Evil Dead Burn review – wildly gory horror tears a grieving family to pieces

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The latest new chapter in Sam Raimi’s classic franchise goes harder than ever before but there’s something missing With the release of Evil Dead Burn, there are now just as many Evil Dead movies not directed by Sam Raimi or starring Bruce Campbell as there are entries with that original team in place. The next film, Evil Dead Wrath, is already set for a 2028 release, when it will officially tip the balance toward non-Raimi film-makers. And unlike the non-James Cameron Terminators or the Spielberg-free Jaws sequels, these post-Raimi Evil Dead movies (which retain the director’s services as a seemingly enthusiastic producer) have so far enjoyed box office success, decent critical notices and appreciation from their horror fanbase. Yet all three of the post-Raimi Evil Deads still feel as if they take place in the shadows of what came before – specifically, the original 1983 indie horror classic about a bunch of young people who stumble upon the Book of the Dead in a cabin and accidentally...
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‘It’s like Game of Thrones!’ The return of India’s ancient superhero fantasy epic

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In the 1980s, Peter Brook’s adaptation of The Mahabharata enchanted audiences on stage and screen. As Brook’s son presents a restored print at the Venice film festival, he and his team discuss the work’s extraordinary journey

When Antonin Stahly was nine years old, his mother took him to the Théâtre des Bouffes du Nord in Paris to see a production of the ancient Indian epic The Mahabharata, which translates loosely as “the great story of mankind”. More than 20 actors from 16 countries performed on a stage steeped in red earth and scarred by a water-filled trench; fire also played a leading role. Directed by Peter Brook, whom the RSC founder Peter Hall called “the greatest innovator of his generation”, and adapted by Luis Buñuel’s former co-writer Jean-Claude Carrière, this spectacular Mahabharata weighed in at nine hours, plus intervals. Even at that length, it represented a massive compression of its source text, which runs to 1.8m words. Brook and Carrière’s version has been likened to summarising the Bible in 40 minutes.

Audiences could devour The Mahabharata in three parts over successive evenings or as an all-day weekend marathon; in some outdoor venues, such as the limestone quarry in Avignon where the production premiered in 1985, it began at dusk and climaxed just as the dawn sun lit up the sky. Stahly saw it in a single noon-to-midnight sitting. “It was like a superhero fantasy,” he says, still sounding awestruck. “It had Bhima, the strongest man on Earth, and Bhishma, who has the power to live for ever. Arjuna was the best warrior. And then there were all the gods. It was amazing for me, because I’m half Indian, but I wasn’t brought up in an Indian context.”

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