In the claustrophobic environment of a prison facility four wretched inmates discover the diary of Charles Danvier (Geoffrey Carey), a man famed for escaping the prison through the use of dark occultism. Carrère (Gérald Laroche) conscientiously committing fraud at his company is newly admitted to the cell and despite his intense interest in the memoir has little interest in escaping, still awaiting his wife to post bail. Transsexual Marcus (Clovis Cornillac) and his demented protégé Pâquerette (Dimitri Rataud), prone to eating everything including watches. The fourth party is the reclusive and utterly passive, but well versed Lassalle (Philippe Laudenbach), committed for murdering his wife during breakfast. When incantations found in the dilapidated book turn out to have real power, the group slowly becomes enticed by the possibility of escaping prison through supernatural means...
Despite several gory scenes "Malefique" must be kept apart, due to theme as well as form, from the brutally visceral new wave of French horror movies, such as "High Tension" or "Inside", owing its allegiance more to "Hellraiser" or "Warlock". In a world of mysticism somewhat recognisable with organically malevolent magic collapsing on weaknesses of characters, enticing into self-inflicted torture and pain. "Malefique" equally well could be perceived as part of the universe of Cenobites, as the existence of evil has a deceptively analogous similarity.
Unlike however many of the "Hellraiser" sequels or contemporary French horror films the movie is soundly structured around a well-construed premise with the claustrophobic confines imbuing a sense of inevitability, strongly wrapped around four well-conceived, albeit outlandish characters. Although seemingly treading down recognisable dramatic corridors and using reclycable clichés "Malefique" does come out honest and powerful, a large part thanks to the the cast fronted by a rigid and conceited Carey. Ending on a high with a welcome twist, which may not invite rapturous applause, the end scene should create a vile smirk on the faces of its satisfied audience.
Despite several gory scenes "Malefique" must be kept apart, due to theme as well as form, from the brutally visceral new wave of French horror movies, such as "High Tension" or "Inside", owing its allegiance more to "Hellraiser" or "Warlock". In a world of mysticism somewhat recognisable with organically malevolent magic collapsing on weaknesses of characters, enticing into self-inflicted torture and pain. "Malefique" equally well could be perceived as part of the universe of Cenobites, as the existence of evil has a deceptively analogous similarity.
Unlike however many of the "Hellraiser" sequels or contemporary French horror films the movie is soundly structured around a well-construed premise with the claustrophobic confines imbuing a sense of inevitability, strongly wrapped around four well-conceived, albeit outlandish characters. Although seemingly treading down recognisable dramatic corridors and using reclycable clichés "Malefique" does come out honest and powerful, a large part thanks to the the cast fronted by a rigid and conceited Carey. Ending on a high with a welcome twist, which may not invite rapturous applause, the end scene should create a vile smirk on the faces of its satisfied audience.