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Masters of Horror: Jenifer
 
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Masters of Horror: Jenifer

Avec : Jano Frandsen, Cynthia Garris Réalisateur : Dario Argento
3.5étoiles sur 5  Voir tous les commentaires (2 évaluations de client)
Price: CDN$ 17.97 & se qualifie pour Livraison super-économique GRATUITE pour des commandes de plus de CDN$ 39. Détails
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What Do Customers Ultimately Buy After Viewing This Item?

Masters of Horror: Jenifer
53% buy the item featured on this page:
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CDN$ 17.97
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Les détails du produit

Descriptions du produit

On the DVD

ccWidescreen presentation (1.77:1)
enhanced for 16x9 TVs
So hideous my love: an interview with Dario Argento
Working with a master: Dario Argento
On set: an interview with Steven Weber
On set: an interview with Carrie Anne Fleming
Script to screen: Jenifer
Behind the scenes: the making of Jenifer
Audio commentary with writer/actor Steven Weber
Howard Berger and the make-up of Jenifer
Trailers
Still gallery
Dario Argento bio
DVD-ROM: screenplay
DVD-ROM: screen saver


Synopsis

Dario Argento's contribution to the first season of Showtime's Masters of Horror, Jenifer is based on a story by Bruce Jones which appeared in Creepy Magazine and illustrated by the legendary Berni Wrightson. Steven Weber, who wrote the script, also stars in the episode as Frank, a depressive cop who has a life-changing encounter one fateful afternoon. He comes upon a man (Kevin Crofton) brandishing a meat cleaver, who looks like he is about to murder a young woman. When Frank draws his gun and orders the man to stop, the man refuses. "You don't know what she is," he tells Frank, pleadingly. "You have no idea." Frank is forced to shoot the man to save the young woman (Carrie Fleming), who turns out to be hideously deformed from the neck up. She also can't speak, but appears very grateful to Frank. Frank goes home to his wife, Ruby (Brenda James), and his son, Pete (Harris Allan), but he can't get the deformed woman off his mind. The next morning, he finds out that the dead man's family won't claim him, and that he had a note that read "Jenifer" in his pocket. He finds out the woman was brought to the mental hospital at Watkins Island. He goes to visit her, and when she sees him, she races out of the shower to tearfully embrace him. Unable to leave her in such a place, he brings her home. Ruby is horrified, and Pete is inappropriately amused. "She's awesome," he exults. "She's got a great rack...for a Morlock." Threatened, Jenifer bites Ruby and runs out of the house. Still, Frank cannot get past his obsession with her, and things only get worse when she eats the family cat. But Frank strangely finds himself willing to sacrifice everything to protect the strange girl. ~ Josh Ralske, All Movie Guide
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L'avis des consommateurs

2 évaluations
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4 étoiles:
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3 étoiles:
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3.5étoiles sur 5 (2 évaluations de client)
 
 
 
 
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Commentaires client les plus utiles

 
3 internautes sur 3 ont trouvé ce commentaire utile :
4.0étoiles sur 5 Grotesque and Macabre, Argento as a master of horror., Oct. 19 2006
Par Kevin D. F. Dennison "kevlar19" (Edmonton, AB Canada) - Voir tous mes commentaires
(REAL NAME)   
When the "masters of horror" show was first announced for broadcast on Showcase and Scream I remember being being more excited for it than any theatrical releases for that year. Being an enormouse horror fan, it was a dream come true to hear that many of my favorite directors were coming together in a competion to outdo each other and tell the stories which were too short to be fature length films.

Some great episodes which stood out to me as being the best of Season 1 are Lucky McKee's "Sick Girl", William Malones "Fair Haired Child", John Ladis' "Deer Woman", and of course Takashi Miike's outlandishly bizarre and greusome installment "Imprint". To round out this top five list, I would definately say that "Jennifer" is the fifth.

It's funny how the two most disturbing, disgusting, over-the-top, scary episodes were both by the foreign directors Miike and Argento. I think this just goes to show that when it comes to handling the grotesque and macabre in a mature, creative and skillful manner, no American or Canadian director can reciprocate the talent of a foreign film director (especially those from the East Asia, the Japanese in paritcular, and Italy, godfather of the slasher genre) when it comes to handling this specific type of horror.

But be forwarned, "Jenifer" is gross. Very gross. Very creepy. And very cool. Theres plenty of nudity and lots of gore, and some pretty awkward but welcomed laughs. Definately not for the weak of stomach but if you've enjoyed what you have seen so far in the series, or if your just a horror fan in general, give "Jenifer" a view.
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2 internautes sur 2 ont trouvé ce commentaire utile :
3.0étoiles sur 5 [2.5]--Jenifer seriously slow your roll!, Oct. 26 2007
Par Jenny J.J.I. "A New Yorker" (That Lives in Northern Nevada) - Voir tous mes commentaires
(TOP 50 REVIEWER)   
This is my first Argento flick and I got to say its..... okay. In this world there are a lot of guys out there that's known a Jenifer. Not the lady on this disc that's mentally posses of some form or do you? What I do mean is that you find yourself with a extreme lady, and you just don't how you got trapped with her. No matter what, you just can't seem to get rid of her regardless how much she ruins everything, distance you from everybody you know and makes your life absolutely dejected. If you don't know what I mean consider yourself fortunate, although it's probably just a matter of time before you do. Exaggerated as this film may be there is a very real thread of something conceivable behind it all.

There are a number of things that are off beam about this flick. Along with the drive-thru plot holes the acting is well....they speak. In here we have a police officer Spivey, (Steven Weber), who stops a man from killing a woman (Carrie Fleming) with a meat cleaver. Spivey shoots the man, who utters one word before he dies: "Jenifer." The whimpering traumatized girl attaches herself to him, and she turns out to be some kind of demon. Weber somehow manages to check her out of the mental ward and take her to his house, the first instance of a serious plot hole in the film. There, Jenifer eats the family cat, causing Spivey's wife and son to leave. For no reason that I could discern, Spivey makes no apparent effort to get them back. Bad Jenifer!

To me there was just something inherently wrong about this tale. Maybe it is the statement that men are all slaves to their genitals, but Jenifer's behavior is so reprehensible that we should laugh at Weber's slavish devotion to her, but we don't. Maybe it's because {the very beautiful} Carrie Anne Fleming's makeup is so grotesque with her dead eyes and slobbering, twisted mouth. But no, I've seen grosser. I can't exactly put my finger on it, and that is why this one is so unique. It does not explain itself. Jenifer just IS. You never find out where she's from, what her thought processes are, or why she's a raging cannibal. Again, because she just IS, plain and simple. She has no back-story, or secret trauma that tries to tug at our hearts and make us feel sorry for her. She is pure, unadulterated self-will run rampant. However, isn't that what all good horror monsters' really are? She eats when and what she wants has sex when she wants and generally does what she wants. She is everyone's inner id gone completely insane. As you can see, I have given this one a lot of thought, and could probably expand more, but all horror fans need to know is that Jenifer is okay but it will make you think. That is what all great horror movies do. They make you examine yourself: the scariest person you know.
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