It then slams against her car, she screams. As she sits and looks at Sylvia's car, she sees Sylvia's handkerchief float amidst the air.
While walking, she notices Sylvia's car, and starts hearing noises. Before leaving, her boss tells her he is very pleased with the work she is doing on an account, and asks if she can take it home to complete it. Sylvia attacks Christine from the back seatĪfter the event at the bank, it is now time for Christine to return home. As Sylvia exits with security, her boss acknowledges the event and notes his approval of the way she handled it. As security escort her out, Sylvia jumps back and screams something at her while attempting to grab her neck. Security arrives as everyone in the building looks on, Sylvia gets up, and claims she has shamed her, she is insulted. Christine gets angry, calls security and shakes the gypsy off, leaving Sylvia to lay face down on the floor. Sylvia soon gets down on her knees and begs Christine as she grabs her leg. In an attempt to receive the promotion, Christine declines Sylvia's request. Her boss tells her to decide and calls it a "tough decision". Confused, Christine goes to ask her boss. But Sylvia has already received a few extensions, but if Christine denies her of this, she will lose her home. Soon she notices ill, elderly gypsy Sylvia Ganush sitting at her desk, Sylvia then asks "Can you help me?", she then asks for an extension on her loan. Christine learns that her co-worker Stu Rubin is in the lead for a promotion to assistant manager, her boss tells her this is because he is more capable of making tough decisions. 2.6.1 If Clay didn't give the button to Christine, then he would've been dragged to hell.Ĭhristine works as a bank loan officer in Los Angeles, California for boss Jim Jacks.It makes for an uneven film, but a sterling showcase of the crafty work of Deming and his cohorts. But he's fully engaged in the giddy, gory play of the movie, lavishing clear affection on the various set pieces. Raimi evinces only the thinnest interest in plot, characterization, and the other fundamentals of narrative. As happens from time to time, the cold-hearted business decision results in a curse being levied, and Lohman spends the remainder of the film grappling with supernatural hardships of escalating lunacy. In Drag Me To Hell, Alison Lohman plays a bank employee who refuses a merciful loan extension to an elderly errant mortgagee (Lorna Raver). Depending on how one chooses to categorize some of the director's genre-mashing romps, the 2009 feature could be seen as Raimi's first foray into horror since his scrappy 1980s heyday, when he was still nailing cameras to planks of wood in order to pull off loopy visual tricks. After nearly a decade of devoting his cinematic directorial efforts solely to the adventures of a man with spider-like abilities who was admittedly amazing, Raimi returned to the territory of scary movies. Deming will be back at his alma mater to host a screening of Raimi's Drag Me To Hell and then settle in for a follow-up Q&A.įor Raimi's most devoted fans, Drag Me To Hell was a hotly anticipated feature at the time of its release. Cinematographer and UW-Madison alumnus Peter Deming got his start on Sam Raimi's beloved Evil Dead II and has been David Lynch's go-to behind the camera since Lost Highway: the latter collaboration includes all 18 episodes of the recently aired mindwarp Twin Peaks: The Return.
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