When the express elevators in the Millennium Building, one of New York's most famous landmarks, start to malfunction and behave in erratic ways, elevator mechanic Mark Newman is sent out to...
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A lift begins displaying some erratic behavior, like trapping some party goers and nearly suffocating them, and decapitating a security guard. Felix, the technician from the lift company, ... See full summary »
Willeke van Ammelrooy,
Josine van Dalsum
This romantic comedy takes place over the course of one year - opening on New Year's Eve of one year and closing exactly one year later. The film focuses on three women living together in a... See full summary »
A literary agent moves into a penthouse apartment. Soon after the move, he receives crime scene photographs that seem to have taken place in his new apartment. Next he receives a series of stalker videotapes that document his every move.
A famous game show host is being harassed in a restaurant by a strange man who claims to have kidnapped his wife and daughter. A morbid game ensues in which the game show host turns out to be the contestant.
When the express elevators in the Millennium Building, one of New York's most famous landmarks, start to malfunction and behave in erratic ways, elevator mechanic Mark Newman is sent out to find the cause of the problems. His investigation meets unexpected resistance and not everybody seems to be happy with his involvement. After a gruesome and deadly incident, in which a blind man falls into the shaft and a security guard is decapitated, the police start an investigation. They are however not very successful. Mark is determined to find the cause. He is joined by a female reporter, Jennifer, who is looking for a juicy story. Together they try to unravel the secrets behind the mysterious behaviour of the elevator that seems to have a life of it's own. When things get worse and death toll rises, The Government, fearing terrorists are involved, seal off the building. What at first looked like a routine job turns into a horrifying nightmare in which Mark has to face an enemy whose blood ... Written by
It all begins with a sweeping, awe-inspiring shot of The Millennium Building, one of New York City's premier hotels, housing all of 100-some odd floors. We zero in on two goombah bellboys spying on an old man and two old-looking women boinking in a highrise across the street; this scene brings to mind Brian De Palma's "Body Double," and the decent production values mixed with aforementioned homage give the viewer an (admittedly misleading) impression of what's to come. While fully aware of the (admittedly deserved) bad reputation most DTV efforts have, "The Shaft" at least starts off with promise. Writer-director Dick Maas (remaking his 1983 Dutch original, "The Lift") has a knack for framing scenes, building suspense, and keeping his camera firmly in the moment. The problem is, his script is a muddled misfire, never quite settling on a solid path; the result is an accidental bending of sci-fi, horror, and flat-out action that never gels as well as it should. After an elevator in the Millennium knocks off a bunch of victims in extravagant fashion, the plot devolves into a drawn out (and ultimately unsuccessful) search for The Truth--suddenly elevator repairman James Marshall (imagine a cut-rate Brad Pitt) and fetching reporter Naomi Watts (pre-"Mulholland Drive") are standing in for Guy Pearce and Russell Crowe, turning this into "El.A. Confidential." And in the final act, Maas spins the film into the outer limits of absurdity with a Michael Bay extravaganza of stunts and explosions, throwing in some references to Osama bin Laden and terrorism (pre-9/11!) for good measure. Save for Watts' lead role, most of the big names on the video box (including Ron Perelman, Dan Hedaya, Edward Herrmann, and Michael Ironside) are relegated to smaller 'guest appearances' (though every little bit helps). Big names aside, the premise is stretched so thin that you'll be hard-pressed to care about anything by the time the noisy climax rolls around. "The Shaft" takes a concept with genuine horror potential and transforms it into a bowl of cold oatmeal.
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