3.8/10
120
9 user 8 critic

A Chronicle of Corpses (2000)

American Gothic horror story, but then different. Severe camera and shadowy lighting dominate in this story about a family of poverty-stricken nobility that takes it all out on a ... See full summary »

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1 nomination. See more awards »

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Cast

Cast overview:
...
Grandmother Elliot
Oliver Wyman ...
Thomas Elliot
...
Bridgette
Ryan Foley ...
Sara Elliot
Jerry Perna ...
Father Jerome
Kevin Mitchell Martin ...
Mr. Elliot
David Semonin ...
Uncle Grady
George Spence ...
Swales
David Scott Taylor ...
The Beggar Slave
Sally Mercer ...
Mrs. Elliot
Melissa S. Rex ...
The Killer
Lindzie Calabrese-Rivera ...
Baby Elliot
Harry Carnahan ...
Tyrone
Amanda Scheiner ...
Anna Swales
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Storyline

American Gothic horror story, but then different. Severe camera and shadowy lighting dominate in this story about a family of poverty-stricken nobility that takes it all out on a 19th-century plantation. Outside evil is afoot. Written by Jos Fonteijn <jos.fonteijn@planet.nl>

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What will our new history be but a Chronicle of Corpses?

Genres:

Drama | Horror

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Release Date:

24 March 2000 (USA)  »

Also Known As:

Ena hroniko ptomaton  »

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Aspect Ratio:

1.37 : 1
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Trivia

A CHRONICLE OF CORPSES was cited as one of the Top Ten Movies of 2001 by The New York Times and The Village Voice. See more »

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User Reviews

Good art movie, bad horror movie
31 January 2009 | by (United States) – See all my reviews

People who hate this seem to be disappointed that it fails as a graphic horror film, despite its serial-slaying storyline. People who like it take it for what it is: An art film in the most slow, minimalist, rigorously formal, non-naturalistic mode, closer to "Last Year at Marienbad," "Bitter Tears of Petra Von Kant," et al. than any regular genre flick. I'm not saying films of this nature, which apply a very abstract technique to narrative cinema, can't be dull as dishwater or inexcusably pretentious when they fail. But for me, "Corpses" really does cast a hypnotic spell, its disconnections from period accuracy and melodramatic norm enigmatic rather than just arbitrary and annoying. Though I can understand why some folk would think it has exactly those last qualities. This movie is like an Andy Milligan bloodbath directed by Terence Davies--which is a wonderful combination by my taste, but naturally would be off-putting or simply incomprehensible to others. Regardless: Amidst several very stiff (yet nonetheless effective) amateur performances, soap opera veteran Marj Dusay is amazing in her long, stock-still late monologue about the family's sinful past. I can't believe this was made by a 22-year-old director; it's got the astringency of 70-year-old Dreyer or Bresson. Not to say it's an achievement equal with theirs--but I am very fond of it.


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