Sangre, cuchillos, y tetas --- Horror Film Discussion

[megladon8]

http://img10.imageshack.us/img10/5872/horrorwallpaper17.jpg


So I love horror films of all the sub-genres and I would be the first to argue that there are horror films with as much artistic merit and importance as any drama or documentary.

But I also tend to enjoy a lot of the schlock that the genre has to offer, and frankly I can't help myself from feeling a little bad whenever I interrupt an important discussion in the FDT to say that I re-watched Killer Klowns From Outer Space. It feels a little ridiculous. And with the frequency that I (and I believe several others here on the forum) watch horror films, I thought we could use a thread devoted to horror discussion.

Last night I watched what would be a perfect example of campy, crappy horror so it's a great time to start this thread methinks.

No Man's Land: The Rise of Reeker is one of the past set of "8 Films to Die For" (now titled "Ghost House Underground") and it is the sequel to a horror film that came out a few years ago and was simply titled Reeker.

The original was an interesting little slasher that suffered from some poor writing and acting (pretty typical of the non-theatrical horror) but overall I thought it was "okay". I could say the same for this, a sequel/prequel with pitiful characterizations and acting...but damn was it ever fun!

I just really like the whole concept behind the "Reeker". It's a great twist on Final Destination's ideas, but we actually see the Reaper (Reeker) as he dispatches his victims.

Here's a brief overview of how the Reeker formula works:

A small group of people become stranded somewhere in an American desert. Towards the beginning of the film there is a catastrophic event that they all survive (a car crash, explosion, whatever) and then suddenly they begin experiencing strange things. Phones are dead, they seem unable to leave the area, etc. Then they notice the smell...the reeker. The smell of rotting flesh, the stench of death. This being, the Reeker, kills them one-by-one in gruesome fashion with a variety of bastardized medical equipment for optimal grossness in the effects. Then at the end of the film, we get a flashback to that catastrophic event where we see that all of them actually died, and in similar fashion to how they were killed by the Reeker in this Purgatory-like world (for example, if someone is impaled by one of the Reeker's blades, then in the "real" world they might be impaled by a shard of metal from an explosion).

It provides the same kind of outlandish death scenes that Final Destination is known for, but I just find this "universe" to be more interesting. The Reeker himself is actually kind of creepy, and in this sequel/prequel No Man's Land, we discover a "secret" behind Reeker and where he comes from that would potentially allow for an infinite number of variations on the formula, locale, and of overall approach to the story.

It's nothing groundbreaking and I hesitate to even call it "good", but I really had fun watching this one despite the fact that just about everything about it is awful. It's paced really nicely and has great payoff, and I hope they make more of these because I'd definitely see them.

[Beau]

I have to see more horror films. I can also understand the thread title. A winning combination.

[megladon8]

I have to see more horror films. I can also understand the thread title. A winning combination.


Any favorites of the genre?

Have you seen Robert Wise's The Haunting?

[Beau]

Any favorites of the genre?

Have you seen Robert Wise's The Haunting?

Yeah. A long time ago. I quite liked it. I'm not sure what qualifies as horror. I love Suspiria. I love Tscherkassky's Outer Space. I wouldn't consider that a horror film, but it's on an anthology of short horror films, so what do I know? I don't mind The Exorcist. Not the biggest fan. The Phantasm movies are, well, they're bizarre, but I liked them, for all their campiness and weirdness (or because of those things). Troll 2 is the greatest thing commited to celluloid. Teenage Caveman is the worst. Eraserhead I don't consider horror, but some people do, so again, what do I know? I love it, at any rate. Flaming Creatures is not horror, but it was horrific to watch, so I'll call it horror. I kind of liked it though. What else? Eyes Without a Face is, again, not horror for me, but people call it as such. I really enjoyed that. Epstein's Fall of the House of Usher is another non-horror-to-me-but-horror-to-some example, and I love it. It's hard, or impossible, to scare me. I like the idea of horror, not for the horror, so much as for the fantasy and the atmosphere. I might be forgetting some other movies, but as you can see, my experience with the genre is rather slim.

[megladon8]

When I was a kid a horror film would freak me out quite easily, but lately I've found all my emotions fairly hard to tap into with films.

If you're looking for something genuinely scary, I'll take this opportunity to pimp out [REC] again.

[Russ]

Troll 2 is the greatest thing commited to celluloid.
Haven't seen Samurai Cop yet, eh?

[Beau]

Haven't seen Samurai Cop yet, eh?

I read about that on this forum a long time ago. I really want to see it.

[Kurosawa Fan]

I read about that on this forum a long time ago. I really want to see it.

You don't want to see it. You need to see it.

[Beau]

You don't want to see it. You need to see it.

:)

[Russ]

If you're looking for something genuinely scary, I'll take this opportunity to pimp out [REC] again.

Don't make me hurt you (http://match-cut.org/showpost.php?p=152553&postcount=26305).

[megladon8]

You don't want to see it. You need to see it.


Is it as good as Le Samourai?

[Sycophant]

What's the purpose of serparating this from the FDT?

Oh, nevermind. I'm not going to make a stand on my view of genre and the way this kind of stratification stands in opposition to it. Whatevs. Enjoy your horror thread.

[Dead & Messed Up]

Yeah. A long time ago. I quite liked it. I'm not sure what qualifies as horror. I love Suspiria. I love Tscherkassky's Outer Space. I wouldn't consider that a horror film, but it's on an anthology of short horror films, so what do I know? I don't mind The Exorcist. Not the biggest fan. The Phantasm movies are, well, they're bizarre, but I liked them, for all their campiness and weirdness (or because of those things). Troll 2 is the greatest thing commited to celluloid. Teenage Caveman is the worst. Eraserhead I don't consider horror, but some people do, so again, what do I know? I love it, at any rate. Flaming Creatures is not horror, but it was horrific to watch, so I'll call it horror. I kind of liked it though. What else? Eyes Without a Face is, again, not horror for me, but people call it as such. I really enjoyed that. Epstein's Fall of the House of Usher is another non-horror-to-me-but-horror-to-some example, and I love it. It's hard, or impossible, to scare me. I like the idea of horror, not for the horror, so much as for the fantasy and the atmosphere. I might be forgetting some other movies, but as you can see, my experience with the genre is rather slim.

You'd probably love Val Lewton's stuff. The two Cat Peoples, The Leopard Man, and I Walked With a Zombie were my faves, but they're all good, and they straddle that gulf between horror and dark fantasy.

[megladon8]

What's the purpose of serparating this from the FDT?


I kind of outlined that in the first post.

[megladon8]

You'd probably love Val Lewton's stuff. The two Cat Peoples, The Leopard Man, and I Walked With a Zombie were my faves, but they're all good, and they straddle that gulf between horror and dark fantasy.


Yes! That's such a great set.

My personal favorite was The Bodysnatcher.

[Beau]

You'd probably love Val Lewton's stuff. The two Cat Peoples, The Leopard Man, and I Walked With a Zombie were my faves, but they're all good, and they straddle that gulf between horror and dark fantasy.

Noted.

[D_Davis]

What's the purpose of serparating this from the FDT?

It's all for the lulz.


Reeker is a fun little flick. I saw it, and was pleasantly surprised.

[soitgoes...]

What's the purpose of serparating this from the FDT?

Personally I'm not a big horror fan, so the idea that perhaps horror discussions could possibly be contained in its own little corner of Match-Cut away from my eyes is a blessing.

::realizes the hypocrisy of posting in said horror discussion::

Also, I am a fan of the Spanish, but wouldn't Italian be more in line with the horror theme? I guess there's [REC].

::fades away into non-horror obscurity::

[Dead & Messed Up]

Also, I am a fan of the Spanish, but wouldn't Italian be more in line with the horror theme? I guess there's [REC].[/SIZE]

Or Japanese.

[Boner M]

I watched Blood On Satan's Claw a few days ago, expecting little more than some enjoyably blasphemic hysterics based on the schlocky DVD cover and IMDb plot keywords (http://www.imdb.com/title/tt0066849/keywords), but instead got a pretty atmospheric and relatively nuanced portrayal of witchcraft in 17th century England. I think the 'subversiveness' of the depiction of the town's governors as being just as hysterical as the cultists was maybe a bit overemphasised, but really it's just the well-sustained mood of dread and occult creepiness that is the film's obvious main virtue. And Linda Hayden... *droooooolllllll*

Have to say I also liked it more than the superficially similar Witchfinder General.

[Raiders]

What's the purpose of serparating this from the FDT?

What's the point of putting all discussion in the FDT? I would much rather see us utilize the rest of the forum.

[lovejuice]

if this were a real world, i would drop into any conversation about horror films by demonstrating my awesome knowledge of an italian word "giallo," and how it means "yellow," and how it refers to some specific genre.

here in matchcut, i'll silently bow away.

[balmakboor]

I welcome a horror thread, or many horror threads. I too need to watch a lot more of the genre.

On thing you said struck me as odd though: "...and I would be the first to argue that there are horror films with as much artistic merit and importance as any drama or documentary."

I can't imagine anyone, at least in these parts, who would argue any differently.

[Dead & Messed Up]

I can't imagine anyone, at least in these parts, who would argue any differently.

In point of fact, many people here seem to welcome horror films. Cloverfield, Let the Right One In, and Diary of the Dead got massive attention from this forum, as I recall, and most of that was respectful discussion.

Not to say that I dislike this thread. I plan on posting my thoughts on upcoming views of Fisher's The Mummy, Moore's Spiral, and Schrader's Cat People.

[balmakboor]

In point of fact, many people here seem to welcome horror films. Cloverfield, Let the Right One In, and Diary of the Dead got massive attention from this forum, as I recall, and most of that was respectful discussion.

Not to say that I dislike this thread. I plan on posting my thoughts on upcoming views of Fisher's The Mummy, Moore's Spiral, and Schrader's Cat People.

Yes, I think Let the Right One In is among the finest films of any genre from the past year. And I don't put The Texas Chain Saw Massacre in my top 10 just to be provocative. I consider it a great work of art.

I look forward to your thoughts on Cat People. I haven't seen it for a long time, but remember liking it -- of course that was when I desperately wanted to marry Nastassja Kinski.

[megladon8]

Otis straddles a the border between being kind of clever, and a mean-spirited, exploitative mess. It's more of the latter, but I can't help feeling it wasn't all bad.

Some of it had me puzzled, though. This girl who is kidnapped, beaten and knows she's going to be raped is actually able to muster a laugh at her kidnapper and how he can't dance? I don't think so.

It had some funny dialogue and a few inspired moments. But it's really not too good.

[balmakboor]

This girl who is kidnapped, beaten and knows she's going to be raped is actually able to muster a laugh at her kidnapper and how he can't dance? I don't think so.

I haven't seen the scene in question and I've never found myself the victim of such a situation -- most thankfully. But I would think that, once a victim crosses that boundary between "this isn't happening to me" and acceptance, a certain clarity would set in and make just such laughter possible.

Maybe that's not how it is presented at all though.

[megladon8]

I haven't seen the scene in question and I've never found myself the victim of such a situation -- most thankfully. But I would think that, once a victim crosses that boundary between "this isn't happening to me" and acceptance, a certain clarity would set in and make just such laughter possible.

Maybe that's not how it is presented at all though.


I suppose this is possible.

There are other moments like this, though, that I strongly felt were stupidly unrealistic. If you don't mind a minor spoiler, here's one...

The girl in question ends up escaping, and when she gets home she's not traumatized by the event at all, simply because he didn't have a chance to rape her. She was kidnapped, beaten and received severe head trauma, he belittled her and made her pretend she was someone else to fulfill his fantasies, but she even says that it wasn't a big deal because "he didn't get a chance to rape her".

I think being kidnapped and beaten would be, in itself, quite traumatic.

[balmakboor]

I suppose this is possible.

There are other moments like this, though, that I strongly felt were stupidly unrealistic. If you don't mind a minor spoiler, here's one...

The girl in question ends up escaping, and when she gets home she's not traumatized by the event at all, simply because he didn't have a chance to rape her. She was kidnapped, beaten and received severe head trauma, he belittled her and made her pretend she was someone else to fulfill his fantasies, but she even says that it wasn't a big deal because "he didn't get a chance to rape her".

I think being kidnapped and beaten would be, in itself, quite traumatic.

Yeah, I don't think there's any way I could explain that one away.

Horror movies do often have scenes where the characters just seem too calm considering what's going on around them. I remember scenes like that in Cloverfield. I just write them off as conventions unless they step over that line (one of those lines again) between unbelievable and ridiculously unbelievable.

[Dead & Messed Up]

I watched one of the three films I said I would.

The overwhelming feeling I get from Spiral is that it's a showcase for Joel David Moore to go crazy, and go crazy he does, although he acts crazy from the get go, so there's not much build. He's Mason, a reclusive artist and potential murderer. His fragile world is torn asunder when Amber (Amber Tamblyn) plays that thankless role of an adorably chipper girl who's inexplicably attracted to Mason. Girls like this are rarely anything more than a prop. The best role goes to Zachary Levi as Mason's horndog brother. He's comprehensible and sympathetic, and his droll reactions to the film's moments of insanity prove more interesting than Amber and Mason's somewhat typical doomed romance.

There's a lot of rain. Rain = sad.

Moore co-directed the film with Adam Green, the man behind Hatchet, which was half a good movie. This is a little better. Maybe six-tenths of a good movie.

[Robby P]

What can you guys tell me about Timecrimes (http://www.imdb.com/title/tt0480669/)?

[Teh Sausage]

What can you guys tell me about Timecrimes (http://www.imdb.com/title/tt0480669/)?

I didn't like it. It's only purpose was just to confuse/impress audiences with a convoluted time travel plot, (which I found easy to follow, but then I've seen and read loads in that sub-genre of SF) make them go "Aaah! That's clever" a few times, and then wrap it all up before they realise the film had nothing of substance to say.

[megladon8]

I agree with Teh Sausage. That several reviews are calling Timecrimes "brilliant" boggles my mind. It had a few neat moments and ideas, but putting any thought into the time travelling at all renders the entire movie moot.


So last night I watched Nightmare Detective, and wow, talk about a movie going downhill after the first half.

The first half was a genuinely disturbing thriller with some great imagery. I found the lead actress a little annoying and I was getting sick of all the times Tsukamoto opted to show her staring reflectively into a pond, or sitting introspectively at her desk or whatever. But hey, on the whole it seemed like a pretty neat movie - as some have said, it felt like a great idea for a TV show.

Then around the halfway point it seemed to suddenly buy too much into its own psycho-babble bullshit and tried to make some profound message about death and the subconscious mind. It became a convoluted mess and completely betrayed everything it had given us in the first half of the film.

It's so disappointing when something with such potential is screwed up so badly.

[Russ]

Hey Meg, have you seen the Korean serial killer flick, Tell Me Something? I think you'd probably like it.

[megladon8]

Hey Meg, have you seen the Korean serial killer flick, Tell Me Something? I think you'd probably like it.


No I have not.

I'll add it to me enormous list :)

[Dead & Messed Up]

Hammer's version of The Mummy is surprisingly well-done, though a large part of that success depends once again on the work of Peter Cushing and Christopher Lee, both of whom work their asses off to make this story engaging. The mummy effects on Lee are remarkable, equal to Jack Pierce's work in the Universal original, but the ancient Egypt sets are gaudy and unconvincing. Still, the film is a winner, and I'd call it better than the Universal original, which is more stylish but awfully dull.

Not that anyone's counting, but:

Hammer Horror:
1. Horror of Dracula
2. The Devil Rides Out
3. Curse of Frankenstein
4. The Mummy

[megladon8]

Your #1 is a winner, DaMU. That's my #1 as well.

I also love Dracula: Prince of Darkness.

And I've never really understood the adoration that Dracula A.D. 1972 gets. The only way I can rationalize it is that it's a kind of ironic "love", like one of those "so bad it's good" movies.

[Winston*]

What are some good werewolf movies?

[megladon8]

What are some good werewolf movies?


The usual recommendations...

An American Werewolf in London
Dog Soldiers
Wolf
The Howling
The Wolfman (original Universal one)
The Curse of the Wolfman ('61 w/ Oliver Reed)
Ginger Snaps

[Winston*]

Seen these


An American Werewolf in London
Dog Soldiers
Wolf
The Howling
Ginger Snaps


Haven't seen these. Really should check out the Universal one.


The Wolfman (original Universal one)
The Curse of the Wolfman ('61 w/ Oliver Reed)


There is a dearth of interesting werewolf movies says I.

[Russ]

You might also enjoy Wolfen.

[soitgoes...]

The Company of Wolves. A very different werewolf film.

[Winston*]

You might also enjoy Wolfen.
Looks neat. Will check it out.


The Company of Wolves. A very different werewolf film.

Seen it. Awesome movie.

[Robby P]

Silver Bullet (http://www.imdb.com/title/tt0090021/)

[megladon8]

The Company of Wolves is one I'm really interested in checking out, too.

Actually, I'd also like to see Wolfen.

[Dead & Messed Up]

http://img.photobucket.com/albums/v179/deadandmessedup/Horror%20Decade%20Various/BV-Mahogany.jpg

Welcome.

I think that the film is an enjoyably nasty excursion into Clive Barker Country, and I suspect that you disagree. But can't we agree that Vinnie Jones in his proper business suit, with his suspicious man-purse, and that gigantic silver hammer...that he's awesome? Adding to the immediately iconic look of the villain is his sadness, which peeks through even when he's clubbing Ted Raimi's eyes right out of their sockets. You may not want more of Bradley Cooper crying while he takes pictures of his wife, but can you honestly say you don't want more Mahogany?


http://img.photobucket.com/albums/v179/deadandmessedup/Horror%20Decade%20Various/BV-Stuntman.jpg

Now look, I ain't stalking you, but I didn't say I wasn't a wolf.

Why? I'll tell you why. Because it's B-movie king Kurt Russell as a villain who kills teeny-boppers with a fucking car. That's why.


http://img.photobucket.com/albums/v179/deadandmessedup/Horror%20Decade%20Various/BV-Ganush.jpg

You...shamed me.

A bank assistant denies you a bank loan. Do you (a) move in with a relative until you get your affairs straight or (b) damn the bank assistant to Hell? Ganush picks the latter. Which leads to a series of shocks and set-pieces that involve staplers, embalming fluid, napkins, and goats. It's a testament to Lorna Gaver that, despite a considerable absence after the first half of the film, her spirit lingers over the remainder of the film. I would love a prequel that details the other unfortunate souls who crossed her path.


http://img.photobucket.com/albums/v179/deadandmessedup/Horror%20Decade%20Various/BV-Vernon.jpg

The one thing that Leslie never quite gets around to saying in Behind the Mask: slasher villains are the heroes. At least in all those sequels that established the "rules" of the genre, which, if you want my opinion, were stupid, Puritan codes that harbored a lot of buried misogyny. But I love Leslie, because he holds so much respect for his situation, its implications, the buried symbology...he's really a philosopher, at heart. The creators hinted recently at more of Vernon's escapades. If he can find another willing camera crew, I'm in.


http://img.photobucket.com/albums/v179/deadandmessedup/Horror%20Decade%20Various/BV-Driftwood.jpg

Stop?...bitch, I have just started.

Otis emerges victorious over a hundred other horror aggressors, and why? Because I can't think of one that takes so much joy in what they do. Otis was born to viciously murder. I swear, it must be coded in his DNA, because he just throws himself into it. Bill Moseley got so good at the role that he actually took Zombie aside and asked if he really had to go that far. Zombie's answer ("Art is not safe") is dubious, but what's not in doubt is Otis. Like Hannibal Lecter, and Harry Roat Jr., and Hans Beckert, this guy is pure evil.

[megladon8]

I was watching Below last night - directed by David Twohy and written by Darren Aronofsky.

It's one I saw when it first came to video (actually I think I taped it off one of my satellite movie stations) and I remember liking it.

I didn't finish it last night, but I got the impression that it is a good story, executed horrendously. The direction and editing are a total mess, the latter often making scenes incomprehensible because it's been mashed together so quickly.

I really like seeing Bruce Greenwood play a good guy. He's kind of type cast as "the slimey/morally defunct businessman" and to see him here as a bit of a hero was good, because he has that authoritative quality about him which works well.

It's funny that the supporting cast is like a reuniting of the supporting cast from Alien 3. I counted at least 4 faces I recognized from that movie.

If this movie had been more competently put together, I think it could have attained sleeper-hit status. Alas, it's just another slightly-above-average chiller with too many missteps to be great.

[Rowland]

The Broken (Sean Ellis, 2009) 50

This sophomore feature by British director Sean Ellis, whose first effort was the much-derided (besides by Spinal IIRC) Cashback, has been positioned as the headliner for the third After Dark Horrorfest festival, and while it isn't anywhere near as sophisticated or elegant as the grossly undervalued The Abandoned, it remains a reasonably competent chiller more concerned with exuding menace through form than its undercooked, nigh-incompetently devised narrative. It plays distinctly like a movie-movie, clearly made by a young, impressionable filmmaker more concerned with applying his own spin to the movies that inspired him than elaborating any unique vision, which in this case results in a pastiche of cribbed horror signifiers and often-dialogue-free set pieces resembling a more self-contained take on The Invasion of the Body Snatchers, with a faintly clever but wholly predictable Shyamalan-ian twist tacked onto the ending which, for all it's worth, isn't a cheat, nor however does it appear to have any thematic relevance. Indeed, Ellis seems unconcerned with any thematic pretenses, unless an opening Poe quote and a photograph of Richard Jenkins (!!) posing with Bill Clinton are meant to signify some sort of existential concerns or political commentary, neither which the picture ultimately appears to pursue. Approach this instead as a (sometimes excessive-bordering-on-hackishly) slick patchwork of horrors past, with a few semi-interesting spins on the material, a bevy of creepy imagery, and a clever touch or two, my favorite being a subtle wraparound twist involving cat-scans that proves much more satisfying and creepy than the main twist. I'd like to give Ellis the benefit of the doubt in regards to his hole-infested narrative, but I'm not convinced this was an intentional or at least successful opacity, especially given that a much more resonant picture is only a few rewrites away, so the particulars are best left politely ignored. If I'm being overly kind to this (which feels overlong and redundant even at 82 minutes), it may be because I sense potential in Ellis, who clearly has an eye for the macabre (unsettling slow-motion flashbacks to a brutal car-crash recall no less than the climax to Argento's Four Flies on Grey Velvet) and some degree of taste in his cinematic inspirations, so I only hope he directs someone else's material for his next project, and sheds some of the formal bombast that reflects the picture's weaker moments. A faint recommendation to those looking for potential up-and-comers, those searching the detritus of the horror genre for signs of talent, and Jenkins fans who'd like to see him stalked by his own doppelganger.

[megladon8]

It's sad that the Horrorfest/8 Films to Die For label is now synonymous with crap.

The Broken sounds interesting enough, but it's nothing I'm bolting out of my seat to get.

I completely agree with what you said about The Abandoned. It's the best film to come out of this annual horror series.

[Rowland]

The Broken sounds interesting enough, but it's nothing I'm bolting out of my seat to get. By its very virtue of being just this side of decent, it's better than most of the horror released in theaters, and even more so the weekly cascade of no-budget DTV horrors, which I suppose says more about the general quality of what's released than the movie itself.

I completely agree with what you said about The Abandoned. It's the best film to come out of this annual horror series.I haven't seen most of what the label has released, but I'm reasonably confident that this is the case. I did enjoy Reincarnation more than I anticipated however (one of Shimizu's stronger efforts), and I've heard good things about Mulberry Street, which I don't believe you liked IIRC.

[megladon8]

I haven't seen most of what the label has released, but I'm reasonably confident that this is the case. I did enjoy Reincarnation more than I anticipated however (one of Shimizu's stronger efforts), and I've heard good things about Mulberry Street, which I don't believe you liked IIRC.


Mulberry St. had a great first half hour, and characters that I found really likable and interesting.

Then it went down shit creek when the rat zombies came about. It really falls apart once the "horror" kicks in.

[MacGuffin]

Anybody see CerdÃ*'s other movies, one of them being Aftermath and the other Genesis, as I believe it is called? He might have one more, but I think these are all only this one DVD that's out. Anyways, they're supposed to be really artsy, but at the same time extremely morbid. I've been somewhat interested in seeing them, but since I've already seen Brakhage's The Act of Seeing With One's Own Eyes, I don't think I need to watch another movie that takes place in a morgue anytime soon.

[Killed_by_Smalls]

The other night I watched Carpenter's Prince of Darkness for the second time. Originally, when I saw it a few years ago, I was underwhelmed. After this time around, however, my esteem for it has grown immensely. I think it features some of Carpenter's best horror imagery. I'm thinking specifically of stuff like the dream footage, the use of insects, and the mirror climax. I was also more interested this time around by his portrayal of evil as something tangible and even communicable, rather than as a spiritual force. I really miss horror movies like this that make use of trick photography (such as that used with the reverse flowing liquid, and the dimension within the mirror), instead of shoddy CGI.

I also watched Argento's Four Flies on Grey Velvet for the first time. I'd probably rank it well behind Deep Red, The Bird with Crystal Plumage, Tenebrae, and Suspiria. It was still quite a bit better than a lot of stuff Argento has done, especially the more recent film's of his I've seen.

[D_Davis]

The other night I watched Carpenter's Prince of Darkness for the second time. Originally, when I saw it a few years ago, I was underwhelmed. After this time around, however, my esteem for it has grown immensely. I think it features some of Carpenter's best horror imagery. I'm thinking specifically of stuff like the dream footage, the use of insects, and the mirror climax. I was also more interested this time around by his portrayal of evil as something tangible and even communicable, rather than as a spiritual force. I really miss horror movies like this that made use of trick photography (such as that used with the reverse flowing liquid, and the dimension within the mirror), instead of shoddy CGI.


Right on. It's a great flick. Tons of atmosphere. I really like this film's story, it's very interesting.

Props on your av as well.

;)

[monolith94]

Mulberry St. had a great first half hour, and characters that I found really likable and interesting.

Then it went down shit creek when the rat zombies came about. It really falls apart once the "horror" kicks in.
Rat zombies??? And to think that you saw them in Mulberry Street!

[D_Davis]

What do you guys think of The Mothman Prophecies?

I've seen it twice now, and I really like it. Something about it, perhaps its thick atmosphere, really creeps me out.

Plus, it has an amazing score by tomandandy, the premier soundtrack-smiths of today.

[Killed_by_Smalls]

Right on. It's a great flick. Tons of atmosphere. I really like this film's story, it's very interesting.

Props on your av as well.

;)

Thanks. I'm in Carpenter state of mind at the moment. I really should check out the rest of his filmography. I still need to see The Fog, Starman, Village of the Damned, and Dark Star.

[Dead & Messed Up]

Thanks. I'm in Carpenter state of mind at the moment. I really should check out the rest of his filmography. I still need to see The Fog, Starman, Village of the Damned, and Dark Star.

Starman is probably the only one out of that list that merits the word "need."

And Davis, I didn't really get into Mothman. I thought the style was too flashy and the story uninteresting. It's not awful, but it didn't strike me as anything special.

[D_Davis]

To tell you the truth, I often wonder why I like that film so much, or, more precisely, as much as I do. It's not that I think it is some brilliant horror flick, but when I first watched it I was expecting total crap, and it really surprised me. A lot of my admiration for the film comes from the amazing score - I think the music adds a fantastic and atmospheric layer to the film.

tomandandy are geniuses. Their music for this, Mean Creak, and The Hills Have Eyes is second to none. It's amazing how overlooked they are, especially when people keep praising composers who continue to use the same old big, tired symphonic approach to film scores.

[megladon8]

I, too, really like The Mothman Prophecies, D. Richard Gere's best performance for sure - the scene towards the end on the phone still gets to me.

I thought it was effectively creepy and had a great conclusion.

[Winston*]

You might also enjoy Wolfen.

Saw this tonight. Don't think it really worked. I dug what it was going for (the werewolves as domestic terrorists angle, the use of Native American mythology, playing a werewolf story completely straight) but the execution is off, found the movie pretty flat dramatically and atmospherically. I think if say Carpenter had got a hold of this in the early 80s, there could've been a great film there. Edward James Olmos running naked on the beach is the best bit.

[megladon8]

I was watching the Hammer horror film The Devil Rides Out last night.

Having seen a very good chunk of their filmography (I think I've seen about 2/3 of all their films) I must say this is a top-rung Hammer production.

Great movie.

[Dead & Messed Up]

I was watching the Hammer horror film The Devil Rides Out last night.

Having seen a very good chunk of their filmography (I think I've seen about 2/3 of all their films) I must say this is a top-rung Hammer production.

Great movie.

Which other ones would you recommend, besides Dracula, Curse of Frankenstein, Devil, and Mummy?

[Spun Lepton]

I blind-bought Devil Rides Out years ago and was disappointed with it. I think my expectations were particularly high because I recall Buffaluffasaurus gushing over it.

Then again, I've always been under the opinion that the Brits are particularly bad at making a good scary movie. There are exceptions, of course, but the vast majority of them, to me, are dry and bland.

[megladon8]

Which other ones would you recommend, besides Dracula, Curse of Frankenstein, Devil, and Mummy?


Paranoiac is a great one. It stars Oliver Reed as the psychotic, spoiled alcoholic son of a rich family. It's a great psychological thriller/horror with a very creepy finale.

The Curse of the Werewolf is pretty good. Another with Oliver Reed. I wouldn't say it's top tier Hammer, but it's a good little werewolf movie.

Another good one is Rasputin: The Mad Monk with Christopher Lee. While it certainly has horror elements and that trademark Hammer "gothic horror" feel, it's also one of the few Hammer films to tackle real history.

The Gorgon is decent, mostly because of Terence Fisher's direction (he's easily my favorite Hammer director).

[D_Davis]

Hammer fans - help me.

I've never really taken the time to get into the Hammer films. I've always kind of considered them the Shaw Brothers of the west, only they make horror films rather than kung fu films. So, I really to watch their films.

What are the 10-15 best?

I've seen a few, and the one I love the most is A Plague of Zombies.

[megladon8]

Hammer fans - help me.

I've never really taken the time to get into the Hammer films. I've always kind of considered them the Shaw Brothers of the west, only they make horror films rather than kung fu films. So, I really to watch their films.

What are the 10-15 best?

I've seen a few, and the one I love the most is A Plague of Zombies.


These aren't in any particular order...

Horror of Dracula
The Curse of Frankenstein
The Devil Rides Out
Dracula: Prince of Darkness
The Hound of the Baskervilles
The Mummy
Paranoiac
Rasputin: The Mad Monk
The Curse of the Werewolf
The Abominable Snowman

That should be a good start.

[Spun Lepton]

These aren't in any particular order...

Horror of Dracula
The Curse of Frankenstein
The Devil Rides Out
Dracula: Prince of Darkness
The Hound of the Baskervilles
The Mummy
Paranoiac
Rasputin: The Mad Monk
The Curse of the Werewolf
The Abominable Snowman

That should be a good start.

Which of the two Dracula titles is considered the better one?

[megladon8]

Which of the two Dracula titles is considered the better one?


Horror of Dracula, for sure. It actually may be my favorite film adaptation of Bram Stoker's novel.

Dracula: Prince of Darkness would be - in my opinion - the next best Lee Dracula movie.

Many others would tell you that the very best Hammer Dracula film is Dracula A.D. 1972, but honestly, I don't get what the big deal is. I think it's kind of an ironic, "it's so hoaky it's awesome!" kind of love, and I just don't really buy into that kind of worship.

It's fun, but Horror of Dracula and Prince of Darkness are just genuinely awesome movies.

Fans of Bava should like them. They have a similar gothic aesthetic.

[Grouchy]

Many others would tell you that the very best Hammer Dracula film is Dracula A.D. 1972, but honestly, I don't get what the big deal is. I think it's kind of an ironic, "it's so hoaky it's awesome!" kind of love, and I just don't really buy into that kind of worship.
I wouldn't dream of saying it's the very best Hammer Dracula film. That's just goofy. But yes, it's very hoaky and very fun. A similar "Dracula in modern times" film (also by Hammer) which has the hoakiness but not the hilarity is Satanic Rites of Dracula.

All the titles you recommended are top tier or either I just haven't seen them (Devil Rides Out is, indeed, an awe-inspiring movie), and I'd like to add Two Faces of Dr. Jekyll and an Amicus Film (the main competition) anthology film called From Beyond the Grave.

And The Wicker Man, of course.

[megladon8]

The Wicker Man is awesome, Grouchy. I actually got a real Wicker Man type feeling watching Cthulhu.

And it pains me to say, but I actually haven't seen any Amicus films :sad:

[Grouchy]

And it pains me to say, but I actually haven't seen any Amicus films :sad:
Well, that's the only one I've seen myself. They just aren't as famous or as prolific as Hammer.

A quick Wikipedia read tells me they're mostly notable for anthology films like the one I saw, which was pretty good stuff. Torture Garden and The House that Dripped Blood are the most famous films on this category.

[megladon8]

Well, that's the only one I've seen myself. They just aren't as famous or as prolific as Hammer.

A quick Wikipedia read tells me they're mostly notable for anthology films like the one I saw, which was pretty good stuff. Torture Garden and The House that Dripped Blood are the most famous films on this category.


Ah. I watched most of The House That Dripped Blood while in NYC, but it was the day I got really sick, and I think I ended up falling asleep.

[Spun Lepton]

The Asphyx, I think, was from Amicus. I own that one, it's pretty good. A little silly at times, but overall nicely pulpy and entertaining.

[Dead & Messed Up]

Woot. I got into a free early screening of Dread.

[Dead & Messed Up]

[Rec] is finally getting a US DVD release on July 14th.

:pritch:

[megladon8]

Woot. I got into a free early screening of Dread.


And.....??

How was it?

[megladon8]

[Rec] is finally getting a US DVD release on July 14th.

:pritch:


Yeah, I read this on DVDActive.

Took you guys long enough :rolleyes:

[Rowland]

This picture contains enough horror elements to reasonably be labeled as such, so my thoughts probably belong here as well as in the FDT:

Donkey Punch (Olly Blackburn, 2009) 57

As a low-budget thriller, this is a reasonably effective and disciplined affair, spinning a standard template that recalls Philip Noyce's Dead Calm into an unexpectedly intriguing direction, less concerned with demonizing sexuality and drugs as many conservative slashers do than it is with condemning the culture of hedonistic chauvinism resulting from our instant-porn age that has distorted ideas of masculinity in the younger and more impressionable. In fact, the movie appears to suggest in its intoxicatingly scored first act that sex and drugs are a natural, even beautiful rite of passage that has been corrupted by the mainstreaming of smut. If it grows increasingly predictable as it progresses, credit is due to the filmmakers for keeping the production under control tonally with sober filmmaking, convincing performances, and few developments that strain credibility, without cynically encouraging bloodlust in the viewer. Indeed, by the end I was suitably downcast, which suggests that the picture works as it's intended. All that said, there isn't anything exceptional here, but it's better than much of its contemporary ilk.

[Dead & Messed Up]

And.....??

How was it?

Just got back.

Dread has the wrong title. Suffering might better prepare the audience. Ostensibly a film about the consequences of recalling sources of great fear (a fatal car crash, paternal abuse), Dread is somewhat deceitful, instead spending much of its time with the already-damaged Quaid. He proposes a "fear study" to a film student, Stephen, who readily agrees, despite only knowing Quaid for one day. But the universe of Dread is hermetically sealed, so lives outside the fear group are minimal, cops are never called (even after Quaid assaults a girl and smashes property with a baseball bat), and no one ever once confides their doubt about this facile experiment in fear.

However, this is less about fear and more about revulsion. Quaid's initial questionnaires don't get the results he wants, and so he picks a few case studies from the list and pushes them further towards their nightmares. This leads to some cruel situations in which there's little hope, most regrettably for Cheryl, whose fear of eating meat turns back on her savagely. The final ten minutes of Dread have a merciless logic to them, although I cannot say whether the final turn of the screw comes from DiBlasi or original author Barker.

DiBlasi produces a couple of good suspense scenes, but the digital look of the picture is not appealing, and too often the camera shakes when it shouldn't. Were the film using its amateurish look to develop some type of parallel with the fear project (which we almost never see, oddly), that could be interesting. But Diblasi sees little irony in the film-within-a-film duplicating the effects of the actual movie. Instead, he relishes the general mood of unpleasantness, and I once again left a horror film wondering why, in our modern times, tension has been superseded by repulsion.

[megladon8]

Nice write-up DaMU.

Why is it that no one seems to know how to adapt Barker's work anymore?

The only good adaptations have been by, well, him.

[Dead & Messed Up]

Nice write-up DaMU.

Why is it that no one seems to know how to adapt Barker's work anymore?

The only good adaptations have been by, well, him.

One thing I do give him credit for is always having fascinating, imaginative, adult concepts, and so even though I didn't dig this one's vibe, I do look forward to the next Barker flick.

Ranked:

1. Hellraiser
2. Candyman
3. The Midnight Meat Train
4. Lord of Illusions
5. Dread
6. Nightbreed

[trotchky]

I have a question, one I've been wondering about for several months now.

Has there ever been a horror movie better than The Texas Chain Saw Massacre?

[Dead & Messed Up]

I have a question, one I've been wondering about for several months now.

Has there ever been a horror movie better than The Texas Chain Saw Massacre?

I'd say so, but the list is very small.

[The Mike]

an Amicus Film (the main competition) anthology film called From Beyond the Grave.
I'm trying to remember if I've seen this one. I get my anthologies from the '70s mixed up...I do know Tales From the Crypt was good and Asylum was good, Vault of Horror was OK, and this one....I don't remember if I've seen it yet.

Amicus has some real solid stuff that I've seen, particularly the aforementioned Tales (probably my second fave anthology) and The Beast Must Die. I also admired their I, Monster, which has Christopher Lee doing Jekyll & Hyde, for a while - but the print was so bad on the DVD that I couldn't deal with it. I'll try again someday.

[megladon8]

One thing I do give him credit for is always having fascinating, imaginative, adult concepts, and so even though I didn't dig this one's vibe, I do look forward to the next Barker flick.

Ranked:

1. Hellraiser
2. Candyman
3. The Midnight Meat Train
4. Lord of Illusions
5. Dread
6. Nightbreed


If I were also to include all the films in the Hellraiser series that I've seen, my list would probably go like this...

Hellraiser
Lord of Illusions
Hellraiser: Inferno
Hellbound: Hellraiser II
Candyman
Nightbreed
Hellraiser III: Hell on Earth
The Midnight Meat Train
Hellraiser: Hellseeker
Hellraiser: Bloodline


For a list of just his directorial work, just remove whatever he didn't direct and leave the rest in the same places :)

[The Mike]

I have a real soft spot for Nightbreed. It's definitely not great, but I look at it as a Hellboy-esque romp that has enough monster carnage and a haunting performance by Cronenberg as a deliciously evil character.

As good as Hellraiser or Candyman? No way. But I still love it.

[Dead & Messed Up]

GUEST PICK #1:


http://img.photobucket.com/albums/v179/deadandmessedup/Horror%20Decade%20Various/TCF-DogSoldiers.jpg

One of my favorite new classics is Neil Marshall’s 2002 film, Dog Soldiers. It is a wonderful combination of horror, comedy, and action, a blend of genres not usually done successfully...but Marshall is able to pull it off and make a damned fine movie in the process.

Marshall introduces us to a genial squad of soldiers who are unwittingly used as bait by a Special Operations group ordered to catch a werewolf terrorizing the countryside. Unfortunately for the Special Ops forces, led by the sinister Captain Ryan, there is more than one werewolf, and he and his team are soon overrun by the pack. The injured Ryan is rescued by the very soldiers used as bait, and the men, led by Sgt. H.G. Wells (one of many in-jokes given here), are soon on the run for their very lives as the wolves return. In a cute inversion of "Little Red Riding Hood," the men are rescued by a spirited zoologist named Megan, who drives them to a cottage where the men decide to fight and make a final stand until morning arrives.

The characters are what I love most in this film. Yes, the laughs, action, and rampant werewolf attacks are fun, but Marshall takes the time to present us with a cast of characters we can root for. I want Cooper, Sarge, Spoon, Sam, the dog, and perhaps Joe, the football enthusiast, to live happily ever after in a beautiful Scottish glen, where Sarge’s wife can cook dinner for them. I loved these guys. I believe it is important to build characters we can like, relate to, hate, or just plain love.

If I watch a horror movie with typical teenage idiots, ignorant hillbillies, or urban assholes I really don’t care what happens to any of them and so I have nothing invested in the movie save for the desire to kill time. With Dog Soldiers we get to know a little about the men by their interactions with each other during a rather boring night, and also during times of extreme crises. We see that they use humor in order to get through painful situations, as some of us do in real life, and we see them risk their lives in order to save each other, as we’d like to think we’d do in real life. We’re thrilled when they get ahead in the fight and sad when they don’t.

Dog Soldiers is a fun horror romp which proves you don’t need tits, CGI, or teenagers to make a great horror film. You just need a good writer, a great cast, and some kickass thrills.

============================== ============


GUEST PICK #2:

http://img.photobucket.com/albums/v179/deadandmessedup/Horror%20Decade%20Various/TCF-Rogue.jpg

Somewhere between Jaws and Anaconda in style, Greg McLean's giant crocodile flick Rogue packs a lot of bite.

OK, I had to get that out of the way. On with the review.

Giant crocodile/alligator/snake/lizard films are a surprisingly hot commodity in the thriller world, and it's never easy for even the most astute horror connoisseur to tell the difference between them. Some are Hollywood B-flicks with big stars (like Lake Placidor Anaconda), some are direct-to-video stinkers (like Crocor Python), and some hit the "so-bad-it's-awesome" plateau (like Boa vs. Python). But I don't know if there's ever been one as exciting as Rogue.

The plot is simple and not very noteworthy. A wildlife tour group (led by Silent Hill's Radha Mitchell, who's very comfortable slipping back in to her native Australian accent) gets into the middle of nowhere and a giant crocodile attacks. This leaves the stranded tourists and locals, including future Hollywood stars Sam Worthington (Terminator: Salvation) and Mia Wasikowska (the upcoming Alice in Wonderland), and Michael Vartan (Alias), to fight for survival.

What impresses me most about Rogue is its focus on building tension. Unlike most of the films I mentioned earlier, McLean borrows from the likes of Hitchcock and Spielberg in building slowly while giving us ominous looks at what might be out there while developing sympathetic characters, hooking the viewer's interest in their survival. He also brings a string-heavy musical score that sets the mood for impending terror, and parallels the characters' fears perfectly.

Of course, this all comes crashing down when we finally get eyes on our gigantic killer, which is a sight to behold. To say that the effects are top-notch is an understatement, especially in the final act when we see the croc full-on. There's little that would make you think this isn't a real giant crocodile, except of course the fact that giant crocodiles like this might not cooperate with the filming of a movie about them.

There are several frightening moments in Rogue, something that's so rare in movies today. Even if they are simple jump scares, they're executed perfectly by McLean and crew. After being branded as a member of the new-horror "Splat Pack", it's also notable that McLean's Rogue is relatively low on blood and guts, except for a couple of moments in the final reel. There are no one-liners, nor is there gratuitous nudity/drug use/irresponsibility. This is a pure thrill ride that doesn't pull punches, and I have to recommend it as one of the most enjoyable horror films of the new millennium.

============================== ============


GUEST PICK #3:

http://img.photobucket.com/albums/v179/deadandmessedup/Horror%20Decade%20Various/TCF-Fido.jpg

With so many admirable traits, it's hard to pick my favorite part of Canadian zom-com Fido. Like any zombie-related movie (comedy or otherwise) it sports biting layers of satire and social commentary, and of course the requisite revelling in shots of ooey-gooey gore. It also features exquisite set and costume design - its brightly coloured houses and Carrie-Anne Moss's lush red lipsticks and dresses both compliment and contrast the images of rotting flesh and decaying architecture outside the safe townships of this Leave it to Beaver-esque happy-go-lucky 1950s town. The whole production has such charm to it, and its well-rounded cast and smart writing show it's a beauty with brains.

In a nutshell, Fido is a retelling of the classic boy-and-his-dog story of Lassie...except with a zombie instead of a dog. Young only-child Timmy is bullied at school and ignored by his parents, but finally finds companionship when his mom buys them a servant zombie in a bid to impress the new neighbours. The zombie, which Timmy aptly names "Fido", does everything from play catch and run through fields in hilariously dramatic scenes of joyful frolicking, to defending Timmy from the bullies that torture him both in and out of the school yard. But when his father's obviously irrational fear of zombies poses a threat to their friendship, Timmy is forced to figure out who in his life truly cares for him.

It's fantastic that the filmmakers were able to take this concept (the idea of seeing zombies do society's menial tasks seems like one which could dry up quickly) and stretch it to a feature-length film while maintaining wit and fresh thrills and laughs throughout. Billy Connolly's role as the zombie, Fido, is played without any spoken words (well, a small guttural cry every once in a while) and his expressive face and movements sell it well. Carrie-Anne Moss is also at her very best here, playing the ignorant mother with ease (to be honest, I never found she had much trouble playing a cold robot devoid of emotion) but then turns into a caring mother and charming lover just as sweetly. It was great to see she had more in her than Trinity.

Fido just works so well, and stands up strong next to Shaun of the Dead which is oft-considered the pinnacle of zom-com's (to the point where many feel others shouldn't even bother trying anymore). It's a different beast from Shaun of the Dead, relying more on a straight-faced script with a mixture of subtle and visual gags, as opposed to Shaun of the Dead's thick British sarcastic wit. But I think there's more than enough room for both.

[Bosco B Thug]

I have a question, one I've been wondering about for several months now.

Has there ever been a horror movie better than The Texas Chain Saw Massacre? That's a big statement. No qualms with it, but to take your question on a most literal level it probably wasn't meant for, yes there's a good number of better - albeit, probably largely due to them being very different - horror movies.

I think I'd call TCM the best post-Psycho slasher film, if I'm not forgetting anything...


If I were also to include all the films in the Hellraiser series that I've seen, my list would probably go like this...

Hellraiser
Lord of Illusions
Hellraiser: Inferno
Hellbound: Hellraiser II
Candyman
Nightbreed
Hellraiser III: Hell on Earth
The Midnight Meat Train
Hellraiser: Hellseeker
Hellraiser: Bloodline I'm always reminded that I should actually give Hellraiser sequels a try, but it's easy to forget. I must say, Hellraiser V has its fans.

[megladon8]

I'm always reminded that I should actually give Hellraiser sequels a try, but it's easy to forget. I must say, Hellraiser V has its fans.


Hellraiser: Inferno began the trend of giving the Cenobites (and more specifically, Pinhead) very little screentime. But as opposed to everything that came after this installment, the plot here is actually pretty interesting.

It's basically a murder mystery/serial killer story, with the quasi-satanic Hellraiser stuff thrown in for good measure.

It's got some great effects, very creepy Cenobites, and overall is just very impressive considering the fact that it was direct to video. As you saw by my list, I actually think it's the second best of the series, after the first movie.

[Qrazy]

I have a question, one I've been wondering about for several months now.

Has there ever been a horror movie better than The Texas Chain Saw Massacre?

Seeing as that's one of the worst films I've ever seen, yes.

[D_Davis]

I have a question, one I've been wondering about for several months now.

Has there ever been a horror movie better than The Texas Chain Saw Massacre?

Yes - many I think.

For one, The Texas Chainsaw Massacre 2.

[Grouchy]

I'm trying to remember if I've seen this one. I get my anthologies from the '70s mixed up...I do know Tales From the Crypt was good and Asylum was good, Vault of Horror was OK, and this one....I don't remember if I've seen it yet.

Amicus has some real solid stuff that I've seen, particularly the aforementioned Tales (probably my second fave anthology) and The Beast Must Die. I also admired their I, Monster, which has Christopher Lee doing Jekyll & Hyde, for a while - but the print was so bad on the DVD that I couldn't deal with it. I'll try again someday.
I'm taking notes. The one I mentioned has David Warner being controlled by a ghost that's host to a haunted mirror and orders him to kill his guests at a party. That should ring I bell.

And no, I don't know if there has been at least a better and more influential slasher than Texas Chainsaw Massacre either.

[D_Davis]

I would love to see a well-made, epic, big-budget version of Clive Barker's Weaveworld. That would be awesome.

[Dead & Messed Up]

Yes - many I think.

For one, The Texas Chainsaw Massacre 2.

My soul just died a little more.

[The Mike]

I'm taking notes. The one I mentioned has David Warner being controlled by a ghost that's host to a haunted mirror and orders him to kill his guests at a party. That should ring I bell.
OK, I haven't seen that one yet. But will soon.

[D_Davis]

TCM2 is one of my favorites. It's totally gonzo, and infinitely more entertaining than the first movie. I could watch TCM2 any old day, but I have to be in a very special mood to watch TCM.

Car surfing leatherface, a dude who scratches his metal head-plate with a hot hanger, human-meat chili, Dennis Hopper...TCM2 has it all.

TCM is, frankly, kind of dull.

[The Mike]

TCM2 is one of my favorites. It's totally gonzo, and infinitely more entertaining than the first movie. I could watch TCM2 any old day, but I have to be in a very special mood to watch TCM.

Car surfing leatherface, a dude who scratches his metal head-plate with a hot hanger, human-meat chili, Dennis Hopper...TCM2 has it all.

TCM is, frankly, kind of dull.

I agree with everything but that last 6 words.

(OK, maybe not everything, since I like TCM more, but really like TCM2 also.)

One thing I think we can all agree on: TCM: The Next Generation is REALLLLLLY bad.

[D_Davis]

I haven't seen any of the other TCM films.

[The Mike]

I haven't seen any of the other TCM films.

You're not missing much. Though Viggo Mortenson does a decent psycho in the third one.

[Spun Lepton]

TCM2 is no doubt a blast, filled with many fun and funny and quotable lines. I really like the over-the-top performances and the tongue-in-cheek atmosphere.

"It's a dawg eat dawg world and from where I sit, there just ain't enough damn dawgs!"
"Small businessman always gets it in the ass."
"Damn it, Bubba ... ye dented mah PLATE!!"

But, better than the original? No way.

[Bosco B Thug]

If TCM2 just had a teeny bit more visual emphasis on its motifs of 80s society and American culture, and was less dependent on one-liners fueling its satirical elements, I'd rate it as highly as I personally love it. Don't get tired of watching this one, that's for sure.

[D_Davis]

TCM2 really is the perfect sequel. Rather than trying to recapture what made the original appealing, the filmmakers made something completely different, utilizing some similar characters. It's almost like an alt-world TCM.

[Dead & Messed Up]

I really can't get behind the love for TCM2. The humor was far too broad, and everyone was too shrill. The whole thing struck me as being aggressively dumb, especially the attempts at "satire."

I think everything DD says about the flick in his last post applies more accurately to Evil Dead II.

But I also kinda hate Hooper and think TCM is an accidental masterpiece.

[D_Davis]

I think everything DD says about the flick in his last post applies more accurately to Evil Dead II.


Can it not apply to both?

[Spun Lepton]

TCM is an accidental masterpiece.

Agreed on that, too. Hooper shot his load right off the bat and he hasn't been able to recover, unless you count Poltergeist ... but nobody believes he actually directed that, anyway.

[megladon8]

I kinda liked his version of Salem's Lot.

[D_Davis]

unless you count Poltergeist ... but nobody believes he actually directed that, anyway.

Isn't that kind of sad? Kind of like Henry Selick and Nightmare Before Christmas - everything thinks its a Tim Burton film.

Imagine being an artist and making something that no one believes you actually made or that someone else made it.

That would suck!

[megladon8]

Everyone knows that Carl Sagan's Ghost is actually a Brian Eno side project.

[D_Davis]

Everyone knows that Carl Sagan's Ghost is actually a Brian Eno side project.

Actually, on a second thought, that's not all that bad...

[Bosco B Thug]

Re: the tragically cyclical Hooper trashin': Boo-urns, people. Seriously, boo-urns.

Anyway, to break from broken record territory, The Midnight Meat Train wasn't too bad. I enjoyed it thoroughly. The gratuitously over-the-top and nasty kills were, to be half-ashamedly frank about it, undeniably utter refreshment after the maddening, interminable dullness of the Friday the 13th remake. The script was pretty bad - Leon's transformation is ridic - but I did think Kitamura managed a delicate moment or two... that is, within the other 95% of it, full of cheese and overly glossy cinematography. But I enjoyed his balls-to-the-wall climax sequence, as well as the ending. Go in with low expectations and you may be rewarded by a decent horror flick.

[megladon8]

I went in with really low expectations, and thought it was pretty awful.

Really, that scene where Leon tries to photograph Maya and couldn't was freaking hilarious, and it wasn't supposed to be.

And as I believe D_Davis has stated, I thought the movie ground to a halt during the middle portion.

And I didn't really even enjoy the kills, which were few and far between. I have yet to see a case of CGI blood/gore that I found effective. The Ted Raimi cameo scene in particular looked terrible.

I'm glad some people are enjoying it because I think Barker's done enough good work to warrant some good film adaptations...I just personally don't think this was one of them.

[Grouchy]

Count me in on the love for Texas Chainsaw Massacre 2, but I don't think it's better than the original.

And since I have yet to watch non-TCM Hopper films, I don't know what to say about the man's career as a whole. I did see his Toolbox Murders remake, and it was awful despite having Angela Bettis. Lifeforce looks like the most interesting movie on his filmography.

[Bosco B Thug]

Really, that scene where Leon tries to photograph Maya and couldn't was freaking hilarious, and it wasn't supposed to be. Yeah, ridic. Most definitely. Makes no sense. You're suddenly too morally perverted to photograph your naked girlfriend???


And I didn't really even enjoy the kills, which were few and far between. I have yet to see a case of CGI blood/gore that I found effective. The Ted Raimi cameo scene in particular looked terrible. I dunno, I want to ban CGI from movie-making altogether and I thought it packed the appropriate punch. It's the show-stopper scene, though; if that scene doesn't work for you, then yeah, the film would be pretty worthless.

[Rowland]

Yeah, as I said in my mini-review a few months back, Midnight Meat Train works fairly well as a glossy slasher, and the premise has a great deal of intriguing promise, but the two clash with one another in such a manner that the film grows increasingly unsatisfying, right up until the crazy-OTT climax with the camera spinning around the subway train and the WWF brawl in the subterranean lair. These moments, as amusing as they are as pyrotechnics, render moments like the coda utterly moot. I gave it a 49, just below a passing score.

[Spun Lepton]

Lifeforce looks like the most interesting movie on his filmography.

The best thing about Lifeforce is that it's one long nude scene for Mathilda May. I loved it as a teenager (ahem), but I saw it again as an adult and it just didn't hold up. It was silly and a little overwrought at times. Aside from the boobies, seeing Patrick Stewart (or a bad SPFX head of Stewart), vomit up gallons of blood was entertaining in a weird/funny sort of way. I kept thinking, "Jean-Luc! Nooooo!"

[Dead & Messed Up]

I really want to watch Midnight Meat Train again, because I enjoyed the hell out of it, but everyone seems to think it blows.

[D_Davis]

Life Force is awesome, and inspired this song:

Mathilda May, by Z Phantom 4 (http://carlsagansghost.com/albums/mathilda.mp3)

I really (verb) that movie.

[Spaceman Spiff]

Seeing as that's one of the worst films I've ever seen, yes.

I'd be curious to know why this is. I find the sense of fear, dread ans psychosis palpable in a way that I really have not got from any other film I've seen. The set design, bizarre use of camera cuts and angles + absurdist acting really elevate the film from a slasher flick to something a hell of a lot creepier.

I love, love, love the last scene of the film. The very final shot is one of my favorites in all of cinema.

[Dukefrukem]

I really want to watch Midnight Meat Train again, because I enjoyed the hell out of it, but everyone seems to think it blows.

I was just wicked disappointed. I'd still watch it again.

[Qrazy]

I'd be curious to know why this is. I find the sense of fear, dread ans psychosis palpable in a way that I really have not got from any other film I've seen. The set design, bizarre use of camera cuts and angles + absurdist acting really elevate the film from a slasher flick to something a hell of a lot creepier.

I love, love, love the last scene of the film. The very final shot is one of my favorites in all of cinema.

I can't find the posts but Melville and I were slagging on it in the film discussion thread quite a while back. Perhaps you or someone else will have more look with the search function. Basically my dislike boils to the fact that I find the film to be narratively revolting, aesthetically distasteful and the acting very poor. Revulsion/disgust is not something I value in my cinema unless it's playing a significant thematic role (Come and See for instance). Here it is revulsion for the sake of terror but I don't find these to be synonymous and I didn't find the association effective. I was disgusted but not terrified. I experienced an unpleasant sensation while watching the film but I did not experience the chills or the scares I've gotten from films such as Pulse, Audition, The Shining, The Changeling, etc.

[Rowland]

The Funny Games remake is probably last year's best "horror" picture, unless there is a helluva diamond in the rough I have yet to catch up with. Haneke's formal chops are impeccable, he can really ratchet up tension like nobody's business, and surprisingly, the Hollywood trappings work in the film's favor, refining the visceral impact as well as the autocritical subtext of the original in a most satisfying manner.

[trotchky]

I'd say so, but the list is very small.

Feel free to elaborate, because I'm genuinely looking for recommendations here.

[Rowland]

Eden Lake (James Watkins, 2008) 42

82% at Rotten Tomatoes? Well what do we have here, a new contestant for last year's most overrated horror picture. As these things go, it's well made, with deliberate camerawork, moody scoring by the ever-dependable David Julyan, harrowing performances, and a willingness to upend expectations by venturing into more brutal territories than you anticipate. This is all soured however by some really ugly politics, exploitating contemporary fears of the hoodlum culture gripping the UK in a manner that feigns sociological insight into the cyclical nature of ignorance, poverty, peer pressure, and violence as they pertain to the issue at hand, when it's really only playing this all for a blatantly patronizing "man that's fucked up" response, with more than a hint of reactionary class baiting. This may not have seemed as much the case if any of the characters' actions were faintly plausible, but instead every twist and turn in the narrative is increasingly ludicrous in its convenience to writer/director Watkins' increasingly stale shock tactics. By the final twist ending, I was on one hand moderately impressed with the sheer hopelessness with which he infuses the final minutes, but what he appeared to be suggesting by it all coupled with the sheer ridiculousness of its logic was too much for me to take seriously, rendering the visceral impact severely muted. Watkins clearly evidences talent here, he just needs someone else to refine his material, and maybe develop a more coherent sense of human empathy.

[Dukefrukem]

Really? I enjoyed it. It was very different, but maybe because 08 was a weak year for horror.

[Rowland]

Really? I enjoyed it. It was very different, but maybe because 08 was a weak year for horror.Well, do you have any response to my criticisms, or would you argue they aren't evident or perhaps don't significantly detract from what works about the picture?

[Dukefrukem]

Well, do you have any response to my criticisms, or would you argue they aren't evident or perhaps don't significantly detract from what works about the picture?

I don't, or at least nothing is coming to mind. I watching it a few months ago. But like I said, when you have a bad year of horror, even the mediocre films look good. I'm just not that talented a critique to recognize it. I watch a lot of horror, and when I continuously see bad after bad after bad horror films, when I come across one with some promise, I automatically put it at the top of my list. It's a bad habit. I've used this example before, the best horror of 05 versus the best horror of 07... Decent vs Mist. The Mist doesn't even touch the level of awesome of the Decent.

Eden Lake is below the Mist.

[Dead & Messed Up]

Feel free to elaborate, because I'm genuinely looking for recommendations here.

I didn't really, because the horrors I'd place above TCM are all pretty well-known. Namely, Halloween, Dawn of the Dead, Alien, Nosferatu, and The Haunting.

Here's my top 100 (http://www.rottentomatoes.com/vine/showthread.php?t=612466) from RT I did a few years ago. There may be a few things that've changed (I don't think Peeping Tom is on there), but that should be helpful.

[KK2.0]

I loved Darabont's The Mist.

I think it's really close to the level of awesome of Descent, but they are very different movies. Mist is more psychologically opressive, Descent is more intense scary, both have awesome nightmarish conclusions... choosing between both is almost as cruel as choosing between two sons.

[Grouchy]

I loved Darabont's The Mist.

I think it's really close to the level of awesome of Descent, but they are very different movies. Mist is more psychologically opressive, Descent is more intense scary, both have awesome nightmarish conclusions... choosing between both is almost as cruel as choosing between two sons.
I agree. I think Mist and Descent are two of the absolute best of recent years, and I wouldn't put one as tremendously more quality than the other one.

Best Horrors by Year:

2008 - Let the Right One In
2007 - The Mist
2006 - Slither
2005 - The Descent
2004 - Shaun of the Dead
2003 - House of 1000 Corpses
2002 - May
2001 - The Others

[Dead & Messed Up]

My view:

Best Horrors by Year:

2008 - Let the Right One In
2007 - The Mist
2006 - Hostel
2005 - The Descent
2004 - Shaun of the Dead
2003 - A Tale of Two Sisters
2002 - 28 Days Later
2001 - Pulse

[Dukefrukem]

hehe. And mine would be:

Best Horrors by Year:

2009 - Martyrs
2008 - Let the Right One In
2007 - The Mist
2006 - Slither
2005 - The Descent
2004 - Shaun of the Dead
2003 - High Tension
2002 - 28 Days Later
2001 - Final Destination

I've never seen the Others.

[Grouchy]

It's funny that, for most of these years, we don't have any discrepancies on our lists. Modern Horror is such a wasteland that it's very rare that two exceptional movies on the genre come out the same year!

[Dukefrukem]

btw, look (http://www.amazon.com/After-Dark-Horrorfest-Vol-3/dp/B001P9N9AS/ref=sr_1_1?ie=UTF8&s=dvd&qid=1242071652&sr=8-1) what came out a few days ago. I'm so blind buying it this weekend. :twisted:

[Dukefrukem]

It's funny that, for most of these years, we don't have any discrepancies on our lists. Modern Horror is such a wasteland that it's very rare that two exceptional movies on the genre come out the same year!

That's exactly it. So many good ideas, that are so poorly executed.

[Dead & Messed Up]

2001 - Final Destination

Technically a 2000 release.


It's funny that, for most of these years, we don't have any discrepancies on our lists. Modern Horror is such a wasteland that it's very rare that two exceptional movies on the genre come out the same year!

I don't know. I think that some years were pretty damn good:

2001 was a fantastic year. Session 9, Frailty, Pulse, Joy Ride, and The Devil's Backbone.

2004 was pretty good, thanks mostly to Shaun of the Dead, Three Extremes, and Dawn of the Dead, the latter of which was far better than it should've been.

And 2008 did have Cloverfield, Let the Right One In, Repo!, and The Ruins.

[Spun Lepton]

My take:

2008 - Let the Right One In
2007 - The Mist
2006 - Slither
2005 - The Descent
2004 - Shaun of the Dead
2003 - A Tale of Two Sisters
2002 - Dog Soldiers
2001 - The Devil's Backbone

[KK2.0]

What about Midnight Meat Train? I may watch it tonight, impressions?

[Dukefrukem]

Technically a 2000 release.



yeah and Martyrs is technically a 2008 release in France.


What about Midnight Meat Train? I may watch it tonight, impressions?

I have mixed feeling towards it. But you can see i gave it a 65 in my sig. I'd watch it again.

[D_Davis]

What about Midnight Meat Train? I may watch it tonight, impressions?

Your time would be better spent reading the short story.

The movie really drags during the second act, which was added to pad out the running time.

[The Mike]

Best Horrors by Year:

2009 - Friday the 13th
2008 - Repo! The Genetic Opera (Runners-up - Let the Right One In, Splinter)
2007 - The Mist (Runners-up - Grindhouse, Rogue)
2006 - Behind the Mask: The Rise of Leslie Vernon (Runners-up - Slither)
2005 - Masters of Horror: Incident On and Off a Mountain Road (Runners-up - Hard Candy)
2004 - Shaun of the Dead
2003 - High Tension (Runners-up - Freddy vs. Jason)
2002 - Dog Soldiers (Runners-up - 28 Days Later..., Bubba Ho-Tep)
2001 - Frailty (Runners-up - Session 9, The Others)


In retrospect, 2002, 2006, and 2007 were excellent, while 2003 sucks hard.

Top 10 of the Millennium: 1) The Mist, 2) Dog Soldiers, 3) Shaun of the Dead, 4) Behind The Mask, 5) Grindhouse, 6) 28 Days Later..., 7) Bubba Ho-Tep, 8) Incident On and Off a Mountain Road, 9) Frailty, 10) Rogue

[Dukefrukem]

I forgot about the Masters of Horror series.....

[megladon8]

That's a pretty awesome list, Mike :)

Some great horrors have come out the last few years.

[Grouchy]

2001 - The Others
Big mistake on my part. I somehow forgot the true best Horror of that year.

2001 - The Devil's Backbone

[Dead & Messed Up]

In retrospect, 2002, 2006, and 2007 were excellent, while 2003 sucks hard.

2003 did indeed suck.

Also, I had no idea you were such a fan of The Mist. I love it too.

[Dead & Messed Up]

Top 10 of the Millennium: 1) The Mist, 2) Dog Soldiers, 3) Shaun of the Dead, 4) Behind The Mask, 5) Grindhouse, 6) 28 Days Later..., 7) Bubba Ho-Tep, 8) Incident On and Off a Mountain Road, 9) Frailty, 10) Rogue

And hey! Another list I can make.

01. Pulse
02. Shaun of the Dead
03. The Mist
04. Session 9
05. Frailty
06. The Descent
07. 28 Days Later
08. Cigarette Burns
09. Let the Right One In
10. Hostel

[trotchky]

I didn't really, because the horrors I'd place above TCM are all pretty well-known. Namely, Halloween, Dawn of the Dead, Alien, Nosferatu, and The Haunting.

Here's my top 100 (http://www.rottentomatoes.com/vine/showthread.php?t=612466) from RT I did a few years ago. There may be a few things that've changed (I don't think Peeping Tom is on there), but that should be helpful.Thanks for the recs. I'm still fairly new to the horror genre but much of what I've seen has blown my mind (particularly the Texas Chain Saw Massacre). Dawn of the Dead I watched maybe a half hour of before turning it off. I could appreciate the craft on an intellectual level but it didn't move me in any way; the latter is what I love about horror movies--that they're all about feeling--so finishing it seemed kind of pointless. I'll try to check out some of those others, though.

[Dukefrukem]

Top 10 of the Millennium: 1) The Mist, 2) Dog Soldiers, 3) Shaun of the Dead, 4) Behind The Mask, 5) Grindhouse, 6) 28 Days Later..., 7) Bubba Ho-Tep, 8) Incident On and Off a Mountain Road, 9) Frailty, 10) Rogue

Oh shiiiiiet. Let me think about that for a bit.

[Grouchy]

Outpost is quite solid. I was kind of jarred by how abruptly it began, but then I reflected - exactly what kind of exposition was I expecting? The guys are hired mercenaries on a mission. That's enough. It was kind of funny when Ray Stevenson's character was asked "what do you do when you're not fighting?", and he simply said "I drink". Totally in character answer. Once the supernatural part of the story kicked in, I found the movie totally absorbing. The praise here should go to the cinematographer, the composer (although the score was a tad overused), and the editor. The atmosphere their combined efforts create inside that little bunker is very strong. This is the best Nazi zombie movie you're likely to see. And the ending is perfect in context of what had gone before.

[soitgoes...]

This is the best Nazi zombie movie you're likely to see. And the ending is perfect in context of what had gone before.
I just saw this too, and I have to say that Dead Snow is miles better. Keep on the lookout when that one gets a release.

[megladon8]

I thought Outpost was a good time. It's certainly not Dog Soldiers, but it was occasionally creepy and I like Ray Stevenson.

I really want to see Dead Snow.

[Dukefrukem]

I really want to see Dead Snow.

me too!~

[Grouchy]

I just saw this too, and I have to say that Dead Snow is miles better. Keep on the lookout when that one gets a release.
Heh, that was meant as a joke. I didn't know there were TWO Nazi zombie movies out there. I'll have to check it out.

On other news, Tokyo Gore Police is so fun it should be illegal. Movie doesn't even fucking try to make sense. It's directed by the FX man from The Machine Girl, which means the effects are home-made awesome, but this movie is a lot more over-the-top than that other one. The idea is that, in the future, there's this breed of serial killers called "engineers" who create bio-weapons out of any injury. They take your eye out, a shotgun comes out of the hole. When engineers die, forensics always finds an internal tumor the shape of a key. The police force in the title battles engineers and pretty much any other criminal with sadism and brutality. Eihi Shiina from Audition (hottest Asian actress out there, she should be in more movies) is the protagonist, a silent, brooding, self-hurting policewoman. Suffice it to say, this is worth the ride. There's an impressive amount of blood, a solid sense of humor and some TV commercials, including a violent take on Nintendo Wii, that stand on their own level of awesome. The plot is an excuse, of course, but the idea of the "engineers" is a good one and amounts for a lot of imaginative body weapons.

[D_Davis]

Tokyo Gore Police is awesome, and it is surprisingly subversive. It is a premier example of the body genre, and doesn't pull a single punch.

[Rowland]

Eihi Shiina from Audition (hottest Asian actress out there, she should be in more movies)Eww. You have weird taste.

Anyway, TGP sucks from a filmmaking perspective, so that it grows pretty boring for long stretches even with all the outre shenanigans, and its social commentary feels glib and half-baked. Nevertheless, there is enough invention so that I can't say I outright disliked it, but it still tips over into the negative end of my rating scale by a fair margin. The only competently choreographed fight is between the main girl and the body with swords for limbs, but it's admittedly a doozy.

[Grouchy]

Eww. You have weird taste.
Well, she isn't hot in Audition, of course. There's nothing even remotely hot about Audition. But the girl apart from the movie is pretty hot.

I disagree with you that the filmmaking is bad. Stilted, perhaps, and the whole movie is clearly in the service of the special effects. But it's not badly directed. It's no Tetsuo, either, I'll give you that.

[Dukefrukem]

Eww. You have weird taste.
.

Weird taste?? Nahhh

http://www.fantasiafestival.com/2008/_media/dynimages/tokyo_gore_police__.jpg

[D_Davis]

The somewhat lackluster action choreography in TGP didn't bother me, because I don't really view it as an action film. To me, it's more in line with a Cronenberg flick, something like Videodrome, Scanners, or Existenz; it's more in line with the body genre in the way it explores the functions of the human body, and how these functions can be grotesque and become distorted.

I went in expecting a gory, cheesy action flick, but left feeling totally satisfied having been given something much more, and something different. The filmmaking here is deliberate, and highly affected; I think it feels somewhat detached because of the subject matter, and things are presented in a more basic way, thus lending the film a stage-like quality. I think these elements grant the film an intimate feeling.

[The Mike]

Re-watching Dog Soldiers. Best Horror Debut in the last...10 years? 15? 25?

[Rowland]

Re-watching Dog Soldiers. Best Horror Debut in the last...10 years? 15? 25?Nah. I enjoyed Dog Soldiers well enough, but found it pretty overrated for the most part. Lots of logic gaps in the plotting, so-so pacing, some heavy-handed dialogue... *shrug* I can think of many stronger horror debuts. I'd rather point to ones that are less well known, like J.T. Petty's strikingly idiosyncratic Soft for Digging.

[megladon8]

Nah. I enjoyed Dog Soldiers well enough, but found it pretty overrated for the most part. Lots of logic gaps in the plotting, so-so pacing, some heavy-handed dialogue... *shrug* I can think of many stronger horror debuts. I'd rather point to ones that are less well known, like J.T. Petty's strikingly idiosyncratic Soft for Digging.



Hmm. Never heard of that one.

*looks up on IMDb*

Sounds interesting! I'll put it on my "to watch" list!

[Dead & Messed Up]

Re-watching Dog Soldiers. Best Horror Debut in the last...10 years? 15? 25?

If we're going ten, I'd go with Paxton's Frailty or Wright's Shaun of the Dead. Fifteen, Fessenden's Habit. After twenty-five, I'm sure there's something I'd be missing.

Dog Soldiers is a blast of energy, sure, and Spoon has my eternal respect, but it's a mess editorially, and some of the plot is just dumb as hell.

[Dukefrukem]

Hmm. Never heard of that one.

*looks up on IMDb*

Sounds interesting! I'll put it on my "to watch" list!

It's great. Def. the best Werewolf film in the past 10-15 years.

[Rowland]

Ginger Snaps is much better.

[Dead & Messed Up]

Ginger Snaps is much better.

Eh. It's good, but Emily Perkins isn't much of an actress, and the climax at the end doesn't excite. I'll check out Soft for Digging, but otherwise American Werewolf in London was the last great werewolf flick.

The Howling and Wolf were both good, though.

[Rowland]

Oh, Soft for Digging isn't a werewolf movie. It is however a fantastic companion piece to The Ring.

[Dead & Messed Up]

Oh, Soft for Digging isn't a werewolf movie. It is however a fantastic companion piece to The Ring.

Ah, thanks for the correction. Regardless, your recommendation has me awfully curious now.

...

I watched The Seventh Victim last night. Interesting flick. Despite its associations with Cat People, it feels much more like a noir with slight horror undertones. I also like how it continues the trend of Lewton and co. incorporating big ideas (in this one, finding peace in death) by hiding them in plain sight. Also, there's a stalking scene in the film that's as involving and creepy as the park pursuit in Cat People.

Also, at seventy minutes, it's easily worth anyone's time.

My Lewtonography:

1. Cat People
2. The Leopard Man
3. The Curse of the Cat People
4. I Walked With a Zombie
5. The Seventh Victim
6. Ghost Ship

I fell asleep during Bedlam, I can barely remember The Body Snatcher, and I need to see Isle of the Dead.

[D_Davis]

Do any of you remember the television series Werewolf? From what I remember, and this simply be nostalgia talking, it was the best werewolf-themed thing I've seen.

[The Mike]

Do any of you remember the television series Werewolf? From what I remember, and this simply be nostalgia talking, it was the best werewolf-themed thing I've seen.
Want to. I know it's due on DVD soon. :pritch:

[Spun Lepton]

Do any of you remember the television series Werewolf? From what I remember, and this simply be nostalgia talking, it was the best werewolf-themed thing I've seen.

I remember it.

It's nostalgia talking.

:)

[MadMan]

Ah, thanks for the correction. Regardless, your recommendation has me awfully curious now.

Also, at seventy minutes, it's easily worth anyone's time.

My Lewtonography:

1. Cat People
2. The Leopard Man
3. The Curse of the Cat People
4. I Walked With a Zombie
5. The Seventh Victim
6. Ghost Ship

I fell asleep during Bedlam, I can barely remember The Body Snatcher, and I need to see Isle of the Dead.My ranking of Val Lewton's movies:

1. Cat People
2. The Body Snatcher
3. Isle of the Dead
4. The Leopard Man
5. I Walked With a Zombie
6. The Seventh Victim

Haven't seen Curse of the Cat People, Bedlam, or Ghost Ship yet.

[Dead & Messed Up]

My ranking of Val Lewton's movies:

1. Cat People
2. The Body Snatcher
3. Isle of the Dead
4. The Leopard Man
5. I Walked With a Zombie
6. The Seventh Victim

Haven't seen Curse of the Cat People, Bedlam, or Ghost Ship yet.

Curse of the Cat People is pretty cool in its own twisted fantasy way. You should give it a go.

[MadMan]

Curse of the Cat People is pretty cool in its own twisted fantasy way. You should give it a go.TCM showed that movie and Bedlam really late at night last year, and I was just too damn tired to watch either one. I hope to get to them and Ghost Ship soon. I can't remember if Night of the Demon (also known as Curse of the Demon) is a Val Lewton production or not.

[megladon8]

I never got around to, I think, 2 of the Lewton films in the set.

I should really do that.

[Dead & Messed Up]

TCM showed that movie and Bedlam really late at night last year, and I was just too damn tired to watch either one. I hope to get to them and Ghost Ship soon. I can't remember if Night of the Demon (also known as Curse of the Demon) is a Val Lewton production or not.

Curse of the Demon is a film by Jacques Tourneur, but it wasn't produced by Lewton.

[Raiders]

The Seventh Victim is actually my favorite of the entire Lewton series. It is rather gothic and noirish as opposed to real horror, but it is remarkably evocative and yet quaint, Lewton's devious masterstroke setting a dark Satanist story deep in the bohemian Greenwich Village. In this much, it is the Lewton film most successful at taking the mundane and turning it into a devlish and haunting milieu, starting with children at play and a standard missing peron mystery and winding up going deeper, both physically and metaphorically, into the occult than even Polanski. It also has a few sequences, such as the shower, the reveal of Elizabeth Russell's character, and Jacqueline's literal slow descent into darkness, that are equally haunting and gorgeous.

My ranking:

1. The Seventh Victim
2. The Curse of the Cat People
3. The Leopard Man
4. Cat People
5. I Walked With a Zombie
6. The Body Snatcher
7. Bedlam

[D_Davis]

Want to. I know it's due on DVD soon. :pritch:


I remember it.

It's nostalgia talking.

:)

Really? I remember the werewolves looking cool - more like big ass bears or something.

Oh well. Maybe I shouldn't watch it when it comes out on DVD, just to preserve my good memories.

:)

[Rowland]

Hmm...

1. I Walked With a Zombie
2. The Curse of the Cat People
3. The Seventh Victim
4. The Leopard Man
5. Cat People
6. Ghost Ship
7. Body Snatcher

[Bosco B Thug]

1. I Walked With a Zombie
2. The Seventh Victim
3. Cat People
4. The Curse of the Cat People
5. The Leopard Man
6. Isle of the Dead
7. The Body Snatcher
8. The Ghost Ship
9. Bedlam

It always astounds me how limited you can feel the films are due to the various production circumstances, yet what marvels those 5 top films are in the entire existence of horror films.

[The Mike]

I only have a strong memory of I Walked With a Zombie and the Cat People flicks. I remember liking all of them, but these are the three that stuck with me.

Which reminds me, I keep planning to watch the Cat People remake...and always forget.

[Spun Lepton]

Cthulhu -- 3/10
Sorry guys, it seemed pretty clumsy and artsy-fartsy to me. The ending was wholly unsatisfying, too.

[Dead & Messed Up]

Cthulhu -- 3/10
Sorry guys, it seemed pretty clumsy and artsy-fartsy to me. The ending was wholly unsatisfying, too.

The ending is PERFECT. I've gone from disliking the ending to it being one of my favorite parts of the film.

Did he kill his father or his friend?! Who died? I don't know. I think he killed his father, but there's no proof! Gah! It's awesome.

Sorry I geeked out. Back to The Omega Man.

[B-side]

Ugh. I fail hard at horror. I love the colors and sets of the two Argento films I've seen, but all the silliness kinda takes away from it. If only I could find a horror film just as pretty as Suspiria, but with acting that wasn't so bad and a storyline that was a bit more engaging. Basically, I'm with Beau here in terms of seeming to like the idea better than the execution. The fantasy and atmosphere are what I seem to enjoy most.


It's hard, or impossible, to scare me. I like the idea of horror, not for the horror, so much as for the fantasy and the atmosphere.

[Spun Lepton]

The ending is PERFECT. I've gone from disliking the ending to it being one of my favorite parts of the film.

Did he kill his father or his friend?! Who died? I don't know. I think he killed his father, but there's no proof! Gah! It's awesome.

Sorry I geeked out. Back to The Omega Man.

I just spent twenty minutes writing a long explanation on why the movie was not good, and then Match Cut logged me out and I lost the whole fucking thing, so fuck it. Here's a summary:

Background story was not cohesive. It was just a bunch of arbitrary Lovecraftian incidents for the lead character to investigate. I was watching the movie with two friends who needed me to explain a bunch of Lovecraftian norms for them to even begin to follow it.

The gay-lover subplot was also arbitrary. It didn't tie into any themes and seemed to be included only because the filmmakers themselves were gay and so they could have their shock ending. And they didn't need to be gay for the shock ending, even. I understand wanting to include this aspect in your story if you yourself are gay, but if you're going to do this, then attempt to make something meaningful out of it.

[Dead & Messed Up]

The gay-lover subplot was also arbitrary. It didn't tie into any themes and seemed to be included only because the filmmakers themselves were gay and so they could have their shock ending. And they didn't need to be gay for the shock ending, even. I understand wanting to include this aspect in your story if you yourself are gay, but if you're going to do this, then attempt to make something meaningful out of it.

It is what it is. In 99% of movies, hetero relationships are accepted and left unexamined. I thought Russ and Mike's relationship was sympathetic and involving.

Even then, I suspect that fans of queer cinema would have a field day decoding how Russ's family rejects him for his homosexuality and tries to "convert" him. And how Russ's discovery of his family's sordid past ties in with Mike's discovery of his own buried feelings. Both are confronting self-hidden truths that frighten them.

Anyway, food for thought.

[Dead & Messed Up]

I finished up two horrors this morning:

The Omega Man
Interesting variation on I Am Legend, although it's easily the least of that novel's adaptations. Charlton Heston grimaces his way through a series of set-pieces involving the bumbling "Family," monk-mutants who wear sunglasses and wax philosophical about the new world order. But they're too busy waxing and adjusting their shades to pose any threat, and Heston's Neville never approaches the pathos offered by Price and Smith in their respective iterations. The film's best asset is a sassy turn from Rosalind Cash, whose naked bodice is one of the lone high points of this frustrating and muddled film. C

Splinter
Stupidity in the last act nearly kills what is otherwise a fun variation on that old horror standby where enemies join forces in an isolated location against a greater threat. This time, the threat is a spiky fungus that turns animals (and men) into undead "splinter" monsters. The movement of splintered victims is eerie and frightening, and there are a few requisite gore moments that should result in winces. In their wisdom, the filmmakers kept this film eighty minutes long, which is just enough time for the premise to deliver on its goals without overstaying its welcome. It's cheap fun, but why complain? B-

For those who saw Splinter:

Why in the HELL would Seth try to freeze himself instead of waiting a few hours for daylight, when the temperature would easily top 100 degrees? And why would he freeze himself when they were so successfully distracting the monster with fire? Why not just, I don't know, light a big fucking fire?

And if I never see the "guy-hides-his-death-wound-from-the-others" scene again, it'll be too soon.

[Cult]

Ugh. I fail hard at horror. I love the colors and sets of the two Argento films I've seen, but all the silliness kinda takes away from it. If only I could find a horror film just as pretty as Suspiria, but with acting that wasn't so bad and a storyline that was a bit more engaging. Basically, I'm with Beau here in terms of seeming to like the idea better than the execution. The fantasy and atmosphere are what I seem to enjoy most.
I love horror, and I really didn't like Suspiria. Nothing about it worked for me. Not cheesy enough to be camp fun, not good enough to be...well, good.

[Dukefrukem]

Never seen either of those D&MU.

When you gonna check out Martyrs? I specifically called you out to view it.

[megladon8]

Even then, I suspect that fans of queer cinema would have a field day decoding how Russ's family rejects him for his homosexuality and tries to "convert" him. And how Russ's discovery of his family's sordid past ties in with Mike's discovery of his own buried feelings. Both are confronting self-hidden truths that frighten them.


Yes, this is what I took from it.

I thought the gay relationship was very meaningful.

Sorry it was such a disappointment for you, Spun.

[Dead & Messed Up]

Never seen either of those D&MU.

When you gonna check out Martyrs? I specifically called you out to view it.

Oh for God's sakes...

::updates Netflix::

Okay, it's number one. I should have it within the week. Now piss off.

:pritch:

[Dukefrukem]

woohoo. I really think you're gonna like it.

[Grouchy]

Well, Eden Lake is sort of like Funny Games in England, right? I don't think it's a great film, but it works - it's consistently engaging, and the ending, although a bit stretched out, is cruel, unexpected and adds a layer of darkness to the story by suggesting the community as a whole is guilty of the violence. Movie just wants to be a memorable shocker, though, and it succeeds. I really liked Kelly Reilly as the damsel in distress, and Fassbender manages to project that weakness that marks him from the start as a victim of abuse for the boys. Overall, it's not a Horror classic, but a respectable movie.

http://trashcity.org/content/wp-content/uploads/2008/11/lifeforce1.jpg

Which is more than I can say of Lifeforce. I had high hopes for the movie, but I couldn't even enjoy it on a camp level. I think this is the definition of big-budget disaster. A wasted cast, a story too complicated for its own good (I mean, this is about alien vampires, for fuck's sake) and a series of unsatisfying climaxes make this a bit of a chore to get through. Specially since all characters are some sort of scientist or police officer who's required to explain a lot of stuff ad nauseum, which is a shame since the dialogue is so bad. Hopper's direction of the action sequences is pedestrian, and really, only the amazing special effects work explains the cult status of this. Well, the premise is indeed fantastic, but the script is too convoluted and overworked, effectively stripping all the fun out of the alien invasion.

[megladon8]

Might want to spoiler-tag and NSFW that, Grouchy.

[soitgoes...]

All we need now are the cuchillos to complete this thread.

[Grouchy]

Ok, got a different picture. It just seems kind of silly to spoiler-tag a screenshot.

[Dukefrukem]

Again, I liked Eden Lake and think it's one of the better films of 08. I love the feeling of dred recieved with the ending, as if we should have been expecting it the entire time.



Has anyone seen Pontypool? IMDB (http://www.imdb.com/title/tt1226681/)


The flick is set in a radio station in Pontypool where one day the morning team starts taking reports of extreme, bloody incidents of violence occurring in town. As the story unfolds, the radio staff soon realizes the violence that is ripping society apart is due to a virus being spread through the English language. That in turn poses a problem for a yappy radio jock and his staff holed up in the broadcast booth housed in the basement of the town's abandoned church as a slaughter rages beyond its walls.

[Rowland]

Well, Eden Lake is sort of like Funny Games in England, right? I don't think it's a great film, but it works - it's consistently engaging, and the ending, although a bit stretched out, is cruel, unexpected and adds a layer of darkness to the story by suggesting the community as a whole is guilty of the violence. Movie just wants to be a memorable shocker, though, and it succeeds. I really liked Kelly Reilly as the damsel in distress, and Fassbender manages to project that weakness that marks him from the start as a victim of abuse for the boys. Overall, it's not a Horror classic, but a respectable movie.I posted my thoughts a page or two back. I agree with most of your points, only it failed to shock me because it all felt so transparent and manufactured, instead of the organic or at least smartly calibrated horror necessary to work for me. I was too busy scoffing at the endless parade of contrivances to be rattled, though it was, as you said, consistently engaging, and its attempts at complicating the viewer's sympathies are welcome, if unsuccessful more often than not.

[MadMan]

Sorry I geeked out. Back to The Omega Man.Love The Omega Man to death. Its one of my favorite cult sci-fi films. So campy, yet so entertaining. Charlton Heston killing zombie-vampires FTW :lol:


Curse of the Demon is a film by Jacques Tourneur, but it wasn't produced by Lewton.I have no idea if that movie is the version I've seen. It or Night of the Demon is shorter than one or the other. I can't remember.

Hours ago (when it was Sunday) I got Netflix. Gonna watch some horror movies this summer, and October is going to rock, hopefully.

[Rowland]

Inside (Alexandre Bustillo/Julien Maury, 2008) 64

Don't know what I was expecting, but this wasn't it. Pretty good stuff, certainly superior to last year's similar The Strangers, including a shot involving unperceived background menace that out-creeps the iconic Liv Tyler shot used in all of the latter film's promotional material. And upon some research, I'm relieved to discover that those cheesy CGI fetus inserts weren't included by the directors' design, but rather enforced through studio manhandling. A few narrative-related head-scratchers diffuse tension in the picture's third act, but it still holds together nicely, imbued as it all is by such a gripping sense of anxiety anchored by terribly convincing performances as well as the ever-vulnerable condition of the protagonist, and the middle act remains tight as a drum. I'm embarrassed to admit that the ending caught me off-guard, especially in light of how obvious it seems in retrospect, but the payoff feels earned, if not outright affecting.

[Dukefrukem]

I don't know anything about this movie The Home, but I like this One Sheet

http://img35.imageshack.us/img35/1643/thehome043009.jpg

[Dead & Messed Up]

Cat People
Belongs on the short list of horror film remakes that manage to honor their source material and swing it in a different direction. Schrader takes the subdued sexuality of the original film and brings it front and center, so that we're watching a liberated erotic journey. This feels like a product of the seventies, with its explicit nudity and a style seemingly influenced by Antonioni and Polanski. For all its class and visual intrigue and good acting, however, the film never aims to frighten. Whether or not that's a detriment is a call for others to make. I appreciated the film's languid pace and its insistence on image, and pause, and reflection. Like Schrader's Dominion, this is a horror film in name only; there's something deeper happening. B

[Bosco B Thug]

Inside (Alexandre Bustillo/Julien Maury, 2008) 64

Don't know what I was expecting, but this wasn't it. Pretty good stuff, certainly superior to last year's similar The Strangers, including a shot involving unperceived background menace that out-creeps the iconic Liv Tyler shot used in all of the latter film's promotional material. And upon some research, I'm relieved to discover that those cheesy CGI fetus inserts weren't included by the directors' design, but rather enforced through studio manhandling. A few narrative-related head-scratchers diffuse tension in the picture's third act, but it still holds together nicely, imbued as it all is by such a gripping sense of anxiety anchored by terribly convincing performances as well as the ever-vulnerable condition of the protagonist, and the middle act remains tight as a drum. I'm embarrassed to admit that the ending caught me off-guard, especially in light of how obvious it seems in retrospect, but the payoff feels earned, if not outright affecting. Eh, this film had lost me by the end. I hate to admit it, but - for one - I thought it was way too graphic and violent. For two, head-scratchers that diffuse tension in the third act is right. Thirdly, I dunno, the subtextual evocations were there (she's a war photographer, she's jaded, she's unfit to be a mother yet she fights for it throughout the film, French youths can be asking for it, and whoa! non-lethal police guns!), but it didn't mean or impart much in the end.


Cat People
Belongs on the short list of horror film remakes that manage to honor their source material and swing it in a different direction. Schrader takes the subdued sexuality of the original film and brings it front and center, so that we're watching a liberated erotic journey. This feels like a product of the seventies, with its explicit nudity and a style seemingly influenced by Antonioni and Polanski. For all its class and visual intrigue and good acting, however, the film never aims to frighten. Whether or not that's a detriment is a call for others to make. I appreciated the film's languid pace and its insistence on image, and pause, and reflection. Like Schrader's Dominion, this is a horror film in name only; there's something deeper happening. B Yeah, I liked the direction it took and decisions it made with the story, and Schrader as a director does have moments of off-kilter excellence, but the film is way cheesy and goofy.

Might watch Splinter tonight.

[Rowland]

Thirdly, I dunno, the subtextual evocations were there (she's a war photographer, she's jaded, she's unfit to be a mother yet she fights for it throughout the film, French youths can be asking for it, and whoa! non-lethal police guns!), but it didn't mean or impart much in the end.Indeed, I noted this lack of a coherent subtext after the picture dipped its toe in so many waters, but I suppose I was tolerant of this after recently being subjected to Eden Lake's more overtly clunky opportunism.

[Dukefrukem]

Did you guys know Adam Sandler is producing a horror movie?

The Shortcut: Trailer here (http://www.bloody-disgusting.com/bdtv/Player.php?id=2691).

[Bosco B Thug]

Splinter
Stupidity in the last act nearly kills what is otherwise a fun variation on that old horror standby where enemies join forces in an isolated location against a greater threat. This time, the threat is a spiky fungus that turns animals (and men) into undead "splinter" monsters. The movement of splintered victims is eerie and frightening, and there are a few requisite gore moments that should result in winces. In their wisdom, the filmmakers kept this film eighty minutes long, which is just enough time for the premise to deliver on its goals without overstaying its welcome. It's cheap fun, but why complain? B-

For those who saw Splinter:

Why in the HELL would Seth try to freeze himself instead of waiting a few hours for daylight, when the temperature would easily top 100 degrees? And why would he freeze himself when they were so successfully distracting the monster with fire? Why not just, I don't know, light a big fucking fire?

And if I never see the "guy-hides-his-death-wound-from-the-others" scene again, it'll be too soon. Yeah, the freezing thing was pretty stupid just any way you look at it. When he was tripping over pretty much everything between him and the car, it's like, "Yeah, you thought this was a good idea?"

But hey, I really enjoyed this film! Old-fashioned fun most definitely. Engaging and amiable, very likeable characters, taut, no lulls, good horror thrills and grue. Wilkins has skills in creating dramatic tension. There's nothing too mind-blowing, but Wilkins' film isn't utter gracelessness like most cheap-trick horror quickies. Creature moves a lot like the 'Grudge' ghosts, seems like the criteria that got him (probably misfortunately) the Grudge 3 gig.

[Russ]

Speaking of Splinter (haven't seen it, but want to), has anyone seen director Toby Wilkns' short, Kidney Thieves (http://vimeo.com/1872856)? Quite polished and very amusing. Which is why I want to see Splinter.

[Dukefrukem]

Has anyone seen Pontypool? IMDB (http://www.imdb.com/title/tt1226681/)

One Sheet

http://www.bloody-disgusting.com/news/16247

[Dead & Messed Up]

Yeah, the freezing thing was pretty stupid just any way you look at it. When he was tripping over pretty much everything between him and the car, it's like, "Yeah, you thought this was a good idea?"

But hey, I really enjoyed this film! Old-fashioned fun most definitely. Engaging and amiable, very likeable characters, taut, no lulls, good horror thrills and grue. Wilkins has skills in creating dramatic tension. There's nothing too mind-blowing, but Wilkins' film isn't utter gracelessness like most cheap-trick horror quickies. Creature moves a lot like the 'Grudge' ghosts, seems like the criteria that got him (probably misfortunately) the Grudge 3 gig.

My first thoughts on the full-sized monster were how similar it looked to video game monsters from Resident Evil 4 and Silent Hill.

But yes, it is confident and fun, and while my review isn't all that effusive, I do anticipate Wilkins's next feature.

[Dead & Messed Up]

Martyrs

Possibly the most cruel, graphic, unrelenting "horror" picture I've ever seen. Quite often I considered simply turning off the film, as the violence seemed to serve little purpose. It's there to revolt, and despite the last-act effort to attach spiritual significance to what's happening, I was unconvinced. For the three or four minutes of quiet contemplation, there's another ninety based firmly on the idea that watching blood shoot out of self-inflicted wounds is worth one's time. That's a lot of violence, and the late-act Joan-of-Arc goals, rather than elevating the film, instead lets it descend into even more unremitting cruelty, as a girl is systematically beaten, force-fed, and psychologically tortured. The irony being that, for all the presumptions of "enlightenment" at the end, this is a remarkably stupid film.

D

[Dukefrukem]

Martyrs

Possibly the most cruel, graphic, unrelenting "horror" picture I've ever seen. Quite often I considered simply turning off the film, as the violence seemed to serve little purpose. It's there to revolt, and despite the last-act effort to attach spiritual significance to what's happening, I was unconvinced. For the three or four minutes of quiet contemplation, there's another ninety based firmly on the idea that watching blood shoot out of self-inflicted wounds is worth one's time. That's a lot of violence, and the late-act Joan-of-Arc goals, rather than elevating the film, instead lets it descend into even more unremitting cruelty, as a girl is systematically beaten, force-fed, and psychologically tortured. The irony being that, for all the presumptions of "enlightenment" at the end, this is a remarkably stupid film.

D

I'm very disappointed you didn't like it. I thought by the end, you'd be convinced the violence was there for the reason they give. I don't agree that it's pointless and I find the psychological aspect to be quite profound and real. You're not giving credit at all to the actresses in this film, which I feel adds significantly to how this movie hits home. They were perfect. A lot of the times in horror we see a "psycho" and they're running around with a chainsaw (American Psycho.. how cliche), in this case it's a knife, and we happen to see reasoning for it...what's the difference? By the time we reach the ending 15 minutes, we're way past anything that could be conceived as pointless or crude. I love the way this film stages. I love the ending 15 minutes, and I love the final shot. This is still my favorite horror film of the year.

[Dukefrukem]

This reminds me of Die You Zombie Bastards!

http://i148.photobucket.com/albums/s36/Dukefrukem/Movie%20Posters/TheGraves.jpg

[Dead & Messed Up]

I'm very disappointed you didn't like it. I thought by the end, you'd be convinced the violence was there for the reason they give. I don't agree that it's pointless and I find the psychological aspect to be quite profound and real. You're not giving credit at all to the actresses in this film, which I feel adds significantly to how this movie hits home. They were perfect. A lot of the times in horror we see a "psycho" and they're running around with a chainsaw (American Psycho.. how cliche), in this case it's a knife, and we happen to see reasoning for it...what's the difference? By the time we reach the ending 15 minutes, we're way past anything that could be conceived as pointless or crude. I love the way this film stages. I love the ending 15 minutes, and I love the final shot. This is still my favorite horror film of the year.

By all means, dude, I can see why you respect it. I do not fault Laugier's direction (which is effective and precise), nor do I fault the actresses, who really do give it their all. In the back of my head, I was constantly thinking of how fearless they were to take on such grim roles.

But I cannot reconcile the eventual goal with the path that led to it. The violence is simply too much for me. It doesn't balance. It feels too easy. It feels too self-serving. I can't help thinking that Laugier wrote himself a license to wallow in the lowest pit of human grotesquerie.

[Dukefrukem]

By all means, dude, I can see why you respect it. I do not fault Laugier's direction (which is effective and precise), nor do I fault the actresses, who really do give it their all. In the back of my head, I was constantly thinking of how fearless they were to take on such grim roles.

But I cannot reconcile the eventual goal with the path that led to it. The violence is simply too much for me. It doesn't balance. It feels too easy. It feels too self-serving. I can't help thinking that Laugier wrote himself a license to wallow in the lowest pit of human grotesquerie.

I would hope you'd also feel the same way about both Hostel movies, all of the saw movies (with the exception of maybe the first) and every cannibal movie ever made... I find those movies to be pure unnecessary violence to which the eventual goal is just escaping the violence that is brought to the main characters. Hell even the Hostel plot is to inflict torture on someone for no reason except for the thrill of it. At least Martyrs has taken a new direction...and with some style; I find it more believable than the movies I just listed.

[Dead & Messed Up]

I would hope you'd also feel the same way about both Hostel movies, all of the saw movies (with the exception of maybe the first) and every cannibal movie ever made... I find those movies to be pure unnecessary violence to which the eventual goal is just escaping the violence that is brought to the main characters. Hell even the Hostel plot is to inflict torture on someone for no reason except for the thrill of it. At least Martyrs has taken a new direction...and with some style; I find it more believable than the movies I just listed.

I don't believe I have to feel the same way about all the films you listed, because those films have different approaches to their violence, and different stories, and different underlying goals.

[Dukefrukem]

I don't believe I have to feel the same way about all the films you listed, because those films have different approaches to their violence, and different stories, and different underlying goals.

Then you feel those goals, stories and violence are better executed than Martyrs?

[Dead & Messed Up]

The you feel those goals, stories and violence are better executed than Martyrs?

I'd have to take it on a case-by-case basis, since I dislike most of the Saw films, Hostel Part II, and most of the overtly gory films I've ever seen. As I said, I have a low tolerance for unflinching, realistic, continual gore.

If you want to compare this film to Hostel and say it's better, then we can have that debate.

[Grouchy]

You know a Horror movie has gone wrong when you start laughing at the scares. That's what happened to me with The Unborn. In fact, I think the basic premise is a good one, but it relies so heavily on sound scares and clichés that it's totally wasted. The lead actress is a pain in the ass (well, it's a gorgeous ass, but still), her black sidekick is a laugh for all the wrong reasons, and Gary Oldman is a glorified cameo. Despite the overabundance of scary scenes, the only one that managed to hit a nerve is the one at the old people's home with the guy walking backwards, and that was burglary both from The Exorcist and Carpenter's In the Mouth of Madness.

To make a long story short, it sucks. Although the last movie Goyer wrote and directed was Blade: Trinity, so I don't know what I was expecting from this.

[megladon8]

Ugh.

David Goyer needs to disappear.

[Grouchy]

Ugh.

David Goyer needs to disappear.
But he wrote your favorite movie!

[megladon8]

But he wrote your favorite movie!


No, I don't really have a favorite movie anymore.

Even saying Blade Runner is my favorite doesn't feel right.

[Dukefrukem]

That's too bad for me that Unborn sucks. I'm planning on blind buying it at some point.

[Dead & Messed Up]

Dream Cruise

The last episode of the unfortunately canceled Masters of Horror, Norio Tsuruta's contribution plays like a reinterpretation of Polanski's Knife on the Water, as a love triangle cooks under the pressure of a seemingly innocent boat trip. Tsuruta manages a bit of style, emphasizing the greys and blues of the setting and allowing some scenes to play in one take. However, the restrictions of the MoH format prove clear, as the conversations between the fluent Japanese and American actor Daniel Gillies are often poorly timed, and sometimes in need of new translation. Had Tsuruta been allowed to hire a native actor instead of Gillies, some of the problems may have been smoothed over. As it is, though, the episode isn't offensively bad. It's just bad enough to keep the good from surfacing.

C

The Sentinel

If you thought The Omen was overwrought, take note: The Sentinel is even worse (or better). Cristina Raines stars as Alison Parker, a beautiful model who's desperate for a reasonable New York rent. She finds the ideal room, with one small caveat: it's the gateway to Hell. Proof: in one scene, she watches helplessly as Beverly D'angelo masturbates to orgasm. Chris Sarandon plays Alison's boyfriend Michael, bringing a sturdy confidence that would later work as villainy (The Princess Bride) and heroism (Child's Play). Uncomfortable scenes with deformed people playing Hell's denizens are thankfully balanced by the bizarre star power. Balsam! Gardner! Walken! Goldblum! Together at last!

B-

[Rowland]

Has anyone seen the 1931 version of Dr. Jekyll and Mr. Hyde? It's amazing.

[Dead & Messed Up]

Has anyone seen the 1931 version of Dr. Jekyll and Mr. Hyde? It's amazing.


01. Peeping Tom
02. The Bridge Over the River Kwai
03. Vampyr
04. Dr. Jekyll and Mr. Hyde (1931)
05. Rashomon
06. Drag Me to Hell
07. Watchmen
08. Let the Right One In
09. Bug
10. Transsiberian

:pritch:

[Rowland]

:pritch:It's easily the most lurid pre-code picture I've seen. I mean my god, that POV strip-tease!

[Dead & Messed Up]

It's easily the most lurid pre-code picture I've seen. I mean my god, that POV strip-tease!

No kidding, and that ability to be erotic adds to the picture tremendously. I was stunned to find a 1931 film show a very real threat of rape. And March's performance is incredible.

[Bosco B Thug]

The Sentinel

If you thought The Omen was overwrought, take note: The Sentinel is even worse (or better). Cristina Raines stars as Alison Parker, a beautiful model who's desperate for a reasonable New York rent. She finds the ideal room, with one small caveat: it's the gateway to Hell. Proof: in one scene, she watches helplessly as Beverly D'angelo masturbates to orgasm. Chris Sarandon plays Alison's boyfriend Michael, bringing a sturdy confidence that would later work as villainy (The Princess Bride) and heroism (Child's Play). Uncomfortable scenes with deformed people playing Hell's denizens are thankfully balanced by the bizarre star power. Balsam! Gardner! Walken! Goldblum! Together at last!

B- I keep on telling myself I need to see this movie. I'm expecting an experience as if I'm thick in the after-orgy guilt felt by all the stars in this movie following some ritzy Hollywood hills party. This movie would be the impregnated abstract-concept Hollywood's aborted fetus.

But like The Manitou, I keep on putting it off because I feel as if it's bizarre and inconsequential enough that it will eventually find me instead of vice versa.


Shocker - Wes Craven is the showman of the horror auteurs. He's modish and trendy and he shows it in his horror films. He's also a goofball, though, and a sucker for novelty, and that shows most explicitly in Shocker. Mitch Pileggi tries to be the next Freddy Krueger, and this film just made me further appreciate the more abstract approach to horror of Tobe Hooper, who tackled technology fears much more artfully in his Spontaneous Combustion.

[Dead & Messed Up]

Just for posterity: the top-rated horror films of the decade:

1. Pan's Labyrinth - 95%
2. Drag Me to Hell - 95%
3. Brand Upon the Brain! - 93%
4. [Rec] - 93%
5. The Devil's Backbone - 92%

[Winston*]

Just for posterity: the top-rated horror films of the decade:

1. Pan's Labyrinth - 95%
2. Drag Me to Hell - 95%
3. Brand Upon the Brain! - 93%
4. [Rec] - 93%
5. The Devil's Backbone - 92%

Let the Right One In has 98%.

[Winston*]

And if you go by metacritic


Pan's Labyrinth (2006) 98
Host, The (2007) 85
Drag Me to Hell (2009) 83
Requiem (2006) 82
Let the Right One In (2008) 82

[Dead & Messed Up]

Let the Right One In has 98%.

Odd. Maybe my parameters were off. Anyway, my point is Drag Me to Hell is good.

[Bosco B Thug]

Orca: The Killer Whale is a bad movie. Plain and simple. Bad technical filmmaking. Bad execution of ideas. Silly silly.

It's got some defenders, though, because it's a really weird movie. It's a quasi-poetic statement film and character study that tries its inept best to be literate. It's got more elements from Moby Dick and the 'Rhyme of the Ancient Mariner' than Jaws (although it is undeniably a cash-in on that film's success) for it builds to a third act that moves and concludes with the air of a Shakespearian tragedy, despite having some of the clunkiest dialogue I've ever heard.

Plus, here's Alex Jackson's review (http://www.filmfreakcentral.net/dvdreviews/orca.htm) of the film, and I'm always in for some perspective on the quality of Spielberg as a filmmaker (he targets Jaws here, if you're wondering).


Between this, Mark Robson's Earthquake, and Stephen Hopkins' A Nightmare on Elm Street: The Dream Child, I'm beginning to wonder if the studio B-movie is the last hiding place for genuine unaffected humanist sentiment. I've seen much better films, mind you, but few as weirdly unshakeable as these.

He's a nut, but I love this thought.

[The Mike]

Drag Me to Hell was amazing. I haven't been made this giddy by a movie in a long, long time.

While watching it I kept comparing Raimi to Hitchcock in my head, particularly in how so many of his films feel like a "greatest hits" compilation, reusing the right ideas at just the right time.

Can't wait to go again.

[Dead & Messed Up]

Drag Me to Hell was amazing. I haven't been made this giddy by a movie in a long, long time.

While watching it I kept comparing Raimi to Hitchcock in my head, particularly in how so many of his films feel like a "greatest hits" compilation, reusing the right ideas at just the right time.

Can't wait to go again.

When, at the end, demons fucking dragged her into Hell, I couldn't believe my eyes. I wanted to cheer. And dude - the talking goat! Talking goat!

[The Mike]

When, at the end, demons fucking dragged her into Hell, I couldn't believe my eyes. I wanted to cheer. And dude - the talking goat! Talking goat!

Plus, that final shot of Long, ripped apart inside by witnessing it (and having his entire scientific background disproven), clutching the cursed item that brought this all about and crying.....oh my god. I was in awe.

And how 'bout the wire work when the assistant was possessed? I thought I was watching Evil Dead for a second!

Seriously you all, go see it.

[Dead & Messed Up]

Plus, that final shot of Long, ripped apart inside by witnessing it (and having his entire scientific background disproven), clutching the cursed item that brought this all about and crying.....oh my god. I was in awe.

And how 'bout the wire work when the assistant was possessed? I thought I was watching Evil Dead for a second!

Dude, he was mostly just playing nice boyfriend, but that last shot of him was fantastic.

Loved the Lamia's resemblance to the monster from Curse of the Demon.

That whole seance sequence was great. As soon as they moved into that Hill House looking space, I was like, "Oh, this is about to get awesome." And it did. The guy looked exactly like a Deadite.

I can't wait to talk about this flick without spoilers. ARGH, it was so much fun!

[The Mike]

Dude, he was mostly just playing nice boyfriend, but that last shot of him was fantastic.

Loved the Lamia's resemblance to the monster from Curse of the Demon.

That whole seance sequence was great. As soon as they moved into that Hill House looking space, I was like, "Oh, this is about to get awesome." And it did. The guy looked exactly like a Deadite.

I can't wait to talk about this flick without spoilers. ARGH, it was so much fun!

Yeah, the final shot pretty much justified Long being in the movie, before that he was just kinda there (Though I did love the simple "This place doesn't have what I'm looking for, a shriveled tiny monkey head...." line.)

And I want the shot from right after the medium states "There are others here with us" as an all-time desktop background. Beautifully haunting.

[The Mike]

This reminds me of Die You Zombie Bastards!

http://i148.photobucket.com/albums/s36/Dukefrukem/Movie%20Posters/TheGraves.jpg

If that's her on the far right, Amanda Wyss has NOT aged well. :eek:

[Dukefrukem]

Yeah, the final shot pretty much justified Long being in the movie, before that he was just kinda there (Though I did love the simple "This place doesn't have what I'm looking for, a shriveled tiny monkey head...." line.)

And I want the shot from right after the medium states "There are others here with us" as an all-time desktop background. Beautifully haunting.

What the heck guys I want in too!


The scene with the Deadite on wires was my favorite part of the movie. I was doing the same thing... giggling and smiling and couldn't wait for what was next. Did you guys think that first scare at the fortune tellers place was a cheap scare? Or did you think it was cleverly placed? The movie theater I went to had the volume MAXED out for this movie so that scene completely caught me off guard.

I also loved the shadow of the demon on the walls as it was coming up the stairs, and then again under the door. What an awesome effect.

Also another question, i couldn't hear because the stupid brats behind me were talking, but what did she yell out as she was driving to the cemetery? before the handkerchief hit the windshield? Did she yell out "come get some"?

[The Mike]

What the heck guys I want in too!


The scene with the Deadite on wires was my favorite part of the movie. I was doing the same thing... giggling and smiling and couldn't wait for what was next. Did you guys think that first scare at the fortune tellers place was a cheap scare? Or did you think it was cleverly placed? The movie theater I went to had the volume MAXED out for this movie so that scene completely caught me off guard.

I also loved the shadow of the demon on the walls as it was coming up the stairs, and then again under the door. What an awesome effect.

Also another question, i couldn't hear because the stupid brats behind me were talking, but what did she yell out as she was driving to the cemetery? before the handkerchief hit the windshield? Did she yell out "come get some"?


Yeah, the whole movie was crazy loud here too. Lot of stingers, but I didn't find them cheap. I got a little annoyed by the randomness of lots of events at once followed by long stretches of nothing, but I think that added to the power of the flick.

The shadow work, especially in that scene was great. And yeah, I think she said "Come Get Some."

I kinda wished it ended in the graveyard, but then the real ending was sooooo good. :pritch:

[Dukefrukem]

Yeah, the whole movie was crazy loud here too. Lot of stingers, but I didn't find them cheap. I got a little annoyed by the randomness of lots of events at once followed by long stretches of nothing, but I think that added to the power of the flick.

The shadow work, especially in that scene was great. And yeah, I think she said "Come Get Some."

I kinda wished it ended in the graveyard, but then the real ending was sooooo good. :pritch:


The ending was fucking awesome. Damn I'm def gonna hafta see this again.

[Spun Lepton]

*shakes an angry fist at all the spoilers*

GRRRRR!!!

[Bosco B Thug]

Yeah, the final shot pretty much justified Long being in the movie, before that he was just kinda there (Though I did love the simple "This place doesn't have what I'm looking for, a shriveled tiny monkey head...." line.) Yeah, I'll give the film the strength of its ending. It's quite the sucker punch. That final shot of Long (not to mention Christine's decaying face) is horrific.

[jenniferofthejungle]

Grrr, spoiler tags.


I finally forced myself to watch The Signal, and even though I wasn't expecting the greatest of movies it was still incredibly disappointing. It was told from three different viewpoints, and with shifting timelines (lots of flashbacks) but I am not convinced that the disjointed feel was deliberate. I think it was simply a mess of a movie that the directors didn't quite know how to put together.

I'll watch it again before dismissing it, but I am pretty sure my negative reaction will be permanent.

[megladon8]

That's too bad to hear, Jen...but I'm also glad to know that it was wise not to have splurged and bought a copy full price when it came to DVD.

I remember we were so close to seeing this theatrically instead of Cloverfield. We definitely made the right choice :)

[Rowland]

I finally forced myself to watch The Signal, and even though I wasn't expecting the greatest of movies it was still incredibly disappointing. It was told from three different viewpoints, and with shifting timelines (lots of flashbacks) but I am not convinced that the disjointed feel was deliberate. I think it was simply a mess of a movie that the directors didn't quite know how to put together.

I'll watch it again before dismissing it, but I am pretty sure my negative reaction will be permanent.Yeah, I was actually surprised by how much I hated most of it. Only the first segment was any good, establishing the outbreak through economic, visceral means, but the second's insufferably ill-advised amalgam of broad satire and sadism had me gritting my teeth, while the final third is merely lazy bordering on incoherent, albeit with a nifty closing shot.

[Rowland]

So, Martyrs... I can't recall the last time I've almost had to look away from the screen. Even Inside didn't manage that feat for these desensitized eyes. Anyway, after my viewing last night I was quick to dismiss the controversial second half as pretentious wankery, and yet it has, along with its remarkably tense conjoining half, lingered in my mind on and off all day, enough so that I'm nearly compelled to subject myself to it all again, perhaps against my better judgement. Even if Laugier's thematic concerns and the methods through which he explores them often feel as cynical and contrived as they do genuinely provocative, this utterly bonkers genre mash-up isn't easy to dismiss.

[MacGuffin]

So, Martyrs... I can't recall the last time I've almost had to look away from the screen. Even Inside didn't manage that feat for these desensitized eyes. Anyway, after my viewing last night I was quick to dismiss the controversial second half as pretentious wankery, and yet it has, along with its remarkably tense conjoining half, lingered in my mind on and off all day, enough so that I'm nearly compelled to subject myself to it all again, perhaps against my better judgement. Even if Laugier's thematic concerns and the methods through which he explores them often feel as cynical and contrived as they do genuinely provocative, this utterly bonkers genre mash-up isn't easy to dismiss.

No, it's not. Rep for you. What an ending, huh? I wasn't as affected as it as a whole like some seem to be, but I won't deny it's power, which seems to be increasingly rare for horror movies lately (not that it makes them any worse, but so many of these French horror movies seem to specialize in generating tension rather than genuine emotion).

[Dukefrukem]

So, Martyrs... I can't recall the last time I've almost had to look away from the screen. Even Inside didn't manage that feat for these desensitized eyes. Anyway, after my viewing last night I was quick to dismiss the controversial second half as pretentious wankery, and yet it has, along with its remarkably tense conjoining half, lingered in my mind on and off all day, enough so that I'm nearly compelled to subject myself to it all again, perhaps against my better judgement. Even if Laugier's thematic concerns and the methods through which he explores them often feel as cynical and contrived as they do genuinely provocative, this utterly bonkers genre mash-up isn't easy to dismiss.

Yes!


No, it's not. Rep for you. What an ending, huh? I wasn't as affected as it as a whole like some seem to be, but I won't deny it's power, which seems to be increasingly rare for horror movies lately (not that it makes them any worse, but so many of these French horror movies seem to specialize in generating tension rather than genuine emotion).

I think it's because we have no idea where they're going with it. THen when we finally find out, the idea to put someone through it is almost as shocking as the events we already witnessed. It's truly in a league of it's own.

[Rowland]

I just happened across an mp3 of Dave Matthews' theme for Joshua, titled The Fly. It's a haunting little tune, makes me want to revisit the movie, which I found rather disturbing both as a surface horror picture, infused as it is with such disconcertingly discordant formal techniques, and for its dramatic implications, teeming with multifaceted subtexts that paint an incredibly sad portrait of a failed nuclear family. "You know, you don't have to love me." In all, a nearly brilliant subversion of the previous year's schlocky Omen remake.