Because I could not stop for Death, he kindly stopped for me; the carriage held but just ourselves and immortality” – Emily Dickinson
If Death took a holiday, the guns would go silent in Iraq, the slaughter on our nation’s highways would cease, and the news media would be compelled to cover positive events in the humanities, arts, and sciences. Unfortunately, Death has not had a vacation in recorded history, but Mitchell Leisen’s 1934 fantasy, Death Takes a Holiday, allows us to consider the possibility. Co-written by Maxwell Anderson and Gladys Lehman and based on the play "La Morte in Vacanza" by Alberto Casella, Death Takes a Holiday stars Frederic March as the Grim Reaper who takes on human form in an attempt to discover why men fear him so much. Why he has waited 5,000 years to satisfy this curiosity is not explained.
[Spoiler] After a brief tryout as a shadowy figure who scares the daylights out of those that cross his path, Death shows up at, of all places, an upscale party at an Italian villa, posing as the mysterious Prince Sirki. Only one person knows who he really is, the host Duke Lambert (Guy Standing), and he is sworn to secrecy. Sirki proceeds to fascinate the guests. Given to bursts of wit and poetry, he can just as quickly turn sullen and threatening, and some soon find out that it is better not to look too deeply into his eyes. During the three days in which the Prince is at the villa, however, people all over the world miraculously escape death and potential suicides are doomed to frustration.
To see what’s behind all the conversation about love, the suave but naïve Prince Sirki falls for the irresistible Grazia (Evelyn Venable), the daughter of one of Duke’s friends. Grazia knows who Death is but does not fear him, much to the chagrin of her fiancé, Corrado (Kent Taylor) who has developed a strong disdain for Prince Charming.
More sinister than Brad Pitt in the 1998 remake Meet Joe Black, March turns in a very convincing performance as the creepy yet strangely appealing guest. Although the ending is melodramatic, the emotions are very real and the suggestion that Death may in reality be a friend disguised as a foe is quite touching.
(Howard Schumann, talkingpix.co.uk)
In this wearisome and predictable plot line, Death falls in love and bores us to death talking about it.
(Dennis Schwartz, homepages.sover.net)
I've heard DRACULA was advertised with the tag line "The Weirdest Love Story ever told!" (this is probably a paraphrase), but at heart, I've never felt that you could honestly call that movie a love story. The tag line would be much more appropriate for this one, since it ultimately boils down to what amounts to a love story. This movie is very good indeed, particularly if you consider that it is built around a concept that could have easily been handled in a cute or facile manner. Instead, it is handled as seriously as possible, with some real thought put into how death would try to come to terms with a life and an outlook that was to that point totally unfamiliar to him; much of the credit does go to Fredric March in the title role. It's quite scary when it needs to be, particularly during the first twenty minutes. From then on, it deals with its themes with subtlety, a quiet wit, an enduring sadness, and an everpresent tension on how Death might react if crossed. It's not perfect; some of the dialogue is self-conscious and artificial, as if the writers knew they were dealing with weighty issues and were trying to be profound. But I am certainly glad they didn't try to turn it into a musical comedy of sorts.
(Dave Sindelar, scifilm.org)
See also the remake: Death Takes A Holiday (1971)
风格回归了该系列的最初两部,并在其中一个故事中加入了科幻朋克元素,虽然串联的主体片段依然过散,好在其他片段保持了基本的水平线.
7分，很聪明的采用了短片集合的形式，这样每个短片可以很轻松的仅以一个有趣而单纯的点子出发，而无需考虑在拍成长片后所导致的剧情深度以及设定方面的乏味与漏洞。这样的形式同样也使得录像带恐怖片这一拍摄手法可以从机位、清晰度等方面做出区别，也让以往此种类型片一直容易被诟病的合理性、趣味性都得到了很大的改善。
有以前cult片那味了，前两个故事都很nice！好久没看到这种复古风味了，整体质感也很到位，期待下一部？
为了还原录像带效果，加入了过多特效，反而有点繁冗。镜头晃的厉害，前面还行，到后面的故事晃的头晕眼花
【2.5】没有印象特别好的短片，但这部至少有起死回生的迹象，全方位地好于上一部《病毒》，且串场线又回到了熟悉的阴宅里的“观看”，给人一种似乎有意要与《病毒》划清界限的幽默感。
血不要钱吗，人不要钱吗，尸块不要钱吗，全片充斥着血浆，快审美疲劳了；比较喜欢疯狂博士的部分，人体与机械的结合，大刀砍起人来干脆利落，冰冷又暴力；吸血鬼那么大的嘴，进食效率不高吧；结尾处的自白看得好尴尬
故事之间的联系莫名其妙，都是反社会反人类，精神污染严重，但是并不平庸。
近期的“致命”系列有点多，从致命感应到致命催眠，还是录像带系列最为致命
本片的政治意图更加明显，而且不同于七年前的前作 Viral，这次的现实讽刺看起来更加成功。
全片可以给七分
将各种恐怖元素粗暴直接地糅合，不同录像带之间看不出有啥联系，割裂感较重，伪纪录片和重口味片爱好者必看吧。
总体感觉不如2，3。但奈何是这个系列脑残粉，还是打了5星。因为还是那股熟悉的cult味，尤其喜欢第一个故事结尾，大呼过瘾。
中间故事还行的，主线太莫名其妙了，这次真不太行。
剧情：为几段视频故事的混剪
午夜十二点，观影完毕。没有恐惧，只有反胃！
四个平庸的短篇凑齐来还算不错。《真·鬼影实录》＞《下水道的美人鼠》＞《自爆吸血鬼》＞《赛博疯子的诞生》 其实还是第三部的《平行世界》最cult。（2022.4.27豆瓣6.3分）
够劲儿但是不恐怖...
比3好看！！！每一段都精彩，红脖子那个故事我比较无感，前三个都是我的菜。这种小众狂欢的恐怖片，是绝对不能单单看那几个短评就判定是否好看的
這部電影分為五個故事，其中四個是獨立的，第五個是框架故事，或者說是將它們串聯起來的主線故事。框架故事相對簡單，一支特警隊闖入了一所被一群已死的邪教徒占據的院落。穿插其中的四個小插曲都在框架故事之上。這些短片組合令人印象深刻，足以證明該類型影片的創造力仍然值得稱贊。
以为到第四部会差了，没想到挺惊喜的。主线是一群特种兵进入一个邪教场所，里头都是挖掉眼睛的教众。分线1下水道鼠人，属于比较常规的宗教传染；2殡仪馆死尸复活，这个故事比较刺激，特别当男的头掉下来，我还想不要睁眼啊，果然眼睛看到身体就来抓女主了；3类似人体蜈蚣的科学怪人用人做机器人，是我最喜欢的一个故事，导演是之前那个印尼导演，难怪了，猎奇血腥温情，全部具备；4是美国清洗+吸血鬼，最无感。看评论才理解了电影命名为94的意思。
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