…and this time, there’s no Ash around to supply a pithy comeback. Nope, Drag Me To Hell has no safety net, it’s just freak-out jump cut after hilarious gross-out after freak-out jump cut after hilarious gross-out… it’s all reward and no work, and totally awesome from start to finish. It is also, apparently, Sam Raimi’s attempt to work out his oral fixation, since the film features the most ridiculous amount of oral discharge – be it puke, offal, bile, worms, flies, red goo, whole arms, or dead animal bits – I’ve ever seen in a movie.
And since I’m talking about music in movies lately, I’ll say that I thought Christopher Young did a great job with the score, in particular using violin double-stops really interestingly. Of course, the guy’s been doing horror scores since, like, Nightmare On Elm Street 2 and Hellraiser, so he’s got the whole “single high-note piano trill of scaryness” thing down, too. At its heart, music is about tension and release, and horror films seem to revel in the basest, most elemental expression of that same juxtoposition (build-up…build-up…build-up….SCARE!!AAAAA!!). I can imagine that, with a director as good as Raimi building tension into a movie as fun as Drag Me To Hell, Young must’ve had a fucking blast allowing his music to take that tension and release to its logical conclusion.
Anyway, do yourself a favor and go see it. When you walk out of the theater, if you’re feeling a little freaked out, just remember – it was only a movie, and everything’s gonna be okay: