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So tonight I watched Dreamcatcher for the first time. What a rush. A fingerless Jason Clarke fights a colon-monster with a toilet brush. An alien-possessed Damian Lewis puts on a jolly, weirdly unconvincing English accent, then turns into a slug and offhandedly eats Timothy Olyphant’s upper half. Aforementioned colon-monsters repeatedly attack the characters’ groins. Morgan Freeman proudly calls Tom Sizemore ‘Blue Boy Leader’. The clearly-established telepathic powers go almost entirely unused until Thomas Jane starts using them all over the place. CGI bobblehead aliens fleeing an airstrike. William Goldman. Lawrence Kasdan. Just...all of it.
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Mar 26, 2019 23:28
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Perhaps after the success of Knives Out and Ready Or Not, Hollywood can finally pull out its finger and give us a second attempt at The Beast Must Die. Even putting aside the obvious merits of a werewolf take on Agatha Christie / The Thing, featuring a bunch of the deranged super-rich trapped in a mansion together, that film just has a wonderful title. The world is sleeping on that title.
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Jan 26, 2020 08:23
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Drunkboxer posted:I can’t tell if Things Heard & Seen is an ok Lynchian movie, a bad parody, or a great Lifetime movie. The ending was my favourite bit - utterly batshit, and never a good sign when your ghostly voiceovers start to come in 30 seconds from your credit sequence to clarify what's happening, but at least it showed some genuine strangeness and imagination. Everything leading up to it felt like the kind of self-hating, reluctant 'literary' genre piece that Ursula K LeGuin used to despise - a ghost story that thinks ghost stories are beneath it, so it rushes through the haunting stuff as quickly and generically as possible, in order to get back to its more highbrow dramatic concerns, 1) adultery and deception in academia and 2) endless meaningful references to Swedenborg. If they'd wanted to go all in, I think a post-Shining/Amityville ghost story where an increasingly estranged couple are simultaneously haunted by a pair of feuding ghosts, one a spirit of accumulated domestic violence and male grievance, one a spirit of that violence's accumulated victimhood, could actually have done a lot. But instead, bizarrely, the 'husband ghost' is foreshadowed by F. Murray Abraham...and then never explicitly plays any part in the narrative bar a couple of seconds of evil whispering.
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May 4, 2021 07:53
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I think precisely what I adore about all the Michael Myers Halloweens (even the terrible ones) is how well all the developmental failures embody the series' own themes. Even from the start, it's been grasping for but not fully capturing the idea of this purely uncanny figure - this SHAPE, this blank-faced mannequin, a parody of a person, an elemental Intruder that can always find its way into our homes and follows us about in plain sight without once being spotted. He's not scary because he's pure evil, he's scary because he's irrational. His face is not his real face. He knows how to drive when it's impossible that he could do so. He's average-sized but possesses a strength that makes no sense, and he's apparently a living human being but frequently seems to forget that he's been stabbed. He tilts his head when he's killing you, and that's the only clue you'll get as to the fact that he can see something we can't. Our attempts to make sense of him feel inadequate, just like Loomis' histrionics come across as inadequate. But then even in the first film, Carpenter can't quite leave it at that, and we have these odd unresolved angles where Michael is also a kind of malicious prankster *and* he's a Freudian sister-obsessive lugging her gravestone around. And then comes the second film with the familial plot developments, and the cult of Thorn, Michael crying, and so on, and so on. So I really enjoy the fact that we get Rob Zombie reimagining the character as a misunderstood Frankenstein's monster, or Tarantino ludicrously pitching Myers as a participant in a Natural Born Killers road trip. I love the sense of dissatisfaction that seems to underlie every reboot. Every new creator picking up the ball and going, "...actually, that didn't work. Let's go back to the beginning and try again." Nobody knows what to do with the void. It's just such a weird series, scratching at an itch that will never quite be satisfied, all of us motive-hunting after motiveless malignity. grobbo fucked around with this message at 16:37 on Oct 12, 2021 |
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Oct 12, 2021 16:23
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EL BROMANCE posted:Thinking caps time... which films (maybe even just slashers) have the best and worst portrayals of grief following people finding out their friends and family have been slaughtered. Not 'slaughtered' and not a slasher, but I think in the opening scene of Don't Look Now Donald Sutherland does an incredible job of portraying the horrible clumsiness, the indignity of his shock at his daughter's death. He trips over, he moans, he becomes something animal and confused. It hits hard.
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Oct 12, 2021 19:40
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STAC Goat posted:The concept of Leatherface going from the end of TCM screaming and waving a bloody chainsaw around to "I'm gonna try and be a good person" is just too dumb for me to take anyone seriously. The possibility always exists that this won't be an obnoxious, middle-aged sneer of 'those drat city kids blunder into town, asking if the slaughterhouse provides chai latte, and a sympathetic Leatherface is *provoked* into picking up the chainsaw again!' movie, but instead a full-on Psycho II. Leatherface, fully reformed, is shocked to learn that copycat cannibal chainsaw-massacring crimes are taking place all across town. He tries in his own guttural way to tell the police about his findings as to the exact brand of chainsaw used on the victims' wounds, but is misunderstood and swiftly becomes a key suspect. Teaming up with a plucky crew of at-first reluctant out-of-towners who eventually prove their mettle, Leatherface solves the mystery and defeats the villain. (Maybe all the teens show up to save him while also wearing human-face masks to help him regain his confidence??) The story ends with the copycat being served at dinner as Leatherface celebrates with his new loving family. Laughter. Fade out. The Saturday morning cartoon flows naturally from there.
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Dec 5, 2021 13:58
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Karloff posted:I have a huge soft spot for the 1999 The Haunting remake. It's not a position I can adequately defend, it's a bad adaption of the book, and a bad remake BUT it is exactly the Ghost movie that you would expect the director of Twister to make and is fun on that fairly preposterous, camp level. The set design and score are good as well. Taking the faceless, layered madness and malevolence of the house and turning it into Hugh Crain as a robed Ghost Palpatine who's behind it all and taking one of the most heart-wrenchingly unhappy protagonists of 20th century literature and turning her into a straightforward hero who fights a CGI eagle statue, then defeats Ghost Palpatine and her own mental illness by yelling at him defiantly is honestly so outrageous in its crassness that it's hard to even get mad about it. And Owen Wilson's awkward scene with the fireplace is just delightful. It's like something out of Mouse Hunt.
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Jan 28, 2022 09:46
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The dumb and infuriating thing is, TCM is fundamentally not like Halloween or Terminator or Alien or Jaws - there's no justification for portraying Sally as someone who's relentlessly pursued by a monstrous intruder until they find the courage to face it and reclaim their ordinary life. In TCM, it's the other way around; the protagonists are the hapless intruders into an irrational, paranoid landscape where anyone you meet could turn out to be a member of the same terrifying cannibal family. We don't get any satisfaction from seeing Sally return for some final confrontation with Leatherface. We already got our closure, very effectively, from watching her escape from the environment of the movie in one piece. Having her still hanging around in the locality, getting tip-offs about Leatherface from the police and apparently raring for Round 2 doesn't satisfy on any level. It's just wretched.
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Jan 31, 2022 19:07
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FreudianSlippers posted:Thanks. This is an awesome idea and - assuming that the tent becomes the ghost - adds a whole new twist to the story where the place of safety turns into a pursuing, haunting force through the wilderness. Freaking love it and congratulations also!
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Mar 16, 2022 10:52
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1stGear posted:Trailer for Men, Alex Garland's new thing. I'm all in, but the pub scene with multiple Rories in their goofy wigs and then Policeman Rory does start to feel a bit like the Simpsons where Homer starts hallucinating Moe everywhere. https://www.youtube.com/watch?v=IMMS5a9Xgec&t=63s
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Mar 23, 2022 16:46
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HUNDU THE BEAST GOD posted:That's the kind of completely absurd thing they should have been ripping off J-horror years ago. The concept (and how that final shot suggests they're going to ramp it up) feels very Junji Ito, which is awesome.
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Jun 23, 2022 17:15
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Mr Ice Cream Glove posted:Yes! The neck and head extending is done in a few of his mangas Yeah! Although I was thinking just the 'contagious psychological illness that makes its victims transform into escalatingly wild, ridiculous and horrific body-horror creeps' concept which makes up a good half of his work. And maybe specifically the grinning killer balloons, which rock.
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Jun 23, 2022 20:46
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The Berzerker posted:I thought MEN mostly sucked but the last fifteen minutes were a hell of a spectacle I just watched it and it's a weird one all right. So many great potential elements - hidden Green Man iconography! Unearthly Gregorian chanting! Jesse Buckley! Pretty English woodland! No-holds-barred body horror! but Garland doesn't know how to tie it all together into a proper story and doesn't seem to want to entertain the idea of making his villain a coherent threat as well as a metaphor. It's a mess of Fast Show character sketches leading up to a spectacular but unthrilling 'Jesse stands quietly, observing the naked man-baby, which symbolises obviousness' climax. It'd be a perfect double bill with In The Earth for the very specific theme of 'In the COVID era, British horror directors go into the deep and ancient woods and take a wild and slightly loopy swing at arthouse paganism. It's not clear what they hit.'
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Jun 28, 2022 22:26
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alf_pogs posted:In The Earth is good fun, especially if you like Reece Shearsmith, but i don't think it's as cohesive as some of Ben Wheatley's other films (Kill List, A Field In England.) the big climax is a bit of an explosion of sound and light but plotwise a bit of a nothingburger. A Field In England is almost entirely paganism in a woods-adjacent field, so you might enjoy that a little more. Yeah, agreed. But someone does need to return to the Nigel Kneale-esque theme of scientists studying a malevolent pagan god that might actually be a cosmic fungal spore consciousness ruling over a forest , because it's a cracker and I'm not sure Wheatley had the budget to do anything with it - hence the reliance on hallucinatory lightshows to try and wrap everything up.
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Jun 29, 2022 09:23
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Death as a visible, Wil-E Coyote presence in the background of every screen, carefully setting up his death-traps and getting annoyed when the kids turn down a different street or step safely over the sparking wires. We should often see Death accidentally setting off his own traps, and holding up a little 'UH-OH!' sign to the viewer as he falls down a manhole or is set on fire or impaled by a log. The rest of the movie proceeds as normal.
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Jul 5, 2022 12:13
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Prey is great fun all around, although I don't really understand how all of the producers sat through 'COPYRIGHT @MMXXII TWENTIETH CENTURY FOX STUDIOS ALL RIGHTS RESERVED' descending ominously from the sky in the title drop and not one of them said 'you know what, it actually looks more impressive if it's just the name of the film.'
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Aug 9, 2022 15:21
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Xiahou Dun posted:But yeah, basically that’s it. He had his early run of two incredibly good movies out the gate (moderate adjustment for first movie helps Dog Soldiers), a couple meh efforts (Doomsdays is…fine, I guess ; I love Centurion, but it is a lonely love) and then almost nothing but some TV. And then some stuff with his personal life that I didn’t dig into but seemed pretty eyebrow raising. I really like parts of Centurion! Minus the CGI blood. The eyebrow-raising stuff actually led to Marshall losing his agency rep back in 2020 (and I'm certain all the PR burnt a lot more bridges in the process), which I imagine is why his CV's been so empty. I just hope he's happy. It all sounds incredibly toxic and who knows the truth of any of it, but even in the least sympathetic reading (to me, at least) he still comes across as a bit of a misguided victim.
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Aug 23, 2022 11:43
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Ginger Snaps, The Howling, Dog Soldiers, American Werewolf, Brotherhood of the Wolf (thematically and atmospherically it counts!) and A Company Of Wolves are all great in very different ways. More recently, Werewolves Within was messy and slight but still pretty charming - Sam Richardson oughta be a star - and I'm counting After Midnight as a werewolf movie, which I didn't think was bad. Nostalgia points always go to The Beast Must Die for having a great title and a stacked cast. My truly shameful, dreadful pick is 2007's Skinwalkers. 2010's Wolf Man is a fun enough gothic pastiche, but it just makes me angry for making us watch a weirdly miscast del Toro fumble around in the woods for most of the film, and then at the very end, sets up the infinitely more fun premise of Hugo Weaving as working-class werewolf Inspector Abberline going back to London to try and take down Jack the Ripper. grobbo fucked around with this message at 16:11 on Aug 23, 2022 |
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Aug 23, 2022 16:08
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Nice try, Shudder. This is clearly a stealth reboot of Satan's Little Helper.
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Aug 25, 2022 14:32
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I'm rewatching TCM tonight for the first time in a long time. Funnily enough, I really hadn't spotted before that it's *also* quite pointedly a werewolf movie, only twisted and perverse in the same way it's perverse about absolutely everything. Temporary astrological portents are perhaps to blame for the badness which infects everything and drives men to madness. The line between animal and person has grown increasingly blurry. But in this case, wild beasts are the victims, and in the bright daylight, our protagonists and antagonists alike are not passionate or bestial, but eerily numb and calm in the face of horror - whether they're picking up stray teeth, chomping animal meat like a cigar, or chainsawing corpses while wearing someone else's skin. Sally first becomes animated almost exactly as the full moon is pointedly shown emerging midway through (yelling in frustration at Franklin, then yelling in fear for her friends, then screaming at Leatherface's appearance) and of course her sounds then gradually become more and more animalistic, shrieking and inhuman throughout the night as her situation worsens. When she wakes and screams at the dinner table - shortly after we glimpse the full moon again - the family mock her with wolf howls (beneath their own perverted 'full moon', the face-lamp). Her ensuing, wordlessly animalistic screaming fits are shown with transformation-style close-ups of her pupils dilating and her teeth bared. I'm moving on to Lifeforce next as I've seen you folks recommend it here a lot.
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Aug 25, 2022 20:26
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Lifeforce is odd and fun. It's a bit of a mess, and I understand Hooper didn't really have much of a script to work with, but it generally comes across as a parody of the Quatermass films and Hammer movies rather than an homage. An endless succession of repressed, sex-repulsed and controlling British men (and their sex-obsessed lackeys) hanging around in sterile set interiors to conduct autopsies and cold-blooded academic conversations with each other while a rapidly-multiplying space vampire is clearly on the loose on the outside. One protagonist is swapped out for another halfway through and we barely notice the difference. The scene where Carlsen wakes screaming from an erotic dream to have a crowd of fully-dressed military men and doctors instantly rush in to comfort him is funny. The infamous 'I'm a natural voyeur' scene is telling. The ending, with a naked man gently telling a defiant Colonel Caine in action-man garb that it'll be less frightening if he comes up to bond with him voluntarily, and Carlsen screaming frantically for his buddy to throw him a lead spear while he's passionately entangled with his idealised feminine other half, which he must destroy is good. The practical effects are unique, at least, even if they haven't aged brilliantly.
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Aug 26, 2022 09:20
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Xiahou Dun posted:Is Naomi Watts’ agent like some kind of performance artist or does she keep losing bets or…? Between this, The Ring and Funny Games, I feel like she just really wants to play characters who have an absolutely horrible time, and you know what? Good for her. Hollismason posted:There are no more werewolf movies for me to watch If you haven’t watched Amityville Moon or Werewolf in a Women’s Prison, there are depths left to plumb.
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Aug 30, 2022 22:11
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Baron von Eevl posted:Unrelated HK thoughts: did anyone else think the gay couple was really just in it for "lol they're gay?" Like they acted kind of as comic relief but the joke just seemed to be that they were a gay couple. Also the one was definitely written for Danny McBride and by Danny McBride so it was really weird that he wasn't played by him. Halloween Kills was clearly going for something in that the traditional comedic mid-movie slasher victims - horny teenagers who are too busy going at it to realise that they're in danger - have all been replaced by older couples who are fatally distracted not by sex but by more middle-aged foolish excesses such as gadgets, wine, arguments about whether to spend the night in front of the TV or not, and telling kids to go home. The decision to make these victims in quick succession mixed-race, black, gay, and all clearly in love leaves a bad taste in the mouth, though. As does the fact that Gordon Green and McBride do indeed lean into outdated comedy stereotypes to make some of these characters land. (But even last time around, I thought Julian's big scene was tone-shattering and a weirdly retrograde 'hey, the black kid should be shouty and sweary for some comic relief' moment and everyone seemed to love him, so.) The broadness of those scenes feels weirdly pointed and cruel because we keep cutting back to the Strodes, who are of course all-white, all-het, and whose plight and melodrama we're expected to engage with sympathetically and seriously. Laurie and her family are not at risk of accidentally shooting themselves for comedic effect, nor will they screech out 'THERE'S A BIG FELLA IN OUR BATHROOM, AND HE'S WEARING A MONSTER MASK' when Michael shows up. If they die, it will be dramatically and tragically rather than as a punchline. And that drama/comedy distinction between the leads and the supporting cast feels more artificial because there are three of them now and none of them are particularly interesting. We can understand that Laurie in 1978's Halloween 'deserves' her heroic status and Michael's other victims do not, because she's shown to be conscientious, observant, and plucky. But with multiple Strodes running around, it becomes obvious that they don't *all* have that distinctive heroic quality - they're just the franchise's Skywalker dynasty, and so they're protected from becoming comedy victims. Mean-spiritedness is a hard thing to quantify when you're watching a slasher flick (because of course isn't that half the point?). But HK feels offputtingly mean to me not because its deaths are particularly gory or sadistic, but because of its obvious unfairness in how it handles its sympathies and switches up its tone.
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Sep 14, 2022 09:37
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Disposable Scud posted:Thirteen Ghosts has blown the gently caress up in the past year for some reason. I know its 21 years old and thus falls into "time to watch some old horror!" but its still a bit odd. Is it the "lore" behind all the ghosts? Zoomers love lore. Trevor Henderson and other horror artists have also banged the drum for 13 Ghosts a lot online because of its diverse and mostly inventive creature designs (which you also get to some extent in the House on Haunted Hill remake around the same era - the underwater ghost is very good).
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Sep 29, 2022 13:03
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feedmyleg posted:Hidden Gem Alert: Skinned Deep loving rules. I just watched the trailer off the back of this post and thank you. Thank you very much. https://www.youtube.com/watch?v=j12dtM4YCHs
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Sep 29, 2022 14:27
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Baron von Eevl posted:edit oh poo poo he's definitely going to get Dafoe to play Orlok, right? He's already played Max Shreck Wired: Taylor-Joy as Orlok.
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Sep 30, 2022 10:42
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I just read a story that The Night House was originally a Hellraiser sequel script, which is fun. I really enjoyed what we got, but I'm also lowbrow enough that I love the idea of a 'grownup' original-concept movie with a character actor putting in the work that unexpectedly turns out to be a franchise horror pic 3/4 of the way through. Give us an hour of heartfelt, carefully-observed character drama about grief, and an eerie mystery about the impossibility of truly knowing your own partner. And then, wham, Jason walks out of the lake to fight Rebecca Hall for the big climax.
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Oct 9, 2022 08:36
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Space Cadet Omoly posted:It's a little early to call this, but I think it's pretty safe to say that Barbarian is going to go on to become a classic horror movie. You might like Video Palace or Magnus Archives by the sounds of things? Also, there’s a quiet but good Serialised Fiction thread in Rapidly Going Deaf and most of the recs tend to be horror fiction, there’s a lot of good stuff out there.
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Oct 23, 2022 09:36
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Gyro Zeppeli posted:Push the supernatural button, Saw. Do it you loving cowards. Bite the bullet. I'd like to see them go Pit and the Pendulum /Hammer-historical with it. Let Bell ham it up as the 18th-century Comte de Jigsere in a cloak and a ruff, menacing wenches with his fiendish traps. Anything would be more fun than what they'll inevitably do.
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Oct 25, 2022 15:42
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Barbarian feels nice and fresh (to me) despite some familiar elements because it’s got some genuinely thoughtful Ideas and Themes under the hood but it’s determined to be a light-footed hoot rather than a weighty discursion or an explicit commentary. It feels like a nice parallel to the much bleaker Nope in terms of its ‘don’t stop to explain, keep the plot moving forward and let the audience fill in the gaps’ approach to storytelling.
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Oct 28, 2022 20:07
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Kvlt! posted:What do yall consider the SADDEST horror movie to be? Don't Look Now is the saddest horror movie for me: it deals heartbreakingly and beautifully with the ugly, clumsy violence of losing a child, it explores the boundaries we put up between ourselves and our loved ones in our grief - and finally and tragically, it displays our inability to believe that our loved ones are really gone. It's about our desperate and hopeless hope that the dead are still with us, leaving patterns and messages that can be heard from beyond the grave, and that we can reach them again. And then sometimes your child really IS sending you messages from beyond the grave, but you're too blinded by your own stubborn rationality to pay attention, so instead you chase madly after a serial killer and get merked.
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Nov 1, 2022 14:55
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What's the clunkiest or plain worst horror-movie title ever concocted? I ask because I just spotted both a 2018 Strangers rip-off on Amazon by the name of 'Home Is Where The Hell Is' and a supernatural film called 'Pungo - A Witch's Tale.'
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Dec 20, 2022 19:49
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Baron von Eevl posted:*cut to black* "Hey, honey! Come take a picture with me and this living statue guy! Haha, this is so great. Look, he doesn't move and he doesn't say anything, even if I-"
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Dec 21, 2022 14:47
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Jedit posted:Any of the infinite cheap crap movies called The Haunting of $LOCATION. Ooh, speaking of which, I found about a million of those movies on Amazon, but also one inexplicably called, in its entirety, 'Abigail Haunting.' As in, 'Please - The Haunting Of Abigail is so formal and stuffy. Just call me Abigail Haunting.'
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Dec 21, 2022 19:23
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PKMN Trainer Red posted:lmao wait what the gently caress, Ben Wheatley is doing Meg 2? Did he hit some studio exec's kid with his car or something? He made Rebecca (2020), so yes.
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Mar 14, 2023 14:37
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Snooze Cruise posted:Did I post this in here? I mean, I agree on some counts. The Hitcher is definitely a doppelganger movie - it's basically a murder-filled version of Dostoevsky's Double in the way that Halsey keeps getting blamed for his darker half's crimes no matter how absurdly and blatantly they escalate. And Hauer does have a lot of fun playing up a sinister, at times deeply intimate tenderness towards his victim. But it's also hazy and dreamlike as hell, which is what I love about it. None of the obvious interpretations (Ryder wants someone to kill him, Ryder is really Halsey, Ryder loves Halsey, Ryder wants Halsey to become Ryder) make perfect or conclusive sense across the entirety of the film. There are so many odd little moments - somehow Ryder knows about Disneyland, the coins he places on Halsey's eyes to signify death, the way he goes from cheekily leaving fingers in fries to casually exploding helicopters - that don't quite fit together. I don't think it's a movie with any definitive subtext. It feels very much like what it is - a film that was dreamt up from some unnerving symbolism in a song.
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Mar 22, 2023 17:57
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Basebf555 posted:Probably a "you had to be there" situation because keep in mind that a lot of us(those who hadn't seen the original) who saw the movie when it came out had no idea where it was going. So it was one of the most effective movies of all time in terms of building and maintaining dread. You didn't know what the source of the curse was, you didn't know what was going to happen after 7 days. So there's this ticking clock as the investigation gets closer and closer to the answer and by the time the damp child actually shows herself your nerves have been on the knife's edge for so long that you're flipping the gently caress out. It was a great communal theater experience, is I guess what I'm saying. Speaking personally, horror that breaks the fourth wall, or makes the viewer feel like the monster can see us, or directly places us into a vulnerable position, always absolutely wrecks me. So the Ring had a massive impact on me, also It Follows, and I freaked out and literally scuttled back from the TV the first time I saw BOB from Twin Peaks climbing over the sofa towards the camera. I think that's common, but it's definitely not universal. Although I remember a big collective happy and fearful groan of 'oh, poo poo, they got us' in the cinema when The Ring just plays through the cursed videotape right at the end. It's such a great, mean, little stinger. "You're not getting off on a technicality, we're showing you the drat tape."
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Mar 28, 2023 11:46
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What's really fun about Haute Tension is the fact that "oh, I guess she imagined that part" can explain away a lot when it comes to that kind of premise, but then Aja just absolutely explodes any suspension of disbelief through the simple act of giving the killer a truck.
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May 13, 2023 15:13
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Jedit posted:It was already exploded by the killer appearing in an early scene where Marie definitely wasn't. Sure, but I guess she imagined that part.
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May 13, 2023 15:40
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