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Re-Animator

Re-Animator

Science Fiction · Comedy · Horror · 1985

Conducting clandestine experiments within the morgue at Miskatonic University, scientist Herbert West reveals to a fellow graduate student his groundbreaking work concerning the re-animation of fresh corpses.

Movie details

Re-Animator

“Herbert West has a good head on his shoulders...and another one on his desk.”

1985 Science Fiction · Comedy · Horror 1h 26m

Critical arithmetic

One number, for now.

TMDB

7.0 / 10

Community rating

Conducting clandestine experiments within the morgue at Miskatonic University, scientist Herbert West reveals to a fellow graduate student his groundbreaking work concerning the re-animation of fresh corpses.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Re-Animator?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Four interwoven stories that occur on Halloween: an everyday high school principal has a secret life as a serial killer; a college virgin might have just met the one guy for her; a group of teenagers pull a mean prank, and a bitter old recluse receives an uninvited guest.

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Where it lives

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Names above the title

The people responsible.

Directed by

Stuart Gordon

Written by

H.P. Lovecraft · William Norris · Dennis Paoli · Stuart Gordon

Jeffrey Combs

Jeffrey Combs

Herbert West

Bruce Abbott

Bruce Abbott

Dan Cain

Barbara Crampton

Barbara Crampton

Megan Halsey

David Gale

David Gale

Dr. Carl Hill

Robert Sampson

Robert Sampson

Dean Alan Halsey

Carolyn Purdy-Gordon

Carolyn Purdy-Gordon

Dr. Harrod

Peter Kent

Peter Kent

Melvin the Re-Animated

Court is in session

Put Re-Animator on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Popcorn Loyalist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.