Martyrs

Ein schmerzhaftes Erlebnis, an das man sich nicht gerne erinnert. Die Filmemacher-Seite ist gut, das Drehbuch unvorhersehbar. Der Versuch um eine gedankliche Tiefe am Ende ist fehlgeschlagen und er macht aus dem Film kein seriöses Werk. Im Unterschied zu Eli Roth hat es hier jemand aber wenigstens versucht. Ohne diesen Versuch um eine andere Dimension der Gedanken wäre ein ähnliches Ausmaß vom Leiden der Hauptfigur nicht akzeptabel und ganz und gar abstoßend. (03.01.2010)

Der Hype um Martyrs ist echt übertrieben. Eine Idee wäre da, aber es mangelt an ihrer Entwicklung. Wenn es etwas gab, das mich wirklich störte, dann war es die Anwesenheit von Emilie Miskdjian. In ihrem Fall hat sich die Maskenbildnerin unglaublich ausgetobt. (02.04.2012)

This is the essence of screenwriting idiocy that refuses to make the characters anything more than pieces on a chessboard of slaughter. These are one of the best things I love about the current French exploitation wave, but when you spend the first half desperately looking at what jerks the main characters are and the second half looking at what jerks those around them are, you kind of start looking forward to the end. But then comes the final point, and I just helplessly wonder how much Western critics must have seen that made them yelp so much. It left me completely cold, desperately bored, and kind of... pissed off. Laugier is a very decent craftsman, no question about it, but as a screenwriter he sucks! (11.03.2009)

It’s been long since we had such a good and smart horror film. Martyrs doesn’t bring anything new, it only skilfully combines and uses elements that have been common in the genre over the last ten years. In theory, this film could be the peak of an era, because I can hardly believe they can make anything better with those ingredients. The first half is marked be fear, blood and questions, similar to another French brutal film, High Tension. The turning point between the first and second half consists of one of the most shocking and awful scenes I can remember. The second half is then marked by the worst of psychical and physical horror. It’s gritty and ungratifying, and sets the stage for the climax, that is stupefying – either in the positive or negative meaning of the word. This film is really only for a selected few. It’s not the bloodiest or the most brutal, or even the scariest horror film ever. You can’t say “I’m liking this”, because there are at least 20 minutes in the second half that nobody can possibly like, but it’s bloody effective. And if you get the twist, you won’t be able to get it out of your head for quite some time. Philosophical horror full of blood and torture… Enjoy! Horror movie of the year (07.03.2009)

Definitely one of the most ambitious and interesting horror films of the past decade. An unpleasant and intense experience at first, formally almost perfect – from the tantalizing gore and dense atmosphere in the first half to the crystal clear psychological terror in the second half. The film visibly tries to go deep and shock with its unpredictable story, which creates quite a contrast with the ubiquitous and sometimes unnecessary brutality (although it’s certainly not the most brutal horror film in history), but at least it gives the action on the screen a much more coherent structure, which is strengthened by the stupid but at the same time excellent final twist. I confess that I considered all possible ratings while watching it, and I had to go to sleep to sort it all out in my head. Martyrs is a challenging film, at first glance made for effect and money, but internally far more mature than the vast majority of modern exploitation horror. But only Pascal Laugier knows what it was all supposed to mean. 60% (11.05.2013)