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Very very predictable, including the post credit scene !!!

the audience applauded

Excellent but underrated film

Pretty good movie overall. First half was nothing special but it got better as it went along.

I watched Repo - a genetic opera about a year ago just before it left Prime, and immediately ordered a DVD copy - I was that delighted and impressed. When I heard rumors about Carnival naturally I was excited and as soon as possible I watched it.... huh? For the sake of clarity and fairness I will only be comparing this film to its predecessor, as Zdunich is a realm unto himself, and any comparison to other artists would be apples to nutmeg.* * * spoilers ahead * * *First the good. The visual aesthetics were easily on a par with Repo, quirky and ambitious and fun. The music, while not quite up to the standards of Repo was at least consistent with the overall milieu - overly colorful, occasionally discordant and yet somehow likable. The acting was generally satisfactory, occasionally excellent. Based strictly on visuals and sound I would have given this at least a strong 7/10 The not so good. Unfortunately the story lost me. Repo created a strong, vital and internally consistent world, where there is no black and white - just myriad shades of murk - and it worked fabulously. In Carnival, however, I was left theologically baffled, consistency confused and ultimately dissatisfied. OK, the grieving and obsessed father, as a suicide, would qualify for Hell according to traditional Catholic beliefs (just as a point of reference, I adhere to no formal religion, but am not atheist), so while personally problematic as a sympathetic character, at least his presence was logical. The kleptomaniac was likewise an obvious "sinner" in the traditional sense, and so her presence was in keeping with the usual standard for Hell. The naive teen, however, was guilty only of what amounted to terminal stupidity - excessive trust in the face of perpetual betrayal. I for one have often felt that stupidity ought to be painful, but making the idea of "criminal stupidity" into a 'going to Hell level sin' just did not ring true for me and made the already tissue-paper fragile cohesiveness of the story dissolve into shreds of melodramatic lint. Then there was the never explained issue of the little boy - was this the son, and if so why was he in Hell? The motivation of the Devil at the end was the only semblance of coherence in the latter portion of the story. Whether the child even really existed, was bait for the father, was a red herring or a diablo ex machina was never clarified. Perhaps it will all become clear in the second installment. I sincerely hope so, as I am rather a fan of Zdunich and this film was a bit of a let down.

"The Devil's Carnival" is very much a Darren Lynn Bousman's pet project. It's unmistakable for anything else and that means if you liked his previous work in "Repo! The Genetic Opera" you'll be familiar with the style of horror and rock opera presented in this short film, so you'll enjoy it a lot. The plot? Well I can't say I can really recall it very well and some of It is because it's confusing at times. I remember a lot of cool visuals, some similarities with Aesop's fables, demons, knife-throwing, Bill Moseley in makeup and Alexa Vega looking pretty sexy. In all honesty it's not my fault, this is a picture that you kind of need to watch more than once.While the songs aren't as polished as the ones in his previous work, the sets and costumes are impressive and for a low budget production, it looks great. I found the story to be scrambled though, which frustrated me because I love the idea of this demonic carnival (and I've always wanted to see it done well since I saw "We're Back! A Dinosaur's Story). The upside is that if you like it, the picture is short so you'll be able to watch it multiple times to clarify the confusing bits. Similarly, it's a lot of style over substance and if at first you don't really care for it, it's just not your thing. It's a love it, or hate it kind of thing and I bet the way to really appreciate It would be to view it with someone who's already fallen In love with it and can clarify some of the plot elements or give you factoids on all of those cool little details. I enjoyed it enough that I think you should check it out, if only to see If It will be your kind of thing. (On DVD, November 15, 2012)

First of all, I've read through some of the reviews already on here and it just made me realise that the majority of these people didn't actually watch the film. I mean, they must have not? Some of the things they say are just completely ridiculous and wouldn't be said if they had watched the film.First of all, someone said this movie promotes victim-blaming. Uh, no it does not. The young girl goes to hell because she is naive, she trusts her abusive boyfriend over and over until it leads to her death. Her naivety even when she knows better is her sin, as is made blatant when she trusts Scorpion even after he kisses Painted Doll, and when she puts her trust in Lucifer at the end of the movie.The victims are tortured and ridiculed because it's hell. It's the age old assumption of what could be worse than death, and the older woman's nakedness and ridicule is, to her, what is worse than death. She is stripped literally and metaphorically of everything that corrupted her. It isn't mindless titillation, anyone who thinks so clearly has no analytically skills whatsoever.The aesthetics are incredible and the way they've combined Aesop's Fables with a Gothic-esque atmosphere works very well.The only complaint I have is it was too short. There wasn't enough time for character development and the only character I felt any connection at all with was the male victim.

Lost souls enter The Devil's Carnival where they are each faced with the sins they committed in life.From the creator minds that brought us the horror-musical "Repo: The Genetic Opera"... comes another -- maybe even better -- horror-musical that revives the overdone carnival / circus theme in horror.And, hey, we get Alexa Vega from "Repo" and we can even add genre favorite Bill Moseley to the mix. Plenty of goodness and potential here, with Aesop's fables modified by a sinister mind and music added. Who says the musical is dead? It is not -- it has just gone to hell (in the very best of ways)!