Step One: Go to www.random.org.
Step Two: Pick a Number.
Step Three: GET WEIRD!
Who Can Kill a Child?
A nice place to visit, but you could never LIVE there!
A couple of English tourists arrive on an island where all the children have gone crazy and are murdering the adults.
When a film starts with real footage from various wars in which we see children suffering and dying, you know it's not going to be an 'easy' watch. And it isn't, not by a long shot.
What makes it stand out is not gore or easy scares, it's atmosphere. It evokes a feeling of 'wrongness', caused by the scariest antagonists possible, children. These kids do the most horrible things and therein lies the strength of this film. It's the disconnect between the rational expectations you have when you see a child and the sadistic things they eventually do. This slow realisation is acted out really well by the two leads. Even though I expected it, the inevitable conclusion still shocked me.
There is a lot to admire in this film, it has something to say, the acting is very good, but what I liked most is that it doesn't try to give any easy explanations.
This movie has developed quite the cult status over the years, I've heard this refered to multiple times as the greatest killer kid movie of all time, so expectations going in were high and they were met. This easily has the best atmosphere out of any of the nearly 60 horror movies I have watched since September starting off with that ghastly prologue that uses real life footage of atrocities to children.
From there the movie slowly draws you in to the lives of this tourist couple, we get little hints something isn't right but this movie really takes its time before it's big reveal which is very effective. The ending is grim brilliance. Edgy for any period in film…
They don't make them like this any more, seriously, they don't. Who Can Kill a Child is a really impressive piece of work in my eyes. This is a horror film that displays a perfect sense of timing and restraint and by developing slowly, builds an almost overwhelmingly eerie and tense atmosphere.
The film follows an English couple, Tom and Evelyn, as they holiday in Spain. To begin with, we see the couple in the busy town of Benavis where we learn Evelyn can't speak a word of Spanish, while Tom has visited previously and has a good command of the language. As there is a festival happening in town, Tom suggests they rent a boat and sail out to…
Add me to the pile of folks that really don't understand the purpose of including that newsreel footage under the opening credits: The general intent of those clips -- children are mad as hell & they aren't gonna take it anymore -- is offered again mid-film (via more real-life footage), the in-your-face nature of those clips garishly clashes with the film's intelligent less-is-more aesthetic, and fuck showing actual Nazi / Vietnam atrocities in your silly little horror movie (especially when it's offset by a child's wordless singing).
Thankfully, the work of Serrador & friends in the rest of the film makes up for that misstep. In particular: The reveal of the first dead body (a simple non-showy camera pan accompanied by a…
Para la serie de "Niños Creepy". Fuck. Neta son muy creepy. Mil veces mejor que Children of the Corn (por lo menos lo que recuerdo).
El twist que tiene por ahí del final es grandioso, fue lo que me termino de ganar!
También la metería en una lista llamada "Grandes Películas de Zombies Sin Zombies" junto a The Birds!
Opening with scenes of real atrocities where children have died gives this film an air of grotty, exploitative, shock value that the rest of the film doesn't really warrant. I see the point there trying to make, that innocent children are always the collateral damage in adult-caused conflicts, but I think there are better ways of depicting it than the method they chose here. That aside, Who Can Kill a Child? is actually a really effective horror movie. Not the schlock I was expecting, but rather a measured, restrained, quite eerie film, reminiscent of Hitchcock's The Birds in feeling and shot composition. The fact that the children approach every sadistic act with a gleeful, innocent touch, like their playing a game of Kerplunk as opposed to beating an elderly man to death with his walking stick. It succeeds in being creepy and scary, and ominous, without being over the top or sensational. Great ending too. Liked it a lot.
i don't see what the big deal is, honestly... these kids seemed pretty reasonable to me, they didn't even kill the dogs! many filmmakers could learn from them tbh
miedo...Pero un poco mezcla de varias pelis... No sé si de antes o de después..jjj.. Pero guay para ser española, Chicho está loco..jjj
Tiene algo que no me convence del todo... gustándome, no ha gustado tanto como "debería"... Procesando...
Trust me, I'm basically a doctor.
This spaniard oddity showed a lot of promise and the ending almost gets it 3 stars but the film drags so much, it's mostly frustrating.
s/o to Ill Niño.
Very creepy and ominous slow burn. Some pretty intense scenes create a very satisfying ebb and flow that keeps hitting higher and higher points of shock or discomfort as the film progresses. A few of them dropped my jaw. Wasn't thrilled with the performances, but that's a minor complaint. A great alternative to the horror classics if you're looking for something new.
Režissöör Narciso Ibáñez Serrador raputab vaataja emotsionaalselt läbi juba enne, kui film alatagi jõuab näidates kroonikakaadreid jõledustest, mis on toime pandud läbi 20. sajandi (holokaust, Vietnam...), keskendudes nende sündmuste lastest ohvritele kui kõige süütumatele kannatajatele. Kogu järgnev film on otsekui kättemaks, kus jõuvahekorrad on ümberpööratud ning lapsed on vägivallaahela tipus.
"Vägivaldne maailm sünnitab vägivaldseid järglasi" ei ole kuidagi uudne sõnum - juba ajal, kui see film tehti -, kuid siin on see sõnum edastatud märkimisvärselt lõikava jõulisusega.
In the profusion of scuzzy, gritty Euro-horror that dominated the seventies, this one, about a throng of apple-cheeked youngsters endowed with a murderous hive mentality, deserves a closer look. Shooting on an island village off the Spanish coast, Serrador (La residencia) cooks up several unnerving images that recollect Hitchcock, Romero, and--in scenes of endless wandering around an eerily depopulated, sepulcher-white plaza--Antonioni, but never so many as to invite charges of plagiarism or parody. An opening newsreel montage summarizing the antihuman atrocities over the decades establishes a tone of moral seriousness which functions as an alibi for the unsavoriness to follow. Once the central premise is sprung, however, the suspense is almost perfectly sustained, suggesting an iron hand at the tiller. Individual conscience will dictate whether the line between art and exploitation is transgressed when the film finally gets down to answering the title question.
Holding a piece like this to some selective label such as "Horror" is doing it an injustice, and honestly that goes for all cinema.
Reality leaks through the opening credits almost as if to say the filmmakers are the direct cause of the imagery being shown. The documentaries slices of reality fade into the interpreted reality of the rest of the work. Wide eyed faces of innocence line the calm beaches and streets as the tourists peer into their celebration.
This interpreted reality is a false reality and is marked by moments of comfort through still imagery.
The reality we perceive through the opening documentary returns to break the false reality for the tourists and set them further away from…
Step One: Go to www.random.org.
[after his parents have left, thinking he is ill] "They bought it. Incredible! One of the worst performances of my…