I watched The Sadness and I hated it. 1/5
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“The Sadness,” a 2021 Taiwanese horror film directed by Rob Jabbaz, is a relentless exercise in brutality and shock value. Set in a world gripped by an inexplicable epidemic that induces extreme violence in its victims, the film unapologetically revels in its explicit gore and unrelenting brutality. While it aims to provoke visceral reactions, it ultimately sacrifices substance for shock, resulting in a film that is more disturbing than thought-provoking.
From the outset, “The Sadness” thrusts viewers into a bleak and chaotic world, with the epidemic spreading rapidly and society crumbling in its wake. The film wastes no time in subjecting the audience to gruesome acts of violence, setting a tone of unrelenting brutality that persists throughout its runtime. Jabbaz spares no detail in depicting the horrors unleashed by the epidemic, creating an atmosphere of unmitigated dread.
The film’s commitment to practical effects and makeup artistry is commendable. The grotesque transformations of the infected individuals are convincingly rendered, evoking a visceral response from viewers. The attention to detail in the gruesome prosthetics and makeup work is a testament to the dedication of the film’s special effects team. However, the relentless focus on gore comes at the expense of character development and narrative depth.
Unfortunately, “The Sadness” falls short in delivering a compelling story or well-defined characters. The central narrative is threadbare, serving primarily as a backdrop for the relentless onslaught of violence. The film offers little in the way of explanation or exploration of the epidemic’s origins or nature, leaving viewers with more questions than answers. The lack of a cohesive narrative arc hinders any potential emotional investment in the characters, who are thinly sketched and lack depth.
The performances in “The Sadness” are serviceable, given the material at hand. The cast delivers their lines with a level of conviction that is fitting for the film’s grim subject matter. However, the characters themselves are largely one-dimensional, serving as vessels for the film’s visceral horrors rather than fully developed individuals with distinct motivations and arcs.
The film’s unrelenting focus on shock value and graphic violence ultimately becomes a detriment. While the initial shock may provoke a visceral reaction, it quickly devolves into gratuitous excess. The unrelenting brutality, devoid of meaningful context or commentary, veers into exploitative territory. “The Sadness” risks desensitizing viewers to its horrors, rendering them as mere spectacle rather than serving a deeper thematic purpose.
The film’s cinematography, though competent, does little to distinguish itself. The visuals are serviceable, effectively capturing the grim and chaotic landscape. However, there are missed opportunities to use cinematography to enhance the film’s atmosphere or convey deeper meaning. The cinematographic choices largely serve to document the brutality rather than elevate the film as a whole.
In conclusion, “The Sadness” is an unflinchingly brutal horror film that prioritizes shock value over substance. While its dedication to practical effects and makeup artistry is commendable, it ultimately serves a narrative that is thin and underdeveloped. The film’s unrelenting focus on graphic violence risks numbing viewers to its horrors, leaving little room for meaningful engagement. While it may find an audience among those seeking extreme and visceral horror, it falls short of delivering a well-rounded cinematic experience.