The remake by Marcus Nispel (who?) is a testament to the demands of 21st-century moviegoers to have their horrors (or their anything else) in a style to which they are accustomed: desaturated color, shafts of light, a hammering monotony of closeups, fashion-model damsels in distress, a pair of softball boobs under stretchy white fabric, and so on. Thus a cheap, crude, cruddy, culty hit from 1974 becomes a flush, flashy, cruddy, mainstreamy hit in (2003) — Duncan Shepherd
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