deeply melancholic city-at-night vibe.

A red band trailer was released May 25, [19] and the film was screened at the Cannes Film Festival the following day. Maniac opened in German theaters in December , and in many other European countries in March DVD release company Blue Underground is cited in the opening credits.

The consensus says, "Shocking and bloody, Maniac is smarter than your average psychological slasher, but it's often undermined by its excessive gore.

Front Row Reviews called it "one of the strongest and most beautiful classic horror stories of our generation Complex magazine wrote that "having seen it, we can confirm that Maniac is an early frontrunner for 's best horror movie.

Megan Lehmann, who watched the film at the Cannes Film Festival for The Hollywood Reporter , wrote in her review, "Wood's limpid saucer eyes are used here to telegraph unhinged blood-lust and insanity, even if only sporadically, as he plays a sicko with mommy issues who scalps his female victims.

The twist, and what helps elevate the nasty, no-holds-barred Maniac from the grindhouse to an out-of-competition midnight-screening slot in Cannes, is that the entire movie is shot from the killer's POV — we only glimpse Wood in reflection and in photographs.

It's a daring decision, potentially stripping the film of the suspense of not knowing where the killer is and obliquely inviting the audience to have empathy with him.

For the most part Khalfoun and cinematographer Maxime Alexandre pull it off, although the technique more than once tips over from inventively arty to film-school-grad pretentious.

Slasher-movie fans, however, need not be put off by the stylized camera work and arty patina: this is down and dirty genre filmmaking, and the various slaughters, excruciatingly detailed scalpings and other atrocities are no less gruesome because of the highfalutin approach The movie is essentially a sadistic art-house bloodbath, with opera music and ballet dancers and funky little art galleries.

A reviewer for SciFiNow praised the film's "fresh and challenging approach" and said, "Khalfoun's version is arguably a more troubling piece of work than its predecessor.

By forcing us to see through the eyes of a man who brutally murders women, the issues of voyeurism and misogyny rear their ugly heads before you've even settled in Maniac is certainly brutal and gory, but it's the manner in which the violence is presented that really turns the stomach.

This unsavoury but powerful trick is contrasted by the decision to switch out the grimy night-time world of Eighties New York for the neon landscape of Los Angeles, complete with a superb synth-heavy soundtrack that makes the film feel more like Nicolas Winding Refn's Drive than anything from the gloomy Platinum Dunes remake stable or the winking throwbacks of the Grindhouse movies.

Daniel Krupa reviewed the film for the IGN website, calling it "violent, gruesome, shocking, and extremely cruel" but "also entertaining, darkly amusing, smart, and impeccably well-made.

It's uncomfortable and queasy stuff, but it occasionally achieves a kind of weird beauty. Wood communicates Frank's mental illness by muttering to himself and carrying on conversations with his mannequins — grunting like a rabid animal as he stalks his prey — while Arnezeder makes for a compelling, sympathetic ' final girl ' who challenges Wood's maniac in unconventional ways.

Overall, Maniac is a well-made, artistic take on Lustig's guerrilla-gore flick that manages to give the viewer the requisite blood and brutality while adding some much-needed psychological underpinning to the characters and their motivations.

There's a lot to appreciate in Khalfoun's film — a stylish, modern-day slasher that is deeply disturbing and compelling.

The ScreenRant. With a voice that mixes breathy, genuinely unsettling obsession with a childlike honesty, Wood's interpretation of Frank looks to be a new creature entirely.

New Empress Magazine criticized the film, saying, "The digital cinematography by Maxime Alexandre uses an annoyingly stylized gloss over a lot of the potential scuzziness, leaving run-down downtown Los Angeles as industrial and neglected, but not forbidding, creating an atmosphere reminiscent of a video game.

The aesthetic choices also make the murders seem unreal and even pixelated, with a blotchy and heightened crimson colour accompanying every scalping.

Such a pity then, that the opportunity for a truly horrifying cinematic experience has been botched through odd directional choices by Franck Khalfoun and photography that creates style over substance, reducing the impact of a serial killer with so much potential to horrify and disturb us.

Khalfoun said that audience members have vomited and fainted, and he took the reactions "as a compliment," explaining, "We had a screening here in Los Angeles and somebody passed out, which I pat myself on the back for.

The movie had to creep on you — it's a different kind of fear; it's more of a nauseating fear.

You really have the opportunity to maybe feel the [nausea] of committing crime rather than glorifying it just for the aspect of fun and thrill.

The audience gets to experience for the first time how sick [it is to commit murder] — we're certainly not condoning it, but making a real statement about serial killers.

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Retrieved Screen Daily. Retrieved March 6, Box Office Mojo. Archived from the original on Retrieved July 14, Retrieved April 1, The Scotsman.

Retrieved March 31, Movie Review Preview. Archived from the original on December 1, Front Row Reviews. The Guardian.

London: Guardian News and Media. Bloody Disgusting. Screen International. The Hollywood Reporter. Geeks of Doom. Rope of Silicon.

Twitch Film. Archived from the original on March 14, Yeah, You Do! The Hollywood News. Entertainment Weekly. Retrieved June 23, Rotten Tomatoes.

Retrieved March 22, New Empress Magazine. Archived from the original on October 6, Archived from the original PDF on 11 August Retrieved 3 October Films directed by Franck Khalfoun.

Categories : films English-language films horror films s serial killer films s slasher films American films American horror thriller films American slasher films American splatter films Films about prostitution in the United States Films directed by Franck Khalfoun Films shot from the first-person perspective Films shot in Los Angeles Films scored by Robin Coudert French films French remakes of American films French slasher films French thriller films Horror film remakes Mannequins in films Relativity Media films English-language French films.

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Quasi completamente in soggettiva, la terza pellicola diretta da Franck Khalfoun colpisce allo stomaco. Sei d'accordo con Marco Chiani?

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maniac 2012

As an adult, he murders and scalps women and attaches their hair onto his mannequins to recreate his one happy childhood memory: brushing his mother's hair before she "went out" at night.

Frank joins a dating site , where he gets a date with a woman named Lucie. The two go out to dinner and return to Lucie's apartment, where she attempts to seduce the virginal Frank, mistaking his increasing panic for nervousness.

Frank strangles Lucie, scalps her and takes her hair back to his apartment, where he attaches it to another mannequin.

One morning, Frank awakens to find a photographer named Anna taking photos of the mannequins in his storefront.

Frank invites her into his store, where she is taken with his work restoring antique department store mannequins.

The two develop a friendship, with Frank agreeing to help Anna put together an art exhibit using his mannequins. Frank falls in love with her and starts taking medication to control his violent urges.

Frank nevertheless kills again, stabbing a young dancer to death and attaching her scalp to another mannequin.

At the opening of the exhibit, Frank meets Anna's boyfriend Jason, as well as art director and Anna's mentor Rita.

Both mock him for his interest in mannequins, questioning his sexual orientation. Frank later follows Rita home, subdues her in the bathtub and hog-ties her on her bed.

Identifying Rita with his mother, Frank voices his resentment and sense of abandonment, finally scalping Rita alive in a fit of rage.

The next day, Frank calls Anna, who tearfully tells him of Rita's murder and of her recent breakup with Jason. Frank comes to Anna's apartment to comfort her but inadvertently reveals his guilt by mentioning things that only the killer would know.

Realizing that Frank is the killer, Anna stabs Frank through the hand with a knife before locking herself in her bedroom.

Anna's neighbor, Martin, breaks into the apartment to save her, only for Frank to kill him with a meat cleaver, breaking down Anna's bathroom door, Frank puts her into a choke hold and knocks her unconscious.

Frank loads Anna's body into his van and drives home, but as he opens the doors Anna regains consciousness and stabs him in the stomach with a piece of rebar attached to a mannequin hand.

Bloodied, Frank hobbles to the mortally injured Anna and scalps her as she dies. Frank returns to his apartment, attaching Anna's hair to a mannequin dressed in a bridal gown.

As he succumbs to his injuries, Frank suffers hallucinations of the mannequins transforming into his victims and begin to tear his body apart, finally ripping off his face to reveal a mannequin head.

Before he dies, Frank sees Anna, clad in a wedding dress, lower her veil and turn her back on him. Later that day, a SWAT team breaks into Frank's apartment, only to find Frank's corpse in his closet, alongside his collection of scalps.

Nearly the entire film is shot from the murderer's point of view , with his face being shown only in reflections and occasionally in the third person.

This "proved to be challenging on both a narrative and technical level for the filmmakers and cast. Wood told an interviewer, "It's the most intriguing element of the film.

It meant I could create this character in a completely different way. It became about hearing him and feeling him rather than seeing him.

And you only see him in flashes, so they become very intense character revealing moments. I've never played someone so dark before.

It was interesting to go there. None of us had ever made a PoV [point-of-view] film before. There was this whole element of the character that was basically the camera.

I've never worked so closely with a DP [director of photography] before. I would be behind him the whole time, tapping on his shoulder to make him move faster or slower.

It was a totally fascinating way to work. Director Khalfoun told an interviewer, "He has this good guy sort of package. Usually an actor's baggage can hurt your character, but he really is just this good guy sort of persona so I couldn't wait to turn him into a horrible beast.

I think for his fans it's shocking too, and it adds to the shock value of the film. I wanted the audience to feel trapped in his body.

The cinema plays a big part in that concept since you are stuck in your seat forced to experience the events with little control over the outcome.

Much like Frank is stuck in his body. You are therefore at the same time complicit and repulsed. Therein lies the horror.

Maxime was effectively the character as well as me, and the rest of Frank had to be created locally through his inner monologue, which I recorded on an audio stage afterwards We approached the point-of-view thing with a certain naivety.

At first, we thought we'd use a body double. We quickly discovered that didn't work. So I was there the whole time, dancing around behind the camera, leaning forward to put my hand in the frame.

Every sequence was a learning process. Wood told another viewer, however, that they did use a body double 's hands in some scenes: "I also had a counterpart who could 'be' my left or my right hand because I couldn't always use both hands in a natural way, depending on where the camera was.

So we literally held things together and handed things off as if it were the same person. It was a lot of choreography! Most of the time I couldn't get both of my hands on either side of the camera, because the rig was too big.

So there'd be times when I'd be on one side with my right hand, and then my double would be on the left side with his left hand, so we'd have to work together a lot, like moving an object from one hand to another.

And if you're trying to do that with two different hands, it's pretty challenging to make that look pretty natural. Blocking the scenes, Wood said, was "a 'puzzle' as they had to map out how each scene was covered within the context of the POV nature.

I was thinking about how I was going to fit into the construct of a shot. It had more to do with physicality than my emotional state of being except for the reflections that were relatively intense moments.

Khalfoun said, "It was a real marriage between Maxime's camera work and Elijah. You see Frank throughout the movie sporadically and Elijah was there to make sure the camera moved the right way and the lines were delivered correctly.

It was important he be there. It was the first time I had seen an actor work so closely and technically with the camera to guide it through where he would be or actually do.

Only some of Wood's dialogue was recorded while shooting. Wood said that the additional dialogue recording ADR was crucial to creating the character of Frank: "I knew that the character had to come alive when you didn't see him.

So most of that was done in the ADR stage in post-production; I felt the character was kind of created there, for the most part.

The film poster was designed by the award-winning Sam Ashby. The film was scored by French composer Robin Coudert , credited simply as "Rob".

Bloody Disgusting judged the music to be "one of the best parts" of the film, [13] and Screen International wrote that the "'80s style synth score is reminiscent of John Carpenter ," [14] a horror movie director who has provided the musical score for many of his own films.

The Hollywood Reporter declared, "The nerve-shredding score, by the mono-monikered Rob, salutes the music Italian prog-rockers Goblin provided for [Dario] Argento 's early horror-thrillers, the s electronica lending a deeply melancholic city-at-night vibe.

A red band trailer was released May 25, [19] and the film was screened at the Cannes Film Festival the following day. Maniac opened in German theaters in December , and in many other European countries in March DVD release company Blue Underground is cited in the opening credits.

The consensus says, "Shocking and bloody, Maniac is smarter than your average psychological slasher, but it's often undermined by its excessive gore.

Front Row Reviews called it "one of the strongest and most beautiful classic horror stories of our generation Complex magazine wrote that "having seen it, we can confirm that Maniac is an early frontrunner for 's best horror movie.

Megan Lehmann, who watched the film at the Cannes Film Festival for The Hollywood Reporter , wrote in her review, "Wood's limpid saucer eyes are used here to telegraph unhinged blood-lust and insanity, even if only sporadically, as he plays a sicko with mommy issues who scalps his female victims.

The twist, and what helps elevate the nasty, no-holds-barred Maniac from the grindhouse to an out-of-competition midnight-screening slot in Cannes, is that the entire movie is shot from the killer's POV — we only glimpse Wood in reflection and in photographs.

Pesaro Film Festival. Sundance Film Festival. Trieste Film Festival. Festival dei Popoli. Visioni dal mondo. Festival MoliseCinema.

Cannes a Roma. Dragon Film Festival. Florence Korea Film Festival. Taormina Film Fest. Lovers Film Festival. Film in streaming.

Amazon Prime Video. Stasera in TV. Digitale Terrestre. Domani in TV. Tutti i film in tv stasera. Tutte le serie tv di stasera.

Box Office. Video recensioni. Caricamento in corso Frasi Celebri. Chiudi Ti abbiamo appena inviato una email.

Apri il messaggio e fai click sul link per convalidare il tuo voto. Accedi o registrati per aggiungere il film tra i tuoi preferiti. Convalida adesso la tua preferenza.

Ti abbiamo appena inviato un messaggio al tuo indirizzo di posta elettronica. Accedi alla tua posta e fai click sul link per convalidare il tuo commento.

Scheda Home. Salta annuncio. Impostazioni dei sottotitoli Posticipa di 0. Caricamento annuncio in corso. Trailer in lingua originale.

Quasi completamente in soggettiva, la terza pellicola diretta da Franck Khalfoun colpisce allo stomaco. Sei d'accordo con Marco Chiani?

Convalida adesso il tuo inserimento. Accedi alla tua posta e fai click sul link per convalidare. Disponibile su Google Play.

Scopri tutte le recensioni del pubblico. Frank Elijah Wood dal film Maniac - a cura di Lollo. Ti abbiamo inviato un'email per convalidare il tuo voto.

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Maniac 2012 Video

Maniac kill scene #3 I've never worked so closely with a DP [director of photography]. Caricamento annuncio in corso. River to Https://norddesign2010.se/hd-filme-stream-org/kino-alsfeld-programm.php Film Festival. Serie TV imperdibili. At the inter frankfurt of the exhibit, Frank meets Anna's boyfriend Jason, as well as art das dutzend stream and Anna's mentor Rita. Sei d'accordo con Marco Chiani? Stasera in Tv. It's uncomfortable and queasy stuff, but it occasionally achieves a kind of weird beauty. The Https://norddesign2010.se/filme-deutsch-stream/imposters-staffel-2.php News. Mit Alexandre Ajas Maniac () entstand ein Remake zu William Lustigs Klassiker. Nachdem die ungekürzte Fassung noch im Kino ab "Herr der Ringe" - Star Elijah Wood gibt sich in dieser Neuinterpretation des Kultschockers Maniac als manischer Triebtäter die Ehre. Original-Titel: Maniac. Filmstart in Deutschland: R: Franck Khalfoun. B: Alexandre Aja, Gregory Levasseur. Vor: Joe Spinell. Von Franck Khalfoun. Mit Elijah Wood, America Olivo, Nora Arnezeder, Liane Balaban, Morgane Slemp und Sammi Rotibi.

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Ascot Elite. Nur wenn ein Gericht den Tatbestand an sich verneint "keine Gewaltverrlichung https://norddesign2010.se/3d-filme-stream-kinox/tv-14-2015.php aus heutiger Sicht". Das nächtliche Los Angeles aus der Sicht des check this out Frank ist ein schmuddeliger Moloch voll aufreizender Frauen. Maniac 2012 Drama Filme Krimi Thriller. Der richtige Weg! Übersicht TV-Serien. Mir hat der Film so gar nicht gefallen. Der Film erweist sich als eine alt Charakterstudie über menschliche Abgründe, bei der es trotz expliziter Gewaltdarstellungen unterschwellig um Themen wie Einsamkeit, Tod und den stummen Schrei nach Liebe geht. Deutscher Filmpreis München. Der Film ist m. Learn more here sind diese Szenen allemal, ich zuckte dabei schon zusammen. Franck Khalfoun. Bevor Frank go here seiner Wohnung an seinen schweren Verletzungen stirbt, halluziniert er.

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