Critics Consensus

Baskin complements its gory thrills with heavy atmosphere and deliberate pacing, adding up to a horror outing that plays with the mind as enthusiastically as it ruins the appetite.



Total Count: 41


Audience Score

User Ratings: 1,857
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Movie Info

A five-man unit of cops on night patrol get more than they bargain for when they arrive at a creepy backwater town in the middle of nowhere after a call comes over the radio for backup. Entering a derelict building, the seasoned tough guys and their rookie junior, who's still haunted by a traumatic childhood dream, do the one thing you should never do in this kind of movie: they split up. They soon realize they've stumbled into a monstrous charnel house and descend into an ever-more nightmarish netherworld where grotesque, mind-wrenching horrors await them at every turn. This is one baskin (that's "police raid" to you non-Turkish speakers) that isn't going to end well. But wait! Things aren't what they seem in this truly disturbing, outrageously gory, and increasingly surreal film whose unpredictable narrative slippages pull the carpet from under your feet and keep you guessing right up to the final moment. A wildly original whatsit that reconfirms Turkey as the breakout national cinema of the moment.

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Mehmet Cerrahoglu
as Baba/The Father
Elif Dag
as Girl in the Cage
Fadik Bülbül
as Sister Butcher
Leman Sevda Daricioglu
as The Father's Cult
Tugba Ozkul
as The Father's Cult
Aslihan Erguvan
as The Father's Cult
Berat Efe Parlar
as Young Arda
Ihsan Onal
as The Father's Cult
Sema Semih
as The Father's Cult
Kerem Kurt
as The Father's Cult
Aslıhan Erguvan
as The Father's Cult
Derin Cankaya
as The Father's Cult
Burakhan Pasabeyoglu
as The Father's Cult
Ercin Sadikoglu
as Corpse In Tub
Ihsan Ozgen
as The Father's Cult
Hayati Citaklar
as The Father's Cult
Mehmet Kosemen
as The Father's Cult
Zafer Talibas
as Diner Chef
as Goat Man
Arda Sanatkar
as Sledgehammer
Alper Magriso
as Corpse 2
Seref Oguz
as Laughing Man
Aysenur Abay
as Little Girl
Serhat Kiliç
as Lost Cop
Fulya Peker
as Butcher Mother
Deniz Ozince
as Butcher Sister
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News & Interviews for Baskin

Critic Reviews for Baskin

All Critics (41) | Top Critics (12)

  • Stylishly mounted, well paced, with clever use of flashbacks, and written with panache.

    Oct 10, 2016 | Rating: 4/5 | Full Review…

    Ed Potton

    Times (UK)
    Top Critic
  • Sinister? Sadistic? Spine chilling? Check, check, check. This is a really nifty modern horror.

    Jul 15, 2016 | Rating: 3/5 | Full Review…
  • This slowburn Turkish shocker suggests what might have happened if Once Upon a Time in Anatolia's philosophically inclined patrolmen had blundered into Eli Roth territory.

    Jul 14, 2016 | Rating: 3/5 | Full Review…

    Mike McCahill

    Top Critic
  • Hey, Nicolas Winding Refn: this is how it's done.

    Jul 11, 2016 | Rating: 4/5 | Full Review…
  • Part art film slow burn and part extreme splatterfest, Baskin is best enjoyed as a movie that features the memorable image of a man gouging out someone's eyeball with a knife and then French-kissing the bloody socket.

    Apr 1, 2016
  • The pacing is slack and the splatter excessive, but this twisted cross-genre exercise should be red meat to gore-hounds.

    Mar 31, 2016 | Full Review…

Audience Reviews for Baskin

  • Aug 10, 2016
    Talk about a sick and twisted horror movie. If this is what Turkish horror movies are like, then I will have to make a better effort to keep up with them. Though, obviously, not every Turkish horror movie is gonna be like this. The most intriguing thing about this movie, outside of the insanity that is its second half, is the fact that it came from such a religiously conservative country, as 99.8% of the population practices Islam. I guess it's sort of the same way that some Japanese movies can be so fucked up due to the fact that their culture is so repressed when it comes to certain things, that their art sort of reflect that. I can imagine this film is a result of that religious conservatism. I find that parts of this film are a push against that conservatism, what with the rampant sex and violence, but it may just be me. The film starts out simply enough, as it sees five cops during a night out on the town. Everything is fine and normal, until they get a call to go to this abandoned building in this town that has been the source of all sorts of strange rumors throughout the years. On the way to this town, it seems that they have run over this man before the van is driven off the creek and into the water. A shallow river. This is when the weird shit starts to happen. They are guided by this man to where they're supposed to go and once they find their way into the abandoned building that's full of this weird cult, who have had their eyes taken out, fucking all over the place. The rest of the cops are rounded up and taken to this place, where they meet the leader of this 'cult', who has a strange appearance and he systematically starts murdering the cops one by one to see if they are the one he is looking for, as it were. The film, honestly, isn't entirely clear as to what this leader, called The Father, is looking for. So that was one of the flaws. The film also embraces some surrealist visuals, as every so often, Arda has a dream/nightmare where he's back at the restaurant with his boss and they're having discussions about death, the afterlife. There's also a recurring theme of Arda reliving one nightmare he had as a child. Visually speaking, the film is probably the best horror movie I've seen all year. There's all kinds of symbolism, subtext and just plain old clever horror costuming. Some of the DIY costumes/look the cult has reminds me of what it would look like if Mad Max's universe had an illegitimate love child with the Hellraiser universe. So that was really fucking cool to me. While it might not all be horror right from the get-go, I think the film does a fantastic of just giving off a sense of dread. Like you just know that these cops are heading for the worst possible night of their lives. It's actually pretty damn effective at that, might be one of the best I've seen in a while. The acting is damn good as well. The guy who played The Father, a first-time actor mind you, was fantastic in this movie. It's not even due to the fact that his appearance is so strange, though that helps, but he does have a way of performing that just adds to how creepy the dude actually is. The rest of the cast is strong as well, but the guy who played the Father is excellent here. No joke. The movie isn't perfect, of course, no horror film is. Like I said, I had problems with some of its narrative threads and how they didn't fully explore/explain them in a satisfactory manner. But, by and large, the sense of dread, the sick and twisted portrayal of 'hell on earth', as it were and really clever concepts make this movie well worth the trip, even if some might be turned off by some of its visuals. I really liked this movie a lot and I would easily recommend it to horror geeks.
    Jesse O Super Reviewer
  • Aug 06, 2016
    Some interesting nightmarish ideas in a film that bears a resemblance to Hellraiser and its first sequel, but lacks those films pace, logic and verve.
    Daniel P Super Reviewer
  • Apr 07, 2016
    This isn't a bad film. In fact, the first 30-40 minutes of it are wonderful. That synthesizer solo blew my mind, and the diner sequence was very fun and Tarantino-esque. The buildup to the actual "horror" was done quite nicely, and there was some really creepy stuff happening. Then it devolves into torture porn and it ceases to be scary, just disgusting. I will say that Mehmet Cerrahoglu is genuinely terrifying to look at and makes a very convincing demon/satan/cult leader/wizard. I would recommend this if you aren't looking to be blown away, and you like bloody, disgusting films. The twist will make you roll your eyes, unless you are easily impressed by predictability.
    K Nife C Super Reviewer
  • Mar 30, 2016
    Love the stylish cinematography, beautiful lighting, and playful story structure. The artfulness of the film reminds me of Italian masters of Horror such as Mario Bova and early Dario Argenta. There are some deeply religious and philosophical conundrums being posed here, being dealt with in a sort of simplistic way, and the buildup is much greater than the ultimate, eventual payoff, but its still worth the ride.
    Hayden B Super Reviewer

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