Porontyok

Szorongó pszichológia, hátborzongató rejtély, véres gyilkosságok, az emberi szervezet visszataszító fiziológiai deformálása, sokkterápiás ellentmondás. És mindezt a Cronenberg zsenialitásának finoman bensőséges, komor csomagolásban. A legintenzívebb horrorfilmje. (2005.08.29)

Cronenberg puts all the horror on the shoulders on the “killers dwarfs” wearing children overalls and wielding hammers, unfortunately, it’s mostly gratuitous and not very scary. You can't deny the chilling, bleak atmosphere, but if you can't take the core of all evil seriously, it can hardly frighten you or arouse any unpleasant emotions. (2008.07.01)

Quality psychological horror by Cronenberg that stands out by its incredibly disturbing atmosphere. The first half is pretty chatty, but right when I was telling myself that this wouldn’t warrant an above-average rating, the film fully caught my attention and the ending is extremely tense. I will remember all those scenes with the child mutants for a long time (they look pretty good), but the most important thing is that they have such an unpleasant evil aura around them that they irradiate uncompromising rawness and tangible malice. Another thing worth praise is the fantastically escalating tension by the end. (2008.03.18)

This time Cronenberg fully subordinated his classical trademarks (gynecology, psychiatry, body deformation) to the effect of self-efficacy. As a means of doing so, he chose little men in winter overalls with hammers in their hands and lots of long-winded chatter. The suspense is solid only up to the first two visits of the hissing kids, then after the finale (typical gradation) there is once again plenty of verbal filler, which is not even helped out by an incorrect scene of a school class standing around a teacher lying in a pool of blood. But I’ll give it 3 ½ stars for the drops of icy sweat on my back. (2007.07.14)

Cronenberg elevates this rather childish horror premise of mutant dwarves capable of murdering their victims with almost anything beyond the prized genre average of the 1970s with intense psychological pressure and a smartly plotted screenplay. Unfortunately, as good as it is to watch even after all these years, and the enigmatic figure of the formidable Oliver Reed (why didn't this guy break into the world of big screen movies?! ) perfectly combines a violent, typically Cronenbergian plane with intimate conversational depth, today it's impossible to shake the dust of obsolescence off the story and ignore the fact that little thin-lipped children aren't scary and don't fill the audience's experience nearly as much as the oppressive atmosphere built by Cronenberg, Shore and the cast deserves. 70% (2016.07.22)