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

[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.

[Qrazy]

That's actually a very common way of looking at the film:

http://www.joblo.com/arrow/reviews.php?id=445
http://www.fatally-yours.com/horror-...eddys-revenge/
http://www.freddyinspace.com/2008/08...-2-so-gay.html
http://en.wikipedia.org/wiki/A_Night...n_Elm_Street_2



It also played at the Seattle Gay and Lesbian film fest:

http://seattlelgff.bside.com/2008/fi...eattlelgff2008

Speaking of gay things did you ever see the anime Hikaru No Go? It's about a Go player who has a long dead expert Go player (Sai) spirit in his head. At a certain point in the story the spirit leaves... the boy then exclaims... Sai I want you back inside of me! The spirit and the boy look like this...



... NAMBLA subtext methinks?

[D_Davis]

I always thought Hikaru No Go was gay.

[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.

[BuffaloWilder]

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.

That is a great moment, I agree.

[lovejuice]

Speaking of gay things did you ever see the anime Hikaru No Go?

hikaru no go > death note,
which is pretty gay too.

but i think manga with the most obvious gay subtext is wild half, about a boy and his were-dog.

[The Mike]

Just started in on ANOES 2. That guy's gay.

Also, I'm craving some Fu Man Chews. Best fake cereal ever.

[The Mike]

Can we all agree that Scanners is possibly the worst "acclaimed", "original" horror film ever made? Good god, this movie is killing my soul.

[Spun Lepton]

Can we all agree that Scanners is possibly the worst "acclaimed", "original" horror film ever made? Good god, this movie is killing my soul.

Michael Ironside makes that movie. The lead guy is a fucking plank of wood, though, and he drags the rest of the movie down with him.

[Dead & Messed Up]

Can we all agree that Scanners is possibly the worst "acclaimed", "original" horror film ever made? Good god, this movie is killing my soul.

It's pretty awful.

[megladon8]

Dream Warriors is great.

What I don't like about it, though, is that it marks the beginning of Freddy being a wise-ass jokester, and all the deaths being ironic, wink-filled extravaganzas.

It would have been better, in my opinion, if this was a one-film departure in tone, and in part 4 it returned to being scary and disturbing. From here on out (until New Nightmare) they're almost dark fantasy films.


EDIT: And Craig Wasson looks like Bill Maher.

[The Mike]

EDIT: And Craig Wasson looks like Bill Maher.

Yeah, I've gotten them mixed up ever since the first time I snuck a peek at my dad's copy of Body Double. Frickin' dopplegangers.

[Rowland]

Bram Stoker's Dracula is the shit. As sheer cinema-drunk gonzo extravaganzas go, it's upper tier.

[MacGuffin]

Bram Stoker's Dracula is the shit. As sheer cinema-drunk gonzo extravaganzas go, it's upper tier.

I gotta see this flick. I'm lacking in F. Coppola movies aside from the "essential" movies.

[Rowland]

I gotta see this flick. I'm lacking in F. Coppola movies aside from the "essential" movies.

I love it when he goes crazy with the baroque cinematic flourishes. Even when the material barely skirts above mediocrity, his flamboyant vision, coupled with daunting technical craft, give the pictures a palpable vitality (see also: Rumble Fish).

[MacGuffin]

(see also: Rumble Fish).

This is good? It looks a little trite, but it's on Netflix Instant Streaming, so I'll probably give it a go if I'm convinced.

[Rowland]

This is good? It looks a little trite, but it's on Netflix Instant Streaming, so I'll probably give it a go if I'm convinced.

I'm not sure about the critical community at large, but I know the film has a sizable following in these parts.

[Cult]

Bram Stoker's Dracula is the shit. As sheer cinema-drunk gonzo extravaganzas go, it's upper tier.

I was very unimpressed, but it has been quite a few years.

I watched Jacob's Ladder the other night. I thought it was pretty effectively creepy, and had some excellent scenes. The hospital one comes to mind, natch. The ending cheapened things little, but I think it earns it a bit more than some of its more modern contemporaries.

[lovejuice]

I love it when he goes crazy with the baroque cinematic flourishes. Even when the material barely skirts above mediocrity, his flamboyant vision, coupled with daunting technical craft, give the pictures a palpable vitality (see also: Rumble Fish).

and reeves's non-acting fit well with all the craziness around him.

[BuffaloWilder]

"Doctuh, you have to undahstand. I was...IMPOTENT with FEUH."

I love that line. It is my favorite line of the entire film.

See also: Speed.

[soitgoes...]

This is good? It looks a little trite, but it's on Netflix Instant Streaming, so I'll probably give it a go if I'm convinced.

The last great Coppola film.*


*Has only seen 2 Coppola films since Rumble Fish's release, one of which was Jack.**



**Not really pertaining to the whole horror discussion thing. Sorry.

[megladon8]

The Dream Master is still pretty good. Some wonderfully cheesy 80s montages.