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Surprisingly incoherent and boring

Must See Movie...

It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

A girl (Martha Higareda) tries to commit suicide by jumping off a bridge. When the attempt is thwarted, she is committed to strange mental institution for very sexy and suspiciously mature-looking Mexican girls. She and her equally troubled fellow inmates are attended to by a creepy female psychiatrist. Strange supernatural things begin to occur, largely connected to an eerie abandoned tower on the hospital grounds. Eventually the protagonist is possessed by a vengeful spirit. . .This is a largely unnecessary remake of an earlier 1967 Mexican film with the same title ("Even the Wind Is Afraid"), but it's a pretty different film other than both have the same eerie looking tower and a girl-on-girl striptease scene (although naturally the scene here goes a lot farther). I understand why some of the anglo-phone Mexicans are contemptuous of this film, but very few people outside of Latin America have ever seen the original since (to my knowledge) it has never been released with English subtitles. And this is such a different film, it really deserves to be judged on its own merits (or lack thereof).Martha Higareda is most famous for playing another boarding-school girl in the 2006 Mexican film "Ninas Mal" where she showed off her breasts a lot. She shows off pretty much everything here, but aside from that, they're very different movies--that is a raunchy comedy and this is pretty much a straight horror film. Of course, female nudity doesn't necessarily make for a good film, but it's also an odd thing to complain about. I did find it a little strange that these "teenage mental patients" all look at least twenty, but are wearing school uniforms for some reason (hmmm, sexy 20-year-old girls in and out school uniforms--I think I'm starting to understand now). As a HORROR film, this is pretty weak, and not really a spot on the original, but it is mildly entertaining at least, and there is nothing in it that really justifies some of the hate. . .

I use this rough phrase when I think it's only necessary. I'm Mexican, and I strongly recommend my fellow Mexican IMDb reviewers to not support this kind of BAD Horror movies ONLY because we live in the same country. If we support low quality movies, it means we can accept mediocre products such as this unnecessary remake. That's my call, I don't understand why it has generated bad responses from other users (although I was given 2 useful user opinions). Trust in me, I'm a an expert when it comes to Mexican Horror cinema. We deserve better Horror movies, for the sake of Carlos Enrique Taboada's memory. The Director and creator of the original "Hast El Viento Tiene Miedo".My problems with this movie are various: Why in the first time remake a Horror classic? I mean, what's behind the remake of a PERFECT Horror movie?, Probably the best Horror movie in the history of Mexican Cinema. I don't have intentions to denigrate the work of the people involved in the movie, but, in terms of Horror cinema, remakes are not always the best option.I can't find a logical answer for this remake.To be honest, I didn't watch this on theaters because I felt it betrayed my loyalty towards the 1968 Carlos Enrique Taboada's masterpiece. Second, because the cast sent me signals that it was to be a sequel to "Niñas Mal", and third, because I knew it was going to take little time for it to get on DVD or even on local t.v. Well it took only a year for it to be featured in local t.v. When I finally watched it, I asked myself "was this shot on handycam?". Not because of the atrocious cinematography and art direction, also because of the dull direction, wooden acting, and painful meant-to-be-important sequences. The shock situations attempts were just plain bad.This is a terrible horror movie that does not even feature mystery, suspense, or a solid plot. Heck, it even copies correctly the creepy ghost story from the original.The actresses seemed to be only having fun at the cost of a legendary ghost movie. Higareda is sexy and pretty but her talent won't be measured for her nudity level, she gotta understand it. That's a positive criticism. To be concrete, this is the worst remake by far in Mexican Horror. Please avoid it at all costs and my advice as a die hard Mexican Horror fan is to stick with the original.

Although some may disagree, this remake of the 1968 cult classic by Carlos Enrique Taboada, excels the original in many ways . Gustavo Moheno does justice to the story and manages to create a very scary entertainment. The main change? While the original took place in a boarding school, this one occurs in a psychiatric asylum.One of the best scenes recreates the famous striptease done by Norma Lazareno, but while in the original this dance was extremely well choreographed loosing credibility, in the remake the sequence fluids as a very spontaneous act that follows the impulses of a group of girls that just want to have fun.In general terms the ghost story is the same as the original but with new variations that add drama to the situation. There is a beautiful scene in which Martha Higareda reveals her naked body in front of a mirror that suggests the main theme of the movie (which I'm not going to mention because it could be a spoiler).The original film was formulaic and this remake can't help using the formula as well. Nevertheless, this new version is very well done, full of fascinating stuff that blocks, to some degree, all the clichés that defined Taboada's formula.

A remake of Carlos Enrique Taboada's 1967 movie–now something of a cult favorite–Hasta el viento tiene miedo fared well at the domestic box-office and is enjoyable, slick entertainment. The cast is attractive and competent, the production values are solid, and the direction, photography, editing, etc., are all professional.Although it would serve no purpose to make a detailed comparison between the two versions of Hasta el viento tiene miedo, those familiar with both films will see the basic plot is the same: Claudia is possessed by the spirit of Andrea, who uses her to get revenge on the sinister Bernarda. The 1967 film fooled around with some time-wasting stuff about boyfriends and expanded the possessed-Claudia footage to include Claudia playing the piano like Andrea did, and Claudia excelling in a literature class like Andrea did, ooh, spooky. The lesbian rationale for Andrea's death is new to the remake, the setting is of course changed from a boarding school to a treatment center (although both are located in massive country houses and have a mere handful of students/patients), and the relatively happy ending of the original (Lucía will become the new school director) is turned into a bittersweet conclusion (Lucía commits suicide to be with her true love, Andrea). Curiously, the remake includes two direct homages to the original–the shower scene and the strip-tease scene– neither of which is particularly important or relevant to the plot (even in the '67 version they were basically cheesecake titillation, and the remake ups the ante with actual nudity).In neither version is it entirely clear why Andrea's ghost chooses the newly-arrived Claudia to carry out her vengeance; in the remake, Claudia is assigned Andrea's old room, and perhaps we are supposed to make the link between Claudia "not caring" if she lives or dies and her eventual death-and-resurrection. The new version of Hasta includes some touches which would have been unthinkable in 1967: for example, the anorexic (although she doesn't look it) Claudia has stopped menstruating (a real-life effect of anorexia); at the movie's end, she begins her period and comments that this blood represents life, as opposed to death.The performances are quite good. Martha Higareda (the daughter of actress Martha Elena Cervantes) is becoming an important and popular actress in Mexican cinema, and has a strong screen presence. Danny Perea, who shot to fame in Temporada de patos, is prominent as the troubled Josefina; the rest of the young actresses are attractive (Mafer Malo strongly resembles Amedee Chabot in some shots) and competent, although their roles are slightly under-written. Verónica Langer doesn't have to do much but look stern, while Mónica Dionne gets to do more acting as the sympathetic Lucía. Cassandra Ciangherotti, who is billed but not credited as Andrea, has little significant screen time but is effective–the film hedges its bets on whether she's manipulating Lucía for her own ends, or if she really has an emotional attachment to the older woman.Hasta el viento tiene miedo is an attractive film, shot on location at an impressive house; Arturo de la Rosa's cinematography is fluid and shows no evidence of the "shaky cam" tendencies of Cañitas. Director Gustavo Moheno opts for a naturalistic style, generally avoiding flashy jump cuts, shocks, etc. The special effects are minimal, in keeping with the overall restrained tone (some might complain, on the other hand, that the movie simply isn't that scary as a result): Hasta is an "old-fashioned" character-and-plot driven fantasy film.Hasta el viento tiene miedo is generally a pleasant piece of commercial entertainment.