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leftdreamlandperson · 8 years ago

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247°F ซาวน่ามนุษย์เดือด

247°F (2011) ซาวน่ามนุษย์เดือด หนังเรื่อง 247 Degrees Fahrenheit ซาวน่ามนุษย์เดือด เมื่อสหายทั้ง 4 เดินทางไปพักผ่อนที่ทะเลสาบแห่งหนึ่งในช่วงสุดสัปดาห์ แต่ทริปที่น่าจะเต็มไปด้วยความสนุกสุดเหวี่ยงอย่างที่��าดฝันไว้ กลับกลายเป็นฝันร้ายที่พวกเขามิอาจลืม เมื่อเพื่อนสามคนได้เข้าไปในตู้อบของซาวน่า เรื่องระทึกขวัญเริ่มต้นขึ้นเมื่ออุณหภูมิในตู้อบนี้สูงขึ้นเกินกว่าปกติ…

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wagesoffilm-blog-blog · 12 years ago

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247°F Blu-ray Review

IN SHORT: Jenna (Scout Taylor-Compton) still grieving after surviving the car crash that claimed her fiancée, heads off to a remote lakeside cabin at the invitation of her best friend Renee (Christina Ulloa). There they meet up with Renee’s boyfriend (Michael Copon) and his best friend Ian (Travis Van Winkle). The group’s itinerary of boozing, partying and chilling goes awry when the sauna is transformed into a death trap. Quickly what was supposed to be a fun weekend turns into a nightmarish fight for survival in which “Every degree matters.”

THE FILM: The press release which accompanied 247°F read, “Glistening breasts and glowing pecs provide the eye-candy and the steamy location provides the thrills as the high concept horror genre is given a hot new twist.” This immediately prepared me for an experience that would be the equivalent of a tawdry horror full of bared breasts, sex and gore; not an example of high concept horror as one half of the director’s claim on the feature commentary. Nevertheless I stuck to my ethos and gave the film an opportunity to make its case. If only rated on a purely aesthetical level, on the “quality of the glistening breasts and glowing pecs”, 247°F would surely cast lauded future home entertainment releases of 2013, such as Lincoln and Zero Dark Thirty into the shadows.

One may be forgiven for thinking that 247°F was inevitable, released just one year on from the surprise hit Frozen; about three skiers stranded on a chairlift. The two films explore different extremes: Frozen entrapment in an expansive space, whilst 247°F explores the sauna as a claustrophobic death trap. Whilst one set of protagonists suffer the extremes of the cold, the others suffer the extremes of the heat.

Despite any initial misgivings, the film opens with promise, as we are afforded the opportunity to relive the origins of Jenna’s grief. This character development is nestled amidst some skilful editing, as we swing like a pendulum between the aftermath of the crash, and the affectionate moments prior to tragedy.

Unfortunately, the other characters are not offered the same attention to detail except perhaps Ian, who is offered a moment over dinner to establish himself as a worthy love interest. Otherwise Michael is relegated to the immature jock and best friend Renee to the archetype of the wild girl. Directors Bakhia and Jguburia fail to appreciate the fundamental requirement of characters to exist independent of the communal group. The group’s likeability, which is always questionable, quickly grows tiresome, hindered by their now stale archetypes. If Taylor-Compton as the emotionally injured lead character is the heart of the film, overshadowing her fellow protagonists, Tyler “Sabertooth” Mane who has too little screen time comes close to stealing the film from her, a point up for debate.

The film is imbued with a strange sense of conflict, where Mane, whether intentional or not features as an ominous presence - 247°F’s horror monster. By the films conclusion it feels as if Bakhia and Jguburia intentionally or not lead you down the proverbial “garden path”, failing to deliver on the possibility of the nightmarish hell deriving from something more unseemly and malicious. It is a threat that would have infused a narrative that lacks the ability to maintain an atmosphere of simmering suspense with some real bite, but sadly it remains a teasing presence.

The film’s ultimate failure is it’s unwillingness to exist as a terrifying claustrophobic tale. Unlike Sam Raimi’s The Evil Dead which trapped and isolated protagonists and audience alike in the cabin and woods, and Hitchcock’s Lifeboat which stranded protagonists and audience alike at sea, the terror of 247°F is undermined by the directors’ refusal to isolate their protagonists and we their audience. Rather than creating a psychological escape, where the protagonists are permitted to escape the sauna psychologically through flashbacks or random thoughts, whilst they remain physically trapped, Michael’s liberty and exclusion from the nightmare affords us an opportunity to escape the claustrophobic hell and roam the surrounding landscape; deflating the suspense consistently throughout.

247°F is for the most part a frustrating experience. It exudes signs of promise, of the potential for it to evolve into a more shocking tale, as well as the opportunity to explore the past tensions and future possibilities within the group dynamic. The latter would have served to imbue the film with more of a psychological edge, the films conclusion serving as a reminder of missed opportunities to create an emotional character piece at its heart.

THE DISC: 247°F is a bare bones release, the extras comprising of deleted scenes and a director’s commentary track. Whilst the director commentates on the movie with enthusiasm, it is not enough to make up for the underwhelming experience 247°F equates to. This release does not mark itself out as an essential addition to the treasure trove that is the Anchor Bay catalogue.

Paul Risker

#247°F #horror #wages of cult review #evil dead #lifeboat #hitchcock #sam raimi #Scout Taylor-Compton #tyler mane #paul risker #anchor bay

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