No synopsis available.
映画化された原作や関連書籍を読んで、映像との違いや独自の世界観を楽しみましょう。
製作費: $2,000,000 (3億円)
興行収入: $2,568,027 (4億円)
推定収支: $568,027 (1億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
監督: Corin Hardy
脚本: Owen Egerton
音楽: Doomphonic
制作: Macdara Kelleher / David Gross / Whitney Brown
撮影監督: Björn Charpentier
Whistle‘s writing is standard and mediocre, typical of films about summoning death with percussion. However, horror fans will appreciate the creative deaths, solid acting, and an ending that leaves you wanting a sequel. https://www.giantfreakinrobot.com/ent/horror/whistle-review.html
With “Primate” it was a chimp, with “Whistle”, well yep - it’s a whistle. Otherwise there isn’t that much to distinguish the two. This did have an intriguing premise to it: an ancient Aztec artefact that when aroused serves to over-ride the fates themselves and alert death to the whereabouts of the blower. It’s basketball player “Horse” (Stephen Kalyn) who first demonstrates the demonic power of this bronze article, and then when it is found in his school locker by new girl “Chrysanthemum” (Dafne Keene) it gains a new lease of life with her, her classmates and their unwitting professor (Nick Frost). Luckily, they do have someone on hand who can interpret the writings on the gizmo, but any chance she can thwart death’s relentless and bloody search for their bodies and souls? Aside from the concept which is a bit different, this is an entirely procedural and formulaic story and of course we have the now obligatory girl-on-girl romance that now seems to be the norm. When are we ever going to get one of those horror dramas where it’s the boys who get it on, instead of them getting slaughtered early on? Anyway, there is nothing new here, just the gradual and set-piece removal of the mostly deserving characters and you do have to ask: if you found an ancient and grubby old thing in your locker, would you blow on it? Hmmm - standby for "Whistle Too"?
Just another dumb leftist movie with its propaganda as usual. It is a prime example of a production that prioritizes a forced social agenda over coherent storytelling. The movie presents a cast of "misfit" protagonists who are written with zero depth beyond their compliance with modern identity politics. By centering the narrative on these hollow archetypes—while portraying a youth pastor as a cartoonish, drug-dealing villain—the film reveals its obvious bias. It replaces genuine suspense with predictable tropes, using a shallow plot about an ancient artifact to lecture & poison the audience rather than provide actual entertainment. It is a disjointed and transparent attempt at social engineering that fails to offer anything original or meaningful to the horror genre.
