Trapped in her own doll-like existence, Faith dreams that one day she can be a real mother to her daughter Nell she abandoned seven years ago. But time has run out. Her sister Eris can no ... See full summary »
In London, a military plane crashes leaving its highly classified contents strewn across the city. Completely unaware that the city is in lockdown, a group of people become trapped inside a storage facility with a highly unwelcome guest.
A group of British students enbark on summoning spirits on a Ouija board after a night of clubbing. But someone breaks the link before they have finished and now a demon is trapped in their world and the only way to banish it, is for all the people who summoned it to die. Written by
The word "djinn" in Arabic actually stands for both a genie & a demon.In this demonic remake of a classic genie story taken from A 1001 Arabian Nights instead of granting them wishes the evil genie seeks a revenge on the people who have summoned him. See more »
During the Ouija board scene, the glass smashes. During the shots that follow the glass is visible on the table in the background, completely whole. See more »
[possessed by the Djinn]
The only thing he thought about was fucking Stella/Annie
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During a Ouija session, several drunken teenagers summon a djinn which proceeds to kill them, one by one.
Though clearly influenced by American horror movies, LONG TIME DEAD finds an echo in Michael Armstrong's UK thriller THE HAUNTED HOUSE OF HORROR (1969), in which bored teenagers inadvertently sparked the wrath of a deadly killer - in Armstrong's film, the villain was an all-too-human maniac, whereas Marcus Adams' updated version unleashes the forces of supernatural terror on its hapless protagonists. Alec Newman (from the TV remake of DUNE) is the unofficial leader of the group, whose father (Michael Feast) was involved in similar jiggery-pokery many years earlier, leading to several deaths witnessed by Newman as a child.
The movie opened in UK theaters to scathing reviews and dismal box-office, and while the artless, multi-authored screenplay wanders aimlessly from scene to scene (the curse of so many modern horror films), it isn't nearly as bad as various reviews have suggested. Performances are uniformly fine (particularly Newman as the damaged young man forced to come to terms with his father's terrible legacy, and former soap star Joe Absolom as a potential victim), and Adams stages the various set-pieces with brisk precision, building to a fiery showdown between Newman and the unstoppable monster. The narrative makes little sense, but the movie is efficient and watchable, and amounts to passable popcorn entertainment, nothing more or less.
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