![]() The film ends on an ambiguous note, suggesting they may not have escaped at all.Īnderson proves a master at heightening tension with simple camera effects and set pieces, an asset he's proven in other films of his. Miller, Cooper and Starck, the only remaining crew, plan to blow up the tunnel that links the control room to engineering, freeing the control room as a "life raft," only Weir prevents Miller from escaping, forcing him to set off the explosions and release the life raft, saving Cooper, Starck, and Justin, barely alive but in stasis. Weir gives in to the evil through his wife, who gouges his eyes out as he falls into possession. Lieutenant Starck ( Joely Richardson) rightfully deduces that the ship itself is alive, and the visions and other disturbances are the actions of the ship itself, and Miller realizes that the ship has been to what can only be described as the epitome of hell as held by the church, a realm of unspeakable evil. RELATED: 'Event Horizon's Spiritual Successor: Revisiting 2009's 'Pandorum' It's not "Save Me," it's far more disturbing: "Save Yourself From Hell". The crew finds the captain's log and watch it, only to be bombarded by horrific images of mutilation and sexual deviation, and the entire Latin message is translated fully by the doctor, D.J. It's at this point that it's not only the background that is black, but now Weir is seen in shadows, or sitting on a chair that gives him the appearance of something otherworldly, foretelling his turn into complete darkness. Soon the crew members start seeing visions: Captain Miller ( Laurence Fishburne) sees a young man he was forced to leave to his death, Peters ( Kathleen Quinlan) sees the son she left behind and Weir again sees his wife, who urges him to join her. Justin is pulled out but completely catatonic. The crew members investigate the ship, and the first sign that things are about to go down is when the gravity drive turns on (which Weir is adamant is impossible) and drags Justin ( Jack Noseworthy) in, forcing Cooper ( Richard T. When they arrive at the Event Horizon and are forced to board while repairs are made to the Lewis and Clark, it becomes very apparent that something very, very bad happened, but no clues as to what. It's also the first time they hear the distress call, which sounds like painful screams and a dark voice that speaks in Latin, another interesting link to Catholicism, and is mistakenly translated as "Save Me." ![]() The aesthetic on the rescue ship is decidedly gray at this point as Weir gives the crew the lowdown on the mission, a move into the darker element coming. While in stasis, Weir falls victim to another nightmare, again featuring his wife. The station he is on has a sterile, white aesthetic, the first indication of Anderson's use of shades to convey the journey to darkness the rescue ship embarks on. We then cut to Weir, who awakens harshly after seeing his deceased wife alive and with her eyes gouged out in a nightmare. The inside of the ship looks like a darkened cathedral, with interiors that blend the appearance of stained-glass and gothic building structure with sci-fi elements. The first shot reveals the Event Horizon, which from the outside looks like a cross, which is just the beginning of the religious imagery that director Paul W.S. In fairness, that is really dumbing it down, as the film contains much, much more to chew on visually and intellectually.
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