Director:
Greg McLeanCámara:
Toby OliverMúsica:
Johnny KlimekReparto:
John Jarratt, Ryan Corr, Shane Connor, Aaron Sterns, Maria Volk, Mandahla Rose, Shannon Ashlyn, Chloé Boreham, Philippe Klaus, Jordan Cowan, Graham JahneStreaming (3)
Sinopsis(1)
Atraídos por la promesa de unos auténticas vacaciones en la recóndita Australia, una pareja de mochileros visita el legendario cráter de Wolf Creek. Sin embargo su aventura se convierte en pesadilla cuando se encuentran cara a cara con el último hombre que cualquier persona querría encontrar: Mick Taylor. Ocho años después de surgir de la oscuridad para masacrar a un grupo de turistas, el psicópata continúa con su demente caza en una nueva persecución sin tregua en su territorio. (A Contracorriente Films)
(más)Videos (1)
Reseñas (5)
Empieza como una película de asesinatos aburrida y poco original, pero poco a poco gana originalidad y mantiene la atención del espectador, que ha visto cientos de películas similares. El asesino paleto tiene algo especial, precisamente porque no es un mutante ni tiene compañía familiar a su alrededor, pero se ve y se comporta como un vecino relajado de un taller de reparación de vehículos. Así hasta que alguien lo enfade. Y mantiene la palabra dada. Los ensayos finales de la historia australiana hacen de la película una muesca en el mapa de géneros. Y las tomas del desierto australiano le dan una belleza visual que no hemos visto en La matanza de Texas o Las colinas tienen ojos.
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The first part is a very average and bland hixploitation, but the second part is enriched with more elements and I can finally shout my favourite phrase this year: Fucking awesome!! From start to finish a whirlwind of proper gore (headshots, shotguns, severed heads, human body dismemberment... Wonderful!), a decent build-up of tension, a nice exotic landscape, a nice throwback to a lot of older similar films from previous years, an excellent villain – a really horrible redneck asshole who doesn't fuck with anything or anyone, animals get their asses kicked here in full flow! The kangaroo scene is the most over the top I've ever seen. A truly outstanding affair, to perfection and beauty it only lacks naked women and more intense torture. Australia is rocking this year and competing decently with the French when it comes to gore. 80%.
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An uncompromising and nimble genre film that fears nothing and spares no one – in a relatively short space of time, we get a clean head shot, a detailed dismemberment of a man's limb, a bloody Australian rally with the subtitle "Take down the kangaroo", and a visit to a horrifying torture den full of pain and depravity. And starring a likeable good guy and a delectable villain who is a horror freak of the first order. It doesn't bring anything new to the table, and it's striking how blithely and without consequence Taylor runs his perverted tastes across such a large territory, but at least it's a hell of a lot of fun and formally more than decent, so I'm satisfied. 70%
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Surprisingly, pretty good. I hardly remember the first Wolf Creek, I only have the rather hazy impression of it as a dull and average exploitation movie, but I will refrain from an explicit comparison because, as I say, it’s just a feeling. But Wolf Creek 2 sticks fiercely within the limits of the genre without going any further, but what it does, it does very well. Basically, it’s a cross-section of Australian hixploitation (or ozploitation) where, instead of a proper story, we get several different sequences separated by locations and even characters, and the only thing linking them is the villain, a murderous and cantankerous redneck. So, we see a night attack on a tent, a night chase in the bush, road chases, an attack on a house, etc., etc. Something like ozploitation in a nutshell, even the kangaroos have something to do (though Wake in Fright leads in this regard). Considering its moderate run, it surprisingly checks all the boxes and has a solid tempo. Satisfaction.
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Despite the shortcomings, whether in the plot or in how it's overall fairly disjointedly filmed, it's evident that the Australians are constantly evolving and improving. In their films, they preserve themselves, their culture, and their environment, but they can also conceive horror in such an intriguing way that it's not just aimed at their relatively limited market, and it becomes an export commodity. I liked the second installment even more than the first, perhaps because of the greater professionalism and evident effort to experiment.
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