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Jenny Angel posted:poo poo, what's that film with the poster that's a church arranged into an improable and alien shape, I think found footage, I think about some priests who get called in to debunk claims that the place is haunted or possessed? I'm asking this there and not Identify a Movie because my next question is, "is it good and will I, known for my good taste, enjoy it"? The Borderlands. It's also known as Final Prayer, and it's really dope. SuperMechagodzilla fucked around with this message at 01:34 on Jun 26, 2015 |
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Jun 26, 2015 01:32
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The Borderlands is great and has a real cool last act.
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Jun 26, 2015 01:59
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SuperMechagodzilla posted:The Borderlands. It's also known as Final Prayer, and it's really dope. Aight, I'm psyched now. Thank you to those who answered!
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Jun 26, 2015 03:12
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I just watched Wes Craven's New Nightmare for the first time since it came out, and I'm amazed they never had a scene with Robert Englund and the new Freddy. I guess it would have been campy because Englund is such a big ham, but he already had big hammy scenes earlier, so why not? John Saxon's scene where he seamlessly becomes his Nightmare character and drives away in an instantly-materialized 1984-era police car is amazing. They should have had more stuff like that.
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Jun 26, 2015 18:40
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Going to see The Invitation at BAM Cinema Fest tonight. Will report back.
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Jun 26, 2015 19:09
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Ok so The Invitation. It was pretty entertaining, there were some things I liked a lot about how they handled the whole "dinner party drama", but in the end I was honestly a bit disappointed that there wasn't a bit more to it. I feel like the writers and director thought it was a bit less predictable than it actually was though.
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Jun 27, 2015 19:28
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Anguish is such a strange movie. There's a lot to like about it but I never really found it that involving due to the distancing techniques they employed and then it ultimately turns into an inferior version of HUGE SPOILER don't read unless you've seen it Targets with a whiff of Funny Games. The freak out sequence that starts the second act is really something though.
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Jun 28, 2015 02:22
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So It Follows is a pretty rad movie. The color palette seems rather 80s (and, no, not in a neon sense, in a slightly desaturated sense) and the ambiguous time period makes it similarly timeless. The astounding soundtrack by Disasterpiece further cements this. I also really, really loved how the entire focus was on the kids. The only parents we see are the father of the first girl (from a distance) and Jaime's mother's out-of-focus forehead. Otherwise, you've got a real Scooby Doo or Muppet Babies type of thing going on here (or the Goonies) where the adults don't matter. I'd love to hear what other people think of the intentions of the setting; is there a purpose for it? Is that what just Detroit looks like? (working TV on top of broken TV lol) And of course, that premise. At first, shallow blush, it's "the STD as a slasher" which isn't terribly deep but the sole twist on this is what it makes so goddamn compelling and scary: if you sleep with someone, it follows them, but it if it kills them, it comes back to you. This recursion ensures such a distinct, unnverving sense of paranoia ... I mean, you would never, ever, just relax and feel rid of it. edit: I almost forgot -- the teens spend the majority of their time together; for as large of a threat as it is, it is not interested in anyone except its prey and yet we don't get almost any of the "she's just crazy and seeing things" talk which was refreshing. Also, this movie made me acutely nostalgic and almost sad in the numerous scenes of sleepovers. That thing of hanging out with your friends, wrapped in their old blankets which smelled like their house, that's something you really only experience during a very specific age range and once you're an adult that's all gone. epoch. fucked around with this message at 18:35 on Jun 29, 2015 |
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Jun 29, 2015 16:45
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epoch. posted:the ambiguous time period makes it similarly timeless I think that making the time period ambiguous can be useful for several reasons: (1) it makes the film feel "out of time" which also makes it feel disconnected from reality, adding a dreamlike feel that feels inherently creepy (2) it solves the "cell phone problem" instead of having to constantly set up a "no service" scenario (although there is a cell phone, of early vintage, in IT FOLLOWS) (3) it lets you do straight homage that isn't necessarily set within a timeframe, so you're never restricted by the homage's frame of time reference (ex: you can rip on early 70s Argento without your film being locked into that time - have a person dressed like David Hemmings running around, but he can also have a cell phone, and people will still get the reference) Although I wasn't a fan of the film itself, WE ARE STILL HERE uses the ambiguous timeframe thing too and in an effective way.
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Jun 29, 2015 21:36
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epoch. posted:
There's a quite big thread here about this awesome awesome movie.
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Jun 29, 2015 21:49
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It looks like It Follows will be available on itunes/amazon on July 2. I wish it was available for rental though- looks like it's just for purchase. Watched DAYLIGHT (not the one in the collapsed tunnel). It was a mess and nowhere near as entertaining as the movie with people trapped in a collapsed tunnel. Also saw SPRING because I like Lou Taylor Pucci. It was... cute? More of a supernatural romance than horror. I
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Jun 30, 2015 03:18
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InfiniteZero posted:(2) it solves the "cell phone problem" instead of having to constantly set up a "no service" scenario (although there is a cell phone, of early vintage, in IT FOLLOWS. The clam shell thing? Seemed more future-y to me.
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Jun 30, 2015 07:15
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I think all horror movies where a phone would solve the whole issue should just be set in the 90's or earlier. E: In fact, I'm really excited for the wave of 90's nostalgia that's going to hit any day now so I can watch a bunch of teenagers in moon boots, neon orange shirts, and zubaz get murdered by a sentient pile of nickelodeon gak or whatever the gently caress.
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Jun 30, 2015 07:18
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I'm afraid 90s nostalgia is just going to manifest in awful remakes. Unless they're big budget remakes of Goosebumps, then I'm on board.
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Jun 30, 2015 11:23
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TheJoker138 posted:I think all horror movies where a phone would solve the whole issue should just be set in the 90's or earlier. Yup, that's what they did in Asylum Blackout/The Incident. When I first saw it it didn't even connect that it was the 90's, because it was a bunch of guys with long hair in plaid shirts, which were back in fashion by then.
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Jun 30, 2015 13:54
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If you wanted to get rid of phones just have all the characters have T-mobile. hey-oooh
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Jun 30, 2015 13:57
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House of the Devil is a film that really benefits from being set in a specific time period. The 80's clothes and the Walkman are fun, but the biggest thing is the isolated feeling you get when all of the sudden the main character is alone in this house in the middle of nowhere. She had no cellphone, no tablet, no laptop, no way to post on facebook about where she was. Without that the movie just wouldn't work.
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Jun 30, 2015 14:10
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I mean, the proper solution to your horror movie plot being spoiled by cell phone use is to not write a horror movie plot that can be spoiled by cell phone use.
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Jun 30, 2015 14:30
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Hat Thoughts posted:I mean, the proper solution to your horror movie plot being spoiled by cell phone use is to not write a horror movie plot that can be spoiled by cell phone use. Its not just cellphones necessarily, but the overall pervasiveness of technology. The idea of constantly being connected to the rest of society takes the punch out of certain horror scenarios where the horror stems from isolation. Not even always literally, but thematically.
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Jun 30, 2015 14:36
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moths posted:I'm afraid 90s nostalgia is just going to manifest in awful remakes. http://www.imdb.com/title/tt1051904/
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Jun 30, 2015 15:07
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Drunkboxer posted:If you wanted to get rid of phones just have all the characters have T-mobile. Up here that would've worked with Asylum Blackout and Wind Mobile, the cell service where your cell signal flatlines if you walk into or near any concrete structure.
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Jun 30, 2015 15:27
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Basebf555 posted:Its not just cellphones necessarily, but the overall pervasiveness of technology. The idea of constantly being connected to the rest of society takes the punch out of certain horror scenarios where the horror stems from isolation. Not even always literally, but thematically. He's right, though. Good characterization and setting construction can resolve virtually any contemporary technological problem, without setting the film in the past. Complaints about the ubiquity of technology effecting peoples' suspension of disbelief at the contrivance of a horror movie are just the modern variation of "Get the gently caress out of the house!" Before the ubiquity of technology, there was the ubiquity of common sense.
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Jun 30, 2015 16:40
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K. Waste posted:He's right, though. Good characterization and setting construction can resolve virtually any contemporary technological problem, without setting the film in the past. Complaints about the ubiquity of technology effecting peoples' suspension of disbelief at the contrivance of a horror movie are just the modern variation of "Get the gently caress out of the house!" Before the ubiquity of technology, there was the ubiquity of common sense. Well I certainly wouldn't set a movie in the past for the sole reason of dodging the "why didn't they just call the cops on their I-phone" complaints. I don't think the issue is suspension of disbelief though. Its a tone thing, when you're going for a feeling of isolation in a horror film its hard to achieve that in a modern setting where everyone naturally feels connected to everyone at all times. Its not always a conscious thing.
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Jun 30, 2015 17:18
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Basebf555 posted:I don't think the issue is suspension of disbelief though. Its a tone thing, when you're going for a feeling of isolation in a horror film its hard to achieve that in a modern setting where everyone naturally feels connected to everyone at all times. Its not always a conscious thing. You're right, it's an unconscious thing. But the disconnect in tone is rooted in a conception of naturalism or realism, the contemporary 'common sense' belief being "everyone naturally feels connected to everyone at all times." But we aren't. People forget to charge their magic, multi-purpose phones all the time. People are stupid and reactionary. They're socially isolated. Some people (in fact, most) don't have consistent access to this tech at all. There is a vast gulf in income and access to resources. Technology doesn't change these things, it merely becomes the new context for rationalizing our security from danger. A security we never really have, since new safety measures always entail the possibility of some new kind of danger. The opposite side of this coin is the reactionary fear of technology itself, that it will progressively isolate people socially and 'rot their brains,' which is a fear as old as T.V. You see this in the form of movies like Unfriended, V/H/S: Viral, The ABCs of Death films, etc. In the 70s and 80s, the issue was teen sexual promiscuity. But as Scream thoroughly lampooned, the 'problem' within the diegesis of a horror movie isn't sex; it's the sadistic contrivance of the horror film itself. The 'new' - the way popular culture and technology renders the contrivances of the past as a point of either nostalgia or parody - is an illusion.
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Jun 30, 2015 17:32
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You can totally have a great contemporary horror movie where fell service is down Because of Reasons. Obviously it's distracting if done haphazardly, but You're Next gets a pretty good scare, a pretty good plot twist, and a killer joke ("Felix you loving lowlife, I knew you were into some sketchy poo poo") out of the fact that its villains are using a cell phone jammer.
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Jun 30, 2015 17:48
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Jenny Angel posted:You can totally have a great contemporary horror movie where fell service is down Because of Reasons. Yeah but it gets tiresome when every film needs to use one of the standard setups for this in the first act. (he says, being a huge fan of formulaic horror films like slashers)
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Jun 30, 2015 17:50
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It's not even a technological or generational issue so much as a class one. The vast majority of horror films are about the troubles of conspicuously well-off young people, and the hauntings and home invasions and killer rednecks and looming specters of death (with It Follows being a keen, self-aware example of this) are frequently in the service of rendering these class privileges mute. The real horror is the specter of imminent poverty, of becoming consumed by and one with the despised Other, the complete dissolution of one's 'just world' fallacies. As Fran Lebowitz put it, "If everyone who was in the working class called themselves the working class, they would've noticed right away that there was no work. Okay? Instead of waiting until now to notice there's no middle."
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Jun 30, 2015 17:57
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K. Waste posted:It's not even a technological or generational issue so much as a class one. The vast majority of horror films are about the troubles of conspicuously well-off young people, and the hauntings and home invasions and killer rednecks and looming specters of death (with It Follows being a keen, self-aware example of this) are frequently in the service of rendering these class privileges mute. The real horror is the specter of imminent poverty, of becoming consumed by and one with the despised Other, the complete dissolution of one's 'just world' fallacies. This is, in a way, a really close description as to why The Den is such a fantastic movie.
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Jun 30, 2015 19:06
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Acht posted:This is, in a way, a really close description as to why The Den is such a fantastic movie. Also, the highly underrated The Purge.
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Jun 30, 2015 19:12
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There's something poetic about capturing an audience with the idea of a dystopian economy and completely failing to deliver.
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Jun 30, 2015 19:48
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Meh, The Purge is pretty solid in that regard. It's just a Brazil-style dystopia where nothing that's supposed to work actually works. The Purge: Anarchy, on the other hand, is constantly throwing up ideas for a good Purge sequel, but presents them as vignettes in the through line about a vague, vengeance-seeking white man.
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Jun 30, 2015 20:04
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I wish Purge 2 was more Warriors 2.
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Jun 30, 2015 20:34
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MacheteZombie posted:I wish Purge 2 was more Warriors 2. Exactly. The film features loving Keith Stanfield as the leader of a teenage gang of horrorcore slave-traders... And for some reason isn't about that gang.
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Jun 30, 2015 20:45
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A protagonist who's an utter monster is kind of a hard sell for an action movie. Grillo's character was about the best they could have done for a character who willingly shoots people and is also sympathetic (given that "THE PURGE IS BAD AND ONLY PSYCHOTIC PEOPLE GO OUTSIDE" is something the movies beat you over the loving skull with).
WeedlordGoku69 fucked around with this message at 00:59 on Jul 1, 2015 |
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Jul 1, 2015 00:56
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K. Waste posted:Also, the highly underrated The Purge. The Purge is merely rated.
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Jul 1, 2015 01:14
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LORD OF BUTT posted:A protagonist who's an utter monster is kind of a hard sell for an action movie. Grillo's character was about the best they could have done for a character who willingly shoots people and is also sympathetic (given that "THE PURGE IS BAD AND ONLY PSYCHOTIC PEOPLE GO OUTSIDE" is something the movies beat you over the loving skull with). Except it's really not because The Purge is supposed to also be a horror movie. This is why very little actually happens in the first film, and why the protagonist of that film is just kind of a meek, complicit, rich rear end in a top hat who only proves that he's willing to kill off all of his so-called friends after he demonstrates that he's thoroughly capable of getting his hands bloody and offering up a human sacrifice to them. Anarchy actually did a semi-decent job of showing how the conditions of the Purge aren't this black-and-white issue of only psychopaths and rich people participating. The world adapts easily to a culture of complicit violence because of the banality of that violence before the dystopian government of the near future takes hold. It isn't just psychopaths capitalizing upon the structural weaknesses of others; it's disillusioned old Black men who completely reject the grandstanding of the Resistance as just 'part of the problem.' Grillo's role isn't that of a psychopath at all, but one of these 'crimes of passion' deals. The problem is that this archetypical redemption arc only serves to superficially expand our (pretty easily assumable) perception of the grand, dystopian conspiracy behind the Purge, and thus to dilute the metaphor, not to explore how people assimilate to a culture of violence.
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Jul 1, 2015 01:19
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It's been two months and I still can't get over how much fun I had watching Hospital Massacre. It's the perfect stupid slasher movie.
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Jul 1, 2015 01:21
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The cellphone thing is dumb because they generally remove the ability to use it. No bars, no battery, it got broken, etc. A better scenario is one where the phone works, but there is nobody to call who can help. Wow! I had heard nothing about this, but it looks really cheesy and fun.
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Jul 1, 2015 01:27
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HUNDU THE BEAST GOD posted:The Purge is merely rated. Yes. That film was incredibly underwelming and one of the few movies where the low budgetness is just so in your face.
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Jul 1, 2015 01:27
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cthulusnewzulubbq posted:It's been two months and I still can't get over how much fun I had watching Hospital Massacre. It's the perfect stupid slasher movie. How long it take you to guess who the killer is?
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Jul 1, 2015 01:36
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