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Sam Neill scream-roaring when the world goes blue makes it all worth it, obviously.

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Thu Oct 04, 2018 1:11 pm
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DaMU wrote:
My theory on King vs. Kubrick and why King's not a fan is that The Shining was an autobiographical novel. King did pull his family to a Colorado hotel. He did get deep into alcoholism and substance abuse. He did hurt his son at one point. So to see a confessional novel be adapted by Kubrick in such a way that Jack Torrance (re: Stephen King) is a shit from the word "go" and Tabitha King (re: Tabitha King) can come off more helpless than resistant... I can't imagine King really liked what he saw. Kubrick sorta tore the soul out of what King was trying to get across in terms of his own family dynamic and his own failings as a father. I imagine that's at least part (and I suspect a large part) of why King's had a chip on his shoulder about the film for all these years.

I don't agree with King that those choices make the film worse. My feelings about the film aside, Kubrick did what he had every right to do - refashion the story into a story he could tell and wanted to tell. (King, after all, could've always told him "no" and rescinded the rights.) And the proof is in the pudding. It's still routinely considered one of the all-time greats, not without cause.

And he biffed it so goddamn hard when he tried to make his own version in the '90s. (Funnily enough, contemporaneous reviews of the series were quite kind and even took some knocks at the Kubrick film, which wasn't quite yet the legacy masterwork it's treated as now.)

I think you summed up what my understanding of all this is really well.


Thu Oct 04, 2018 1:40 pm
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Captain Terror wrote:
Hey man, I finally found another Burnt Offerings fan--don't scare the guy away! :)

Just kidding of course. You're right about the Shining. One of my pet peeves about haunted house/ghost stories is when our hero figures out what the ghost wants, as if that would ever be possible. "We have to find that key that's in the thing and bring it to that place and then the ghost will be content." If the Shining (film) had stooped to that, it would be much worse for it. I'd compare it to 2001. The end of that film has been frustrating people since day 1, but how lame would it be if Klaatu showed up at the end to explain what the monolith was all about? It's the ambiguity that keeps us talking about these things.

Man, that shit is so tired.


Thu Oct 04, 2018 1:46 pm
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Charles wrote:

The ambiguity and the moon landing, really.

Did you and Wooley see Room 237? What did you think if so?

I saw a documentary on The Shining, but I don't know if it was that one or not, I believe there were two. Wait, it looks like there were at least three.


Thu Oct 04, 2018 1:48 pm
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crumbsroom wrote:

I'm a fan. It's sometimes a little bland (as Wooley says, it does play almost as an airport horror novel...which it kinda was) but I think it is decent regardless of its many flaws. I think it works as a fairly effective meat and potatoes type ghost story. And there really isn't enough of those, so I'll take what I can get.

I think that's fair, I can go along with that.


Thu Oct 04, 2018 1:49 pm
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DaMU wrote:
In the Mouth of Madness hasn't held up as well for me in recent years. It's still fun and worth watching, for sure, but it comes off a little more... I dunno, haphazard? Uncertain? The words aren't coming right now (long day at work), but my overall feeling is it's a movie of great moments and sequences rather than a film that builds terribly well.

Help me out here, Anakin.

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"You're on your own, Jim."

My experience with it was that I saw it in the theater and was like, "Fuck".
Then when I watched it again in maybe my early 30s I thought it kinda sucked.
Then when I watched it again in my late 30s I thought it was awesome again and I have continued to feel that way since.
I don't have a good explanation for this.


Thu Oct 04, 2018 1:51 pm
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Only a sith deals in absolutes

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Thu Oct 04, 2018 1:56 pm
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Prince of Darkness, 1987(B)

It's good, but it would have been a much better short film. It just doesn't deliver on the hype it builds early and gets worse as it goes on, though it never actually gets bad.


Fri Oct 05, 2018 3:35 am
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I don't know why but I always get Lord of Illusions and In the Mouth of Madness jumbled up in my head. Maybe it's because they both feature cult like figures.


Fri Oct 05, 2018 4:21 am
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DaMU wrote:
In the Mouth of Madness hasn't held up as well for me in recent years. It's still fun and worth watching, for sure, but it comes off a little more... I dunno, haphazard? Uncertain? The words aren't coming right now (long day at work), but my overall feeling is it's a movie of great moments and sequences rather than a film that builds terribly well.

Help me out here, Anakin.

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"You're on your own, Jim."


I haven't seen it in a loooooooong time, but I seem to remember this being my feelings too.

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Fri Oct 05, 2018 5:19 am
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Charles wrote:
Prince of Darkness, 1987(B)

It's good, but it would have been a much better short film. It just doesn't deliver on the hype it builds early and gets worse as it goes on, though it never actually gets bad.

I agree with the bolded.


Fri Oct 05, 2018 10:53 am
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Wooley wrote:
I agree with the bolded.



I have a message for you and you're not going to like it. Pray for death.

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Fri Oct 05, 2018 11:52 am
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Can anyone recommend a really good and accessible video essay or article that unpacks some of the ideas in Mulholland Drive? A friend recently watched it and asked if I had any insight, and while I can shed some light, I haven't watched the film in over a decade so the particulars have gotten hazy.

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Fri Oct 05, 2018 12:19 pm
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Charles wrote:
Prince of Darkness, 1987(B)

It's good, but it would have been a much better short film. It just doesn't deliver on the hype it builds early and gets worse as it goes on, though it never actually gets bad.

Yeah, it's not exactly bad, but stabbin' hobos has gotta be the least grandiose apocalyptic vision I can think of.

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Fri Oct 05, 2018 12:55 pm
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Macrology wrote:
Can anyone recommend a really good and accessible video essay or article that unpacks some of the ideas in Mulholland Drive? A friend recently watched it and asked if I had any insight, and while I can shed some light, I haven't watched the film in over a decade so the particulars have gotten hazy.

Here's a good one.

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Fri Oct 05, 2018 1:01 pm
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Death Proof wrote:


I have a message for you and you're not going to like it. Pray for death.

I'm actually gonna watch it now and write it up in my Horrorthon tomorrow.


Fri Oct 05, 2018 1:25 pm
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Popcorn Reviews wrote:


Bookmarked for later.

I've learned to accept Lynch films as abstract art in that the important thing is appreciating the essence of it all, instead of "trying" to understand whatever's happening, but it's still interesting and fun to nibble at. With that said, if anybody has a similar essay/analysis on Eraserhead, I will appreciate it.

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Fri Oct 05, 2018 9:48 pm
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Finally got around to seeing "Joe Kidd ('72)". About in the middle of the Eastwood western genre. Bullets must have been real cheap in 1972.

7/10


Fri Oct 05, 2018 10:19 pm
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Thief wrote:

Bookmarked for later.

I've learned to accept Lynch films as abstract art in that the important thing is appreciating the essence of it all, instead of "trying" to understand whatever's happening, but it's still interesting and fun to nibble at. With that said, if anybody has a similar essay/analysis on Eraserhead, I will appreciate it.

I remember posting quite a lengthy analysis on Eraserhead to RT a year or more ago. Here it is. I've likely changed my opinion on a couple minor details since posting it or thought of a few new interpretations on different set pieces which I didn't think of while writing it, but, for the most part, this is my analysis of the film.

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Fri Oct 05, 2018 10:48 pm
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I first saw Eraserhead when I was a teenager, and I thought it was fascinating but definitely did not understand it. Then I watched it again a couple of years ago when my son was about 4, and I was like, "Oooooh, shit, I get it now," because being a parent is weird and scary, and that's what Eraserhead is about.


Sat Oct 06, 2018 12:19 am
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Rock wrote:
Yeah, it's not exactly bad, but stabbin' hobos has gotta be the least grandiose apocalyptic vision I can think of.


But they stab people with bicycles. Give them some points for thinking outside of the box. Not everything can be boils and locusts.


Sat Oct 06, 2018 12:50 am
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I caught the last half hour or so of Role Models last night and found myself impressed at how pleasant it was for such a formulaic comedy. I'd really like to go back and watch it from the beginning.


Sat Oct 06, 2018 1:06 am
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kgaard. wrote:
I first saw Eraserhead when I was a teenager, and I thought it was fascinating but definitely did not understand it. Then I watched it again a couple of years ago when my son was about 4, and I was like, "Oooooh, shit, I get it now," because being a parent is weird and scary, and that's what Eraserhead is about.


Yeah, that's the general idea, but I was more curious about potential symbolism and meanings in all the little details in every scene.

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Sat Oct 06, 2018 1:06 am
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I once read an analysis of Eraserhead online that made perfect fucking sense, but I don't think I'll ever be able to find it again in a thousand years. It's definitely the only Lynch film I've seen that fits comfortably into a logical figurative framework.

Here's the gist of it:

The basic premise is fairly straightforward, which kgaard stated: being a parent is weird and scary. I think you could also argue that the baby/creature represents other forms of trauma or difficulty, but that doesn't really have any bearing on this interpretation. The analysis mostly helped to clarify some of the peripheral elements, namely:

The Man in the Planet - This is God, or some god-like figure. He watches Henry from a distance and instigates certain events within his life.

The radiator - The possibility of suicide.

The Lady in the Radiator - Death itself, but a relatively comforting vision of death. That's why she sings "In Heaven, everything is fine."

(The analysis may have also touched upon the eraserhead non sequitur, but if it did I don't remember if it shed any light on it.)

Ultimately Henry defies God (who tries to hit the brakes but can't stop him) and succumbs to the temptations of suicide. You could read it as the story of a failed Job. Not that Eraserhead is a Christian film in any sense -- the analysis wasn't suggesting that either -- it's just iconography with approximate similarities.


But regardless of interpretation, I think the real value of Eraserhead and its greatest accomplishment is its way of embodying anxiety and fear with such bizarre, visceral precision.

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Sat Oct 06, 2018 2:58 am
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Wooley wrote:
I'm actually gonna watch it now and write it up in my Horrorthon tomorrow.



Image

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By the time we got to Woodstock we were half a million strong
And everywhere was a song and a celebration
And I dreamed I saw the bomber death planes riding shotgun in the sky
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Sat Oct 06, 2018 2:58 am
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Popcorn Reviews wrote:
I remember posting quite a lengthy analysis on Eraserhead to RT a year or more ago.


All those threads that were lost.


Sat Oct 06, 2018 3:14 am
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Macrology wrote:
I once read an analysis of Eraserhead online that made perfect fucking sense, but I don't think I'll ever be able to find it again in a thousand years. It's definitely the only Lynch film I've seen that fits comfortably into a logical figurative framework.

Here's the gist of it:

The basic premise is fairly straightforward, which kgaard stated: being a parent is weird and scary. I think you could also argue that the baby/creature represents other forms of trauma or difficulty, but that doesn't really have any bearing on this interpretation. The analysis mostly helped to clarify some of the peripheral elements, namely:

The Man in the Planet - This is God, or some god-like figure. He watches Henry from a distance and instigates certain events within his life.

The radiator - The possibility of suicide.

The Lady in the Radiator - Death itself, but a relatively comforting vision of death. That's why she sings "In Heaven, everything is fine."

(The analysis may have also touched upon the eraserhead non sequitur, but if it did I don't remember if it shed any light on it.)

Ultimately Henry defies God (who tries to hit the brakes but can't stop him) and succumbs to the temptations of suicide. You could read it as the story of a failed Job. Not that Eraserhead is a Christian film in any sense -- the analysis wasn't suggesting that either -- it's just iconography with approximate similarities.


But regardless of interpretation, I think the real value of Eraserhead and its greatest accomplishment is its way of embodying anxiety and fear with such bizarre, visceral precision.



have you read or heard Catching the Big Fish? Lynch mentions during making Eraserhead he opened the Bible and found a passage by happenstance that made Eraserhead make sense to him, but he refuses to ever say which passage it was


Sat Oct 06, 2018 3:21 am
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Melvin Butterworth wrote:

All those threads that were lost.




Even to Necromancers.

If I'd known they would wipe it all out I would have used Fireshot to archive it all. At least the good stuff.


I've seen things you people wouldn't believe. Troll threads on fire over the Dark Knight. I watched chimps getting tripped in the dark near the Fabfunk and Archimmes sleaze. All those posts will be lost in time, like tears in rain. Time to log off.

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And everywhere was a song and a celebration
And I dreamed I saw the bomber death planes riding shotgun in the sky
Turning into butterflies above our nation


Sat Oct 06, 2018 3:51 am
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Ghost House, 2017 (F)

This movie is so full of colonial stereotypes, it'd be offensive to include fully written characters. The white characters somewhat compensate by being absolute shit in most other ways.

The movie is also generally shit. A stupid looking witch with her mouth open being the main focus, spitting black liquid in someone else's mouth, dreams and hallucinations, that type of stuff. Garbage.


Sat Oct 06, 2018 4:06 am
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Melvin Butterworth wrote:

All those threads that were lost.

Fortunately, I saved it on Pastebin before the site went down.

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Sat Oct 06, 2018 4:09 am
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Speaking of RT, is Izzy Black here ever?


Sat Oct 06, 2018 4:24 am
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Charles wrote:
Speaking of RT, is Izzy Black here ever?


With all the name changes, I don't even know if the people I'm talking here are the same I talked to in RT. Heck, I follow and talk with people on Twitter from here, and most of the time I don't know who they are here.

#imold #senile

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Sat Oct 06, 2018 5:06 am
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wigwam wrote:


have you read or heard Catching the Big Fish? Lynch mentions during making Eraserhead he opened the Bible and found a passage by happenstance that made Eraserhead make sense to him, but he refuses to ever say which passage it was


That's interesting. I haven't read it, but I probably should. Worthwhile?

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Sat Oct 06, 2018 7:49 am
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very! esp audiobook


Sat Oct 06, 2018 9:43 am
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Charles wrote:
Speaking of RT, is Izzy Black here ever?

I still blame Taylor Swift for all of this.


Sat Oct 06, 2018 10:42 am
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Charles wrote:
Speaking of RT, is Izzy Black here ever?


I dunno, Izzy?


Sat Oct 06, 2018 10:45 am
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kgaard. wrote:
I first saw Eraserhead when I was a teenager, and I thought it was fascinating but definitely did not understand it. Then I watched it again a couple of years ago when my son was about 4, and I was like, "Oooooh, shit, I get it now," because being a parent is weird and scary, and that's what Eraserhead is about.

He was also on the cusp of divorce, as I understand it, so combine the anxieties of fresh parenthood with the resentments of an increasingly loveless relationship. The suffocation becomes exponential.

Macrology wrote:
the eraserhead non sequitur

I'm not sure if it is such a non sequitur. In my reading, it can refer to both his feelings of being stuck as an automaton (like a mass produced pencil), and his desire to "erase" his consciousness (which follows into the suicide/radiator reading).

In addition to the above domestic suffocation, I think it's also a case of professional stagnation (the film reportedly took 3 years to shoot), and stagnation is at root in much of the film's imagery. The baby could just as easily be seen to represent his own artistic ambitions, trying to nurse it as it degrades, and feeling helpless to find trancendence in it.

(I would also use spoilers but, honestly, I don't think that any words can replicate the experience of the film itself.)


Sat Oct 06, 2018 10:55 am
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As for Mulhulland Dr, I dunno.

I think it may have something to do with the corruptions of identity in the crucible of Hollywood.

I also think that a long-running theme throughout most of Lynch's films is how the psyche (especially, but not always exclusively, the female psyche) is deliberately forced into dissociative states by an almost invisible and corrupt power structure, and he seems to enjoy using L.A. as the seat of this power (ala Lost Highway, Inland Empire and Dr). I'm not a proponent of any of the various "Monarch" conspiracy theories around the deliberate sexual trauma inflicted upon women in the entertainment industry, but I think that Lynch comes the closest in dramatizing something similar in a compellingly terrifying and convincing fashion.


Sat Oct 06, 2018 11:04 am
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Thief wrote:

Yeah, that's the general idea, but I was more curious about potential symbolism and meanings in all the little details in every scene.



Another thing about parenting is that you no longer have time to analyze the little details of a film. :(

More seriously though, I've rarely experienced the sense of total enlightenment I had on rewatching this movie. Going off what Macrology said above, the film embodies "anxiety and fear" in a remarkably precise way, and what's more, it is--at least it is for me--the exact kind of fear and anxiety of a parent for their child entering a strange and frightening world. It's a special thing when a film tells you about a part of yourself that you weren't fully aware of.


Sat Oct 06, 2018 11:09 am
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Charles wrote:
Speaking of RT, is Izzy Black here ever?
Yes, but apparently, he hasn't visited since last November, unfortunately; come back, Izzy, come back!

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Sat Oct 06, 2018 1:55 pm
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Jinnistan wrote:
I still blame Taylor Swift for all of this.



Everyone knows it was Kanye's fault.

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By the time we got to Woodstock we were half a million strong
And everywhere was a song and a celebration
And I dreamed I saw the bomber death planes riding shotgun in the sky
Turning into butterflies above our nation


Sat Oct 06, 2018 11:03 pm
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Death Proof wrote:


Everyone knows it was Kanye's fault.

Kanye's just a symptom.

He probably saw her alt-right sales numbers just before he donned that cap.


Sat Oct 06, 2018 11:52 pm
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Jinnistan wrote:
Kanye's just a symptom.

He probably saw her alt-right sales numbers just before he donned that cap.

Fair.


Sun Oct 07, 2018 1:25 am
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Jinnistan wrote:
Kanye's just a symptom.

He probably saw her alt-right sales numbers just before he donned that cap.



And now... levity:

Image

Shit, I feel better already.

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By the time we got to Woodstock we were half a million strong
And everywhere was a song and a celebration
And I dreamed I saw the bomber death planes riding shotgun in the sky
Turning into butterflies above our nation


Sun Oct 07, 2018 1:43 am
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That is one sweet ass sucker punch. He's gonna have a nice cauliflower ear.

EDIT: I had never seen that and thought it just happened. I guess that was in 2017 during Trump's inauguration "festivities".


Sun Oct 07, 2018 3:17 am
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Misery, 1992 (A)

My sister made me watch this and I didn't think I'd enjoy it as much as I did. It's surprisingly good at making you not entirely hate the villain until the right time, so you never just roll your eyes waiting for the predictable kidnapping crap to be over because there's really nothing predictable in this movie.


Sun Oct 07, 2018 8:00 am
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Charles wrote:
Misery, 1992 (A)

My sister made me watch this and I didn't think I'd enjoy it as much as I did. It's surprisingly good at making you not entirely hate the villain until the right time, so you never just roll your eyes waiting for the predictable kidnapping crap to be over because there's really nothing predictable in this movie.

I've always been a huge fan of that one. One of the best King adaptations.

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Sun Oct 07, 2018 8:29 am
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Escape from L.A. - 7.5/10

A parody of the first movie?

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The Hateful Eight |Tarantino, 2015| +

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Sun Oct 07, 2018 9:57 am
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Death Proof wrote:


And now... levity:

Image

Shit, I feel better already.
I prefer this take on it, personally:

Image

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Sun Oct 07, 2018 1:14 pm
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topherH wrote:
Escape from L.A. - 7.5/10

A parody of the first movie?


Sorta. It's more like Evil Dead II to me, an absurdist exaggeration of the original without tipping completely over into meta-silliness, the way something like Gremlins 2 does.

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