The Wind of Fear (2007)

Self-important, over-dramatic, uninspired.

The movie runs out of plot and jokes well before the end of a two-hour running time, long for a light comedy.

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

Time passes and this movie is revealing a lot of good stuff. The acting is very strong and Danny Perea, specially, creates a beautiful and tormented character. It's very different than the original in terms of emotion and ambition and, of course, it's not perfect but nonetheless is a strong piece of cinema. Carlos Enrique Taboada's intentions of creating a love triangle in the story are finally realized; this shocked many people when the movie was released, but it was the original intention of Taboada. It seems that the movie was made with very little resources, but the director takes advantage of that and creates a very special dark and romantic mood. It has very little in common with Mexican contemporary cinema. Don't miss it.

Although some may disagree, this remake of the 1968 cult classic by Carlos Enrique Taboada, excels the original in many ways . Gustavo Moheno does justice to the story and manages to create a very scary entertainment. The main change? While the original took place in a boarding school, this one occurs in a psychiatric asylum.One of the best scenes recreates the famous striptease done by Norma Lazareno, but while in the original this dance was extremely well choreographed loosing credibility, in the remake the sequence fluids as a very spontaneous act that follows the impulses of a group of girls that just want to have fun.In general terms the ghost story is the same as the original but with new variations that add drama to the situation. There is a beautiful scene in which Martha Higareda reveals her naked body in front of a mirror that suggests the main theme of the movie (which I'm not going to mention because it could be a spoiler).The original film was formulaic and this remake can't help using the formula as well. Nevertheless, this new version is very well done, full of fascinating stuff that blocks, to some degree, all the clichés that defined Taboada's formula.

A remake of Carlos Enrique Taboada's 1967 movie–now something of a cult favorite–Hasta el viento tiene miedo fared well at the domestic box-office and is enjoyable, slick entertainment. The cast is attractive and competent, the production values are solid, and the direction, photography, editing, etc., are all professional.Although it would serve no purpose to make a detailed comparison between the two versions of Hasta el viento tiene miedo, those familiar with both films will see the basic plot is the same: Claudia is possessed by the spirit of Andrea, who uses her to get revenge on the sinister Bernarda. The 1967 film fooled around with some time-wasting stuff about boyfriends and expanded the possessed-Claudia footage to include Claudia playing the piano like Andrea did, and Claudia excelling in a literature class like Andrea did, ooh, spooky. The lesbian rationale for Andrea's death is new to the remake, the setting is of course changed from a boarding school to a treatment center (although both are located in massive country houses and have a mere handful of students/patients), and the relatively happy ending of the original (Lucía will become the new school director) is turned into a bittersweet conclusion (Lucía commits suicide to be with her true love, Andrea). Curiously, the remake includes two direct homages to the original–the shower scene and the strip-tease scene– neither of which is particularly important or relevant to the plot (even in the '67 version they were basically cheesecake titillation, and the remake ups the ante with actual nudity).In neither version is it entirely clear why Andrea's ghost chooses the newly-arrived Claudia to carry out her vengeance; in the remake, Claudia is assigned Andrea's old room, and perhaps we are supposed to make the link between Claudia "not caring" if she lives or dies and her eventual death-and-resurrection. The new version of Hasta includes some touches which would have been unthinkable in 1967: for example, the anorexic (although she doesn't look it) Claudia has stopped menstruating (a real-life effect of anorexia); at the movie's end, she begins her period and comments that this blood represents life, as opposed to death.The performances are quite good. Martha Higareda (the daughter of actress Martha Elena Cervantes) is becoming an important and popular actress in Mexican cinema, and has a strong screen presence. Danny Perea, who shot to fame in Temporada de patos, is prominent as the troubled Josefina; the rest of the young actresses are attractive (Mafer Malo strongly resembles Amedee Chabot in some shots) and competent, although their roles are slightly under-written. Verónica Langer doesn't have to do much but look stern, while Mónica Dionne gets to do more acting as the sympathetic Lucía. Cassandra Ciangherotti, who is billed but not credited as Andrea, has little significant screen time but is effective–the film hedges its bets on whether she's manipulating Lucía for her own ends, or if she really has an emotional attachment to the older woman.Hasta el viento tiene miedo is an attractive film, shot on location at an impressive house; Arturo de la Rosa's cinematography is fluid and shows no evidence of the "shaky cam" tendencies of Cañitas. Director Gustavo Moheno opts for a naturalistic style, generally avoiding flashy jump cuts, shocks, etc. The special effects are minimal, in keeping with the overall restrained tone (some might complain, on the other hand, that the movie simply isn't that scary as a result): Hasta is an "old-fashioned" character-and-plot driven fantasy film.Hasta el viento tiene miedo is generally a pleasant piece of commercial entertainment.

I went to the cinemas on the premiere night hoping to watch a good re-make of the Carlos Enrique Taboada's classic "Hasta el viento tiene miedo" (even the wind is scared)... What a deception... What a loss of money and time... I paid to watch a classic horror movie remake, instead I had to bear a copy of the bad teen movie "Niñas mal" (aka. charm school, the Fernando Sariñana's movie) mixed with a Mexican soup opera and a lesbian twist... Horrible, horrible movie... The only good scenes were the T&A scenes.. The plot is the same of "Niñas mal": a bad girl with addictions and depressions going to the rehab center with another bunch of disturbed girls dealing with (you know) girly and bitchy matters... Add a ghost that doesn't scare, a two sexually insecure and repressed old ladies and bad acting, bad directing, bad photography, etc.In conclusion: Don't see it, is't an awful movie, unless you want to loss your money and your time...