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DaMU wrote:

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.


Exactly. The whole beginning with Snake being offered the same terms as the original, Kurt's reactions seemed almost to be breaking the wall. The effects were awful enough that they also felt like a parody within a parody which may be a shame as I felt the scenes put Snake in some good sequences throughout. It's either genius or so bad it boarders on genius while not trying to.

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Sun Oct 07, 2018 1:48 pm
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The Last Wave - 8/10 - Late 70's Australian flick directed by Peter Weir. It stars Richard Chamberlain as a lawyer assigned to defend a group of young Aborigines charged with murder. It certainly has plenty of atmosphere and efficiently draws you in with it's underlying supernatural subplot. I hadn't seen this in decades but it still held up to my initial viewing. I don't know if Weir was able to completely pull off the denouement but it was certainly a worthwhile effort.


Sun Oct 07, 2018 2:22 pm
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boojiboyhowdy wrote:
The Last Wave - 8/10 - Late 70's Australian flick directed by Peter Weir. It stars Richard Chamberlain as a lawyer assigned to defend a group of young Aborigines charged with murder. It certainly has plenty of atmosphere and efficiently draws you in with it's underlying supernatural subplot. I hadn't seen this in decades but it still held up to my initial viewing. I don't know if Weir was able to completely pull off the denouement but it was certainly a worthwhile effort.


I love love love The Last Wave, one of my favorite movies ever. I love the atmosphere. And even if you find the idea of a
white man playing an important part in Aboriginal destiny
a bit iffy
, I thought that the film used the religious element in a respectful way--not something to be afraid of, but rather something to be respected and understood.

I also think that it has one of the most memorable opening sequences (the destructive, bloody scene with the schoolchildren) and some beautiful imagery (like the woman with the see-through umbrella drinking from the water fountain).

It's also a film that imparts its scariest ideas in a whispered story, from a houseguest or an historian. It's sort of quietly terrifying, and I love it for that.


Sun Oct 07, 2018 2:58 pm
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Death Proof wrote:


And now... levity:

Image

Shit, I feel better already.


As much as I like seeing this asshole getting smacked, the sad thing is that it just gives them the opportunity to get on their high horse with the "these people are violent, we are not, yada yada yada".

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Sun Oct 07, 2018 10:33 pm
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Thief wrote:
As much as I like seeing this asshole getting smacked, the sad thing is that it just gives them the opportunity to get on their high horse with the "these people are violent, we are not, yada yada yada".

"Yeah, we're only Nazis. Who could possibly infer anything inherently violent from that?"


Sun Oct 07, 2018 11:43 pm
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Jinnistan wrote:
"Yeah, we're only Nazis. Who could possibly infer anything inherently violent from that?"


"We wear suits now!"

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Sun Oct 07, 2018 11:45 pm
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Thief wrote:

As much as I like seeing this asshole getting smacked, the sad thing is that it just gives them the opportunity to get on their high horse with the "these people are violent, we are not, yada yada yada".

.


Mon Oct 08, 2018 2:59 am
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Mon Oct 08, 2018 3:12 am
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Please don't turn this into a political thread.


Dracula, 1931 (A)

A stunning display of wits and mannerisms between all those European eccentrics. The acting was weird at first, but when everyone does it like that, you just get into it and stop asking questions.


Mon Oct 08, 2018 3:56 am
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Charles wrote:
Please don't turn this into a political thread.


Dracula, 1931 (A)

A stunning display of wits and mannerisms between all those European eccentrics. The acting was weird at first, but when everyone does it like that, you just get into it and stop asking questions.


Fair enough. Post deleted.


Mon Oct 08, 2018 4:19 am
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Charles wrote:
Please don't turn this into a political thread.


Dracula, 1931 (A)

A stunning display of wits and mannerisms between all those European eccentrics. The acting was weird at first, but when everyone does it like that, you just get into it and stop asking questions.


nazi.

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Mon Oct 08, 2018 4:21 am
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Takoma1 wrote:
I love love love The Last Wave, one of my favorite movies ever. I love the atmosphere. And even if you find the idea of a
white man playing an important part in Aboriginal destiny
a bit iffy
, I thought that the film used the religious element in a respectful way--not something to be afraid of, but rather something to be respected and understood.

I also think that it has one of the most memorable opening sequences (the destructive, bloody scene with the schoolchildren) and some beautiful imagery (like the woman with the see-through umbrella drinking from the water fountain).

It's also a film that imparts its scariest ideas in a whispered story, from a houseguest or an historian. It's sort of quietly terrifying, and I love it for that.
You really hit the nail on the head. That bit you spoilered was probably the weakest part of the story but like you also stated it was set up and handled in such a respectful way that any thoughts of
whitewashing
were largely avoided. And the opening sequences were really effective. The whole thing appeared so grounded in Aboriginal mythology that it worked on several levels. As a thriller and a mystery and even a religious parable. People should make a point of seeing this.


Mon Oct 08, 2018 4:33 am
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boojiboyhowdy wrote:
You really hit the nail on the head. That bit you spoilered was probably the weakest part of the story but like you also stated it was set up and handled in such a respectful way that any thoughts of
whitewashing
were largely avoided. And the opening sequences were really effective. The whole thing appeared so grounded in Aboriginal mythology that it worked on several levels. As a thriller and a mystery and even a religious parable. People should make a point of seeing this.


Part of what the film argues, in fact, is that because the understanding of the
dream time and other aboriginal traditions have been pushed to the side, Chamberlain's character doesn't understand the nature of his visions until it is far, far too late.


Mon Oct 08, 2018 4:46 am
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Charles wrote:
Please don't turn this into a political thread.


Dracula, 1931 (A)

A stunning display of wits and mannerisms between all those European eccentrics. The acting was weird at first, but when everyone does it like that, you just get into it and stop asking questions.

Yes, absolutely.


Mon Oct 08, 2018 6:04 am
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Charles wrote:
Please don't turn this into a political thread.


Dracula, 1931 (A)

A stunning display of wits and mannerisms between all those European eccentrics. The acting was weird at first, but when everyone does it like that, you just get into it and stop asking questions.


Somewhere between the Spanish version, due to its cinematic style and the Browning version, due to Lugosi, there is a groovy classic Dracula film. But the former has a goofy unthreatening Dracula and the latter has some of the most underwhelming filmmaking I’ve seen and is tantamount to filming a boring play.

Horror of Dracula, even with its anticlimax and Nosferatu win out for me.


Mon Oct 08, 2018 6:30 am
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I enjoyed Venom quite a bit more than I expected, and even a bit more than some of the allegedly good superhero movies that came out this year (*cough*Infinity War*cough). It's too generic in its plot and supporting characterizations (some of the actors feel overqualified for what they're given) and the slimy chaos of the action scenes isn't as memorable as it should be, but Hardy gives a more committed and unpredictable performance than I've seen in a while in this genre.

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Mon Oct 08, 2018 9:32 am
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ThatDarnMKS wrote:

Somewhere between the Spanish version, due to its cinematic style and the Browning version, due to Lugosi, there is a groovy classic Dracula film. But the former has a goofy unthreatening Dracula and the latter has some of the most underwhelming filmmaking I’ve seen and is tantamount to filming a boring play.

Horror of Dracula, even with its anticlimax and Nosferatu win out for me.


I'm not super familiar with pre-50's film making so I usually look over the more technical aspects. I don't know a lot of old, very technically proficient movies, so I don't have anything to compare them to.


Mon Oct 08, 2018 9:37 am
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Charles wrote:

I'm not super familiar with pre-50's film making so I usually look over the more technical aspects. I don't know a lot of old, very technically proficient movies, so I don't have anything to compare them to.

Watch the James Whale universal horror flicks. He has much more complex blocking, sophisticated camera movement and very atmospheric lighting. Browning did nothing but point and shoot, which wasted the sets and Lugosi. His work in Freaks was much more accomplished.


Mon Oct 08, 2018 10:26 am
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ThatDarnMKS wrote:
Watch the James Whale universal horror flicks. He has much more complex blocking, sophisticated camera movement and very atmospheric lighting. Browning did nothing but point and shoot, which wasted the sets and Lugosi. His work in Freaks was much more accomplished.


A few years ago I got to see a double bill of Frankenstein and Dracula on the big screen. I'd seen the former but not the latter.

The difference between them, especially when watched back-to-back was striking. Your comment about it looking like a filmed play was spot on. I was shocked at how low energy the film was. As a huge fan of Freaks (which is scary and funny and full of personality) I was really surprised.


Mon Oct 08, 2018 10:35 am
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ThatDarnMKS wrote:

Somewhere between the Spanish version, due to its cinematic style and the Browning version, due to Lugosi, there is a groovy classic Dracula film. But the former has a goofy unthreatening Dracula and the latter has some of the most underwhelming filmmaking I’ve seen and is tantamount to filming a boring play.

Horror of Dracula, even with its anticlimax and Nosferatu win out for me.

Oh, I think Dracula is great film, really first-rate. The characters are so good, from (obviously) our titular vampire to Van Helsing to Renfield and I actually thought Mina ended up being a lot more interesting than I've seen in most other adaptations, especially Hammer's (I mean, she's fucking dreadful in Coppola's version, but it's hard to tell if that's just because Rider gives a horrible performance). Additionally, they have some great shots and great sets and just tons of ambience. I think the climax in this movie is really good and is certainly better than HoDracula's awful, candlesticks-as-a-crucifix climax.
Really, ever since I saw this movie in the theater a few years ago, it has ascended up my Pantheon and each re-viewing now just reinforces it.

It's worth mentioning that I liked the "filmed like a play" aspect of it, especially considering it had of late been a play starring Lugosi.


Mon Oct 08, 2018 10:47 am
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ThatDarnMKS wrote:
Watch the James Whale universal horror flicks. He has much more complex blocking, sophisticated camera movement and very atmospheric lighting. Browning did nothing but point and shoot, which wasted the sets and Lugosi. His work in Freaks was much more accomplished.


I actually did see Frankenstein and The Invisible Man, but that was a few years ago. I remember liking The Invisible Man a lot. I'll watch The Old Dark House and maybe Freaks later in the month. I'll rewatch the other two after October. I'll be curious to see if my opinion of Dracula changes after watching all these.


Mon Oct 08, 2018 10:51 am
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Rock wrote:
I enjoyed Venom quite a bit more than I expected, and even a bit more than some of the allegedly good superhero movies that came out this year (*cough*Infinity War*cough). It's too generic in its plot and supporting characterizations (some of the actors feel overqualified for what they're given) and the slimy chaos of the action scenes isn't as memorable as it should be, but Hardy gives a more committed and unpredictable performance than I've seen in a while in this genre.

Color me surprised. Reviews have been blistering.


Mon Oct 08, 2018 10:59 am
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Takoma1 wrote:

A few years ago I got to see a double bill of Frankenstein and Dracula on the big screen. I'd seen the former but not the latter.

The difference between them, especially when watched back-to-back was striking. Your comment about it looking like a filmed play was spot on. I was shocked at how low energy the film was. As a huge fan of Freaks (which is scary and funny and full of personality) I was really surprised.


Low energy is a perfect descriptor of the film. There’s no energy behind the camera and atmosphere in front. It’s all just there. Browning must have studied his contemporaries when he made Freaks, or because it was a much more personal film, dedicated himself to it which he didn’t seem to do for Dracula. Have you seen the Spanish version?

Wooley, the technical aspects and style of a film are tremendously important to me and probably represent the primary purpose of my movie watching. I’m willing to forgive grievous narrative issues if there’s ability behind the camera or a certain affect. Dracula just doesn’t bring nearly enough to the table and it makes a great narrative feel tired and twice as long as it’s actual runtime.


Mon Oct 08, 2018 11:07 am
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Dracula was a successful play, so I wonder if Browning wasn't under some pressure to be extra faithful as a result. Freaks has been mentioned, but his work with Chaney is nothing like Dracula either. The Unknown could hardly be described as "low energy", after all. Having seen 8-10 of his movies, I'd say none of them are as stodgy as Dracula. (And I also love it, despite its stodginess)

ps for Wooley-- I guess you're aware that Dracula is at the Prytania Sunday AM? (10/14)

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Mon Oct 08, 2018 11:18 am
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ThatDarnMKS wrote:

Low energy is a perfect descriptor of the film. There’s no energy behind the camera and atmosphere in front. It’s all just there. Browning must have studied his contemporaries when he made Freaks, or because it was a much more personal film, dedicated himself to it which he didn’t seem to do for Dracula. Have you seen the Spanish version?

Wooley, the technical aspects and style of a film are tremendously important to me and probably represent the primary purpose of my movie watching. I’m willing to forgive grievous narrative issues if there’s ability behind the camera or a certain affect. Dracula just doesn’t bring nearly enough to the table and it makes a great narrative feel tired and twice as long as it’s actual runtime.

I actually get that man, I used to not like Dracula, honestly largely for the reasons you present, but it has improved dramatically for me with more recent re-watches and my feelings have really changed on it.


Mon Oct 08, 2018 11:25 am
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Captain Terror wrote:
Dracula was a successful play, so I wonder if Browning wasn't under some pressure to be extra faithful as a result. Freaks has been mentioned, but his work with Chaney is nothing like Dracula either. The Unknown could hardly be described as "low energy", after all. Having seen 8-10 of his movies, I'd say none of them are as stodgy as Dracula. (And I also love it, despite its stodginess)

ps for Wooley-- I guess you're aware that Dracula is at the Prytania Sunday AM? (10/14)

I knew it was coming up but I wasn't sure when.


Mon Oct 08, 2018 11:26 am
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I have Dracula on schedule for next week, so I guess I should keep my expectations on check.

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Mon Oct 08, 2018 11:27 am
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Wooley wrote:
I actually get that man, I used to not like Dracula, honestly largely for the reasons you present, but it has improved dramatically for me with more recent re-watches and my feelings have really changed on it.


Yeah. I don’t pretend to be set in stone on it. I rewatch it every so often hoping that it’ll click into place. I’ve finally come around on Dawn of the Dead and Texas Chain Saw Massacre. I still contend that my previous criticisms are accurate but they don’t break the films due to their strengths. Hopefully I’ll cone around on Dracula but as of now, it’s just not my Dracula.


Mon Oct 08, 2018 11:36 am
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ThatDarnMKS wrote:

Yeah. I don’t pretend to be set in stone on it. I rewatch it every so often hoping that it’ll click into place. I’ve finally come around on Dawn of the Dead and Texas Chain Saw Massacre. I still contend that my previous criticisms are accurate but they don’t break the films due to their strengths. Hopefully I’ll cone around on Dracula but as of now, it’s just not my Dracula.

TCM got me on my second viewing.
Dracula... I'm not sure how many times I'd seen it when it turned over for me.

Edit: It was funny, on my first viewing of TCM, when I was in my 20s (I had seen a number of scenes from it via Terror In The Aisles), I wasn't scared really at all, just sort of stunned. And that's where I left it for almost a decade.
When I revisited it in my 30s with some friends and a bagga weed, it absolutely stunned me again, but in a "yes, this is the absolute shit" kinda way. Third time I actually started seeing it as a really intense art-film.


Mon Oct 08, 2018 11:47 am
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ThatDarnMKS wrote:

Yeah. I don’t pretend to be set in stone on it. I rewatch it every so often hoping that it’ll click into place. I’ve finally come around on Dawn of the Dead and Texas Chain Saw Massacre. I still contend that my previous criticisms are accurate but they don’t break the films due to their strengths. Hopefully I’ll cone around on Dracula but as of now, it’s just not my Dracula.

The recent releases have included a Kronos Quartet score recorded in the 90s. While some will claim sacrilege I have watched the film with that score and I don't find it intrusive and in fact I think it actually helps with the pace of some of the later scenes. Generally, I'll watch the Transylvania opening with the original soundtrack (because that whole sequence is perfect as is) and then skip over to the new score when he gets to London. Maybe give that a shot.

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Mon Oct 08, 2018 11:49 am
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Captain Terror wrote:
The recent releases have included a Kronos Quartet score recorded in the 90s. While some will claim sacrilege I have watched the film with that score and I don't find it intrusive and in fact I think it actually helps with the pace of some of the later scenes. Generally, I'll watch the Transylvania opening with the original soundtrack (because that whole sequence is perfect as is) and then skip over to the new score when he gets to London. Maybe give that a shot.

That actually sounds intriguing.


Mon Oct 08, 2018 11:54 am
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Wooley wrote:
That actually sounds intriguing.

I'm usually against such tampering but having occasionally struggled with the pacing of the second half myself, I decided to give it a shot one time. First of all, just the fact that there is a score at all makes it feel more like a movie instead of a play. And I found that during those scenes where people are just standing around the parlor talking to each other, the score added a bit of ominous-ness (ominosity?) that wasn't there in the completely scoreless version.

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Mon Oct 08, 2018 12:01 pm
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Captain Terror wrote:
I'm usually against such tampering but having occasionally struggled with the pacing of the second half myself, I decided to give it a shot one time. First of all, just the fact that there is a score at all makes it feel more like a movie instead of a play. And I found that during those scenes where people are just standing around the parlor talking to each other, the score added a bit of ominous-ness (ominosity?) that wasn't there in the completely scoreless version.

I used to struggle with the second half too, I really did, but after seeing it in the theater I became so enamored with this film's version of Van Helsing, Renfield, and of Mina that it's no longer an issue for me.


Mon Oct 08, 2018 12:04 pm
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Wooley wrote:
TCM got me on my second viewing.
Dracula... I'm not sure how many times I'd seen it when it turned over for me.

Edit: It was funny, on my first viewing of TCM, when I was in my 20s (I had seen a number of scenes from it via Terror In The Aisles), I wasn't scared really at all, just sort of stunned. And that's where I left it for almost a decade.
When I revisited it in my 30s with some friends and a bagga weed, it absolutely stunned me again, but in a "yes, this is the absolute shit" kinda way. Third time I actually started seeing it as a really intense art-film.


With TCM, it was a complex relationship of disdain built upon expectations, misophonia and living in Texas that created a perfect storm of distaste that was hard to get over. Basically, when I was 13, I did myself a disservice with many horror films in that if they didn’t thrill or scare me, I disliked them. This caused a dislike of a great many classics which I’ve had to change with rewatches (like the Exorcist). Then, there’s my intense dislike of shrill films (constant screaming) that grates on my nerves and made the last act insufferable. This still happens (Tangerine) though less often. And then the fact that I kept having to argue with class mates that it wasn’t an actual true story all while growing up.

Watching it as an adult was a whole new experience and I plan to rewatching with the new blu transfer this season.

CT, I actually did watch it with the Kronos score last year and while that improved it, it wasn’t enough to swing me into a fan. At times it felt like there was a dissonance in the drama of the music compared to the images on screen.


Mon Oct 08, 2018 12:15 pm
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ThatDarnMKS wrote:

With TCM, it was a complex relationship of disdain built upon expectations, misophonia and living in Texas that created a perfect storm of distaste that was hard to get over. Basically, when I was 13, I did myself a disservice with many horror films in that if they didn’t thrill or scare me, I disliked them. This caused a dislike of a great many classics which I’ve had to change with rewatches (like the Exorcist). Then, there’s my intense dislike of shrill films (constant screaming) that grates on my nerves and made the last act insufferable. This still happens (Tangerine) though less often. And then the fact that I kept having to argue with class mates that it wasn’t an actual true story all while growing up.

Watching it as an adult was a whole new experience and I plan to rewatching with the new blu transfer this season.

CT, I actually did watch it with the Kronos score last year and while that improved it, it wasn’t enough to swing me into a fan. At times it felt like there was a dissonance in the drama of the music compared to the images on screen.

Yeah, my expectations were through the roof the first time I watched it, which is why, I think, I ended up just a little stunned but otherwise fine. Seeing it later, knowing what it would be now and all, it was actually much more intense than my recollection, and now I just think it's an amazing film.


Mon Oct 08, 2018 12:28 pm
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Hey since there are people obviously clocking in, should I watch Curtains, Don't Go In The House, Mausoleum, or Tourist Trap?
These are all movies I've been interested in for a long time. I got about 15 minutes to decide.
Thanks.


Mon Oct 08, 2018 12:29 pm
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All this talk of "low energy". I happen to like the fact that Dracula resembles a laudanum coma. As lifeless as death itself.

But I won't hear any of this about "no atmosphere". Stagnant? Yes, it's a putrid atmosphere. I find the first half (at least) perfectly evocative, and have never had any qualms about the lenswork of Karl Freund. But then again I also thought Texas Chain Saw was brutally perfect the first time I saw it, so what do I know?


Mon Oct 08, 2018 1:14 pm
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Takoma1 wrote:

A few years ago I got to see a double bill of Frankenstein and Dracula on the big screen. I'd seen the former but not the latter.

The difference between them, especially when watched back-to-back was striking. Your comment about it looking like a filmed play was spot on. I was shocked at how low energy the film was. As a huge fan of Freaks (which is scary and funny and full of personality) I was really surprised.


Same. I should give Dracula another try, but of the three Browning films I've seen, it lags behind Freaks and even The Unknown.

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Tue Oct 09, 2018 12:14 am
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Jinnistan wrote:
All this talk of "low energy". I happen to like the fact that Dracula resembles a laudanum coma. As lifeless as death itself.

But I won't hear any of this about "no atmosphere". Stagnant? Yes, it's a putrid atmosphere. I find the first half (at least) perfectly evocative, and have never had any qualms about the lenswork of Karl Freund. But then again I also thought Texas Chain Saw was brutally perfect the first time I saw it, so what do I know?

All the atmosphere of a neighborhood haunted porch decoration with the sun still out.


Tue Oct 09, 2018 12:23 am
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Jinnistan wrote:
All this talk of "low energy". I happen to like the fact that Dracula resembles a laudanum coma. As lifeless as death itself.


Face it, Jinnistan, it is the Jeb Bush of Universal monster movies.

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Tue Oct 09, 2018 2:52 am
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Bela will not beg for your applause.


Tue Oct 09, 2018 2:55 am
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Venom was enjoyable. I liked it. Not enough to say that it's better than Infinity War *GLARES*. But Tom Hardy makes the film.


Tue Oct 09, 2018 3:02 am
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Jinnistan wrote:
Bela will not beg for your applause.


Please vamp.

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Tue Oct 09, 2018 4:01 am
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DaMU wrote:

Face it, Jinnistan, it is the Jeb Bush of Universal monster movies.


Loveable and misunderstood?

The Bay, 2012 (B+)

A light horror movie that amps up the body horror as it goes along. It's not the most riveting tale of all time, but if you wanna see a few revolting images in a perfectly decent found footage movie, watch this. It's just a bit odd that the found footage somehow includes all the cameras of all time. The explanation on that is a bit weak and the ending is abrupt and sort of last minute, we have to close this--ish feeling.


Tue Oct 09, 2018 4:11 am
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Charles wrote:

Loveable and misunderstood?

The Bay, 2012 (B+)

A light horror movie that amps up the body horror as it goes along. It's not the most riveting tale of all time, but if you wanna see a few revolting images in a perfectly decent found footage movie, watch this. It's just a bit odd that the found footage somehow includes all the cameras of all time. The explanation on that is a bit weak and the ending is abrupt and sort of last minute, we have to close this--ish feeling.


I agree with most of what you said, but regardless of that, I was pleasantly surprised. I enjoyed it quite a bit.

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Tue Oct 09, 2018 4:41 am
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Wooley wrote:
Hey since there are people obviously clocking in, should I watch Curtains, Don't Go In The House, Mausoleum, or Tourist Trap?
These are all movies I've been interested in for a long time. I got about 15 minutes to decide.
Thanks.


Curtains! Really unique and fun.

I mean, I know it's too late. But I hope you went with Curtains.

Curtains


Tue Oct 09, 2018 8:11 am
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Post Re: Recently Seen

Ugh, I was hoping to Skip Venom.


Memoirs of an Invisible Man- 5.5/10

Even for an early "it's the 90s not 80s anymore" movie it is pretty stale. A few scarce chuckles.

_________________
State of Siege |Gavras, 1972| +
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Z |Gavras, 1969| -
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Missing |Gavras, 1982| +
The Revenant |Inarritu, 2015| +
The Hateful Eight |Tarantino, 2015| +

+ Recommended


Tue Oct 09, 2018 12:21 pm
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Post Re: Recently Seen

Takoma1 wrote:

Curtains! Really unique and fun.

I mean, I know it's too late. But I hope you went with Curtains.

Curtains

I didn't but it is my intention to see all of those films this month. I went with Mausoleum and I'm not really sorry. I'll write it up tomorrow or Wednesday.


Tue Oct 09, 2018 1:44 pm
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Post Re: Recently Seen

topherH wrote:
Ugh, I was hoping to Skip Venom.


Memoirs of an Invisible Man- 5.5/10

Even for an early "it's the 90s not 80s anymore" movie it is pretty stale. A few scarce chuckles.

Some day I may have to rewatch this. I saw it when it came out and I was just devastated. Chevy Chase AND John Carpenter and it sucked? I was crushed. Maybe it's better with my expectations a little lower.


Tue Oct 09, 2018 1:45 pm
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Post Re: Recently Seen

The Thing From Another World - 9/10 - Time-wise it's as concise as most movies were from that era. Clocks in at 87 minutes so there's none of that extraneous exposition and bloat. But the characters are so cleanly delineated that it altogether illustrates the meaning of "less is more". The overlapping dialogue predates Robert Altman's technique by a couple of decades. The loose and easy banter between the airmen (and a reporter) is a much needed departure from the somewhat stilted and sluggish dialogue of other movies from that age. It certainly earned it's status as a classic.


Wed Oct 10, 2018 1:54 am
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