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Criticism of ‘The Offering’, terror in the funeral home

Oliver Park directs ‘The Offering’, a horror film that goes to the point, knows how to build a disturbing atmosphere and draws from the manual of effective scares.

    Being one of those horror movies of a lifetime, not called to make history, not even within the genre, not even in this film season that has just begun, but that goes to the point, knows how to build a disturbing atmosphere and pulls scares as contrasted and expected as they are effective, ‘The Offering’ comes a little late. It arrives late for fans and an audience that sometimes seem to look badly at horror fast food menus, even though they come with spices from the purest Yiddish tradition. So many palates deceived thanks to all those tastings of “elevated terror” will see this story of a child-stealing demon, pregnant woman, idiotic couple, relatives more suspiciously kind than Mia Farrow’s neighbors in ‘Red Rose’ and a dark space (a house with funeral home on the ground floor: not even intended for fans of the seventies ‘Phantasma’, yes, a horror festival that was a festival of goofy and effective scares, nothing “elevated”) as something that comes at the wrong time in times of horror films with an agenda social, preschool metaphors and great values ​​(as if a jewish bastard devil, the Abyzou from ‘The Offerig’, didn’t represent them and wasn’t enough before other things).

    Yes, ‘The Offering’ is a bit late (perhaps not for a forum cinema with those of VOX in Castilla-La Mancha) because a year or two ago we saw (very few, specialized festivals aside) ‘The vigil’ which was already this , without lurking motherhood, but with the same setting, a camera just as evil and playful with the spectators, and an entity also from Jewish folklore that was sometimes terribly monstrous and sometimes a mischievous supernatural being who enjoyed black humor. Oliver Park’s film contributes few novelties to Keith Thomas’s, of which it makes a nice addition for the sake of a possible franchise of bedtime stories from the Jewish tradition. If all the titles are going to be concise and not ashamed of coups, panoramic views into the dark and gimmicky scores like ‘The vigil’ (which was better, I confess) and ‘The offering’, I’ll be there, with more fidelity than a rabbi to the Sabbath.

    And, yes, ‘The offering’ comes a little (or a lot late) because in an ideal world, that of the 70s or the 80s, it would have been an extraordinary film by Mel Brooks with Gilda Radner as a mother-to-be in danger, Gene Wilder as her clumsy husband and Zero Mostel as the Abyzou. But that cinema disappeared as quickly and as sadly as the ability to enjoy being locked in the house of terror.

    For scared public who refuse to be circumcised by “high terror”

    The best: the great benefit he gets from his stage where life and death coexist.

    The worst: the little benefit that he gets from Hebrew folklore.

    DATA SHEET

    Direction: Oliver Park Distribution: Nick Blood, Emily Wiseman, Paul Kaye, Allan Corduner, Jonathan Yunger Country: USA Year: 2022 Release date: 27–1-2023 Gender: Terror Script: Hank Hoffmann Duration: 93 min.

    Synopsis: Desperate to pay off his debts, a man secretly tries to manipulate his father into selling his funeral home. Unknowingly, he will unleash an evil spirit that has its sights set on his pregnant wife.

    Source: Fotogramas

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