“Tarot” is a horror movie written and directed by Spenser Cohen and Anna Halberg based on the novel by Nicholas Adams. It stars Alana Boden, Jacob Batalon, Humberly González and Olwen Fouere.
In the world of cinema, there is an endless array of horror films that aim to scare us, offering a thrilling and entertaining cinematic experience. Some are original, fresh and unique, pushing the boundaries and redefining the genre. Then there are films like “Tarot”, which rely heavily on tried and tested clichés.
A Pocketful of Clichés All in One Picture
“Tarot” is a film that indulges in every typical scene that has scared us not only once, but repeatedly over time. From the mysteriously appearing girl at the curve to the demonic clown, witches and terrifying children’s fares, it draws inspiration from various sources ranging from occult themes to silent era cinema.
The references to Tarot, future predicting cards, and Zodiac signs further exemplify its reliance on popular culture clichés. Despite its dependence on these worn-out elements, the horror story, modernized with commendable CGI, is surprisingly enjoyable and classic, giving us a few good moments.
However, don’t expect surprises in the plot. The storyline strikingly resembles “Final Destination” (2000), making it impossible not to draw parallels.
A Glimpse into the Plot
The plot involves a group of young individuals in a large house, casually indulging in beers and deciding to dabble in Tarot to predict their future, a game which ultimately awakens an evil spirit.
The Final Verdict
Despite its blatant copycat tendencies, “Tarot” strives to please its audience. It showcases good cinematography, impressive effects, and well-executed horror scenes. The downside? A glaring lack of originality.
In some ways, the film can be seen as a tribute to classical cinema, employing an array of stereotypes: young people gathered, who unknowingly trigger a chain of catastrophic events.
While such films have had successful runs over the decades, “Tarot”, may not receive enthusiastic reviews but could still do wonders in terms of audience reach and distribution. This is the quintessential cinema business model: low investment, minimal risk, and potential profits through repeated formula application.
Despite its lack of originality, the film defends itself with its sufficient effects, sound, and scare levels, making it not a total disaster. With all its predictability, it’s worth noting that these type of films still have an audience. It might not be winning any Oscars, but it’s sure to deliver a few scares.
