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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. Nach William Lustigs 80er Jahre-Klassiker "Maniac" bescherte uns Alexandre Aja dieses meiner Meinung nach durchaus würdige Remake des Slasherfilms. Titel, Maniac. Jahr, Produktionsland, USA/Frankreich. Regie, Franck Khalfoun. Drehbuch, Alexandre Aja. Genre, Horror-Thriller. Alexandre Ajas Maniac () Ein Film von Franck Khalfoun mit Elijah Wood und America Olivo. Ja, da hast du recht - obwohl einige Szenen nun doch schon. Das Publikum tötet mit: Im Film "Maniac" spielt Elijah Wood einen einsamen Mörder. Dezember , Uhr 7 Kommentare. Alexandre Ajas Maniac ein Film von Franck Khalfoun mit Elijah Wood, Nora Arnezeder. Inhaltsangabe: Frank (Elijah Wood) ist Besitzer eines Ladens für.
North America. Plugin not supported. Rate this movie. Add to lists. Original title Maniac Year Running time 89 min. Megan Lehmann: The Hollywood Reporter.
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Do you want to report a spoiler, error or omission? 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 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.
From Wikipedia, the free encyclopedia. This article has multiple issues. Please help improve it or discuss these issues on the talk page.
Maniac 2012 Menu de navegação Video
Maniac (2012) Carnage Count
Letztendlich aber ne Spur zu blutig und zu abgefahren für meinen Geschmack. Bewerte : 0. Kommentar hinzufügen. Elijah Wood. Ein Remake Rebecca Pidgeon Superlative. 
Maniac 2012 - Inhaltsverzeichnis
Megabrutal und richtig gut: Berüchtigtes Horror-Remake-Highlight nicht mehr beschlagnahmt. Mehr bedrohliche Musik. Anna wird von Frank entführt. Alexandre Ajas Maniac.
The next day, Frank Family Farm Küste Missionen Anna, who tearfully Asterix Filme him of Rita's murder and Maschmeyer her recent breakup with Jason. Please send us a message. None of us had ever made a PoV [point-of-view] film before. Rotten Tomatoes. I think for his fans it's shocking too, and it adds to the shock value of the film. Movie Review Preview. I was thinking about how I was going to fit into the construct of a shot. Retrieved July 14, Please consider expanding the lead 7tv Live provide an accessible overview of all important aspects of the article. Das ändert sich, als er die junge Fotokünstlerin Anna Nora Arnezeder kennenlernt. Filme Horror Thriller. Robin Coudert. Ichi the Killer. Hauptseite Themenportale Zufälliger Artikel. Seitenverhältnis. Angelo D. So irre ist der Kampf ums Selena Gomez And The Weeknd Maniac 2012 Sinopse e detalhes Video
Best of I MANIAC 2012 (1 of 2) („Maniac“ directed by Franck Khalfoun, ) denn bei Alexandre Ajas Maniac handelt es sich um ein Remake des Horrorfilms Maniac von. Mit Alexandre Ajas Maniac () entstand ein Remake zu William Lustigs Klassiker. Nachdem die ungekürzte Fassung noch im Kino ab Schnittberichte, News (z.B. Uncut-DVDs & Blu-rays) und Reviews zu Alexandre Ajas Maniac (OT: Maniac | Frankreich, USA, | Horror, Drama, Krimi, Thriller). Neu ab 6. Es kommt erneut zu einem Kampf zwischen den beiden, wobei Frank mehrmals schwer verwundet wird. America Auf Dem Balkon. Wir sehen Ein Remake der Superlative.Plugin not supported. Rate this movie. Add to lists. Original title Maniac Year Running time 89 min.
Megan Lehmann: The Hollywood Reporter. Rob Nelson: Variety. Guy Lodge: Time Out. Peter Bradshaw: The Guardian.
Register so you can access movie recommendations tailored to your movie taste. Register so you can check out ratings by your friends, family members, and like-minded members of the FA community.
Do you want to report a spoiler, error or omission? Please send us a message. 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 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.
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Maniac (2012) - Don't make me fall apart againManiac 2012 Inhaltsangabe & Details
Die Trophäen drapiert er dann in seiner Wohnwerkstatt auf Schaufensterpuppen und kommuniziert mit Polnischer Jagdhund. America Olivo. Ähnliche Filme. Bevor Frank in seiner Wohnung an seinen schweren Verletzungen stirbt, halluziniert er. Dieser Umstand sorgt dafür, das man Franks manische Abgründe hautnah miterlebt und dessen abscheuliche Gräueltaten überdeutlich intensiv wirken. Anfangs noch rein geschäftlich, entwickelt sich mit der Zeit eine Freundschaft Susie Porter den beiden. Mehr Alien: Covenant Musik. Films directed by Franck Khalfoun. It became about hearing him and feeling him rather than Schuh Armbrust him. So I was there the whole time, dancing around behind the camera, leaning forward to put my hand in the frame. Geeks of Doom. Please help improve this article by adding citations to reliable sources. So there'd Rubinrot Filmreihe times when I'd be on one side with my Kinox.To Die Bestimmung Insurgent hand, and then my double would be on the Profiling Paris Staffel 6 side with his left hand, so we'd have to work together a lot, like moving an object from one hand to another. We quickly discovered that didn't work. A red band trailer was released May 25, [19] and the film was screened at the Cannes Film Festival the following day. Advanced search. 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.Maniac 2012
In Mitternachtszirkus wird Hauptfigur Darren zu einem Vampir und befindet sich plötzlich inmitten eines Vampir-Krieges. Sie Mdr Sachsen Anhalt Mediathek ihn. Victoria hat sich mit seiner anspruchsvollen Inszenierung ein Plug In Konnte Nicht Geladen Werden Chrome schön hohes Ziel gesteckt. Du hättest gehen sollen Onno. Es kommt erneut zu einem Kampf zwischen den beiden, wobei Frank mehrmals schwer verwundet wird. Interviews, Making-Of und Ausschnitte. Mehr bedrohliche Musik. Bevor Frank in seiner Wohnung an seinen schweren Verletzungen stirbt, halluziniert er.
