小孩鬼、渣男鬼、充气娃娃鬼、邋遢霉菌鬼、邪教头子木乃伊鬼，故事情节一般，鬼的种类较多。

有惊喜也有失望，Eggers这次无疑是对一个特定的影像传统做足了功课和思考之后而比女巫全面更有意识、更纯熟与更深思熟虑地操控全片的视听表现，但另一方面在叙事编排上却有点操之过急地过早引入种种隐喻、符号、主题和情感冲突，而失去了上一部那种在故事中逐渐把观众引入深渊的滑坡恐惧感，加之有点纵容演员全程的用力表演，总体而言，Eggers无疑在继续成功开拓一种历史乃至人类学化的东北美民俗志怪片的frontier，他接下来所需要的只是更多的经验以及随之而来的克制和老辣。

Hard to get in at first, but not long after you'll realize it's still the 90s classic body horror Cronenberg, which not just those weird biomechanic machines, but the conflict, rebellion, evolution, so on and so forth. It's definitely the most sexualized Cronenberg movie. Everyone in the film is so obnoxious, but ultra seductive, except the black dude. WTF is that acting? Is that a joke?

最近日本动画导演脑子里是不是连“曝光”和“景深”的基本概念都没了，“轴线”也是用不上的过时处理品了。哎呀。

Surgery is the new sex.