We open with a particularly, classic, demonic POV as it gives us a tour of what seems to be a familiar woodland setting. However, once met with a lake-bound boardwalk – which leads to a complete stranger of a cabin – we immediately realise things will be going in a slightly different direction for Lee Cronin’s Evil Dead Rise.
No longer taking place in a remote location, wickedness now takes hold of an apartment complex currently occupied by mother, Ellie (Alyssa Sutherland), her three children and her “groupie” sister, Beth (Lily Sullivan) who has unexpectedly dropped in for a visit. Other than the actual year this takes place, it’s hard to tell where this instalment fits into the Evil Dead timeline, as no references are made to past iterations and we’re met with a completely new book of the dead. No book has ever looked the same in any two movies so maybe that is moot, however, the location in which it’s discovered may cause a slight puzzlement to fans of the previous films.

The key components are there – demonic deadites, copious amounts of gore and of course, a chainsaw – but something’s missing.
Although it brings everything fanatics love about the franchise, there’s something a bit off. It’s almost as if AI designed an Evil Dead movie, the key components are there – demonic deadites, copious amounts of gore and of course, a chainsaw – but something’s missing.
A bit too tame to be in Sam Raimi’s universe, nevertheless, it certainly has its moments, one scene, in particular, is absolutely GRATE, unfortunately, there’s just not enough of these instances. At times it almost seems like your stereotypical, run-of-the-mill possession movie… discounting the finale when the antagonist resembles something straight out of H.P. Lovecraft.
It’s a gory, fun-filled blast, Sutherland completely steals the show and it does bring some fresh elements to this world that haven’t been explored before.
It’s a gory, fun-filled blast, Sutherland completely steals the show and it does bring some fresh elements to this world that haven’t been explored before. Who knows if Evil Dead (2013) hadn’t come out, the movie may have had a different impact on 21st-century audiences, unfortunately, this flick’s predecessor may have just set the bar slightly too high.
Jacked In Recommends ‘Super’ (2010)
Super follows the story of Frank Darbo (Rainn Wilson), a luckless fry cook who has literally only had two perfect […]
Jacked In Reviews ‘Don’t Worry Darling’ (2022)
Bungalow homes, cars that look like electric shavers and a round of Gibson’s for everyone. The ’50s […]
Jacked In Recommends ‘The Platform’ (2019)
The Platform AKA El hoyo follows the story of Goreng (Ivan Massagué) and his abysmal days spent in isolation. The […]
Jacked In Recommends ‘Calibre’ (2018)
Calibre follows the story of two friends, Marcus (Martin McCann) and Vaughn (Jack Lowden) on a weekend hunting trip […]
Jacked In Recommends ‘The Fly’ (1986)
Seth Brundle (Jeff Goldblum), a bit of an oddball in the world of science, is currently working on his latest […]
Jacked In Reviews ‘Mickey 17’ (2025)
We open on a partially frozen individual, Mickey (Robert Pattinson) – who has unfortunately fallen into a […]
Jacked In Reviews ‘MaXXXine’ (2024)
We first dropped down into the the late seventies with Ti West’s X, before journeying back to 1918 to see the […]
Jacked In Reviews ‘Blue Jean’ (2023)
Little did I know, when swinging my limbs on the dance floor to Melodies of Love, in March 2022 – complete […]
Jacked In Reviews ‘Kinds of Kindness’ (2024)
If you go into the movie with no preconceptions, what initially appears to be a chapter set up eventually reveals […]
Jacked In Reviews ‘Beau Is Afraid’ (2023)
Ari Aster’s (Hereditary & Midsommar) no two movies have been the same and although Beau Is Afraid has Aster […]
Jacked In Reviews ‘Men’ (2022)
Following the passing of her husband, a young woman by the name of Harper (Jessie Buckley) decides to take a bit of […]
Jacked In Reviews ‘The Unbearable Weight of Massive Talent’ (2022)
Trisha Yearwood’s How Do I Live begins to play over the opening credits and we are met with two stoners watching […]













