Netflix’s Bonkers horror show about killer elves partying with human flesh

Just as adults often search for their youth, children are often desperate to reject their teenage years in favor of adulthood – without realizing that with age comes increased responsibility. That life lesson is learned by the main character the hard way Elvere, a six-part Danish horror saga about a family’s holiday to a remote island populated by cautious locals and, even more threateningly, by mythical creatures. It is a hermetic community that adheres to a unique set of rules designed to keep these beasts at bay, although in Stefan Jaworski’s series, real problems arise not from irrational monsters, but rather from a child who thinks she is mature and therefore repeatedly behaving stupidly.

It is difficult to overestimate the aggravation generated by ElvereJosefine (Sonja Sofie Engberg Steen), who together with her mother Charlotte (Lila Nobel), father Mads (Peder Thomas Pedersen) and big brother Kasper (Milo Campanale) goes from Copenhagen to the foggy island Årmandsø for Christmas. Josefine is introduced to becoming friends with a dog in a grocery store and then rumbles as she is told so many times that she is not old enough to have her own pet. It’s a very typical pre-teen attitude for Josefine to have. However, she takes it to another level when the family arrives at Årmandsø, and while she and Kasper quarrel in the back seat, their car drives over something in the middle of a heavily wooded road. They spot black goo on the vehicle’s bumper, and Josefine spies on several of the things in the adjacent field leading to an electrified fence. But before she can investigate further, they are intimidated by the powerful Møller (Rasmus Hammerich), a yearling islander who we have already seen depositing a chained cow in the woods behind the fence.

Josefine and her clan retreat to their log cabin, where mom and dad try to make the most of this escape from their hectic city life by building Christmas decorations. Josefine, however, has only one thing on her mind: to check out what her father potentially hit. Thus, she sneaks off to the fence, where she discovers a tiny injured elf, whom she brings back to a nearby barn, nurses back to health, and names Kee-Ko. With a pointed head covered in hair, matching pointed ears and giant dark eyes, the forest animal the size of a pint resembles a more eerie version of a troll doll, and it quickly takes on Josefine, who does her best to play mother to this baby. Josefine’s mother instincts unfortunately far exceed her common sense, and after introducing Kee-Ko to Kasper, the elf is found by Møller and re-deposited behind the fence.

As it turns out, Møller works with grocer Karen (Ann Eleonora Jørgensen) and her granddaughter Liv (Vivelill Søgaard Holm) as guardians of Årmandsø, who have long been inhabited by the goblins, who must be locked behind the electrified wall so that they do not have to run over. and devour the human population. However, instead of thinking through every single decision she makes, Josefine repeatedly obeys orders and warnings to maintain her relationship with Kee-Ko as she thinks she knows what is best for him. Not surprisingly, she does not, and a subsequent rescue mission to restore her friend puts her in mortal danger, resulting in violence that then spawns even more carnage. Before long, Josefine has blood from several innocents on her hands, all because she was not aware that – her arrogant worldview, on the other hand – she is an empty-headed child without the experience and knowledge of her elders.

Consequently, Elvere is a Christmas nightmare about a girl who causes chaos due to selfishness and stupidity. Worse, despite Josefine acknowledging that she is to blame for the chaos that has broken out on Årmandsø, Jaworski’s series strives to acquit her of her offense, casting her as just a misguided child driven by honorable intentions. It’s a hard pill to swallow, as she’s solely to blame for the deaths of several people, who did nothing but try to maintain the island’s status quo. The show’s interest in acquitting Josefine eventually throws the whole thing out of the spotlight and turns them into a sobbing story when tailored to be a warning tale that foolish actions have serious consequences.

Whose Elvere has a skewed perspective on its heroine, it has a similarly clumsy grip on its terror. The adult elves are a carnivorous herd, whose bodies creak and shudder unnaturally, and whose mouths are filled with huge fangs. In the few moments where their entire bodies and faces are clearly visible, they look more ridiculous than threatening and look a little more angry versions of The land of the lost‘s Cha-Ka. They are also slow and avoidable, which in addition castrates their fears. Jaworski tries to amplify the nerve-wracking mood by occasionally indulging in something dull – especially a beheaded head that is ceremoniously thrown over the fence, and the sight of a person being partyed with by the elves – but it does not fit in otherwise . tam tone.

The adult elves are a carnivorous herd, whose bodies creak and shudder unnaturally, and whose mouths are filled with huge fangs.

Runs less than two and a half hours, Elvere does not pull things out indefinitely. Nevertheless, with somewhat tighter clipping, it could have been trimmed down to a fleet of feature films. As it stands, the series wanders together without the great momentum, thereby drawing attention to the fact that its characters are at best two-dimensional, and the dramatic dynamics at play are fiercely uncomplicated. There is an ecological message lurking somewhere in this man-versus-elves tale, as Karen, Møller and the company are convinced that they are stewards of Mother Earth – which in turn exposes Josefine and her family as city operators who are more preoccupied with their own. satisfaction than respecting their natural environment. Still, time and time again, Jaworski can not be bothered by extrapolating anything new from that set-up.

ElvereLack of excitement and treatment of Josefine with children’s gloves makes it seem as if it has been designed for a particular demographic who wants PG-13 cruelty and believes that children are the center of the universe (and should not suffer sanctions for that attitude, no matter how much damage it causes). It may be that the audience thinks it’s scary, but anyone over the age of fifteen might want to look elsewhere for a holiday horror.


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