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

[D_Davis]

Sometimes, when the consensus says one thing, it's because it is.

It has long been commented on that the film contains some homoerotic undertones.

That's all.

I thought so too the first time I watched it, and I just found out that dude was gay today.

[megladon8]

Sometimes, when the consensus says one thing, it's because it is.

So I'm not allowed to see it another way?

Weren't you one of the people who scolded me for insisting on one interpretation of American Psycho some time back?

[D_Davis]

So I'm not allowed to not see it another way?

Weren't you one of the people who scolded me for insisting on one interpretation of American Psycho some time back?

Not me.

Of course you can see it another way, but to argue that its not there when so many other people clearly see it, or to say that you don't see it at all strikes me as being a little obtuse.

[megladon8]

Not me.

Of course you can see it another way, but to argue that its not there when so many other people clearly see it, or to say that you don't see it at all strikes me as being a little obtuse.

I can see it when it's pointed out, but it's not something that, while watching the movie, I would go "hey! Jesse's gay!"

It's a bit of a stretch is all I'm saying.

[D_Davis]

I can see it when it's pointed out, but it's not something that, while watching the movie, I would go "hey! Jesse's gay!"

I don't think that is what you're supposed to say. What the commentators are saying is that the film has homosexual undertones.

It's a bit of a stretch is all I'm saying.

I think it would be a stretch if there were only a few people commenting on it. However, even when I first saw it I was aware of its homoerotic nature, and I know that this has often been cited as the most prevalent way of examining the film. That is to say, I don't think the homosexual reading of this film is some rogue analysis that only a scant few see.

[Bosco B Thug]

I have a strange disinterest in the 'Elm Street' sequels. I'm trying to remedy it.

Bram Stoker's Dracula - Drag Me To Hell would have been an achievement much the same way Francis Ford Coppola's Bram Stoker's Dracula is, if Raimi had made it, you know, better. As Raimi wished to throwback to certain old-school schlock, BSD also takes a classical-type story burdened with lots of codings and de-codes them using overt artificial style, Coppola throwbacking majorly to silent film aesthetic and storytelling beats.

The two films even have similar slam-bang openings and shock, tactile title cards (which never fail BTW).

BSD is an uneven film that gets increasingly tiresome once Helsing and the men start actively seeking out Dracula, leading to a very weak climactic act, but there's too many great moments here to completely dismiss, especially in the first half of the film. The number of gleefully bizarre moments only Coppola's capable is unbeatable, such as everything about Keanu's first visit to the castle, Keanu's blissed out deliberations on how to escape Dracula's wives, and the shot of Giant Bat-Dracula (awesome make-up there) moping out of sight when Mira catches him in the garden with Lucy (complete with an iris out).

I usually can appreciate even the most awkward acting jobs (see The Happening) but Winona Ryder and Keanu Reeves are really pushing their luck.

There's definitely stuff here to look deeply at. I loved the characterization of Lucy, how she seems to be chipper and optimistic even as all her vitality is slowly being sucked from her. Perhaps it was Coppola's way to undermine our expectations that the vapid sex kitten is always easily susceptible to the draining of inner character. The morphing shadow work is spectacular, and Mira's love of the "evil" Dracula is interesting in light of the film's look at Victorian age mores, even though the ending leaves me with a bad taste of sappiness, over-simplicity, and how flat that previous fight scene was.

[BuffaloWilder]

I have a strange disinterest in the 'Elm Street' sequels. I'm trying to remedy it.

Bram Stoker's Dracula - Drag Me To Hell would have been an achievement much the same way Francis Ford Coppola's Bram Stoker's Dracula is, if Raimi had made it, you know, better. As Raimi wished to throwback to certain old-school schlock, BSD also takes a classical-type story burdened with lots of codings and de-codes them using overt artificial style, Coppola throwbacking majorly to silent film aesthetic and storytelling beats.

The two films even have similar slam-bang openings and shock, tactile title cards (which never fail BTW).

BSD is an uneven film that gets increasingly tiresome once Helsing and the men start actively seeking out Dracula, leading to a very weak climactic act, but there's too many great moments here to completely dismiss, especially in the first half of the film. The number of gleefully bizarre moments only Coppola's capable is unbeatable, such as everything about Keanu's first visit to the castle, Keanu's blissed out deliberations on how to escape Dracula's wives, and the shot of Giant Bat-Dracula (awesome make-up there) moping out of sight when Mira catches him in the garden with Lucy (complete with an iris out).

I usually can appreciate even the most awkward acting jobs (see The Happening) but Winona Ryder and Keanu Reeves are really pushing their luck.

There's definitely stuff here to look deeply at. I loved the characterization of Lucy, how she seems to be chipper and optimistic even as all her vitality is slowly being sucked from her. Perhaps it was Coppola's way to undermine our expectations that the vapid sex kitten is always easily susceptible to the draining of inner character. The morphing shadow work is spectacular, and Mira's love of the "evil" Dracula is interesting in light of the film's look at Victorian age mores, even though the ending leaves me with a bad taste of sappiness, over-simplicity, and how flat that previous fight scene was.

The ending aside, Coppola's Dracula really is one of the better adaptations of the source material, and is one of my favorite films of the early nineties - if only because of its visual expressiveness, but Tom Waits and Anthony Hopkins in their respective roles doesn't hurt, either. And, this is saying nothing of Gary Oldman, particularly during the first third of the film.

Winona - well, there's nothing I can say about here that hasn't already been said. But, Jonathan was always a very wooden, uptight character. Personally, I think Coppola knew what he was getting, and cast him accordingly - but I may be grasping at straws, here.

[Bosco B Thug]

Winona - well, there's nothing I can say about here that hasn't already been said. But, Jonathan was always a very wooden, uptight character. Personally, I think Coppola knew what he was getting, and cast him accordingly - but I may be grasping at straws, here.

I don't know, I might have some evidence for you there. He's totally wooden until Coppola wants him to show some extreme emotion, and then he pulls it off. I loved his reaction when he sees Dracula bring in a baby for his wives to feed on.

[Grouchy]

Huh, Martyrs was a remarkable movie. It's seriously mean-spirited and gruesome like few films manage to be, but intelligent and it more or less justifies its excesses by finding a really unexpected and exciting motive behind them. In comparing this to stuff like Hostel or the Saw saga I think you could build an excellent case for this proving to be a lot better directed, since it probably features less explicit violence but portrayed in a lot more effective ways. Both actresses were pretty good and I thought the kitchen scene was one of the best shootings in recent cinema. I look forward to this director's next works.

[Dukefrukem]

Huh, Martyrs was a remarkable movie. It's seriously mean-spirited and gruesome like few films manage to be, but intelligent and it more or less justifies its excesses by finding a really unexpected and exciting motive behind them. In comparing this to stuff like Hostel or the Saw saga I think you could build an excellent case for this proving to be a lot better directed, since it probably features less explicit violence but portrayed in a lot more effective ways. Both actresses were pretty good and I thought the kitchen scene was one of the best shootings in recent cinema. I look forward to this director's next works.

Yes! That's three supporters. Now we can all gang up on D&MU. The acting is absolutely fantastic.

[Dead & Messed Up]

Now we can all gang up on D&MU.

You should torture me relentlessly until I finally witness the value of Martyrs.

[Dukefrukem]

You should torture me relentlessly until I finally witness the value of Martyrs.

I see what you did there.

[Dead & Messed Up]

I see what you did there.

ritch: