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Lurdiak posted:There's no pretty much about it, that's the literal text of the film. Which is a much better way for him to come back to life than a loving lightning bolt. God I hate part 6. That's hilarious, you weenie. It's some straight up Hammer Horror poo poo.
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Jan 13, 2019 02:26
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s.i.r.e. posted:I loved Rob Zombie's show where he played old school horror films and talked about them and their significance. Sucks it didn't continue. I think it ran on Chiller, can't remember the name. Are you talking about TCM Underground? 'Cause it still technically runs, there just isn't a host format anymore.
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Jan 14, 2019 03:18
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James Woods Fan posted:Wow. The observation that Michael doesn't give a flying gently caress about Laurie Strode is absolutely correct. Yep. Just a dude having a psychotic episode.
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Jan 14, 2019 06:07
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James Woods Fan posted:Like only two people think he's coming for her while he's really just doing his thing. Does he even recognize her? I am not entirely sure he knows who she is. Also that last five minutes was corny as hell. It's been 40 years and Michael has already spent most of his life in asylums and maximum security detention facilities. I mean, he probably has the capacity to recognize certain people particular to those unique circumstances, but asking if he remembers Laurie in particular is kind of like asking if he remembers anyone he's killed. At what point would he even begin to internalize someone's identity like that? It's just not how his personality is wired, all people are objects to him. The ending is also great, because it leans upon and escalates the implications of the ending of the first movie. All that's missing is the narrator from Monster a Go-Go: quote:As if a switch had been turned, as if an eye had been blinked, as if some phantom force in the universe had made a move eons beyond our comprehension, suddenly, there was no trail! There was no giant, no monster, no thing called "the Shape" to be followed. There was nothing in the neighborhood but the puzzled men of courage, who suddenly found themselves alone with shadows and darkness! With the bullet, one cloud lifts, and another descends. Patient Michael Myers, rescued, alive, well, and of normal size, some 50 miles away in a ditch, with no memory of where he has been, or how he was separated from his ambulance! Then who, or what, has invaded Haddonfield? Is it here yet? Or has the cosmic switch been pulled? Case in point: The line between science fiction and science fact is microscopically thin! You have witnessed the line being shaved even thinner! But is the menace with us? Or is the monster gone?
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Jan 14, 2019 07:17
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s.i.r.e. posted:Except the baby, for some reason. In that case it's not really clear that he even internalizes the presence of the baby. He hasn't made a decision premised in some modicum of empathy, he just doesn't care/is completely disassociated from it. Meanwhile, he'll gladly kill the boy with the gun because he's a threat/there's a utilitarian purpose to it. On the other hand, in the original film, he reveals himself to the two kids that are bullying Tommy just to scare the poo poo out of them. That's a good, overt example where we're at least given some kind of window into a seemingly contradictory aspect of his personality: Does he identify with Tommy? Is he taking revenge on his behalf? If so, is this the same as having empathy for him, or is he merely projecting his own narcissistic desires? Or, going even further symbolically, is Michael a projection by Tommy?
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Jan 14, 2019 07:47
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Horror Express indeed rules
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Jan 14, 2019 22:37
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Lurdiak posted:Lmao Hard Ticket to Hawaii. That movie owns so much, and not just because of titties (though those are quite nice)
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Jan 15, 2019 20:02
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holy poo poo
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Jan 16, 2019 16:27
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The only thing that can stop a bad guy with a gun is a religious fanatic with a gun.
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Jan 17, 2019 18:44
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Your dad rules, Pomp.
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Jan 17, 2019 18:46
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The answer is clearly Forced Entry
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Jan 19, 2019 03:26
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I saw this poo poo on watch TCM tonight called Two on a Guillotine, and it was pretty drat good. It was directed by a guy named William Conrad who was better known as an actor and T.V. director, but who in 1965 directed three quickie thrillers for Warner Bros. and this was one of them. Apparently the decision to produce them was inspired by the success of William Castle's films, and there's more than a few elements of this that feel like just straight up homage to him, including a very particular gag involving a skeleton on a gerry-wire. I recommend it.Gejimayu posted:Still haven't seen Beyond the Black Rainbow by Cosmatos, but man do I gently caress with Mandy. See BtBR
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Jan 19, 2019 06:55
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One thing that article did right was linking the Don't trailer, because, by god, that looks like such an awesome movie.
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Jan 21, 2019 23:02
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I was more of an In Search Of... kid
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Jan 23, 2019 08:51
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Blood quantum is genocide.
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Jan 25, 2019 15:55
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Hereditary owns - it's From Dusk till Dawn for pessimistic family dramas instead of crime thrillers.
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Jan 27, 2019 07:42
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Timeless Appeal posted:My issue isn't about realism, it's more that there is something about the family that seemed sterile to me. It's because they're rich.
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Jan 27, 2019 21:59
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LORD OF BOOTY posted:I mean, I can kind of see why Waters would be worried about it; since his identity is so tied to that kind of stuff, and yet that's not really the world he walks in anymore, he's probably worried about turning into a caricature of himself. Too late. The man already looks like the embodiment of a drawing in the Waverly Inn.
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Jan 28, 2019 23:05
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No, Roman J. Israel, Esq. was good, too.
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Feb 2, 2019 07:30
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CelticPredator posted:I’m glad K. Waste showed me Frankenstein’s Army because THAT is what I wanted. That movie is bonkers and kept getting more and more bonkers as it went along. Nobody is ever impressed by just the basic fact that, like, filmmaking is a punishing, grueling, mostly un-requiting mistress, but then sometimes against the odds someone comes along and makes something good. But J.J. Abrams' company had the time to make a WWII horror movie in-between Mission Impossible films, it must have been real hard to get that.
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Feb 4, 2019 07:08
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Acht posted:Late, but I watched the new Suspiria yesterday. Any help on what I just watched? I was mostly bored and act 6 didn't really change that much. Is the original a lot better / different? Basically, Nuspiria takes a very basic element of the plot of the first film - it's set in a dance academy in West Berlin in the late-'70s - and instead of treating this as just superficial content which is tangential to the narrative, takes the socio-political backdrop of that moment as informing the horror of the film. You should see Argento's original, but in terms of getting where Nuspiria is coming from, you're better off acquainting yourself with aspects of the Cold War as they apply specifically to Germany, concentrating particularly on the Red Autumn of '77. 7 Days in Entebbe is an essential companion piece to Nuspiria. For something a little more dense I'd recommend The Schleyer Tape from 1979, which is a two-part found footage documentary comprised entirely of television materials that the director collected between '77 and '78. You can watch the whole thing for free on UbuWeb: http://www.ubu.com/film/bruch_schleyer.html
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Feb 6, 2019 16:29
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Also, Poe movies, especially the Corman variety, have a habit of adapting more than one at a single time, often just using the title of one and the content of another. Like, do you count that as one adaptation of multiple stories or multiple adaptations in one movie?
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Feb 6, 2019 19:02
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A real Rushmore of American horror would, per the actual Rushmore, have to have two 'founding fathers' that everyone just kinda of accepts as being on the money but nobody actually gives a poo poo about, some way out there crank whose bullishness automatically endears him to our hosed up culture of dominance but is really disturbing in retrospect, and finally someone that gets virtually universal admiration for the populism of their character and the relative quality of what they actually did. So, basically, it'd be: Thomas Edison, Tod Browning, John Landis, and Wes Craven It's dire, but it's honest.
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Feb 6, 2019 20:07
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Stryder posted:What if it's about an Amish farmer who makes a faceless scarecrow but the next day he wakes up the scarecrow has a face and no one will admit to doing it. He has to destroy the scarecrow according to his beliefs, and builds another, but again, the next morning someone has made a face on the new scarecrow. Is he slowly going insane or is someone sneaking into his cornfield at night with a Sharpie!? That's actually a really good idea for at least a short film and someone should do it.
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Feb 14, 2019 02:02
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Saw 2 is better
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Feb 16, 2019 15:22
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Haute Tension is a terrible film that is also straightforwardly homophobic. The casual equanimity it presents between the protagonist's repressed lesbian desires and this horrific embodiment of violent male sexual aggression in order to achieve it is straight up gross. Silence of the Lambs, on the other hand, is both a good film, and, while reactionary in a certain sense, goes out of its way to reject a reading that demonizes "transsexualism" as a mental disorder continuous with violent pathology. Much like Psycho, a character in the film literally says that the serial killer isn't queer, or at least disputes the assessment of the character as such by the reactionary definitions of the time. Like, the irony is that in Silence of the Lambs, Starling states that "There's no correlation in literature between transsexualism and violence, transsexuals are very passive" - so if anything the trope being deployed there is that "transexuals" are passive sissy boys who are incapable of doing something as uniquely masculine as serial killing. In general, tropes are a poor substitute for ideological critique. A single trope doesn't explain a particular form of hegemonic oppression and marginalization, which relies upon a spectrum of prejudicial views and values that often directly contradict one another. In one instance, "queer-ness" is unnatural and emblematic of a disordered pathology that organically leads to personally and socially destructive actions. But in another instance, queer-ness is functionally a kind of nothingness because it doesn't conform to gender-sexual binaries, so we can just go ahead and discount "real" queers and pretend that they don't exist as a point of social or psychological reference. Ultimately the latter narrative is far more common and pervasive, whereas stuff like Haute Tension is just leaning on contrived shock tactics and obscurantist storytelling (the narrative is presented cyclically as if to imply that everything is a dream-within-a-dream; Marie's pathology completely changes the moment Alex puts the pieces together and confronts her). s.i.r.e. posted:That's a trope? In as much as the "tragic lesbian" is the umbrella trope. See also, Dracula's Daughter.
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Feb 17, 2019 05:26
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Deadguy2322 posted:The word “problematic” is a sign that the speaker should not be taken seriously. gently caress off
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Feb 17, 2019 05:44
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Fart City posted:My general opinion? Horror is generally at heart an exploration in otherism. Everyone gets a turn in the crosshairs, and that's not necessarily a bad thing. I don't find Sleepaway Camp offensive in any way. It's... hmmm.. cute? Endearing? Although the entire movie treats the trans reveal as a twist, the movie itself is so loving inherently goofy it basically amounts to gently patting it on the hand and being like, "honey at least you tried." I can't speak for how being trans effects the feeling of watching them, but I get a sensation of distanciation with, say, Private Parts or Beyond the Valley of the Dolls. Like you say, which is really well put, horror and adjacent genre cinema often explore otherism. We root for "the monster" as an antihero, they're there to fulfill the generic preconditions that give us a kind of catharsis. I might amend that further by suggesting, even if it doesn't "explore" otherism, there's just as often this entire symbolic order of context that conflicts with my sense of the film performing an exclusive or straightforward rhetorical function. Absurdity isn't necessarily subversive, but it does frequently allow for an oppositional reading. Angela isn't soberly presented as a psychologically realistic homosexual or serial killer - the point is she's punk and she's getting back at all the normies. Even Haute Tension, while still generally being shoddily done, can be subject to this sort of reading. The cyclical dream logic of Haute Tension effectively implies that the entire movie is actually Alex's homophobic nightmare.
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Feb 17, 2019 06:58
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Here's the scene if anyone wants a point of reference: https://www.youtube.com/watch?v=6qWRAGPQ11M The most overtly transphobic thing said in the movie isn't explicit, it's just transitive of how the character words it... and that character is literally a psychopathic cannibal: quote:Billy is not a real transsexual. But he thinks he is, he tries to be. He's tried to be a lot of things, I expect. Notice how this line necessarily implies Lecter's view that 'transsexual pathology' is, while minuscule compared to Bill's, still 'savage and terrifying.' But notice how we also get a categorical rejection of one of the more common myths of how trans pathology arises: that they are made that way as the result of sexual abuse/feminization in childhood. Lecter is pointing out that the scare-quotes MEDICAL EXPERTS recognize the difference between treatable dysphoria and just somehow how hates themselves because of trauma.
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Feb 17, 2019 17:56
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Basebf555 posted:Tilda Swinton disappointed me for the first time ever, in Suspiria. Maybe it was Guadagnino's direction or something, but her performance was way too low-key and blah for me. I wanted something a bit more overtly pretentious and aristocratic than that. Not necessarily chewing scenery....but ok yea maybe some scenery chewing would've been nice. I wouldn't call Blanc low key at all. Klemperer definitely, but then Blanc is somewhere in the middle and Markos is way out there.
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Feb 20, 2019 18:39
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RE Korean horror, Bunshinsaba (2004) is on YT and is so drat good https://www.youtube.com/watch?v=TWvrwXIPsxc
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Feb 25, 2019 08:12
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DeimosRising posted:Thanks for the heads up Interesting bit of trivia: Ahn eventually went on to direct a more or less unrelated trilogy of Chinese horror films between 2012 and 2014, also called Bunshinsaba
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Feb 25, 2019 22:45
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Franchescanado posted:You joke, but Irreversible is very much a love story, which also surprised me. The whole story is two men who both love the same woman seeking revenge for her. There is a 20 minute scene where one of them laments to the woman that he is hopelessly in love with her with her and her partner, who is his friend. And then you have the ending, where we see the couple deeply in love. In some ways, his 2015 movie Love is way more depressingly nihilistic. Like, at least Irreversible spews you out of a giant rear end in a top hat only to have you crawl into the light. Love is literally just a young dude with a girlfriend he doesn't love anymore and a kid he's too emotionally immature to take care of remembering the last really hosed up relationship he had. It's brutal in a neorealistic way, where as Irreversible is so heavily stylized and metaphorical from the drop that it's impossible for me to engage with it as speaking to an earnest view of people and their apparent nature. Like a Decameron or Canterbury Tales story, it's a satire of values. The cartoonishly vulgar gay S&M club isn't where the characters end up, it's where they're born. Le Tenia doesn't assault Alex out of a completely random, in-born malice - He's getting revenge for Pierre emasculating him.
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Feb 26, 2019 02:33
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Origami Dali posted:Wait, Le Tenia shows up in the linear timeline of events before the rape? I don't remember this. No, what I mean is that the contra-linear narrative of the film presupposes the revenge as symbolically establishing the conditions for the rape, not the other way around. The opening of Irreversible is not a nihilistic representation of homosexual masculinity. It is a diabolical representation of hegemonic masculinity, which is obsessed with power and dominance. Technically, we are given explicit information that the film's events are occurring in reverse, but this "reverse" narrative is the true one. The rape does not occur out of the blue, driving a formerly "good man" temporarily insane with passion so that he murders someone. The rape is a symptom of how masculinity is culturally defined and institutionalized, where men find social value and distinguish themselves by attempting to be physically and sexually dominant. Like, notice how this contra-linear structuring of the story shows Marcus assaulting and degrading the transgender prostitute, before we ever see Le Tenia again doing the same thing. It is a complete mistake to read this sequence backwards because it's technically factual. What is factual is not always empirical. Marcus doesn't act this way towards the queer sex worker because of what Le Tenia did. He acts this way because this is how a gender-sexual hierarchy works. Marcus and Le Tenia are obverse of one another, the latter just represents the diabolical extreme of the former's embodied masculinity. This is even reflected in the twist "ending" where Pierre is the one who kills Le Tenia. Marcus tries to fight him, but then immediately gets his arm broken, emasculating himself. Then Pierre claims the phallic symbol in the form of the fire extinguisher and stoves in Le Tenia's face. In the "past," it is then revealed that Pierre feels sexually and physically inadequate compared to Marcus. Despite spending the whole night vainly trying to stop Marcus from confronting Le Tenia, it's actually he who performs the most brutal, psychosexual act. As with his constant mewling over wishing he was good enough for Alex, his performance of trying to stop Marcus is completely disingenuous. He just wants to prove that he's the "bigger man," which doesn't just mean killing Le Tenia - it means seeing Marcus totally humiliated.
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Feb 26, 2019 03:53
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Origami Dali posted:And it's all for nothing, because he doesn't kill Le Tenia anyway. He kills the wrong person. Existential horror at its finest. edit: I realize that lots of people find the whole "the true monster is man" genre tired, but with Irreversible it actually falls into that closely related category of "there is no monster." Le Tenia does not actually exist. K. Waste fucked around with this message at 06:35 on Feb 26, 2019 |
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Feb 26, 2019 06:32
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DeimosRising posted:I’d like to say I’ve got Lee Van Cleef or Bob Denver but it’s probaly Nixon and he’s going to gently caress me over "Come on, Deimos! Richard Nixon... Nick's son!... Hi, dad!" the killer's name is Nick
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Feb 26, 2019 06:49
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Stryder posted:I am trying very hard to get through Hellraiser: Judgement right now, but it feels like it was made by a sentient Hot Topic clearance rack. The only thing keeping me in it is the secretary dude, because I like the idea of Hell Bureaucracy. Pro tip: watch it in black-and-white
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Feb 28, 2019 02:22
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Coffee And Pie posted:I don’t know if it’s technically horror, but I just watched Gaspar Noe’s Climax and I’m not sure how I feel. From what I’ve heard, it’s probably good this is the only Noe I’ve seen, I’d probably like it less if I was more familiar with his stuff. As a concept it’s really cool and for the most part it works, but doesn’t always stick the landing. And this might be a dumb point, but at times it’s really hard to see what the gently caress is going on. The characters were all great though and I think it really helped that they were all improv, it’s just that the rest of the story could have used a little structure. Essential Noe are Irreversible and Enter the Void. Love is pretty good, and I Stand Alone i haven't seen in a while
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Mar 4, 2019 16:55
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Coffee And Pie posted:What’s better to start with, Sus or Nu speria? Sus, and then before Nus also watch The Schleyer Tape
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Mar 5, 2019 04:53
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mikeycp posted:any movie can be horror if you think about it the right way Especially once you realize that film horror is just an elaborate mask of comedy
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Mar 5, 2019 06:50
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