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 Horrorcram XV: Let's Scare Corrierino To Death 
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Jinnistan wrote:
Darby O'Gill and the Living Dead II
The Legend of Chernabog Creek


I actually want to see these two.


Thu Nov 30, 2017 1:01 pm
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Wooley!

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Thu Nov 30, 2017 2:17 pm
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Takin' a ride on heavy metal, no less.

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Thu Nov 30, 2017 2:34 pm
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Wooley wrote:

I actually want to see these two.

Yo.

Maniac is on my to view list. Henry: Potrait of a Serial Killer is a great, disturbing film.

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Thu Nov 30, 2017 8:16 pm
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Stu wrote:
Wooley!


Thanks man, nice to see you too.


Fri Dec 01, 2017 5:00 am
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Rock wrote:
Takin' a ride on heavy metal, no less.


Grew up on it.

Thanks for findin' me, Rock.


Fri Dec 01, 2017 5:01 am
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Watched The Old Dark House for the first time this October. I thought I'd watched it before but it turns out I'd seen part of it but never seen it straight through.
Wow, what an awesome little film, brimming with win all over the place. Charles Laughton?!
And the balance here of a tense, macabre mood and a witty, humorous mood is perfectly executed.
Gonna be regular October viewing from here on out.


Sat Dec 02, 2017 3:10 am
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Wooley wrote:
Watched The Old Dark House for the first time this October. I thought I'd watched it before but it turns out I'd seen part of it but never seen it straight through.
Wow, what an awesome little film, brimming with win all over the place. Charles Laughton?!
And the balance here of a tense, macabre mood and a witty, humorous mood is perfectly executed.
Gonna be regular October viewing from here on out.


YES to the bolded.
Everything Thesiger does is funny ("have a potato"), and the sister too ("They can't have beds!!"). But my favorite bit, especially the first time I watched it, was that moment
when you realize Saul is actually a psycho. The change of expression on the actor's face as he goes from pitiful to evil is legitimately creepy.
That's a movie that I love more with every viewing, looking forward to getting the restoration on BluRay.

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Sat Dec 02, 2017 3:58 am
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Captain Terror wrote:

YES to the bolded.
Everything Thesiger does is funny ("have a potato"), and the sister too ("They can't have beds!!"). But my favorite bit, especially the first time I watched it, was that moment
when you realize Saul is actually a psycho. The change of expression on the actor's face as he goes from pitiful to evil is legitimately creepy.
That's a movie that I love more with every viewing, looking forward to getting the restoration on BluRay.


Oh man, Saul is the best. I was completely sold that
he was telling the truth and the movie was taking a turn in that direction and then whammo!, right back the other way.


Sat Dec 02, 2017 4:58 am
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The Old Dark House is good fun. I viewed it last year.

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Sat Dec 02, 2017 6:02 pm
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You know, I started Dog Soldiers thinking it was going to be a lean, mean action horror and it kinda was for a while, but then Neil Marshall's camera started bobbing and shaking a bit too much and I realized the characters hadn't been developed at all and the movie threw in two "twists" which were super obvious but also didn't really work because you had no connection to these characters and I kinda soured on it by the end. Marshall got a lot better with The Descent, is what I'm saying.

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Sun Dec 03, 2017 3:58 am
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crumbsroom wrote:
Calvaire

Hypnotically unpleasant, though not nearly as unbearably nihilistic as its close cinematic cousin Martyrs, this is pretty impeccably made extreme horror surrealism and (if repeat viewing bear it out) possibly a top 10 favourite horror film of this millennium for me. A French pop singer who has made his erotic mark performing at an old age home, decides to break out of this small potatoes world and see if he can make it big. Unfortunately, his van breaks down in a foggy wood and he ends up being left at the whims of a lonely and widowed hotel owner, and a man who wanders the forests endlessly looking for his long lost dog. Something is ominous and awful about the surrounding townfolks, who the hotel owner has warned him about and who always seems to be slaughtering farm animals. Misery and tension mount in an unbearable fashion as things quickly spiral out of control. Really well acted, beautifully shot regardless of its lurid subject matter and completely original. Critics seemed to hate it, but this is hardly a surprise with this kind of extreme fare.

I've got no issue at all giving this one a 10/10. The best horror film I've watched all year.


So this was pretty great. Regarding the poor reviews, I'd wager that the year it was released might have something to do with that. 2004 is smack in the middle of the Saw/Hostel/Wolf Creek era and had I seen it that year I might've dismissed it myself, out of torture fatigue. As someone who was not a fan of that movement, I was impressed by this one for a few reasons.

I loved the portrayal of the innkeeper which, besides being well-acted,
was a welcome departure from the usual depiction of the torturer in these films who are often portrayed as cool, nonchalant, killer-for-the-fun-of-it, almost like we're supposed to think they're badass. I liked that this guy just came across as "wrong" even when he was still being friendly, for example his attempt at fixing the van even though he clearly doesn't know what he's doing. I thought that was an interesting way to get across to the viewer that "Wow, this guy's nuts" as opposed to having some more overtly scary clues like creepy bone sculptures in his back yard or whatever.


Another would be the overall sense of melancholy that hovers over everything, even when the bleep hits the fan. There's that wonderful overhead shot where there's like 5 depraved things going on at once (worth watching the movie just for that scene imo), and even then my reaction was equal parts disgust/sadness. Someone deeper than I can ponder the meaning
behind all of the characters that project some kind of wish-fulfillment on the hero. (The women pining for him at the home, the guy who uses him to replace his dog, the lonely innkeeper, etc.)
I'm less interested in the answer and more interested in the overall mood it creates. That final series of shots of the countryside was beautiful/depressing.

And finally, for anyone turned off by the Martyrs comparison, I'd say that in terms of on-screen violence this one isn't even close. It's grim and not much fun, but if you're concerned about having to watch violence being done to people's bodies, you can probably handle this. I think something like Baskin was harder for me to sit through in that regard.

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Sun Dec 03, 2017 5:11 am
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I also watched Vinyan, which was the next film by the director of Calvaire and you should probably check it out, Crumb. A European couple is in Thailand after having lost their son in a tsunami some months prior. On paper it's a White people vs Jungle story, but by the end it's clear that the filmmakers had something else in mind entirely. About as surreal as the previous film, and also contains some great shots. The opening segment, in particular, really knocked me out. The reviews seem to be slightly better for this one. I won't say anymore about this one until someone else watches it.

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Sun Dec 03, 2017 5:25 am
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Captain Terror wrote:

So this was pretty great. Regarding the poor reviews, I'd wager that the year it was released might have something to do with that. 2004 is smack in the middle of the Saw/Hostel/Wolf Creek era and had I seen it that year I might've dismissed it myself, out of torture fatigue. As someone who was not a fan of that movement, I was impressed by this one for a few reasons.

I loved the portrayal of the innkeeper which, besides being well-acted,
was a welcome departure from the usual depiction of the torturer in these films who are often portrayed as cool, nonchalant, killer-for-the-fun-of-it, almost like we're supposed to think they're badass. I liked that this guy just came across as "wrong" even when he was still being friendly, for example his attempt at fixing the van even though he clearly doesn't know what he's doing. I thought that was an interesting way to get across to the viewer that "Wow, this guy's nuts" as opposed to having some more overtly scary clues like creepy bone sculptures in his back yard or whatever.


Another would be the overall sense of melancholy that hovers over everything, even when the bleep hits the fan. There's that wonderful overhead shot where there's like 5 depraved things going on at once (worth watching the movie just for that scene imo), and even then my reaction was equal parts disgust/sadness. Someone deeper than I can ponder the meaning
behind all of the characters that project some kind of wish-fulfillment on the hero. (The women pining for him at the home, the guy who uses him to replace his dog, the lonely innkeeper, etc.)
I'm less interested in the answer and more interested in the overall mood it creates. That final series of shots of the countryside was beautiful/depressing.

And finally, for anyone turned off by the Martyrs comparison, I'd say that in terms of on-screen violence this one isn't even close. It's grim and not much fun, but if you're concerned about having to watch violence being done to people's bodies, you can probably handle this. I think something like Baskin was harder for me to sit through in that regard.


Very similar to my take, especially the role that the main character seems to play in everyones life. The film is every bit as sad as it is unnerving and it is because of the sense of loss that seems to hover around everyone here, even those that are meant to be viewed with menace. And while it definitely doesn't supply the level of grue that Martyrs does, I feel it is still similarly upsetting in the levels of debasement involved, even if those scenes don't go full on blood shed. The movie maintains a nearly non stop sense of unease and there always seems to be the potential for horrible violence in every scene in the final 45 minutes that makes it a film that some should still be wary of if they don't want to be confronted with such a black hearted (and sometimes blackly funny) film. But, correct, definitely not as unfriendly as Martyrs, which is considerably more overtly horrifying.

Also that goddamned bar dance in the middle of the movie is just about one of my favourite things in the whole movie, and I don't even know why. It is just kind of magical in a really creepy way.


Sun Dec 03, 2017 5:29 am
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Captain Terror wrote:
Image

I also watched Vinyan, which was the next film by the director of Calvaire and you should probably check it out, Crumb. A European couple is in Thailand after having lost their son in a tsunami some months prior. On paper it's a White people vs Jungle story, but by the end it's clear that the filmmakers had something else in mind entirely. About as surreal as the previous film, and also contains some great shots. The opening segment, in particular, really knocked me out. The reviews seem to be slightly better for this one. I won't say anymore about this one until someone else watches it.


I looked up his filmography after watching Calvaire and I was intrigued by pretty much all of them. Particularly Alleluia


Sun Dec 03, 2017 5:31 am
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Oxnard Montalvo wrote:
quick question: what is everyone's thoughts on The VVitch?

I'm late to the party but I loved the film. I'd put it in my top five of 2016. Simply excellent in terms of acting, cinematography, and music, and the ending is one of my favorite scenes of last year.


Sun Dec 03, 2017 8:57 am
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Rock wrote:
You know, I started Dog Soldiers thinking it was going to be a lean, mean action horror and it kinda was for a while, but then Neil Marshall's camera started bobbing and shaking a bit too much and I realized the characters hadn't been developed at all and the movie threw in two "twists" which were super obvious but also didn't really work because you had no connection to these characters and I kinda soured on it by the end. Marshall got a lot better with The Descent, is what I'm saying.

I wasn’t that impressed with Dog Soldiers either. Everyone around here seems to love it.


Sun Dec 03, 2017 10:31 am
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I thought Dog Soldiers was very average, for what it's worth.


Sun Dec 03, 2017 10:34 am
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I thought Dog Soldiers was good, but yeah, I've definitely seen better films.

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Sun Dec 03, 2017 10:48 am
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Also, huge case of false advertising, as there were no actual canine soldiers in that movie. Is one of these too much to ask for?

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Sun Dec 03, 2017 11:19 am
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I love The Descent and own it on dvd. Have only watched Dog Soldiers once and didn't hate it but have no desire to rewatch it.

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Sun Dec 03, 2017 11:21 am
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Jean Rollin’s usual mixture is present in The Iron Rose, which features wandering around, attractive women (just one in this case) in various states of undress, gothic locations and a quiet sense of atmosphere. With a story that consists of a man and a woman walking around in a cemetery only to get lost and lose their composure at different points, this one is of a decidedly minimalist bent, featuring the absolute bare minimum of plot a film can have and still be considered a narrative film. That isn’t to say that absolutely nothing happens, for The Iron Rose contains such highlights as a clown laying flowers and a make-out session on top of a pile of skulls, which not only are things that happen in this movie but are also things that don’t happen in most movies. (Sadly the clown does not witness the make-out, much less partake in it). You can probably already tell if this is something you’ll enjoy or find the next best thing to a sleeping aid. I more or less liked it, as I’m a hopeless fan of movies where people walk around creepy locations, and this one delivers the goods on both fronts. With their primary-coloured outfits, Hugues Quester (looking like a French Cillian Murphy or a male Rita Tushingham, leading me to believe they’re all related somehow) and Francoise Pascal (who wears yellow for much of the film but has a much more exciting red outfit early on) are a fine pair of walkers, although the prancing late in the film (spoilers!) could benefit from the glee Brigitte Lahaie brings to some of Rollin’s later pictures. They do a fair bit of this walking as well as some talking in a cemetery, the inherent creepiness of which makes it an ideal setting for Rollin’s unforced, elusive atmosphere, which carries the film through stretches that would plod in less elegant hands.

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Sun Dec 03, 2017 11:24 am
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Also, Sinister 2 just popped up on Netflix. Anybody seen that? I like the first movie and James Ransone's character enough to give it a chance, even though the reviews were terrible.

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Sun Dec 03, 2017 11:26 am
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Rock wrote:
Image

Jean Rollin’s usual mixture is present in The Iron Rose, which features wandering around, attractive women (just one in this case) in various states of undress, gothic locations and a quiet sense of atmosphere. With a story that consists of a man and a woman walking around in a cemetery only to get lost and lose their composure at different points, this one is of a decidedly minimalist bent, featuring the absolute bare minimum of plot a film can have and still be considered a narrative film. That isn’t to say that absolutely nothing happens, for The Iron Rose contains such highlights as a clown laying flowers and a make-out session on top of a pile of skulls, which not only are things that happen in this movie but are also things that don’t happen in most movies. (Sadly the clown does not witness the make-out, much less partake in it). You can probably already tell if this is something you’ll enjoy or find the next best thing to a sleeping aid. I more or less liked it, as I’m a hopeless fan of movies where people walk around creepy locations, and this one delivers the goods on both fronts. With their primary-coloured outfits, Hugues Quester (looking like a French Cillian Murphy or a male Rita Tushingham, leading me to believe they’re all related somehow) and Francoise Pascal (who wears yellow for much of the film but has a much more exciting red outfit early on) are a fine pair of walkers, although the prancing late in the film (spoilers!) could benefit from the glee Brigitte Lahaie brings to some of Rollin’s later pictures. They do a fair bit of this walking as well as some talking in a cemetery, the inherent creepiness of which makes it an ideal setting for Rollin’s unforced, elusive atmosphere, which carries the film through stretches that would plod in less elegant hands.


A few years ago I watched 5-6 Rollin films, having never seen any of his work, and Iron Rose was by far my favorite. At that time some of his "major" work was unavailable to me so I'm not ready to say it's his best but it's the one I intend to add to my collection eventually.

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Sun Dec 03, 2017 11:28 am
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Rock wrote:
Image

Jean Rollin’s usual mixture is present in The Iron Rose, which features wandering around, attractive women (just one in this case) in various states of undress, gothic locations and a quiet sense of atmosphere. With a story that consists of a man and a woman walking around in a cemetery only to get lost and lose their composure at different points, this one is of a decidedly minimalist bent, featuring the absolute bare minimum of plot a film can have and still be considered a narrative film. That isn’t to say that absolutely nothing happens, for The Iron Rose contains such highlights as a clown laying flowers and a make-out session on top of a pile of skulls, which not only are things that happen in this movie but are also things that don’t happen in most movies. (Sadly the clown does not witness the make-out, much less partake in it). You can probably already tell if this is something you’ll enjoy or find the next best thing to a sleeping aid. I more or less liked it, as I’m a hopeless fan of movies where people walk around creepy locations, and this one delivers the goods on both fronts. With their primary-coloured outfits, Hugues Quester (looking like a French Cillian Murphy or a male Rita Tushingham, leading me to believe they’re all related somehow) and Francoise Pascal (who wears yellow for much of the film but has a much more exciting red outfit early on) are a fine pair of walkers, although the prancing late in the film (spoilers!) could benefit from the glee Brigitte Lahaie brings to some of Rollin’s later pictures. They do a fair bit of this walking as well as some talking in a cemetery, the inherent creepiness of which makes it an ideal setting for Rollin’s unforced, elusive atmosphere, which carries the film through stretches that would plod in less elegant hands.


:up:


Sun Dec 03, 2017 11:31 am
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Captain Terror wrote:
A few years ago I watched 5-6 Rollin films, having never seen any of his work, and Iron Rose was by far my favorite. At that time some of his "major" work was unavailable to me so I'm not ready to say it's his best but it's the one I intend to add to my collection eventually.


I like Iron Rose enough, but if you haven't seen them, Fascination and Night of the Hunted are worth giving a shot to. Rollins has a really shaky filmography, but what is good is actually really good.


Sun Dec 03, 2017 11:34 am
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Captain Terror wrote:
A few years ago I watched 5-6 Rollin films, having never seen any of his work, and Iron Rose was by far my favorite. At that time some of his "major" work was unavailable to me so I'm not ready to say it's his best but it's the one I intend to add to my collection eventually.

From the ones I've seen, it's probably the purest distillation of his essence (which felt kinda gross to write, only because I once tried to rent Lips of Blood and the video store clerk had a really hard time wiping off a mysterious stain from the disc so I changed my mind, only to forget about that incident and rent it again a few years later, but then remembered that incident after I'd finished watching it *shudders*). But it's also the lightest on plot, which is saying something because none of them are remotely plot-heavy. I still like it (I'd give it a 6/10), but the others I've seen gave me more to chew on.

Rankings because why not:

The Living Dead Girl
Fascination
The Grapes of Death
Lips of Blood
The Night of the Hunted
The Iron Rose

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Sun Dec 03, 2017 11:36 am
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Requiem For a Vampire has a couple of advantages - his best onscreen orgasm and an ending shot of the dawn that will make you cry tears of garlic.


Sun Dec 03, 2017 11:52 am
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Wow, after some research it appears that I watched 11 of his films, but that includes stuff from the late 80s/90s which no one considers his best. I think Iron Rose appealed to me because it had his atmosphere but did not have his Count Floyd vampire costumes. I did like Fascination, although my main takeaway from that was Mlle Lahaie's gorgeousness.

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Sun Dec 03, 2017 12:04 pm
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Jinnistan wrote:
Requiem For a Vampire has a couple of advantages - his best onscreen orgasm and an ending shot of the dawn that will make you cry tears of garlic.

Just one Castel twin, though? What a rip-off.

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Sun Dec 03, 2017 1:19 pm
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Captain Terror wrote:

A few years ago I watched 5-6 Rollin films, having never seen any of his work, and Iron Rose was by far my favorite. At that time some of his "major" work was unavailable to me so I'm not ready to say it's his best but it's the one I intend to add to my collection eventually.


What were the other ones, dude, to give me a frame of reference?


Mon Dec 04, 2017 1:49 am
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Rock wrote:
From the ones I've seen, it's probably the purest distillation of his essence (which felt kinda gross to write, only because I once tried to rent Lips of Blood and the video store clerk had a really hard time wiping off a mysterious stain from the disc so I changed my mind, only to forget about that incident and rent it again a few years later, but then remembered that incident after I'd finished watching it *shudders*). But it's also the lightest on plot, which is saying something because none of them are remotely plot-heavy. I still like it (I'd give it a 6/10), but the others I've seen gave me more to chew on.

Rankings because why not:

The Living Dead Girl
Fascination
The Grapes of Death
Lips of Blood
The Night of the Hunted
The Iron Rose


I really liked Lips of Blood, that may have been my stain.


Mon Dec 04, 2017 1:50 am
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AS THE CORRIE ROLLIN FAT CAT,

Lips of Blood was the first one I watched, admittedly wasn't crazy about it at the time. Rollin walks that fine line between arthouse and grindhouse, and balances both perfectly. It was until I watched Fascination next that I really became a fan of him. Shiver of the Vampires is so colourful and has such bizarre imagery throughout it, I love it. There hasn't been one of his films I didn't like.

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Mon Dec 04, 2017 2:26 am
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Wooley wrote:

What were the other ones, dude, to give me a frame of reference?


The ones I watched:

The Nude Vampire
Requiem...
Iron Rose
Schoolgirl Hitchhikers
Bacchanalles Sexuelles
Grapes of Death
Fascination
The Escapees
Zombie Lake
The Living Dead Girl
Lost in NY

The ones that I considered important that I didn't have access to were Rape/Shiver/Virgin/Lips/Demoniacs maybe a couple more. Thanks to Prime and Shudder some of those are now available so I'll give them a try. To be clear I liked most of those that I saw, just maybe not enough to buy them. Things got pretty bleak as I approached the 90s, though. Pretty sure there was one that I rented and didn't even finish. Killing Car, maybe.

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Mon Dec 04, 2017 3:27 am
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Captain Terror wrote:

The ones I watched:

The Nude Vampire
Requiem...
Iron Rose
Schoolgirl Hitchhikers
Bacchanalles Sexuelles
Grapes of Death
Fascination
The Escapees
Zombie Lake
The Living Dead Girl
Lost in NY

The ones that I considered important that I didn't have access to were Rape/Shiver/Virgin/Lips/Demoniacs maybe a couple more. Thanks to Prime and Shudder some of those are now available so I'll give them a try. To be clear I liked most of those that I saw, just maybe not enough to buy them. Things got pretty bleak as I approached the 90s, though. Pretty sure there was one that I rented and didn't even finish. Killing Car, maybe.


I've actually only seen 3 of those, but I dug them. Even Zombie Lake, for what it was.


Mon Dec 04, 2017 5:03 am
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Rock wrote:
Also, Sinister 2 just popped up on Netflix. Anybody seen that? I like the first movie and James Ransone's character enough to give it a chance, even though the reviews were terrible.

Huh, so this has me way more conflicted than I expected.

It's not as good as the original, but also nowhere near as terrible as a lot of its reviews might suggest. I think the child abuse themes are pretty interesting and much more tactful than it could have been (for example, I found Split pretty off putting in its handling of said content). There's also one bit, the Norwegian hell call, which is legitimately chilling, much more so than anything else in the movie and in most of these movies. But the effectiveness of the call, which is just scratchy audio that leaves a lot to our imagination, highlights why the rest of the movie doesn't work. The elegant direction and impenetrable shadows of the first one are missing, replaced by frequent Bughuul jump scares, and the home movies in this one are too obviously staged and repetitive to have the genuinely creepy effect of the ones in the first film or the hell call. Also, as interesting as those abuse themes are, the lousy acting and stilted writing do it no favours. Remember that shushing bullshit from the end of the first one? There's a lot of that in here.


The Blumhouse production this is closest to is Insidious: Chapter 2, which also has a bunch of interesting pieces and one genuinely creepy bit (the room full of corpses), but lacks the finesse of its predecessor. I'd give both a strong 5 or a weak 6, in that they're not exactly good but are more worthwhile than most of these movies or at least have more going on.

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Tue Dec 05, 2017 1:43 pm
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The lack of enthusiasm for Dog Soldiers in here makes me sad.

Then again, three of my long-time crushes were in the movie and I first watched it when I was like 19, so there may have been non-movie-quality related elements to how much I liked it.


Wed Dec 06, 2017 6:51 am
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It's fun enough. Spoon is a really good wolf-fighting boy.


Wed Dec 06, 2017 7:21 am
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The Mu has decided to join us :fresh:


Wed Dec 06, 2017 8:51 am
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Not to allow my own unquenchable thirst for Liam Cunningham to bias my opinion, but sometimes I'm not sure if Dog Soldiers plays better with me given the relative dearth of quality werewolf motion pictures, or, more disturbingly, if I've defensively fighting off the realization that it happens to be a better action film than a horror film. The Jimmie Cameron curse. Anyway, at least The Descent was a great horror film first and foremost.


Wed Dec 06, 2017 8:57 am
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Jinnistan wrote:
The Jimmie Cameron curse.
Hmm?

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Wed Dec 06, 2017 2:21 pm
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Stu wrote:
Hmm?


I'd wager he's referencing how Aliens functions more as an action movie with horror elements than the reverse.


Wed Dec 06, 2017 3:23 pm
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DaMU wrote:

I'd wager he's referencing how Aliens functions more as an action movie with horror elements than the reverse.

The Terminator could also be considered a horror film - in fact, it's surprising that it isn't more often. But that's not fair, he's only a conveniently famous face to hang it on. World War Z is one of the worst recent examples of an action film that only faciley pretends to be a horror film.


Fri Dec 08, 2017 11:52 am
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Jinnistan wrote:
The Terminator could also be considered a horror film - in fact, it's surprising that it isn't more often. But that's not fair, he's only a conveniently famous face to hang it on. World War Z is one of the worst recent examples of an action film that only faciley pretends to be a horror film.
Arnold was such an effective horror villain that I can't stomach his hero turn in T2. I just don't buy it, Cameron got soooo precious with his horrible slaughter machine


Fri Dec 08, 2017 12:12 pm
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Jinnistan wrote:
The Terminator could also be considered a horror film - in fact, it's surprising that it isn't more often. But that's not fair, he's only a conveniently famous face to hang it on. World War Z is one of the worst recent examples of an action film that only faciley pretends to be a horror film.
The original Terminator probably isn't associated as a Horror film very often due to how much of an emphasis it places on physical action, which, along with its Sci/Fi elements, pretty much pigeonholes the type(s) of film it typically gets labelled, which is too bad, because I've actually found the more horrific elements of it (the unstoppable, high-tech "slasher movie"-style villain, the body horror of the constantly-decaying Terminator) to be more memorable than the stuntwork, which is good, but does show the limits of the budget Cameron had to work with at the time.

At any rate, as for Aliens, I can't help but wonder if people forget just how horrific it is just because the original is a purer Horror experience when compared to it, and going in any sort of Action movie direction at all for the sequel seemed like such a curveball. Sure, the more horror-y moments in it are building off of what Ridley & company had already established for the franchise, but they're still plenty memorable themselves; I mean, Ripley's little chestburster nightmare, anyone?
The Nameless One wrote:
Arnold was such an effective horror villain that I can't stomach his hero turn in T2. I just don't buy it, Cameron got soooo precious with his horrible slaughter machine
I've always liked T2 a lot, but even I admit, it is problematic how much Cameron watered-down the T-800 in it, and tried to make the Terminator into yet another iteration of the same smirking, one-liner dispensing, one-man army character that Arnie had pretty much only been doing a variation of one way or another ever since Commando, especially in the 2nd half of the film; before that, he was mostly okay as stiff-but-helpful "good" Terminator, but then that snotty little brat started feeding him those douchey fucking one liners, and that's all she wrote. Still a really good movie, it just could've been even better if it had done a better job with those particular characterizations.

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Fri Dec 08, 2017 2:11 pm
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Takoma1 wrote:
The lack of enthusiasm for Dog Soldiers in here makes me sad.

Then again, three of my long-time crushes were in the movie and I first watched it when I was like 19, so there may have been non-movie-quality related elements to how much I liked it.

I really like it. "There is no Spoon."

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Fri Dec 08, 2017 4:42 pm
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Stu wrote:
At any rate, as for Aliens, I can't help but wonder if people forget just how horrific it is just because the original is a purer Horror experience when compared to it, and going in any sort of Action movie direction at all for the sequel seemed like such a curveball.


Well, as I astutely pointed out in my Greatest Horror Sequel thread, I've always found the 15 minute or so sequence in Aliens, the descent into the boilers so to speak, as one of the most tense and horrific sequences in any film, and that it easily lets the film off the hook for going in a more gung ho manner in its second half.


Sun Dec 10, 2017 8:30 am
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Jinnistan wrote:
Well, as I astutely pointed out in my Greatest Horror Sequel thread, I've always found the 15 minute or so sequence in Aliens, the descent into the boilers so to speak, as one of the most tense and horrific sequences in any film, and that it easily lets the film off the hook for going in a more gung ho manner in its second half.
Speaking of your awesome Horror Sequel thread, that wouldn't happen to be one of those threads you were able to find an archive of through the Wayback Machine, would it...?
:)
Anyway, yeah, I agree that Cameron's decision to balance the alternation of subversion/repetition of certain elements from the original with a dramatic turn into an entirely different genre was a brilliant way to tell what was essential the same story in a fresh, unexpected way, and a great way to retain the pure, primally hostile nature of the Xenomorph without going in any repetitive or bizarre directions with the franchise, ala Alien 3 or Resurrection. Few directors would ever even consider such a move, and Cam did a good job of carefully transitioning us away from Scott's Horror-centric vision into his more testosterone-fueled one with plenty of moments of quiet suspense, tension and straight-up horror during the first hour or so of Aliens, while still showing respect for the world his predecessor created. Great, great fuckin' movie.

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Sun Dec 10, 2017 10:58 am
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Stu wrote:
Speaking of your awesome Horror Sequel thread, that wouldn't happen to be one of those threads you were able to find an archive of through the Wayback Machine, would it...?
:)

Maybe. After gathering the first few pages, I just got depressed. I'm pretty sure I have the list of 20 films around here, so I'll post those as relevant to the thread.


Sun Dec 10, 2017 12:15 pm
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Jinnistan wrote:
Maybe. After gathering the first few pages, I just got depressed. I'm pretty sure I have the list of 20 films around here, so I'll post those as relevant to the thread.
Image

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