Sam Raimi's Underrated PG-13 Horror Movie Is Streaming On HBO Max

Sam Raimi's filmography proves that he's not just beholden to the horror moniker that has defined his output, but the Michigan native would be considered genre royalty even if his "Evil Dead" trilogy were the only movies he ever made. Thankfully, this isn't the case, but with Raimi having spent the better part of the 2000s working on his excellent "Spider-Man" trilogy, 2009 was the perfect year to welcome him back to the genre that spawned his career. 

The result was "Drag Me to Hell," a fiendishly clever and mean-spirited return to form that's now available to stream on HBO Max. At the center of this strangely underrated PG-13 horror hit is Alison Lohman as Christine Brown, a Los Angeles bank loan officer who's on course to live her best life. She's not only got her own house, but a loving boyfriend named Clay (Justin Long) and an assistant manager's promotion waiting in the wings. 

All that stands between Christine and her big break is Sylvia Ganush (Lorna Raver), an elderly Romani woman coming to her for another extension on her mortgage. In an effort to prove to her boss (David Paymer) that she can make hard decisions, Christine denies the request and is promptly saddled with a terrible curse. What follows is a wickedly funny descent into a series of disgusting hauntings that Christine will never forget. 

Sam Raimi making his triumphant return to horror with an opening scene of a child being pulled into the fiery depths of hell is a great way to show that he hadn't missed a step. It fits the mean-spirited playfulness that Raimi and his producer buddy Robert Tapert have excelled at since 1981's "The Evil Dead." In many ways, "Drag Me to Hell" moves like a feature-length version of a "Tales from the Crypt" episode, complete with a captivating story hook, a whole lot of nastiness, and an ironic ending. 

The film has become an even bigger hit over the years since its initial release, with some X (formerly Twitter users having a laugh at the hilarious shot of Christine holding a massive prop fork. Raimi always knows how to play up the camp factor, but perhaps what's most surprising about "Drag Me to Hell" is that it's one of the most violent and mean-spirited PG-13 horror movies ever made. 

VFX artists Greg Nicotero and Howard Berger not only bring the blood, but a whole assortment of gross fluids to fling in Alison Lohman's face. Raimi gets away with way more than you would expect under the MPA's superfluous guidelines. The screenplay by Raimi and his brother Ivan seamlessly blends comedy and horror in a manner where they compliment each other, with the Raimis still finding time during a crucial seance scene for some "Evil Dead"-style shenanigans. The image of the demon possessing a goat to speak still makes horror fans laugh every time.

Sam Raimi has spent a good chunk of his career torturing Bruce Campbell for our entertainment. In "Drag Me to Hell," however, Alison Lohman is the Raimi muse getting put through the wringer this time. He's always great at casting interesting people, and Lohan more than proves she's up to the task by performing most of the stunts herself. One of her most underrated moments is when Clay reminds Christine that she has a cat, and she gives this slow, half-hearted smirk that's holding back a terrible laugh given what she did to appease the evil spirit.

Beneath Lohman's doe-eyed innocence lies a strong resilience that keeps Christine going after every encounter with supernatural phenomena. You can practically see Raimi cackling like a madman every time he's about to inundate her with a hose full of bugs, blood or bile. Even beyond all of the gross stuff, Lohman makes a compelling horror protagonist because of the emotional tenacity she brings to the character.

"Drag Me to Hell" hinges on the moralistic bent of the universe in which bad behavior is reckoned with, even if the crime doesn't suit the punishment. No one forces Christine to deny Mrs. Ganush's extension, but she does so for her own benefit, and it's all the more impactful since this film came out during the Great Recession of the late 2000s. Even good people can do bad things, and Christine suffers for it all the way to the iconic ending.