The result is something less than the sum of its parts; in other words, the diametric opposite of that beloved original.
There's more slickness than imagination on display.
Using the very latest Cern-tested atom interferometry, we can reveal that Evil Dead is precisely, exactly - in the coldest atomic terms -the film that you were expecting.
| Original Score: 3/5
Remaking an iconic classic is dangerous business, even if the original filmmakers are on board as producers, but at least Uruguayan writer-director Alvarez has a few clever ideas up his sleeve.
| Original Score: 3.5/5
Happy days for those who love this sort of thing. But Raimi's effort, perhaps because we hadn't seen the plot before, was infinitely more scary.
| Original Score: 2/5
This could easily have been the best demon possession film released in decades. Instead it is just a very effective, still-terrifying, evil retread.
| Original Score: 4/5
There's no suspense, and it isn't scary.
The characters are forgettable but the horror they suffer lingers in the memory, for good or ill.
A decent, gory horror treat for those who've never watched an Evil Dead movie - while at the same time exhibiting discreet respect for the 1980s incarnations, with plenty of low-key nods to the original for fans.
A full-bloodedly grisly and macabre film that zaps over a few scares.
Anonymous, forgettable and doesn't hold a candle to the brilliant original.
I was left clamping my hand to my open jaw, not so much in terror, more in shocked hilarity at how grand the guignol was willing to go.
Well made and delivers buckets of the red stuff, but it's hampered by poorly developed characters, a lack of humour and a tendency to substitute gore for actual scares.
Sam Raimi's horror classic gets a terrifying and intense rebirth for the 21st century.
Despite much old-school splatter, it's seldom frightening and oddly unfunny.
An undemandingly fun and instantly forgettable update that provides the required amounts of blood, gore and demonic possession, although no real scares or re-invention.
Will not inspire endless repeat viewings like the original, mostly because there's no Bruce Campbell.
Alvarez adopts the film language of Raimi's films, adds more to the bag of tricks, and keeps the sardonic attitude without necessarily being slapstick.
Lacking Raimi's transgressive invention and wit, there really are some things that man should not meddle with.
At its best, manages to recapture the original's hardcore nastiness. It could certainly do with laughing at itself a bit more, though.