At one point, there’s even a suggestion that this could be a cheeky remake of Rosemary’s Baby, but then you just think to yourself that you could just as easily be watching Rosemary’s Baby. Djinn just plods along with all the flexibility of a Sherman tank, ploughing on through so it can get to credits and end this nonsense. Even the prospect of a J-Horror with an Arabic twist does nothing to engage the synapses. This is flat storytelling that tries vaguely to get your attention like a kitten throwing a cotton ball. Maybe not recently, but back in the day he would have made a film that’d have torn your skin off in fright and offered it back to you and as crispy chicken. We all know Tobe Hooper is better than this. It’s so brittle, a light scrutiny is enough to shatter it. Just wait till she finds out about the land her new apartment block is built, that’s going to blow her mind.Ĭlocking in at just under 90 minutes, Djinn is as wispy as a teenage boy’s first moustache. From disembodied wailing that can be heard at night, to her suggestive creepy neighbor (Aiyasha Hart), there’s nothing on show that would put a grieving mother at ease. Once they move into their new home, Salama is still unable to relax due to the unexplained phenomena happening all around. A proposition Salama could clearly do without. In order to regain some normality in their lives, doting husband Khalid suggests they move back to UAE to stay with her family. Coupled with crushing depression, Salama can’t stop blaming herself for the death of their child. Meanwhile in America ex-pat couple, Salama (Razanne Jamal) and Khalid (Khalid Laith) have just had to bury their baby. In a short opening monologue, we are told about a half-human, half-shape shifting demon (aka Djinn) waiting to be reclaimed by its mummy dearest. Whether the real reason is political or theological, having actually seen the film, I think a large issue is that for a film directed by the man who gave us The Texas Chain Saw Massacre, Djinn is surprisingly dull. ‘Cut the literature and show us some blood.’ Then there’s the issue of the dialogue being mostly in Arabic – subtitles being sadly a surefire way of stopping the average person from wanting to a watch a horror. Others suggest the representation of Islam in the film left a bitter taste in some people’s mouths. The film is UAE funded and one train of thought goes that a member of the Abu Dhabi royal family found the film to be ‘subversive’ a claim that was immediately dismissed. Now it’s 2015 and you have to wonder what was holding back its release.Ī fascinating article from The Guardian (‘The Disappearance of Djinn, the United Arab Emirate’s first horror film’) written in the arse-end of 2012, points out various outside forces that may or not have something to do with its troubles. But then the film wasn’t seen again till 2013, where it gave everyone a little wave at the Abu Dhabi film festival. Launched at Cannes in 2010, filming began in March 2011, post-production in August 2011 and by December 2011 it had its premiere in London with an audience of 300 people. The road to the release of Djinn, Tobe Hooper’s 19 th feature, has clearly been a long and arduous one. You may reach the Data Protection Officer (DPO) of Valossa when needed, and the details for doing so can be found in the updated Privacy Policy.Ĭlick 'OK' to agree and continue using Emirati couple return home from a trip and discover that their new apartment has been built on a site that is home to some malevolent beings. Under the GDPR, you have several rights, such as accessing your own personal data, erasing of that data, and the right to be notified within 72 hours of a data breach that is likely to result in a risk for your rights and freedoms. By using our services on or after, you will be agreeing to the changes. If you use our services to process personal information of EU-resident natural persons you need to comply with the GDPR. Please review Valossa's updated Terms and Conditions, Privacy Policy and the Cookie Policy. The GDPR strengthens and clarifies the rights of EU-resident natural persons with regard to their personal information The Terms and Conditions and the Privacy Policy for Valossa services have been updated accordingly. On, the General Data Protection Regulation (GDPR) (EU) 2016/679 will come into force.
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