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Evil Dead

Evil Dead

Horror · 2013

Mia, a drug addict, is determined to kick the habit. To that end, she asks her brother, David, his girlfriend, Natalie and their friends Olivia and Eric to accompany her to their family's remote forest cabin to help her through withdrawal. Eric finds a mysterious Book of the Dead at the cabin and reads aloud from it, awakening an ancient demon. All hell breaks loose when the malevolent entity possesses Mia.

Movie details

Evil Dead

“The most terrifying film you will ever experience.”

2013 Horror 1h 31m

Critical arithmetic

One number, for now.

TMDB

6.6 / 10

Community rating

Mia, a drug addict, is determined to kick the habit. To that end, she asks her brother, David, his girlfriend, Natalie and their friends Olivia and Eric to accompany her to their family's remote forest cabin to help her through withdrawal. Eric finds a mysterious Book of the Dead at the cabin and reads aloud from it, awakening an ancient demon. All hell breaks loose when the malevolent entity possesses Mia.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Evil Dead?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Fede Álvarez

Written by

Rodo Sayagues · Fede Álvarez

Jane Levy

Jane Levy

Mia Allen

Shiloh Fernandez

Shiloh Fernandez

David

Lou Taylor Pucci

Lou Taylor Pucci

Eric

Jessica Lucas

Jessica Lucas

Olivia

Elizabeth Blackmore

Elizabeth Blackmore

Natalie

Phoenix Connolly

Phoenix Connolly

Teenager

Jim McLarty

Jim McLarty

Harold

Court is in session

Put Evil Dead on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Prestige Tourist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.