See The Hole

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PG-13 | 92 min | Fantasy, Thriller
A pair of brothers stumble upon a mysterious hole in their basement that leads to the darkest corridors of their fears and nightmares.
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My first encounter with the world of Joe Dante was almost twenty years ago when i caught a glimpse of Gremlins at the tender age of four. At the time I was horrified, but as I grew up it soon became one of my favourite films, instantly capable of transporting me back to a time when horror films used to scare me. I was hoping that Dante would be able to recapture this magic, and The Hole left me wishing that I was a pre-teen with a wild imagination once again, heading into a horror film for the very first time. This made me very jealous of the younger crowd in the audience as they were clearly stuck fast in their seats, horrified by the visions that unfolded before them - their silence spoke louder than any screams - and desperate for the frightening film to end.

The nightmare begins when a single sprightly mother, her angst-ridden adolescent son Dane and nervous pre-teen Lucas move into a new house in a strange neighbourhood, only to discover a seemingly bottomless pit locked away under a trapdoor in the basement. Curiosity gets the better of the boys and it is not long before they lower a camera into the mysterious hole in an attempt to film the unknown, but, as video footage shows in one of the films eeriest moments, some things are better left undisturbed.

After exploring the darkness underneath the trapdoor, the boys begin to be haunted by strange events, with the hole seemingly preying on their individual fears. This provides the basis for a number of scary moments which are quite effective considering The hole is aimed at a younger audience, but it is unlikely to have any impact on those familiar with recent scary films such as REC and Paranormal Activity. The story still remains intriguing enough to keep older viewers entertained for the most part, and could well bring back long forgotten memories of their first encounters with the world of the supernatural films.

Horror fans hoping for a repeat of Gremlins will be disappointed, but that's not to say that The Hole should be dismissed; its constant references to classic horror films cannot replace the dark, warped humour that made Gremlins so watchable, but certainly adds to the experience for fans of the genre. Numerous scenes invoke connections to Poltergeist and The Gate, with the icing on the cake being a homage to the Hands of Orlac - a very under-rated thriller from 1935 - that I imagine will pass by unnoticed by the majority of viewers due to unfamiliarity with the source material, and they all serve to remind us that Dante is an ardent horror fan and is not afraid to wear his influences on his sleeve.

As a children's horror film The Hole is excellent but unfortunately it fails to surpass the genre classics such as A nightmare before Christmas and Gremlins due to the lack of appeal to an older audience. The story is fairly entertaining and the references to cult classics are a great addition to the film but they are simply not enough to keep older viewers fully engrossed for the ninety minutes running time. I would definitely recommend this film to families with young teenagers and children eager to be scared, as The Hole is a perfect introduction to horror films for those easily scared, and one of Joe Dante's more accomplished directorial efforts.

6/10

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The Gate Paperhouse Poltergeist Gremlins
Wilhelm Scream: the infamous scream that appears in many science fiction movies can be heard in the background at around 49 minutes into the movie while the boy is sitting in the chair watching TV.

Dane: We just want to know if you built the hole, and what it's about.
Creepy Carl: Nobody built the hole! The hole has been there since the world's first scream.

When Lucas is sitting and watching the TV and either changing channel or altering the volume, the beam from the remote is visible. This only happens when the beam is activated whilst user is looking at it through a camera/camcorder/mobile phone.

Still images of the cast appear on the end credits. The depths of the hole provide the backdrop for the end credits.

Storyline
Plot Summary
Genres
Fantasy | Thriller
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Theatrical Version (1:39)|Врата в 3D (2009)
After moving into a new neighborhood, brothers Dane and Lucas, along with their neighbor Julie, discover a bottomless hole in the basement of their home. They find that once the hole is exposed, evil is unleashed - forcing them to face their darkest fears to put an end to the mystery.

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Перевести · Welcome to See The Hole A unique Putting System (949) 573-3422. About Us. Grab interest. Say something interesting about your business here. Generate excitement. What's …
Перевести · 11.06.2010 · Directed by Joe Dante. With Chris Massoglia, Haley Bennett, Nathan Gamble, Teri Polo. A pair of brothers stumble upon a mysterious hole …
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Перевести · 20.04.2001 · Directed by Nick Hamm. With Thora Birch, Desmond Harrington, Daniel Brocklebank, Laurence Fox. Four teenagers at a British private school secretly uncover and explore the depths of a sealed underground hole …
https://en.m.wikipedia.org/wiki/The_Hole_(1960_film)
The Hole (French: Le Trou) is a 1960 French crime film directed by Jacques Becker. It is an adaptation of José Giovanni's 1957 book The Break. It was called The Night Watch when first released in the United States, but is released under its French title today. The film is based on a true event concerning five prison inmates in La Santé Prisonin France in 1947. Becker, who died just weeks after shooting had wrapped, cast mostly non-actors for the main roles, including one man (Jean Keraudy…
The Hole (French: Le Trou) is a 1960 French crime film directed by Jacques Becker. It is an adaptation of José Giovanni's 1957 book The Break. It was called The Night Watch when first released in the United States, but is released under its French title today. The film is based on a true event concerning five prison inmates in La Santé Prison in France in 1947. Becker, who died just weeks after shooting had wrapped, cast mostly non-actors for the main roles, including one man (Jean Keraudy) who was actually involved in the 1947 escape attempt, and who introduces the film. It was entered into the 1960 Cannes Film Festival.
https://www.newscientist.com/article/2242741-you-can-see-the-closest-known-black-hole...
Перевести · 06.05.2020 · You can 'see' the closest known black hole to Earth with the naked eye. Space 6 May 2020 By Leah Crane. An artist’s impression of the HR 6819 system, with the …
The Hole in the Ground (2019) A young mother living in the Irish countryside with her son suspects his increasingly disturbing behavior is linked to a mysterious sinkhole in the forest, and fears he may not be her son at all.
The premise of Hole is pretty mundane. The idea of a group of teenagers going into an old abandoned building or structure for a lark is a stock standard story opener for hundreds of B-grade horror flicks.
Hole is not a great film. The acting from the five teenagers is a cut above average, but the direction is pretty heavy handed and not very imaginative. Overall I found Hole a nicely satisfying and genuinely frightening B-grade experience which proves the old adage that says the worst monsters are human beings.
What is the ending of the movie hole?
What is the ending of the movie hole?
The Hole begins slowly and very standardly, but unlike most genre films, it picks up pace after 40 minutes then accelerates towards a smashing ending. Well okay, the ending itself wasn't a great surprise, but I found it satisfying in a B-grade kind of way. The premise of Hole is pretty mundane.
Перевести · 12.06.1998 · Directed by Ming-liang Tsai. With Kuei-Mei Yang, Kang-sheng Lee, Tien Miao, Hui-Chin Lin. While never-ending rain and a strange disease spread by cockroaches ravage Taiwan, a plumber makes a hole …
https://en.m.wikipedia.org/wiki/The_Hole,_New_York
Перевести · The Hole is a small neighborhood in New York City on the border between Brooklyn and Queens. It is a low-lying area, with a ground level that is 30 feet (9.1 m) lower than the …
https://en.m.wikipedia.org/wiki/I_Can_See_the_Whole_Room...and_There's_Nobody_in_It!
Artist: Roy Lichtenstein
Movement: Pop art
Dimensions: 121.9 cm × 121.9 cm (48 in × 48 in)
Year: 1961
Based on a 1961 William Overgard drawing for a Steve Roper cartoon story published by the Publishers Syndicate on August 6, 1961, Lichtenstein’s I Can See the Whole Room!...and There's Nobody in It! (1961) measures four-foot by four-foot and is in graphite and oil. The painting depicts a man looking through a hole in a door. His finger is extended to open a circular peephole, while simultaneously allowing the artist to present his face. The painting also uses a spee…
Based on a 1961 William Overgard drawing for a Steve Roper cartoon story published by the Publishers Syndicate on August 6, 1961, Lichtenstein’s I Can See the Whole Room!...and There's Nobody in It! (1961) measures four-foot by four-foot and is in graphite and oil. The painting depicts a man looking through a hole in a door. His finger is extended to open a circular peephole, while simultaneously allowing the artist to present his face. The painting also uses a speech balloon.

The picture teases the viewer who is given the feeling that they are in a dark room being viewed by the main subject of the painting who is a man that peeks through a hole in the door. The narrative element of the image, which included a speech bubble that presents the caption "I Can See the Whole Room and There's Nobody in It", clarifies that the man can not see anything in the room although he has a good look at it. The work is a satirical reference to abstraction because it can be imagined as a monochrome canvas that is affected by an actor that has inserted his finger as well as a narrative that also violates this imagining. This finger is also regarded as phallic.

The speech bubble makes the entire canvas relevant by broadening the attention to the entire width of the painting and the curves of the bubble unite the narrative with several of the picture's other graphical elements. Lichtenstein has added color, including all of the primary colors, while transforming the original and making reference to mechanical reproduction via Ben-Day dots. Like Look Mickey, there is reason to describe this image as a self-portrait of sorts. The subject is extending a finger through a circular opening, which is a self-reference because it is representative of Lichtenstein's technique of stenciling Ben-day dots by pressing the fluid onto the painting surface through a screen with a device not too different in size and shape from a finger. An alternative self-representation is interpreted as a singular peephole that represents the monocular subject matter of Lichtenstein's training, while the entire canvas represents a doubt in this training's representation of the physical body, its perception and its actual view. However, the corporeal is depicted quite adequately in the intense phallicism and the dotted coloration of the skin.

The work is an example of Lichtenstein's presentation of the uncertainty of the one-eyed perspective. It is considered to be a work on the subject of "focal vision and blindness", and it is a prominent example of the theme running through Lichtenstein's art relating to vision. He uses the narrative to emphasize this theme, while playing on both the circular peephole and the circular eyes. The depicted mechanical device, a peephole in this case, forces the vision into a monocular format. Monocularity is funnelled through the primitive peephole apparatus that almost mimics a camera lens. In some senses, monocularity of this work is a strong theme that is directly embodied although only by allusion. In addition, the work is considered to be closely related to his later work, Image Duplicator (1963), which is regarded as a correction of I Can See the Whole Room! with its glaring and aggressive binocularity. The monocularity of I Can See the Whole Room! should be viewed as a concentrated form of monocularity, such as "the common experience of closing one eye in order to fix an object in the gaze", but a subordinated form of monocularity that is enhanced by technology.
Ownership of the artwork, and at auction
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