A step in the right direction for console-to-screen transitions and a twisted masterpiece of set design. Ultimately, though, it's a little too much like watching someone else play the game.
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In the end, Silent Hill degenerates into an overblown replay of all those "Twilight Zone" and Stephen King stories in which outsiders stumble upon a time-warped location from which there's no escape.
The worst kind of horror movie: trash that takes itself seriously.
Buried beneath Silent Hill’s hyper-stylized stupidity (the film looks like a collaboration between David Fincher, Trent Reznor and music video director Mark Romanek) is the hollow effort to bottle something of the zeitgeist unease surrounding religious fundamentalism.
It packs in a few scary moments and offers a nicely ambiguous conclusion. In Silent Hill, atmosphere trumps storyline.
A great-looking but stupefyingly incoherent supernatural thriller adapted from a popular video game that ransacks the entire catalog of horror film tropes for more than two mind-numbing hours.
Runs out of story a good half hour before it runs out of spooky images, but it comes to a quietly chilling conclusion far more haunting than any bloody mayhem.
Silent Hill has plenty of bad acting, bad dialogue and a confusing plot -- all of which become exponentially more painful when the movie goes on forever.
Witless, soulless and joyless, it displays its video game origins throughout.
Although I did not understand the story, I would have appreciated a great deal less explanation. All through the movie, characters are pausing in order to offer arcane back-stories and historical perspectives and metaphysical insights and occult orientations. They talk and talk and somehow their words do not light up any synapses in my brain.