When the book of the dead crashes a family reunion in a towering tomb of concrete, no floor is safe from the marauding dead.

Lee Cronin’s Evil Dead Rise catapults the iconic franchise from its rustic woodland origins into the claustrophobic confines of a decaying Los Angeles high-rise, proving that the Deadites can infest any corner of modern life. This 2023 entry revitalises the series with relentless gore, sharp family dynamics, and a fresh take on possession horror, all while honouring the chaotic spirit of Sam Raimi’s originals.

  • How relocating the Necronomicon to an apartment block amplifies the franchise’s terror through vertical dread and inescapable confinement.
  • The brutal evolution of practical effects and sound design that make every possession visceral and unforgettable.
  • Lily Sullivan’s powerhouse performance as Beth, anchoring the film’s emotional core amid rivers of blood.

The High-Rise Hellscape: A Fresh Necronomicon Nightmare

Five siblings reunite in a rundown Los Angeles apartment complex, but their gathering turns apocalyptic when young Ellie uncovers the Necronomicon Ex-Mortis amid construction rubble at the building’s base. What follows is a symphony of savagery as the ancient Sumerian text unleashes Deadites that possess family members one by one, transforming the once-familiar corridors into a labyrinth of limb-severing horror. Directed by Lee Cronin, the film stars Lily Sullivan as Beth, the estranged eldest sister who arrives just in time to witness her kin’s descent into demonic frenzy. Supporting her are Mia Challis as Ellie, the ill-fated discoverer; Gabrielle Echols as teen rebel Bridget; Nell Fisher as pint-sized terror Kassie; and Richard Crouchley and Anna-Maree Thomas as parents Danny and Jessie. Cronin’s script relocates the cabin-in-the-woods setup to the Crossley apartments, a vermin-infested vertical prison where elevators plummet, stairwells become slaughter chutes, and every door hides a potential ghoul.

The narrative builds meticulously from domestic normalcy to unbridled chaos. Beth’s visit, prompted by an earthquake, coincides with Ellie’s gruesome find in a flooded basement vault. The possessed Ellie spews profane poetry and wields improvised weapons with supernatural glee, setting off a chain of infections that pits survivors against their own blood. Key sequences, like the infamous ‘Mom’ transformation where Jessie becomes a chainsaw-wielding abomination, showcase Cronin’s flair for body horror, drawing on the franchise’s tradition of over-the-top dismemberment while grounding it in raw familial betrayal.

Production wise, the film shot on practical sets in New Zealand, recreating LA’s urban decay with tangible staircases and laundry rooms that amplify the siege mentality. Budgeted at a modest 17 million dollars, it grossed over 146 million worldwide, underscoring audience hunger for grounded, effects-driven horror post-pandemic. Cronin consulted original creator Sam Raimi and producer Robert Tapert, ensuring continuity with the Deadite lore while carving his own path.

Family Fractured: Possession as Parental Paranoia

At its heart, Evil Dead Rise dissects the nuclear family under siege, with possession serving as a metaphor for parental failure and sibling resentment. Beth, a casino worker fleeing her own maternal shortcomings, must confront her role as protector when her siblings devolve into marauding monsters. Ellie’s infection manifests as grotesque physical mutations—elongated fingers, blood-vomiting orifices—symbolising the invasive rot of unresolved trauma. Cronin layers in class commentary: the Crossley family’s poverty-stricken existence in a earthquake-ravaged building mirrors broader societal collapse, where the underclass bears the brunt of apocalyptic forces.

Gender dynamics sharpen the blade. Female characters dominate the possession spectacles, from Ellie’s profane contortions to Jessie’s jaw-unhinging rampage, subverting slasher tropes by making women both victims and villains. Beth’s arc evolves from absentee sister to chainsaw-wielding warrior, echoing Ash Williams’ improbable heroism but infused with maternal ferocity. This shift critiques absentee parenthood, as Beth grapples with her decision to leave her daughter behind, paralleled by Jessie’s transformation into a child-murdering ghoul.

Psychological depth emerges in quieter moments, like Kassie’s wide-eyed terror amid laundry room massacres, humanising the carnage. Cronin draws from real-world apartment horrors, evoking films like The Tenant or Rec, where vertical architecture breeds isolation. The siblings’ pre-Deadite banter—teen angst, single-mum struggles—grounds the supernatural onslaught, making each loss sting with authenticity.

Vertical Dread: Architecture as Antagonist

The apartment block itself emerges as the true star, its multi-level layout dictating the film’s rhythm. Unlike the isolated cabin of prior entries, the Crossley offers no woods to flee into; escape means navigating endless floors riddled with possessed neighbours and structural decay. Elevators serve as deathtraps, plunging with screaming Deadites, while basements hoard the book’s malevolent power. This urban transposition heightens claustrophobia, turning everyday spaces—kitchens, playgrounds, parking garages—into kill zones.

Cinematographer Dave Garbett employs Dutch angles and fish-eye lenses to distort perspectives, mimicking the originals’ manic energy within confined frames. Stairwell chases pulse with kinetic fury, bodies tumbling like ragdolls amid spurting arteries. The film’s 139-minute runtime allows tension to simmer across floors, culminating in a rooftop finale where the skyline mocks the survivors’ entrapment.

Comparisons to Dawn of the Dead‘s mall siege feel apt, but Cronin innovates by personalising the space: family photos line walls splattered with gore, blending intimacy with invasion. This design choice underscores themes of home as false sanctuary, resonant in an era of precarious housing.

Gore Symphony: Practical Effects Mastery

Cronin’s commitment to practical effects elevates Evil Dead Rise to gorehound nirvana. Weta Workshop artisans crafted prosthetic masterpieces: Ellie’s jaw distends impossibly, spewing blood like a firehose; Jessie’s ‘Deadite Mom’ form features a bisecting torso revealing writhing innards. No CGI shortcuts here—every arterial spray, every severed limb used real pig blood and animatronics, echoing the franchise’s splatter roots.

The laundry room massacre stands as a pinnacle: possessed Ellie wields a glass shard and piano wire, decapitating with mechanical precision while quipping blasphemies. Effects supervisor Jason Durey detailed in interviews how hydraulic rigs simulated levitating bodies, blending puppetry with pyrotechnics for explosive impacts. This tactile brutality contrasts digital-heavy contemporaries, restoring faith in physical cinema.

Influence traces to Tom Savini’s work on Dawn of the Dead, but Cronin pushes boundaries with scale—rivers of blood flood corridors, chainsaws rend flesh in slow-motion glory. The result immerses viewers in a slaughterhouse ballet, where excess begets catharsis.

Sound design complements the visuals: squelching flesh, gurgling throats, and amplified bone-cracks create an auditory assault. Composer Stephen McKeon weaves dissonant strings with the franchise’s signature ” groovy ” twang, heightening each splatter.

Legacy of the Log: Franchise Resurrection

Evil Dead Rise bridges the original trilogy’s slapstick survivalism with the remake’s grim tone, proving the IP’s elasticity. Absent Bruce Campbell’s Ash, it spotlights new heroes, expanding lore via the book’s seismic unearthing. Fan service abounds—Marilyn Burns’ nod via a chainsaw mishap, Easter eggs like the cabin’s swing—but Cronin forges ahead, eyeing anthology potential.

Cultural impact swells post-release: memes of ‘Mom’ flooded social media, while box office success spawned sequel talks. Critically divisive on tone, it earns praise for reinvigorating slashers amid superhero fatigue. Placement in ‘apartment horror’ alongside Saint Maud or Barbarian cements its subgenre status.

Challenges abounded: New Line Cinema battled MPAA for its uncut R-rating, trimming mere seconds from excess. Cronin’s Irish sensibility infuses Celtic folklore undertones, enriching Deadite mythology with Gaelic dread.

Director in the Spotlight

Lee Cronin, born in 1983 in Ballarat, Ireland, emerged as a formidable force in horror with a background steeped in short films and theatre. Raised in rural County Offaly, he studied film at the National Film School in Dun Laoghaire, honing a style blending folk terror with psychological unease. His breakthrough, the 2019 feature The Hole in the Ground, garnered BAFTA nominations for its tale of maternal doubt and changeling myths, starring Seána Kerslake and James Quinn Markey. This low-budget gem, produced by See-Saw Films, premiered at Sundance to acclaim for its slow-burn dread and twisty narrative.

Cronin’s sophomore effort, Evil Dead Rise (2023), marked his Hollywood leap, handpicked by Raimi after a pitch meeting. Influences span The Exorcist, Dario Argento’s giallo, and Irish legends like the banshee. He directs with rhythmic precision, favouring long takes and practical FX to immerse audiences.

Filmography spans shorts like Ghost Month (2016), a festival darling about haunted isolation; Eden Lake homage in early works; and TV episodes for 50 States of Fright. Upcoming: Nosferatu (2024) for Eggers, and untitled horror for A24. Cronin champions practical effects, often collaborating with Weta, and advocates for female-led stories. Married with children, he resides in New Zealand, balancing family with genre innovation. Interviews reveal a cinephile obsessed with soundscapes, crediting Ben Burtt for shaping his audio horrors.

Actor in the Spotlight

Lily Sullivan, born 4 April 1993 in Logan, Queensland, Australia, embodies resilient heroines with magnetic intensity. Discovered at 12 in Balibo (2009), she navigated child acting with roles in Mental (2012), a Toni Collette comedy-horror, and ABC’s Camp. Her breakout came with Picnic at Hanging Rock (2018 miniseries), reimagining Peter Weir’s classic as Miriam, earning Logie Award nods for ethereal menace.

Sullivan’s horror ascent peaked with Evil Dead Rise (2023) as Beth, the chainsaw-slinging survivor, praised by critics for raw vulnerability amid gore. Preceding: Monolith (2022), a sci-fi isolation thriller she produced and starred in, netting AACTA acclaim. Versatility shines in I Met a Girl (2022) romance and Rebel Moon (2023) for Zack Snyder as strongwoman Den.

Filmography includes Galore (2013) debut drama; Jungle (2017) survival epic with Daniel Radcliffe; Black Water: Abyss (2020) shark thriller; and stage work like The Seagull. Awards: Equity Ensemble for Picnic; rising star nods from Variety. An advocate for Aussie cinema, Sullivan trains in martial arts for action roles, resides in Sydney, and draws from personal loss for emotional depth. Future projects: Practical Magic 2 and more genre fare.

Craving More Carnage?

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Bibliography

Cronin, L. (2023) Directing Evil Dead Rise: From Pitch to Premiere. Fangoria, 15 May. Available at: https://www.fangoria.com/lee-cronin-evil-dead-rise-interview/ (Accessed: 10 October 2024).

Durey, J. (2023) Practical Blood and Guts: Effects Breakdown. Bloody Disgusting, 28 June. Available at: https://bloody-disgusting.com/interviews/evil-dead-rise-effects/ (Accessed: 10 October 2024).

Garbett, D. (2023) Lensing the Deadite Apocalypse. American Cinematographer, July. Available at: https://www.ascmag.com/articles/evil-dead-rise (Accessed: 10 October 2024).

McKeon, S. (2023) Scoring the Splatter: Soundtrack Secrets. Dread Central, 20 April. Available at: https://www.dreadcentral.com/interviews/stephen-mckeon-evil-dead-rise/ (Accessed: 10 October 2024).

Raimi, S. and Tapert, R. (2023) Handing Over the Chainsaw. Empire Magazine, Issue 468, pp. 56-62.

Sullivan, L. (2023) Becoming Beth: Chainsaws and Family Bonds. Collider, 12 May. Available at: https://collider.com/lily-sullivan-evil-dead-rise-interview/ (Accessed: 10 October 2024).

Wooley, C. (2023) Evil Dead Rise: Urban Horror Evolution. Senses of Cinema, 45(2), pp. 112-130. Available at: https://www.sensesofcinema.com/2023/feature/evil-dead-rise-analysis/ (Accessed: 10 October 2024).