Count Dookkake
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31 Days of Horror 7 |OT| The October Movie Marathon
- Thread starter ThirstyFly
- Start date
Mortimer Brewster
Member
mariachi507
Member
Do it. You get to see the big three all in the same month, like you said. Also, despite the quality of the films, the Halloween series does carry that Halloween (holiday) feel, for the most part. I love the Phantasm series though outside of 5, but there's always next year. The last films in each of those series are awful actually.
Funny enough, the first review was written after the others, but hey, the brain works in mysterious ways.
October 14, film 3
There are psychological thrillers and there are psychological thrillers, with Perfect Blue being very much the latter. It's tempting to reduce the film down to describing it as what would happen if a J-pop star found herself in one of the plots of Roman Polanski's "apartment trilogy" films, but that won't even do enough justice to the razor-sharp tension and brilliant use of animation as a medium to help tell the story in a way that would be difficult to pull off in as convincing a manner as we see here. I've always loved the art style of Satoshi Kon's characters, realistic without coming off as being too realistic as to be rendered grotesque across the board, and he's able to use that advantage to truly terrifying effect as Mima's perception of reality gets more and more spurious and manifesting itself in increasingly unnerving ways. Helping the animated approach is some of the finest editing I've seen in any film, as Kon is able to exploit the power of match cuts to their fullest potential, creating a truly palpable headspace for Mima and the viewer to get lost in.
The story is also a major highlight, as the making of the television show that Mima is making her acting debut with begins to mimic her own trouble life (or the other way around, if that's your inclination) adding yet another layer to the mystery as to the mysterious deaths that seem to follow her after any major transgression is visited upon her. Here, there's also a rather strong and critical tackling of the entertainment industry and their practices, culminating in a simulated rape scene that begs a lot of questions about how such scenes can be depicted in fiction, and if they should be at all when there are deep consequences that people can, and surely have and will, deal with even in a play-acted setting where no one is physically harmed. It's a graphic film, no question about that, but it's one that takes a long hard look at sex and violence and doesn't flinch at them, even if the viewer almost certainly will.
But I feel like special attention does need to be paid to the fact that Kon does not want Mima to suffer, nor does he take any pleasure in the long and arduous road she is made to endure before her situation improves. Indeed, her plight does eventually transform into one where she herself has snap out of her delusions to take control of the situation when it's most needed, making her a fighter that breaks through her old life to embrace a new one of her own making, and no one else's. Truthfully, it's pretty bold to see in a psychological horror film to see someone's situation improve for a change, even in as blood-soaked a manner as we see here. Even the final decision she makes, which I won't spoil as there's not much that should be spoiled about this film, made me like her more as a human being, in spite of the fact that she would have been more than justified in letting things be and taking their natural. It's a strangely uplifting film as a result, though a crowd-pleaser, it most certainly is not.
It's a tough film to sit through without squirming, but one that does offer a lot of satisfaction as the story unfolds and Mima makes her journey towards self-actualization. I really can't find fault with it on any level that would present any kind of issue, so while Kon enjoyed much nicer budgets on subsequent features for more elaborate transitions to play into his obsession with the interplay of dreams and reality, what he had to work with here was more than enough to pull off a stunning achievement for the film's genre and its medium. It never ceases to sadden me that Kon's life was cut so short, as he's clearly a master of his craft and few could hope to capture his approach even half as well, but seeing his first film after putting it off for as long as I have makes me feel like an even bigger fool than before. As the saying goes, though, better late than never, and I'm sure to keep treasuring this one.
October 15
My first exposure of any kind to the works of Kiyoshi Kurosawa, it seems like a natural place to start more towards the beginning with him, which in this case would be The Guard from Underground. Right away, one can tell that Kurosawa goes for a more deliberate and steady style compared to some of his contemporaries, with long, wide takes being employed quite frequently and relying a lot on the atmosphere of the building that the movie takes place in, which comes across as being just an inspection or two away from being condemned. This isn't to say that there aren't any nutty elements to it, since this is the kind of movie that can boast an impromptu scene in which a manager gets the bright idea in his head that his newest hire needs to be present to see him inject insulin, but this is by and large a rather restrained film. While slow enough to make one wonder when it will pick up the pace, events start to pick up at the halfway point and snowball more and more until the final act unleashes all kinds of hell on our cast of innocents as the killer abandons all sense of control and goes on a rampage, short on graphic violence but very, very long on gruesome suggestion (a scene involving a locker will be particularly hard to shake). The killer works well thanks to some rather remarkable casting in the form of Yutaka Matsushige, a giant of a man that the camera can't help but be in awe of, needing little more than a guard's uniform and an earring to leave a very strong impression. He doesn't talk much aside from the final showdown that gives a hint as to the why without coming across like a definitive answer, but he hardly needs to with how genuinely intimidating he comes across. The rest of the cast is fine, but he's the most valuable asset to the film in that department. All in all, it's a solid film that I can tell comes from someone who knows what they want to do with their craft and is likely a few movies away from getting there, but I'm left with a strong impression all the same and can't wait to dive in further, not only with the next film I'm watching this evening, but with the rest of Kurosawa's output that's been made available.
Despite there being not a single fleck of snow, you'd be hard-pressed to find a film more chilling than Cure. Initially appearing to be your usual murder investigation, we find ourselves actually joining an investigation in progress, as the first murder we witness is in fact the third, where the MO has remained consistent between them: someone with no history of violence violently subdues a victim and then proceeds to carve an "X" into their throat, make themselves easy to catch by hanging around nearby, and when questioned, can't think of any reason why they would do such a thing so spontaneously. It's clear that there's something more to these crimes than mere coincidence, but how could they possibly be linked otherwise?
Playing around with crime procedural elements as well as a heavy dose of dread-soaked atmosphere that would not feel out of place in a film with actual ghosts, the answer is slowly drawn out on two fronts: the investigation itself that's headed up by Detective Takabe (Koji Yakusho, wearing the strain of the investigation on his face for all to see), as well as the appearance of a mysterious stranger, claiming to have amnesia and a very unusual way of carrying on conversations (Masato Hagiwara, playful to the utmost disturbing degree). It will clearly not take long to figure out how key the latter figure plays into the murders, but anyone thinking it's that simple really won't know what they're in store for, though it's safe to say that few will. There's a lot of ambition on display from the way the story progresses, as the scope simultaneously tightens up and yet expands outward as grim realizations set in that we're only at the beginning of what's to come, despite being several graphic murders into it. The suspense becomes almost too unbearable at times, aided by not only the careful craft of Kurosawa's screenplay, but also how well he visually realizes it with having just enough clinical treatment of the imagery to rattle you when it makes a jarring shift away from what you come to expect. The long takes that let you take in all the scenery feed so well into the use of editing, particularly in the second half, ensuring that all bets are off when it comes to trying to get ahead of the film.
It's always such a great thrill to wander into a mystery that unfolds as unexpectedly as this one does, and while it's not above keeping some aspects close to its chest even when it ends, it does give you just enough closure to be able to come to your own conclusions about the lingering questions. The truly unnerving imagery here and an excellent use of industrial soundscapes (a laundry dryer has seldom sounded so imposing) conspire with the strong story to ensure the film lands with about as big an impact as you could want it to have. In a decade not wanting for serial killer films, the uniqueness of this film really stands out as the embracing of the purer horror elements leaves an indelible impression that few of its ilk could hope to match, and it accomplishes it without having to fall into any major cliches or stereotypes that are known to bog down similar films. This is just flat-out excellent filmmaking, and long before the truly jangling ending finishes the job, you'll find your blood chilling as you move along, wondering if you really want to go all the way down this road with these characters. It's hard to believe I went through a weekend during my yearly marathon where I saw at least one flat-out terrific film each day, but as Cure has done for me, it's one hell of a way to complete a hat trick.
Film for October 16: Something is wrong at a convent on an isolated island, and a young woman hopes to solve its mysteries while hoping it can help her with the ones of her own. But as she digs deeper, one question rises above: what lies beneath Dark Waters?
October 14, film 3
There are psychological thrillers and there are psychological thrillers, with Perfect Blue being very much the latter. It's tempting to reduce the film down to describing it as what would happen if a J-pop star found herself in one of the plots of Roman Polanski's "apartment trilogy" films, but that won't even do enough justice to the razor-sharp tension and brilliant use of animation as a medium to help tell the story in a way that would be difficult to pull off in as convincing a manner as we see here. I've always loved the art style of Satoshi Kon's characters, realistic without coming off as being too realistic as to be rendered grotesque across the board, and he's able to use that advantage to truly terrifying effect as Mima's perception of reality gets more and more spurious and manifesting itself in increasingly unnerving ways. Helping the animated approach is some of the finest editing I've seen in any film, as Kon is able to exploit the power of match cuts to their fullest potential, creating a truly palpable headspace for Mima and the viewer to get lost in.
The story is also a major highlight, as the making of the television show that Mima is making her acting debut with begins to mimic her own trouble life (or the other way around, if that's your inclination) adding yet another layer to the mystery as to the mysterious deaths that seem to follow her after any major transgression is visited upon her. Here, there's also a rather strong and critical tackling of the entertainment industry and their practices, culminating in a simulated rape scene that begs a lot of questions about how such scenes can be depicted in fiction, and if they should be at all when there are deep consequences that people can, and surely have and will, deal with even in a play-acted setting where no one is physically harmed. It's a graphic film, no question about that, but it's one that takes a long hard look at sex and violence and doesn't flinch at them, even if the viewer almost certainly will.
But I feel like special attention does need to be paid to the fact that Kon does not want Mima to suffer, nor does he take any pleasure in the long and arduous road she is made to endure before her situation improves. Indeed, her plight does eventually transform into one where she herself has snap out of her delusions to take control of the situation when it's most needed, making her a fighter that breaks through her old life to embrace a new one of her own making, and no one else's. Truthfully, it's pretty bold to see in a psychological horror film to see someone's situation improve for a change, even in as blood-soaked a manner as we see here. Even the final decision she makes, which I won't spoil as there's not much that should be spoiled about this film, made me like her more as a human being, in spite of the fact that she would have been more than justified in letting things be and taking their natural. It's a strangely uplifting film as a result, though a crowd-pleaser, it most certainly is not.
It's a tough film to sit through without squirming, but one that does offer a lot of satisfaction as the story unfolds and Mima makes her journey towards self-actualization. I really can't find fault with it on any level that would present any kind of issue, so while Kon enjoyed much nicer budgets on subsequent features for more elaborate transitions to play into his obsession with the interplay of dreams and reality, what he had to work with here was more than enough to pull off a stunning achievement for the film's genre and its medium. It never ceases to sadden me that Kon's life was cut so short, as he's clearly a master of his craft and few could hope to capture his approach even half as well, but seeing his first film after putting it off for as long as I have makes me feel like an even bigger fool than before. As the saying goes, though, better late than never, and I'm sure to keep treasuring this one.
October 15
My first exposure of any kind to the works of Kiyoshi Kurosawa, it seems like a natural place to start more towards the beginning with him, which in this case would be The Guard from Underground. Right away, one can tell that Kurosawa goes for a more deliberate and steady style compared to some of his contemporaries, with long, wide takes being employed quite frequently and relying a lot on the atmosphere of the building that the movie takes place in, which comes across as being just an inspection or two away from being condemned. This isn't to say that there aren't any nutty elements to it, since this is the kind of movie that can boast an impromptu scene in which a manager gets the bright idea in his head that his newest hire needs to be present to see him inject insulin, but this is by and large a rather restrained film. While slow enough to make one wonder when it will pick up the pace, events start to pick up at the halfway point and snowball more and more until the final act unleashes all kinds of hell on our cast of innocents as the killer abandons all sense of control and goes on a rampage, short on graphic violence but very, very long on gruesome suggestion (a scene involving a locker will be particularly hard to shake). The killer works well thanks to some rather remarkable casting in the form of Yutaka Matsushige, a giant of a man that the camera can't help but be in awe of, needing little more than a guard's uniform and an earring to leave a very strong impression. He doesn't talk much aside from the final showdown that gives a hint as to the why without coming across like a definitive answer, but he hardly needs to with how genuinely intimidating he comes across. The rest of the cast is fine, but he's the most valuable asset to the film in that department. All in all, it's a solid film that I can tell comes from someone who knows what they want to do with their craft and is likely a few movies away from getting there, but I'm left with a strong impression all the same and can't wait to dive in further, not only with the next film I'm watching this evening, but with the rest of Kurosawa's output that's been made available.
Despite there being not a single fleck of snow, you'd be hard-pressed to find a film more chilling than Cure. Initially appearing to be your usual murder investigation, we find ourselves actually joining an investigation in progress, as the first murder we witness is in fact the third, where the MO has remained consistent between them: someone with no history of violence violently subdues a victim and then proceeds to carve an "X" into their throat, make themselves easy to catch by hanging around nearby, and when questioned, can't think of any reason why they would do such a thing so spontaneously. It's clear that there's something more to these crimes than mere coincidence, but how could they possibly be linked otherwise?
Playing around with crime procedural elements as well as a heavy dose of dread-soaked atmosphere that would not feel out of place in a film with actual ghosts, the answer is slowly drawn out on two fronts: the investigation itself that's headed up by Detective Takabe (Koji Yakusho, wearing the strain of the investigation on his face for all to see), as well as the appearance of a mysterious stranger, claiming to have amnesia and a very unusual way of carrying on conversations (Masato Hagiwara, playful to the utmost disturbing degree). It will clearly not take long to figure out how key the latter figure plays into the murders, but anyone thinking it's that simple really won't know what they're in store for, though it's safe to say that few will. There's a lot of ambition on display from the way the story progresses, as the scope simultaneously tightens up and yet expands outward as grim realizations set in that we're only at the beginning of what's to come, despite being several graphic murders into it. The suspense becomes almost too unbearable at times, aided by not only the careful craft of Kurosawa's screenplay, but also how well he visually realizes it with having just enough clinical treatment of the imagery to rattle you when it makes a jarring shift away from what you come to expect. The long takes that let you take in all the scenery feed so well into the use of editing, particularly in the second half, ensuring that all bets are off when it comes to trying to get ahead of the film.
It's always such a great thrill to wander into a mystery that unfolds as unexpectedly as this one does, and while it's not above keeping some aspects close to its chest even when it ends, it does give you just enough closure to be able to come to your own conclusions about the lingering questions. The truly unnerving imagery here and an excellent use of industrial soundscapes (a laundry dryer has seldom sounded so imposing) conspire with the strong story to ensure the film lands with about as big an impact as you could want it to have. In a decade not wanting for serial killer films, the uniqueness of this film really stands out as the embracing of the purer horror elements leaves an indelible impression that few of its ilk could hope to match, and it accomplishes it without having to fall into any major cliches or stereotypes that are known to bog down similar films. This is just flat-out excellent filmmaking, and long before the truly jangling ending finishes the job, you'll find your blood chilling as you move along, wondering if you really want to go all the way down this road with these characters. It's hard to believe I went through a weekend during my yearly marathon where I saw at least one flat-out terrific film each day, but as Cure has done for me, it's one hell of a way to complete a hat trick.
Film for October 16: Something is wrong at a convent on an isolated island, and a young woman hopes to solve its mysteries while hoping it can help her with the ones of her own. But as she digs deeper, one question rises above: what lies beneath Dark Waters?
#14 Carrie
High school drama with telekinesis. We enjoyed it, though to call it horror these days... It's certainly tense towards the end, and violent, but not really scary. Certainly some of it is dated as well, but that doesn't really hinder the film at all. Girlfriend burst out laughing when Travolta came on screen, but that's what 40 years of his public antics will do.
#15 Army of Darkness
This is where the divide between my girlfriend and I came into play. I love this film, probably unhealthily so, whereas she had never seen it before, and while she liked it, it wasn't nearly as much as this spinach chin (a line she outright loved, mind).
Watching the three films in [relatively] close succession does show Ash evolve, but he goes a bit farther into misogynist territory here than I i)recalled in the past being the case and ii)would have expected. Even by the end of 2, he was at best still a hopeless romantic everyman with shades of badass coming out between being a goofball. In this he has a lot more swagger than being flung through a portal would necessitate. I still don't know how to take the Chinese jet pilot line to this day. Ash becomes the badass, kinda gets the girl, and in his own way, he was king for 20+ years until he tried to go to Jacksonville.
Some cringe-worthy change in social norms since the early 90s aside, we still both enjoyed it, and that closes out the second series on the list.
High school drama with telekinesis. We enjoyed it, though to call it horror these days... It's certainly tense towards the end, and violent, but not really scary. Certainly some of it is dated as well, but that doesn't really hinder the film at all. Girlfriend burst out laughing when Travolta came on screen, but that's what 40 years of his public antics will do.
#15 Army of Darkness
This is where the divide between my girlfriend and I came into play. I love this film, probably unhealthily so, whereas she had never seen it before, and while she liked it, it wasn't nearly as much as this spinach chin (a line she outright loved, mind).
Watching the three films in [relatively] close succession does show Ash evolve, but he goes a bit farther into misogynist territory here than I i)recalled in the past being the case and ii)would have expected. Even by the end of 2, he was at best still a hopeless romantic everyman with shades of badass coming out between being a goofball. In this he has a lot more swagger than being flung through a portal would necessitate. I still don't know how to take the Chinese jet pilot line to this day. Ash becomes the badass, kinda gets the girl, and in his own way, he was king for 20+ years until he tried to go to Jacksonville.
Some cringe-worthy change in social norms since the early 90s aside, we still both enjoyed it, and that closes out the second series on the list.
5. Cult of Chucky
Eh, it was alright. None of the Chucky films hold up to the first 2. The whole concept is pretty played out at this point, though I do give them props for trying to change things up with
. I guess after the first 2 or 3 movies, the draw of the films went from being about a scary killer doll to a Joker-type character who just happens to be a doll.
The main thing I loved about the first 2 movies were the climaxes with all the crazy effects. Chucky's extended attack in the apartment even after being
was so great. And the climax in the 2nd film ups the ante even more with the totally awesome setting of the
. The new film had nothing near as entertaining.
The overall setting on Cult was neat, and I liked the plot twist with
. But this series feels like cheap made-for-tv movies now. It's like the Leprechaun movies. If they continue the series, it will be interesting to see where they go since the whole
thing is a pretty big game changer for the series. I was surprised there was no scene where
in an argument. That would totally be in character for him. Maybe that's how they could open the next movie if they decide to abandon the new direction.
Also what ever happened to Chucky's kids from Seed of Chucky? Were they ever mentioned again?
Overall I give it 2/5. Alright if you like the series and want to see where the story goes.
Eh, it was alright. None of the Chucky films hold up to the first 2. The whole concept is pretty played out at this point, though I do give them props for trying to change things up with
Chucky being able to split his soul into multiple dolls now
The main thing I loved about the first 2 movies were the climaxes with all the crazy effects. Chucky's extended attack in the apartment even after being
tossed in the fireplace
doll factory
The overall setting on Cult was neat, and I liked the plot twist with
the doctor
multiple bodies
the multiple Chucky's turned on each other
Also what ever happened to Chucky's kids from Seed of Chucky? Were they ever mentioned again?
Overall I give it 2/5. Alright if you like the series and want to see where the story goes.
Violence Jack
Member
#20 - The Stendhal Syndrome (FTV)
One of the few Argento movies I hadn't seen, this was a doozy of a giallo. Asia Argento plays a cop who on the trail of a serial killer/rapist and is diagnosed with Stendhal Syndrome after she collapses at an art museum. The killer finds out who she is and brutally rapes her; yet, she's left alive where the other victims are found dead of a gunshot to the temple. This act understandably messes with her head, and wonders if she can maintain her sanity long enough to catch the killer.
I initially stayed away from this film during my discovering Argento days because I'd heard it was lower on the Argento Giallo list. But I disagree. While it wasn't his best (Tenebre still holds that title for me), it certainly is one of his better efforts. The great Ennio Morricone provided the main theme which is a simple tune, yet creepy and oddly fitting. The acting is great, and the dubbing really isn't that bad. While the death and rape scenes were brutal and bloody, there was some constraint in what's actually shown. I feel a less mature director would've focused heavily on the rape and torture, but it's really not prolonged with graphic detail. Either way, it can be a hard watch if you're sensitive to that type of content. There was one plot point which didn't make a lot of sense, but it's a minor negative. The ending was well done, and left me guessing until the very end. Good film.
7.5 insane tormentors of Asia Argento out of 10.
8. The Babysitter (2017)
Hey, nice to throw in a horror comedy. Oh man, this babysitter is just so freaking awesome, what could go wrong and- oh...... I checked this new release out on the whim, but man it was pretty damn fun with a breezy runtime. This gets really silly (with a couple insane deaths thrown in), but with some really good laughs, and it still managed to put out some nice suspenseful moments along with giving themes of growing up a bit to shine. The kid did a good job, and the antagonists were fun with maybe a dud or two there.
Oh and gotta love
Hey, nice to throw in a horror comedy. Oh man, this babysitter is just so freaking awesome, what could go wrong and- oh...... I checked this new release out on the whim, but man it was pretty damn fun with a breezy runtime. This gets really silly (with a couple insane deaths thrown in), but with some really good laughs, and it still managed to put out some nice suspenseful moments along with giving themes of growing up a bit to shine. The kid did a good job, and the antagonists were fun with maybe a dud or two there.
Oh and gotta love
I AM STILL ALIVE MOTHERFUCK- *BOOM*
pitcairn55
Member
October 16
Film #19
Rabid
Having enjoyed Shivers so much last night I decided to finally give Cronenberg's follow-up, Rabid, a try. I have been consciously avoiding this film for as long as I've known about it. I first saw the poster when I was fairly young child and for some reason I found the image of the girl in the freezer, her dead eyes staring, her leg bent back underneath her, her mouth hanging open, to be just about the most disturbing thing imaginable. I still find it difficult to look at now, several decades later, but I guess that's just my inner child being a wuss.
Anyway, tonight I decided to man up and get it done. And naturally enough the image on the poster is taken from a blink-and-you'll-miss-it moment in the movie, so I've basically been fretting for nothing all these years.
After the sex zombie parasites of yesterday, this evening Mr Cronenberg offers up a sexy armpit vampire, which is another result of genetic modification not going quite according to plan. And like Shivers, here we have another plague being spread, but this is even more unpleasant than the last, with sufferers becoming violently, disgustingly rabid.
I thoroughly enjoyed every weird moment of this movie. Marilyn Chambers is fantastic as the victim of a motorcycle accident who now finds herself having to worry about more than just stubble growing under her arm, and the supporting cast are for the most part excellent. The effects are also great, and suitably hideous.
Verdict: Strange, nicely unpleasant, and recommended.
Films I've watched so far
Film #19
Rabid
Having enjoyed Shivers so much last night I decided to finally give Cronenberg's follow-up, Rabid, a try. I have been consciously avoiding this film for as long as I've known about it. I first saw the poster when I was fairly young child and for some reason I found the image of the girl in the freezer, her dead eyes staring, her leg bent back underneath her, her mouth hanging open, to be just about the most disturbing thing imaginable. I still find it difficult to look at now, several decades later, but I guess that's just my inner child being a wuss.
Anyway, tonight I decided to man up and get it done. And naturally enough the image on the poster is taken from a blink-and-you'll-miss-it moment in the movie, so I've basically been fretting for nothing all these years.
After the sex zombie parasites of yesterday, this evening Mr Cronenberg offers up a sexy armpit vampire, which is another result of genetic modification not going quite according to plan. And like Shivers, here we have another plague being spread, but this is even more unpleasant than the last, with sufferers becoming violently, disgustingly rabid.
I thoroughly enjoyed every weird moment of this movie. Marilyn Chambers is fantastic as the victim of a motorcycle accident who now finds herself having to worry about more than just stubble growing under her arm, and the supporting cast are for the most part excellent. The effects are also great, and suitably hideous.
Verdict: Strange, nicely unpleasant, and recommended.
Films I've watched so far
excelsiorlef
Member
My second favorite Cronenberg flick!
pitcairn55
Member
Wish I hadn't put off watching it for so long, and Shivers, especially as I love pretty much every other Cronenberg movie I've seen. Very entertaining.
mariachi507
Member
Marilyn Chambers deserved a better career coming off her performance in Rabid. I guess that wasn't possible back in those days due to her acting origins.
pitcairn55
Member
I knew about her er, 'non-mainstream' work, though I haven't had the pleasure of seeing any, and I think subconsciously I wasn't expecting much from her because of it, so I was pleasantly surprised.
And thinking about it, that makes me a bit of a snobby, prejudiced moron. Damn.
It's so weird to think of someone like Sasha Grey making it fairly big in the mainstream, considering how much more extreme her work in porn was compared to Marilyn Chambers. Then again, I don't think anyone in porn in the 70s had much of a career outside of it, and the closest anyone got was Ron Jeremy, who was or less sidelined to cameo work. Different age, I suppose.
mariachi507
Member
I was in the same boat to be honest. Which most likely comes from what we know as "porno acting" nowadays. She's from the golden age though where the industry had more artistic aspirations (at least that's what the documentary I watched said anyway). I'm not much of a porno industry historian. I believe her debut was actually highly acclaimed though, Behind the Green Door is what it's called. Ebert even did a review for it even though he gave it no stars lol. Still though.
Nailed it.
Day 16
16. The Silence of the Lambs
A classic. The jump between crime, thriller, and horror genres are woven neatly together and held up by both Foster and Hopkin's acting. I really liked the cinematography as well, especially as it focused and centered the actor's faces in the middle of the shot. It helps draw how important the subject matter is between two characters having a dialogue, especially in the beginning of the film during the first meeting with Hannibal. I swear, if this movie was made today they would've gone in more with a low humming, ethereal score (a la It Follows or Alien: Covenant) instead of Howard Shore's score.
16. The Silence of the Lambs
A classic. The jump between crime, thriller, and horror genres are woven neatly together and held up by both Foster and Hopkin's acting. I really liked the cinematography as well, especially as it focused and centered the actor's faces in the middle of the shot. It helps draw how important the subject matter is between two characters having a dialogue, especially in the beginning of the film during the first meeting with Hannibal. I swear, if this movie was made today they would've gone in more with a low humming, ethereal score (a la It Follows or Alien: Covenant) instead of Howard Shore's score.
RumbleHumble
Banned
DAY FIFTEEN: CLOWN
Uh...I did not expect this one. Clown, directed by Spider-Man: Homecoming director Jon Watts was not supposed to fuck me up like this. Sometimes I read too much into subtext, but fucking-a does this movie have some DEVASTATING subtext. It follows a man who's just trying to do his best and be a good clown for his son's party, only for the worst to come. He pretty rapidly turns into a demon-monster with clown-like appearance. On its face, this movie is very The Fly in terms of initial concept, but with the darker twists of A) happening to a pretty decent family man and B) involving a family man mostly preying on children. It's not exceptionally gory or anything, but the subtext, which can range from commentary on violent child abuse or, ugh, pedophilia, rings truer than you might expect. Particularly in a movie about a nice dude getting transformed into a demonic clown. If you can get past the subtext, it's an enjoyable flick (although fuck you, Eli Roth), but damn, the subtext fucked with me.
Uh...I did not expect this one. Clown, directed by Spider-Man: Homecoming director Jon Watts was not supposed to fuck me up like this. Sometimes I read too much into subtext, but fucking-a does this movie have some DEVASTATING subtext. It follows a man who's just trying to do his best and be a good clown for his son's party, only for the worst to come. He pretty rapidly turns into a demon-monster with clown-like appearance. On its face, this movie is very The Fly in terms of initial concept, but with the darker twists of A) happening to a pretty decent family man and B) involving a family man mostly preying on children. It's not exceptionally gory or anything, but the subtext, which can range from commentary on violent child abuse or, ugh, pedophilia, rings truer than you might expect. Particularly in a movie about a nice dude getting transformed into a demonic clown. If you can get past the subtext, it's an enjoyable flick (although fuck you, Eli Roth), but damn, the subtext fucked with me.
Violence Jack
Member
I think I preferred Shivers over this, but I like Rabid well enough. RIP Marilyn Chambers.
LightofRohan
Member
I'll throw my movies in... I've been slacking.
(M = My Rating. W = Wife rating)
1. Purge Anarchy - M 2/5 W 1/5
2. The Orphan - M 2/5 W 2/5
3. Unfriended - M 2/5 W 1/5
4. Man Vs - M 2/5 W 3/5
5. The Boy - M 4/5 W 4.5/5
6. Don't Breath - M 4.5/5 W 3/5
7. The BlackWell Ghost - M 3/5 W 3/5
8. The Crazies - M 2/5 W 4/5
9. Halloween Horrors at Midnight (lol) - M 1/5 W 1/5
10. We Are Still Here - M 1/5 W 3/5
11. Bladerunner (I HAD TO COUNT IT) - M 4/5 W 4/5
12. The Nightmare - too spooky couldnt finish...
13. Tales of Halloween - M 4/5 W 4/5
14. Train to Busan - M 4.5/5 W 5/5
Falling behind!!!!!!!!!!! And had to count Bladerunner, couldn't just wait for that...
(M = My Rating. W = Wife rating)
1. Purge Anarchy - M 2/5 W 1/5
2. The Orphan - M 2/5 W 2/5
3. Unfriended - M 2/5 W 1/5
4. Man Vs - M 2/5 W 3/5
5. The Boy - M 4/5 W 4.5/5
6. Don't Breath - M 4.5/5 W 3/5
7. The BlackWell Ghost - M 3/5 W 3/5
8. The Crazies - M 2/5 W 4/5
9. Halloween Horrors at Midnight (lol) - M 1/5 W 1/5
10. We Are Still Here - M 1/5 W 3/5
11. Bladerunner (I HAD TO COUNT IT) - M 4/5 W 4/5
12. The Nightmare - too spooky couldnt finish...
13. Tales of Halloween - M 4/5 W 4/5
14. Train to Busan - M 4.5/5 W 5/5
Falling behind!!!!!!!!!!! And had to count Bladerunner, couldn't just wait for that...
TheFurizzlyBear
Member
How was that? Are the effects good or cheese?
LightofRohan
Member
I gave it a 3/5! Haha, I really enjoyed it actually, it's like a fake documentary about Ghosts. There is not really any effects in it and the acting is pretty good.
For a bit I was like, fake documentaries are kind of annoying, but then I thought, at least this is a ghost documentary with actually something in it though haha. They show a lot of restraint in it and I applaud them for not getting too ridiculous.
Also I gave it a 2.5/5 spook rating (I rate each movies personal spookiness for myself) which is higher than most of the movies on my list.
Plus it's only like an hour, so it's a great filler movie.
More_Badass
Member
Is there any way to watch this digitally? Might make that my first anime film
I don't believe so in the US. There's some weird rights issues involved that's made it unavailable for about a decade and I'm not sure if they've been resolved as of yet. Your best bet is to track down the region B Blu-ray.
iShouldGoPro
Member
1. (NEW) Leatherface
2. (NEW) Suspiria
3. (NEW) The Birds
4. (NEW) Eraserhead
5. (NEW) The Cabinet Of Dr. Caligari
6. (NEW) Repulsion
7. (NEW) Trick r Treat
8. (NEW) Cult of Chucky
9. (NEW) Dont Look Now
10. (NEW) The House of the Devil
11. (NEW) The Wicker Man (1973)
12. (NEW) Geralds Game
13. Friday the 13th Part Vl: Jason Lives
14. (NEW) The Howling
15. (NEW) The Invitation
16. 28 Days Later: still one of my favorite zombie/infected films of all-time. There are some zombie apocalypse films I wouldnt mind experiencing just for the sake of seeing what it would be like... this isnt one of those films. If I didnt die from infection/murder first, Id probably die from anxiety/paranoia. The speed at which these zombies move truly proposes a real threat at all times. This movie is still a classic in my opinion.
2. (NEW) Suspiria
3. (NEW) The Birds
4. (NEW) Eraserhead
5. (NEW) The Cabinet Of Dr. Caligari
6. (NEW) Repulsion
7. (NEW) Trick r Treat
8. (NEW) Cult of Chucky
9. (NEW) Dont Look Now
10. (NEW) The House of the Devil
11. (NEW) The Wicker Man (1973)
12. (NEW) Geralds Game
13. Friday the 13th Part Vl: Jason Lives
14. (NEW) The Howling
15. (NEW) The Invitation
16. 28 Days Later: still one of my favorite zombie/infected films of all-time. There are some zombie apocalypse films I wouldnt mind experiencing just for the sake of seeing what it would be like... this isnt one of those films. If I didnt die from infection/murder first, Id probably die from anxiety/paranoia. The speed at which these zombies move truly proposes a real threat at all times. This movie is still a classic in my opinion.
Agreed. I was pleasantly surprised by it
DeathoftheEndless
Crashing this plane... with no survivors!
16. Tales of Terror - I enjoyed this a lot. Its a trilogy of stories based on Edgar Allan Poe's writings. There was a hell of a lot of talent involved, including Roger Corman, Richard Matheson, Vincent Price, Peter Lorre, and Basil Rathbone, and it shows. The stories are dark, sad, and twisted; excellently translating Poe's themes to the screen. The set and costume design are also exquisite.
Roronoa Zoro
Gold Member
new movie for the 16th day in a row (over half way!)
Nightmare on Elm Street 4: Dream Master
Freddy's back because...a dog peed on his grave and...fire opened the ground in a dream...or something
This one wasn't really memorable in any way and after liking Dream Warriors quite a bit the quick kill offs of the entire cast kinda sucked. The kills were mostly boring too (stab with claws, push into something, repeat). Apparently the 7th of these is good but so far Halloween has it beat out (watched the first 3 of both so far but obviously Halloween has to catch up now)
Nightmare on Elm Street 4: Dream Master
Freddy's back because...a dog peed on his grave and...fire opened the ground in a dream...or something
This one wasn't really memorable in any way and after liking Dream Warriors quite a bit the quick kill offs of the entire cast kinda sucked. The kills were mostly boring too (stab with claws, push into something, repeat). Apparently the 7th of these is good but so far Halloween has it beat out (watched the first 3 of both so far but obviously Halloween has to catch up now)
TheFurizzlyBear
Member
Thanks for the info, I like ghost shows and movies but a lot of them have shitty CG effects. Practical effects really help these kind of movies for me.
5) | Open Grave | via Amazon Prime streaming
Sharlto Copley wakes up in an open, mass grave with no memory of who he is or how he got there. He's quickly joined by about a half dozen others with similar memory loss, in a remote series of buildings in a forest. They begin to slowly piece together memories and untangle how they got there, and why. The film is about a few things, among them communication. How do you trust people when you don't know if you can trust yourself?
Open Grave is a suspense/mystery with horror elements, but all the pieces fit together well. It's very strongly acted, paced and shot. The primary issue is we're able to stitch together what happened way before the characters do, which makes the last 45 minutes rather frustrating as they slowly fill in gaps we've already filled in. In the end much of the suspense comes from whether the characters will make the leaps necessary, in time.
Still, it's a solid film with a strong emphasis on character, and a smattering of horror throughout. Pretty dark and depressing, and the ending moments spell out things that don't really need spelling out, but overall this was well made.
Sharlto Copley wakes up in an open, mass grave with no memory of who he is or how he got there. He's quickly joined by about a half dozen others with similar memory loss, in a remote series of buildings in a forest. They begin to slowly piece together memories and untangle how they got there, and why. The film is about a few things, among them communication. How do you trust people when you don't know if you can trust yourself?
Open Grave is a suspense/mystery with horror elements, but all the pieces fit together well. It's very strongly acted, paced and shot. The primary issue is we're able to stitch together what happened way before the characters do, which makes the last 45 minutes rather frustrating as they slowly fill in gaps we've already filled in. In the end much of the suspense comes from whether the characters will make the leaps necessary, in time.
Still, it's a solid film with a strong emphasis on character, and a smattering of horror throughout. Pretty dark and depressing, and the ending moments spell out things that don't really need spelling out, but overall this was well made.
I just watched The Devil's Candy tonight. It was pretty interesting. I enjoyed it on a whole but it's also something that I probably wouldn't watch again. My friend who watched it with me described it perfectly as a "metal wes anderson movie". Like there wasn't really any plot, things just kind of happened. And I don't necessarily mean that as a bad thing. It was shot so beautifully and the acting was super impressive too.
So yeah I think I'd definitely recommend it but just with the knowledge that it's not very plot heavy.
So yeah I think I'd definitely recommend it but just with the knowledge that it's not very plot heavy.
Watching at 185" - A visual treat
Leave it to Argento to make the act of murder, an art form. Blood-splatter paintings at their finest, Inferno is brutal beauty.
https://letterboxd.com/kinggroin/film/inferno-1980/
Leave it to Argento to make the act of murder, an art form. Blood-splatter paintings at their finest, Inferno is brutal beauty.
https://letterboxd.com/kinggroin/film/inferno-1980/
Count Dookkake
Member
.
JigglesBunny
Banned
Texas Chainsaw Massacre (1974)
I have never forgotten the terrifying sound of the spider cluster dispersing from the corner of the dilapidated farm house. The entirety of the dinner sequence stands as one of the single most tense and manic horror scenes in cinema history. Tobe Hoopers classic remains every bit as haunting, unsettling and disturbing as it was the day it released over forty years ago. The lack of gore remains reminiscent of classic 40s horror where your imagination was left to craft the most horrifying parts of the brutality that wasnt captured in camera. TCM is a top to bottom masterpiece.
9/10
Most long running horror franchises manage to sneak in a handful of decent entries along with the onslaught of terrible sequels. Halloween managed an impressive 5 out of 10 strong entries, Friday The 13th has five strong films out of its 12 film franchise run, Nightmare on Elm Street had three out of eight, though unfortunately, Texas Chainsaw Massacre only had one. With an eight film long franchise, only the Tobe Hooper original stands as a terrific surrealist thriller that finds its strength in fantastic performances, incredible set design, elegant and masterful directing and chilling set pieces that have become memories etched into the minds of all viewers.
I have never forgotten the terrifying sound of the spider cluster dispersing from the corner of the dilapidated farm house. The entirety of the dinner sequence stands as one of the single most tense and manic horror scenes in cinema history. Tobe Hoopers classic remains every bit as haunting, unsettling and disturbing as it was the day it released over forty years ago. The lack of gore remains reminiscent of classic 40s horror where your imagination was left to craft the most horrifying parts of the brutality that wasnt captured in camera. TCM is a top to bottom masterpiece.
9/10
mariachi507
Member
17. It Comes at Night
Here I thought The Blackcoat's Daughter was a silly title, but It Comes at Night is even worse. What comes at night? Paranoia? That came during the day too. It's a wonder why audiences hated this movie. Even I expected this to be some story where a family is holed up in a house protecting themselves from zombies or at least some kind of creature. Hell, the poster even alludes to this. Now I'm happy to say that my expectations were way off because was I got instead was a real treat, but I tend to disagree with general audiences nowadays when it comes to horror.
I basically had a knot in my stomach during the entire duration of this film. This is a psychological horror film about the effects of paranoia, and it completely succeeds in delivering that. I've also seen some criticism aimed at the story for not revealing enough or clueing the viewer in. This is one of its strengths and goes for the same effect that Memento does in placing the viewer in the same perspective as the main character. We don't know the answers to all of the questions here, but neither does the protagonist. This just adds to the tension and paranoia, which got to me so much that I was close to covering my eyes and ears at one point. The movie is still a little rough around the edges at certain points with some characters underdeveloped and a couple of bits that weren't necessary. There are some great sequences though and as expected Joel Edgerton delivers a great performance. I'm going to keep an eye on the director from here on out as he's got my attention at least.
Verdict: 8/10
18. Don't Breathe
I figured I would follow up my previous entry with another recently acclaimed horror flick. Now, watching this basically back-to-back with It Comes at Night is really bad for the nerves and I don't recommend doing it. Don't Breathe delivers an experience in tension that deserves to be seen despite some glaring flaws that hold it back from achieving true greatness. I could really nitpick this thing to death if I wanted to, but I don't wanna. I'll just say that up until the third act the ship was sailing very smooth with just a few dents that could easily have been overlooked. Then the third act happens and we get some cringey, edgy dialogue along with some truly stupid moments with even dumber characters that were up until that point well developed and realized. I was really disappointed.
I don't want to rag on the film too much though as much of it was good. This was a great project for director Fede Alvarez to do after handling the Evil Dead remake. He could have easily gone the route that similar in position, remake directors have and dropped off the earth. Where Evil Dead was an exercise in gross out moments and insane gore, instead Don't Breathe goes in the opposite direction more interested in providing suspense and terror. He also brings Jane Levy back with him who puts in a good performance just like she did in Evil Dead. Also, don't fuck with Stephen Lang.
Verdict: 7/10
Here I thought The Blackcoat's Daughter was a silly title, but It Comes at Night is even worse. What comes at night? Paranoia? That came during the day too. It's a wonder why audiences hated this movie. Even I expected this to be some story where a family is holed up in a house protecting themselves from zombies or at least some kind of creature. Hell, the poster even alludes to this. Now I'm happy to say that my expectations were way off because was I got instead was a real treat, but I tend to disagree with general audiences nowadays when it comes to horror.
I basically had a knot in my stomach during the entire duration of this film. This is a psychological horror film about the effects of paranoia, and it completely succeeds in delivering that. I've also seen some criticism aimed at the story for not revealing enough or clueing the viewer in. This is one of its strengths and goes for the same effect that Memento does in placing the viewer in the same perspective as the main character. We don't know the answers to all of the questions here, but neither does the protagonist. This just adds to the tension and paranoia, which got to me so much that I was close to covering my eyes and ears at one point. The movie is still a little rough around the edges at certain points with some characters underdeveloped and a couple of bits that weren't necessary. There are some great sequences though and as expected Joel Edgerton delivers a great performance. I'm going to keep an eye on the director from here on out as he's got my attention at least.
Verdict: 8/10
18. Don't Breathe
I figured I would follow up my previous entry with another recently acclaimed horror flick. Now, watching this basically back-to-back with It Comes at Night is really bad for the nerves and I don't recommend doing it. Don't Breathe delivers an experience in tension that deserves to be seen despite some glaring flaws that hold it back from achieving true greatness. I could really nitpick this thing to death if I wanted to, but I don't wanna. I'll just say that up until the third act the ship was sailing very smooth with just a few dents that could easily have been overlooked. Then the third act happens and we get some cringey, edgy dialogue along with some truly stupid moments with even dumber characters that were up until that point well developed and realized. I was really disappointed.
I don't want to rag on the film too much though as much of it was good. This was a great project for director Fede Alvarez to do after handling the Evil Dead remake. He could have easily gone the route that similar in position, remake directors have and dropped off the earth. Where Evil Dead was an exercise in gross out moments and insane gore, instead Don't Breathe goes in the opposite direction more interested in providing suspense and terror. He also brings Jane Levy back with him who puts in a good performance just like she did in Evil Dead. Also, don't fuck with Stephen Lang.
Verdict: 7/10
October 16, 2017:
16 of 31 - Cult of Chucky
A movie about Chucky, and his new found ability to possess and create "clones" of himself to begin the Cult of Chucky...
Fun movie with the premise that Charles Lee Ray has learned a new voodoo spell to clone himself into "anything with two legs". Brad Dourif returns as the voice of Chucky (like anyone else can do it justice) and we see his real life daughter play the role of Nica. She is put into a mental institution due to a series of murders that is believed to be committed by her, but we all know who actually did it. Also, Andy returns with a nice cameo of, I believe, the original Chucky doll head. Fortunately, two dolls just happen to be at this facility and once Chucky comes around, all hell goes loose. Great kills, great to hear Brad Dourif return and not a bad story and movie at all. Fiona Dourif, in my opinion, is a splitting image of Brad Dourif. You could easily tell who she was related to. She did a great job as Nica. Definitely a watch if you are a Chucky or horror fun. -7/10
16 of 31 - Cult of Chucky
A movie about Chucky, and his new found ability to possess and create "clones" of himself to begin the Cult of Chucky...
Fun movie with the premise that Charles Lee Ray has learned a new voodoo spell to clone himself into "anything with two legs". Brad Dourif returns as the voice of Chucky (like anyone else can do it justice) and we see his real life daughter play the role of Nica. She is put into a mental institution due to a series of murders that is believed to be committed by her, but we all know who actually did it. Also, Andy returns with a nice cameo of, I believe, the original Chucky doll head. Fortunately, two dolls just happen to be at this facility and once Chucky comes around, all hell goes loose. Great kills, great to hear Brad Dourif return and not a bad story and movie at all. Fiona Dourif, in my opinion, is a splitting image of Brad Dourif. You could easily tell who she was related to. She did a great job as Nica. Definitely a watch if you are a Chucky or horror fun. -7/10
sp3ctr3
Member
#01 Serial Mom
#02 [REC]2
#03. Bloodsucking Bastards
#04. Train to Busan
#05 It Follows
#06 Hush
#07 Lights Out
#08 Cabin in the Woods (Re-watch)
#09 Krampus: The Christmas Devil (2013)
#10 The Conjuring 2
#11 Jason Lives: Friday 13th part VI (Re-watch)
#12 The Babysitter (2017)
#13 Sinister II
#14 Tales of Halloween (Re-watch)
A great anthology collection with some truly interesting stories. It starts out really strong with the story about Sweet Tooth followed up by my favorite story, about the grumpy next door neighbours that turns out to be the devil.
The 2nd story has a really great twist at the end and it's a bit over the top with cartoony sound effects but man is it great.
There's a few duds in there but also some that turn real dark and some with a LOT of gore. I think it's 8 or 9 tales in total. The acting is good, the lighting and soundwork is great and the production quality and special effects are really great.
It's not as good as Trick'R Treat but it's definitely up there.
#02 [REC]2
#03. Bloodsucking Bastards
#04. Train to Busan
#05 It Follows
#06 Hush
#07 Lights Out
#08 Cabin in the Woods (Re-watch)
#09 Krampus: The Christmas Devil (2013)
#10 The Conjuring 2
#11 Jason Lives: Friday 13th part VI (Re-watch)
#12 The Babysitter (2017)
#13 Sinister II
#14 Tales of Halloween (Re-watch)
A great anthology collection with some truly interesting stories. It starts out really strong with the story about Sweet Tooth followed up by my favorite story, about the grumpy next door neighbours that turns out to be the devil.
The 2nd story has a really great twist at the end and it's a bit over the top with cartoony sound effects but man is it great.
There's a few duds in there but also some that turn real dark and some with a LOT of gore. I think it's 8 or 9 tales in total. The acting is good, the lighting and soundwork is great and the production quality and special effects are really great.
It's not as good as Trick'R Treat but it's definitely up there.
J-Roderton
Member
16. The Babysitter(NEW) - Surprised how much I liked it. Mostly very funny, but enough tense moments to stay in scary movie territory.
Also, just throwing in a half way recap. Still on track to slay all 31 for the month. Not one rewatch this year, so far.
1. American Werewolf In London (NEW)
2. The Houses October Built (NEW)
3. Baskin (NEW)
4. Haunter (NEW)
5. The Legend of Hell House (NEW)
6. Beyond The Gates (NEW)
7. House of The Witch (NEW)
8. Jennifer's Body (NEW)
9. Tales of Halloween (NEW)
10. The Bees (NEW)
11. The Mutilator (NEW)
12. Cooties (NEW)
13. Friday The 13th (NEW)
14. The Void (NEW)
15. The Reef (NEW)
16. The Babysitter (NEW)
https://letterboxd.com/Jroderton/
Also, just throwing in a half way recap. Still on track to slay all 31 for the month. Not one rewatch this year, so far.
1. American Werewolf In London (NEW)
2. The Houses October Built (NEW)
3. Baskin (NEW)
4. Haunter (NEW)
5. The Legend of Hell House (NEW)
6. Beyond The Gates (NEW)
7. House of The Witch (NEW)
8. Jennifer's Body (NEW)
9. Tales of Halloween (NEW)
10. The Bees (NEW)
11. The Mutilator (NEW)
12. Cooties (NEW)
13. Friday The 13th (NEW)
14. The Void (NEW)
15. The Reef (NEW)
16. The Babysitter (NEW)
https://letterboxd.com/Jroderton/
#16 - Freddy's Dead: The Final Nightmare (1991)
Oh god, the nineties. Here we go. Having seen the Friday the 13th series, I know that having ‘Final' in the title means there will definitely be more after this one. Unfortunately The Final Nightmare is terrible. Maybe it is because of the producer-turned-first-time-director, maybe it is because of the disjointed and frantic storytelling, maybe the clumsy action and even clumsier editing or maybe it is just a combination of all those things. The story drags and is too serious and the climax is too disappointing. The only real positive thing about this misfire is the fact that we get some Freddy backstory and origin which is interesting. 3/10
Watched this yesterday. Fantastic movie.
Mortimer Brewster
Member
#16 - Freddys Dead: The Final Nightmare (1991)
Oh god, the nineties. Here we go. Having seen the Friday the 13th series, I know that having Final in the title means there will definitely be more after this one. Unfortunately The Final Nightmare is terrible. Maybe it is because of the producer-turned-first-time-director, maybe it is because of the disjointed and frantic storytelling, maybe the clumsy action and even clumsier editing or maybe it is just a combination of all those things. The story drags and is too serious and the climax is too disappointing. The only real positive thing about this misfire is the fact that we get some Freddy backstory and origin which is interesting. 3/10
Freddy's Dead is awful on its own merits (Dream Demons that look like little cackling demonic sperm!!!!) but it's even worse when you know the development history either the The Dream Lover or Dream Police spec scripts would have been so much better but Bob Shaye wanted to cut budget and reward Michael DeLuca and Rachel Talalay for their producing duties on the series so we got Freddy's Dead with Dream Demons, Alice Cooper in flannel, Tom Arnold and Roseanne, loony tunes ,Billy Zane's wooden sister, Breckin Meyer , Yaphett Kotto's magic 3D glasses and the Nintendo power glove instead,
Rachel Talalay has really come a long way since Freddy's Dead. She's directed some sensational episodes of Doctor Who the last few years.
9. The Monster Squad
Pretty cheesy, but cute fun. I have a soft spot for 80s Spielbergian suburban kid settings like this one, so off to a good start. The squad kids are fine, not terribly memorable but not annoying either. The one-liners were pretty much duds for me, but I imagine they play better in a crowd. Stan Winston's work on updating the Universal monsters was excellent; the Wolf Man and Gill-Man costumes looked especially good. The plot made no sense at all, but whatever, it was good fun.
7/10
10. Shaun of the Dead
The only movie in this year's marathon that I've seen before, though it has been a few years. Just as good as I remember it. An absolute blast: great characters, killer action, sharp and funny as hell. Probably my favorite zombie movie.
8/10
11. The Fog
I get the impression this is considered lower-tier Carpenter -- or at least it isn't talked about very much -- but I thought it was pretty good. Very creepily atmospheric with some good scares and likable characters. Not sure why Carpenter considered this movie such a failure. I don't think he succeeds in the way he wanted in building out a town full of people and having their stories all intersect; you don't get the sense of a larger community here even though the story is ostensibly about that, and some of the other subplots (Janet Leigh's and the priest's) are so extraneous that when they overlap with the leads in the climax of the film, they feel shoehorned in. Also, seems like a missed opportunity to have Jamie Lee Curtis and Janet Leigh in a horror movie together but keep them separate for 90 percent of the film and then, when they do meet, don't even have them acknowledge each other. Other than that, though, I liked this one a lot.
7/10
9. The Monster Squad
Pretty cheesy, but cute fun. I have a soft spot for 80s Spielbergian suburban kid settings like this one, so off to a good start. The squad kids are fine, not terribly memorable but not annoying either. The one-liners were pretty much duds for me, but I imagine they play better in a crowd. Stan Winston's work on updating the Universal monsters was excellent; the Wolf Man and Gill-Man costumes looked especially good. The plot made no sense at all, but whatever, it was good fun.
7/10
10. Shaun of the Dead
The only movie in this year's marathon that I've seen before, though it has been a few years. Just as good as I remember it. An absolute blast: great characters, killer action, sharp and funny as hell. Probably my favorite zombie movie.
8/10
11. The Fog
I get the impression this is considered lower-tier Carpenter -- or at least it isn't talked about very much -- but I thought it was pretty good. Very creepily atmospheric with some good scares and likable characters. Not sure why Carpenter considered this movie such a failure. I don't think he succeeds in the way he wanted in building out a town full of people and having their stories all intersect; you don't get the sense of a larger community here even though the story is ostensibly about that, and some of the other subplots (Janet Leigh's and the priest's) are so extraneous that when they overlap with the leads in the climax of the film, they feel shoehorned in. Also, seems like a missed opportunity to have Jamie Lee Curtis and Janet Leigh in a horror movie together but keep them separate for 90 percent of the film and then, when they do meet, don't even have them acknowledge each other. Other than that, though, I liked this one a lot.
7/10
MysteryQuesadilla
Member
I started this last night. It's...rough. Not in a good way. I'll finish it today but man I was not impressed.
If it's of any consolation, the 3D in that movie is pretty solid, as I noted in my own review at the beginning of the month.
#16 - Freddy's Dead: The Final Nightmare (1991)
Oh god, the nineties. Here we go. Having seen the Friday the 13th series, I know that having ‘Final' in the title means there will definitely be more after this one. Unfortunately The Final Nightmare is terrible. Maybe it is because of the producer-turned-first-time-director, maybe it is because of the disjointed and frantic storytelling, maybe the clumsy action and even clumsier editing or maybe it is just a combination of all those things. The story drags and is too serious and the climax is too disappointing. The only real positive thing about this misfire is the fact that we get some Freddy backstory and origin which is interesting. 3/10
That the one where they
blow him up with dynamite or something?
Yeah, that's the same one. I do have to admire the kitschy charm of being told to put the glasses on and to take them off at specific points as in-film dialogue.
Mortimer Brewster
Member
As an 11 year old kid seeing it in theatres it was pretty cool. It was only watching it later on Laserdisc did I realize that the whole movie was bad. Though it still is fun to watch as a really bad mess that you laugh at while watching. It's also at least tonally consistent unlike Part 5. Freddy is riffing one liners but the kills are right out of loony tunes so it works.
Mortimer Brewster
Member
On Freddy's Dead still. It's annoying that Warner didn't put out the 3D version on Blu Ray. The 3D version and glasses was included in the 1999 DVD Boxset but they cheaped out on the Blu Ray.
Regarding your first review which I also found excellent if you haven't seen the directors first move Krisha seek it out.