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 Horrorcram XV: Let's Scare Corrierino To Death 
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crumbsroom wrote:
Just came across an independent artist who is selling books at my local video hive. Thought they were they kinds of thing some here would be jealous to be able to get their hands on.

Image

Image

:) :up:

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Sun Jan 07, 2018 12:09 pm
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Takoma1 wrote:
Disclosure: I was grading and/or reading for the first 40 minutes of the movie, looking up for kills and then going back to my work. Around the time Virginia goes up to the bell tower with the guy, that was when I actually started paying attention the narrative.

I so hope that some bad horror dialogue gets subliminally passed on in your red ink. "This sentence is mangled beyond all human recognition. No reason, no conscience, no understanding, even the most rudimentary sense of logic or skill, right or wrong. Blank, pale, emotionless prose, and the blackest point of view - the devil's point of view. I've spent eight years trying to teach you, sitting in this classroom, staring at the wall, not seeing the wall, looking past the wall, looking at this writing, inhumanely patient, waiting for some secret silent alarm to trigger your wits. You can either ignore your double negatives, or you can help me to stop them."


Sun Jan 07, 2018 3:45 pm
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DaMU wrote:
Yeah, the ending of Life is awfully cheap and also sorta proves the movie has nothing on its mind, because there's nothing in the film that
either justifies that level of nihilism or makes the subversion truly offensive.

I saw the flick as a fun riff on the mystery of "how smart is the monster? " and the climax provides an answer. Pure genre fun.


Sun Jan 07, 2018 4:52 pm
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Jinnistan wrote:
I so hope that some bad horror dialogue gets subliminally passed on in your red ink. "This sentence is mangled beyond all human recognition. No reason, no conscience, no understanding, even the most rudimentary sense of logic or skill, right or wrong. Blank, pale, emotionless prose, and the blackest point of view - the devil's point of view. I've spent eight years trying to teach you, sitting in this classroom, staring at the wall, not seeing the wall, looking past the wall, looking at this writing, inhumanely patient, waiting for some secret silent alarm to trigger your wits. You can either ignore your double negatives, or you can help me to stop them."


"This essay was the literary equivalent of a barbell weight to the genitals."

ThatDarnMKS wrote:
I saw the flick as a fun riff on the mystery of "how smart is the monster? " and the climax provides an answer. Pure genre fun.


I don't know. The people were just too dumb for me and the score was too overbearingly "this is serious, this is tragic". If it had been more camp and more fun I could have enjoyed it.


Mon Jan 08, 2018 12:39 am
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Takoma1 wrote:





I don't know. The people were just too dumb for me and the score was too overbearingly "this is serious, this is tragic". If it had been more camp and more fun I could have enjoyed it.


Maybe my standards were lowered too much by Prometheus and Alien: Covenant, but I didn't find anything the characters did to be particularly dumb. I think they made some convenient choices but that the film made a point that as things got worse and worse that the scientists became more irrational, panicked and emotional.

I also didn't really get a sense of tragedy in it, but rather a darkly ironic nihilism. A modern Twilight Zone ending that fits in alongside the Mist, even if the film is shamelessly a mash up of Gravity and Alien.

I suppose I'm bias towards space monster sci-fi and when one comes along with quality technical filmmaking, a great cast and a propulsive plot, I'm more than willing to overlook what I see as minor narrative hinks. The same can be said of shark movies as my enjoyment of the Shallows tickles a very similar part of my brain. They're no Jaws or Alien but I'll enjoy them just the same because I respect the attempt.


Mon Jan 08, 2018 4:40 am
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ThatDarnMKS wrote:
Maybe my standards were lowered too much by Prometheus and Alien: Covenant, but I didn't find anything the characters did to be particularly dumb. I think they made some convenient choices but that the film made a point that as things got worse and worse that the scientists became more irrational, panicked and emotional.


To me, the issues in the movie were more than minor. There wasn't anything as bad as "take off my helmet to stare down this space viper", but I don't understand, for example, why it was that when the alien
went into its hibernation they didn't capitalize on that opportunity to be like "Okay, this thing is alive and growing. It seems to be intelligent. Let's figure out our game plan here." Instead they just stick with one biologist and a degree of biocontainment that was clearly intented for studying stuff under microscopes and not dealing with living things. From the narration, it seems that they immediately start to try to revive it, which is just annoying.

Why did they not rig the room to easily return to an atmosphere hostile to the life form? Why not ensure a better system for isolating and/or disconnecting the science station in the ship? Yes, these things might take a long time, even years, but caution should be at the forefront when dealing with such an unknown.


Maybe that sounds too picky, but it was one of those viewings where the characters were so lackluster that being nitpicky about the movie felt more entertaining than the movie itself. For example, I can't remember any of the characters' names, which for me is never a good sign. To me it was just a very flat, forgettable film that wasted good actors and some nifty special effects. Again, I was also really bothered by how often it reminded me of other, better movies.


Mon Jan 08, 2018 10:57 am
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Last night I watched the short film Return to Glennascaul, starring/narrated by Orson Welles. It was . . . okay. It was a little too jokey to take seriously but not funny enough to enjoy as a romp. There's a fun pun about having trouble with distributors, but that's about it.


Mon Jan 08, 2018 11:02 am
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Takoma1 wrote:

To me, the issues in the movie were more than minor. There wasn't anything as bad as "take off my helmet to stare down this space viper", but I don't understand, for example, why it was that when the alien
went into its hibernation they didn't capitalize on that opportunity to be like "Okay, this thing is alive and growing. It seems to be intelligent. Let's figure out our game plan here." Instead they just stick with one biologist and a degree of biocontainment that was clearly intented for studying stuff under microscopes and not dealing with living things. From the narration, it seems that they immediately start to try to revive it, which is just annoying.

Why did they not rig the room to easily return to an atmosphere hostile to the life form? Why not ensure a better system for isolating and/or disconnecting the science station in the ship? Yes, these things might take a long time, even years, but caution should be at the forefront when dealing with such an unknown.


Maybe that sounds too picky, but it was one of those viewings where the characters were so lackluster that being nitpicky about the movie felt more entertaining than the movie itself. For example, I can't remember any of the characters' names, which for me is never a good sign. To me it was just a very flat, forgettable film that wasted good actors and some nifty special effects. Again, I was also really bothered by how often it reminded me of other, better movies.


Yeah, none of that bothered me. Something has to defy human instinct or break the rules set by the film for me to get upset when I watch sci-fi or horror. Otherwise, I find myself wondering why Ripley and Burke aren't simply on the Sulaco, telecommunicationing with the Marines rather than on the surface of LV426, in danger. There are always tons of "why not this" but not having the foresight to prevent an alien that mutates from doing something that was fairly unpredictable isn't something I'll do to a movie like this. It's not entirely unfair but you can do that until you've robbed a film of any human drama. I believe DaMU voiced such an opinion in defense of Star Wars and how they seemed to have shifted from Droid warfare, despite the lives that would save.

On a side note, I watched It Comes At Night. I liked it quite a bit but can't help but feel the title set the film up to be off putting. Had "It" been substituted for "Fear," I think there would be less audience backlash and disgust. It pairs nicely with the Road and Time of the Wolf.


Tue Jan 09, 2018 6:15 am
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ThatDarnMKS wrote:
On a side note, I watched It Comes At Night. I liked it quite a bit but can't help but feel the title set the film up to be off putting. Had "It" been substituted for "Fear," I think there would be less audience backlash and disgust. It pairs nicely with the Road and Time of the Wolf.
Even more than the title, I think the initial teaser trailer, with its air of "What's behind that red door?" mystery, set expectations for a supernatural thriller of some sort:

https://www.youtube.com/watch?v=sKnigN8OiNc

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Tue Jan 09, 2018 6:42 am
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As much as I loved It Comes at Night, I agree that the trailer was misleading.

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Tue Jan 09, 2018 7:26 am
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BL wrote:
Even more than the title, I think the initial teaser trailer, with its air of "What's behind that red door?" mystery, set expectations for a supernatural thriller of some sort:

https://www.youtube.com/watch?v=sKnigN8OiNc

I'm glad I hadn't seen that trailer. I was able to adjust the expectations the title put in my head pretty quickly but that really had a "wait for the monster to burst through" vibe, especially with scenes of characters pointing their guns at something off screen. That said, the trailer is wonderfully constructed and I wish I could see the movie it promised as well.

An honest trailer would have just been mostly comprised of the opening grandfather scene intercut with the nightmares.


Tue Jan 09, 2018 7:53 am
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ThatDarnMKS wrote:
An honest trailer would have just been mostly comprised of the opening grandfather scene intercut with the nightmares.
But the nightmares were my least favorite part of the film...

:oops:

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Tue Jan 09, 2018 7:55 am
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Stu wrote:
But the nightmares were my least favorite part of the film...

:oops:

They flirted with cliche but I thought they worked well enough dramatically and made one question the reality of what was occurring at night.


Tue Jan 09, 2018 7:59 am
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ThatDarnMKS wrote:
They flirted with cliche but I thought they worked well enough dramatically and made one question the reality of what was occurring at night.
The first one, with
the sick grandfather, worked the best with its relatively subtle creepiness, and the final dual-one with the off-screen family dog/sick grandfather again, was acceptable (even though Shults did the whole nightmare-within-a-nightmare fakeout cliche thing with it), but the one with the girl dripping blood into the son's mouth, and the other one with intruder tied up outside with all-black eyes? Those two just should've been removed from the film entirely, as far as I'm concerned; a better way of integrating the nightmares into the film, I think, would've been to show the son waking up from them a couple of times throughout the film, but without showing us what he was dreaming, at least, until the very last one; that would've been a good capper to that whole story element, I feel.

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Tue Jan 09, 2018 8:07 am
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I liked the nightmares in It Comes at Night quite a bit, because I feel like their purpose was to foreshadow
Travis's death.
In addition, I found all of them to be quite unnerving, because they gave me the feeling that death was creeping up on him.

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Tue Jan 09, 2018 8:11 am
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The first and the last ones were somewhat unnerving, but the middle two were just pure Horror schlock, as far I'm concerned, and shouldn't have been in the movie at all.

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Tue Jan 09, 2018 8:15 am
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Stu wrote:
The first and the last ones were somewhat unnerving, but the middle two were just pure Horror schlock, as far I'm concerned, and shouldn't have been in the movie at all.

I found all of them to be unnerving for the reason I brought up in my above post.

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Tue Jan 09, 2018 8:34 am
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Popcorn Reviews wrote:
I found all of them to be unnerving for the reason I brought up in my above post.
Okay, Robbie The Robot.

:P

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Tue Jan 09, 2018 8:42 am
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The only one that annoyed me was the double nightmare. I think the film did some very interesting things with aspect ratio in regards to filming the nightmares at a narrower ratio than the waking scenes.

also, the aspect ratio gradually narrows during the climax as nightmare becomes reality


I didn't observe the latter myself but watched a making of that made me appreciate the craft more.


Tue Jan 09, 2018 9:33 am
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Stu wrote:
Okay, Robbie The Robot.

:P

Actually, my robot nickname is the Pop-Bot 3000. The Pop-Bot 1000 was destroyed after RT screwed up and banned it. Then, the Pop-Bot 2000 was destroyed when RT shut down.

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Tue Jan 09, 2018 10:53 am
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ThatDarnMKS wrote:
The only one that annoyed me was the double nightmare. I think the film did some very interesting things with aspect ratio in regards to filming the nightmares at a narrower ratio than the waking scenes.

also, the aspect ratio gradually narrows during the climax as nightmare becomes reality


I didn't observe the latter myself but watched a making of that made me appreciate the craft more.

For me, the nightmare scenes were something I rolled my eyes at in the moment (as explicit nightmare or dream reveals are always something I find questionable) but I think the ending actually tied the conceit together in a way that made it work:

The dreams aren’t just a fake-out for what could happen but an omen of what does happen, and I’m a sucker for horror movies where a character sees the horrible outcome that’s ahead but can’t steer away from it. If the nightmares were just fake-outs ahead of a happy ending, it would be cheap. But I completely buy the idea of nightmares being an expression of someone’s anxiety of a horrible scenario that eventually becomes the movie’s grim reality.

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Tue Jan 09, 2018 11:17 am
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BL wrote:
For me, the nightmare scenes were something I rolled my eyes at in the moment (as explicit nightmare or dream reveals are always something I find questionable) but I think the ending actually tied the conceit together in a way that made it work:

The dreams aren’t just a fake-out for what could happen but an omen of what does happen, and I’m a sucker for horror movies where a character sees the horrible outcome that’s ahead but can’t steer away from it. If the nightmares were just fake-outs ahead of a happy ending, it would be cheap. But I completely buy the idea of nightmares being an expression of someone’s anxiety of a horrible scenario that eventually becomes the movie’s grim reality.

That's my take on them.
I think they were in the film to foreshadow Travis's death, so I don't consider them to be a flaw. They also feel quite unnerving when you re-watch the film, because they give you the feeling that death is slowly creeping up on Travis.

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Tue Jan 09, 2018 11:47 am
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Popcorn Reviews wrote:
That's my take on them.
I think they were in the film to foreshadow Travis's death, so I don't consider them to be a flaw. They also feel quite unnerving when you re-watch the film, because they give you the feeling that death is slowly creeping up on Travis.


Beyond foreshadowing, the dreams also work to establish character. If Travis were to bend just flatly in favor of the interloper family joining the group, he’d be less interesting as a character and there would be no tension with his dad’s position. But the dreams establish his conflicted thinking in accepting these characters and how it amps up the threat of contagion.

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Tue Jan 09, 2018 12:33 pm
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Just saw Wind River, another film that did not turn out like I was expecting, but a damn good movie.
I wish I knew people to recommend this to but the grim nature of the central plot-motivator is enough, I think, to turn a lot of people off.


Wed Jan 10, 2018 1:56 pm
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Wooley wrote:
Just saw Wind River, another film that did not turn out like I was expecting, but a damn good movie.
I wish I knew people to recommend this to but the grim nature of the central plot-motivator is enough, I think, to turn a lot of people off.
Funny you mention Wind River just now, as I actually just got finished with my write-up of it today for my 2017 retrospective thread. Anyway, its main story catalyst really isn't any grimmer than any other random, typical Thriller, which is something you can say about a lot of other elements in it, but what distinguished it for me was its strong, vivid style, well-developed characters, and fundamentally emotional nature, so I really did liked it a lot in the end, and am happy to be seeing as much love for it as I currently am...

8-)

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Thu Jan 11, 2018 8:13 am
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The Giant Gila Monster is awful, but the MST3K skewering of it was good for some laughs.

I thought Wind River was great, but yes very depressing.

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Thu Jan 11, 2018 9:18 am
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I also forgot to mention that I saw and enjoyed New Year's Evil (1980). Sure its low budget cheese, but it has some good kills and a cool ending. Plus Shadow!

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Thu Jan 11, 2018 9:20 am
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Letterboxd sent me an end-of-the-year email, which included certain stats about my viewing in 2017. According to this email, out of all the films I watched in '17 my "most-watched actor" was Lon Chaney Jr. I can't decide if that's awesome or embarrassing. And I'm single, ladies!

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Thu Jan 11, 2018 9:29 am
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The Vault was garbage. I dig the genre mash element but it was so clichéd and ham fisted it hurt. It also clearly couldn't afford to have any of the cast members on set at the same time. Must've blown their budget on isolated Franco and couldn't even get Clifton Collins Jr. to be in frame with Taryn Manning or Francesca Eastwood.


Thu Jan 11, 2018 9:36 am
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MadMan wrote:
I thought Wind River was great, but yes very depressing.
Yeah, but at least it ended on a bit of a hopeful note for some of the characters involved, to be fair.

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Thu Jan 11, 2018 11:33 am
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Captain Terror wrote:
Letterboxd sent me an end-of-the-year email, which included certain stats about my viewing in 2017. According to this email, out of all the films I watched in '17 my "most-watched actor" was Lon Chaney Jr. I can't decide if that's awesome or embarrassing. And I'm single, ladies!


Would you say you're the strong, silent type?

Eh? Eh?

What's that? What do you mean "that's his dad"? But I thought-- [quick trip to IMDb]--but he was totally in that one silent movie. You know, as, um, "Hands of a boy" (uncredited).

I'll see myself out.


Thu Jan 11, 2018 11:45 am
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On a more (but not much more) serious note, I'm trying to make use of my FilmStruck subscription. What are your thoughts on Bedlam (40s) or Spirits of the Dead (68)?


Thu Jan 11, 2018 11:48 am
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Takoma1 wrote:
What are your thoughts on Bedlam (40s) or Spirits of the Dead (68)?

I found Bedlam to be pretty dry. The latter two segments of Spirits are good, Fellini's "Toby Dammit" is great in fact, but Malle's "Wilson" is also decent. Vadim's opening segment is a bit of a wash.


Thu Jan 11, 2018 11:58 am
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Takoma1 wrote:

Would you say you're the strong, silent type?

Eh? Eh?

What's that? What do you mean "that's his dad"? But I thought-- [quick trip to IMDb]--but he was totally in that one silent movie. You know, as, um, "Hands of a boy" (uncredited).

I'll see myself out.

Well, if it was Lon SR, that's a whole different ball game. Nothing embarrassing at all about that. In fact, I'd lead with it. "Hi, I'm a Pisces and according to Letterboxd I watched <x> Lon Chaney movies last year. Can I buy you a drink?"

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Thu Jan 11, 2018 12:06 pm
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Takoma1 wrote:
On a more (but not much more) serious note, I'm trying to make use of my FilmStruck subscription. What are your thoughts on Bedlam (40s) or Spirits of the Dead (68)?

I like Bedlam but keep in mind that whole Lon Chaney Jr thing. I'd recommend 4-5 other Lewtons before that one. Spirits of the Dead is a giant hole in my viewing history. In my defense I've had a tough time finding a worthwhile copy to watch.

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Thu Jan 11, 2018 12:10 pm
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Takoma1 wrote:
Spirits of the Dead (68)?

Pretty good. The segments get better as it goes along. The Vadim is mostly worthwhile just for Jane Fonda. The Malle is pretty good, but still feels like Malle's contribution to someone else's anthology, while the Fellini is great and feels fully like a Fellini film.

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Thu Jan 11, 2018 12:11 pm
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Takoma1 wrote:
On a more (but not much more) serious note, I'm trying to make use of my FilmStruck subscription. What are your thoughts on Bedlam (40s) or Spirits of the Dead (68)?

I need to see both. Bedlam is the last Val Lewton I have not viewed. Spirits keeps popping up on TCM so I have no excuse why I have not seen it yet.

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Thu Jan 11, 2018 4:54 pm
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Stu wrote:
Funny you mention Wind River just now, as I actually just got finished with my write-up of it today for my 2017 retrospective thread. Anyway, its main story catalyst really isn't any grimmer than any other random, typical Thriller, which is something you can say about a lot of other elements in it, but what distinguished it for me was its strong, vivid style, well-developed characters, and fundamentally emotional nature, so I really did liked it a lot in the end, and am happy to be seeing as much love for it as I currently am...

8-)

I guess what I'm saying is that, at my age (45), most of my friends have families and teenage children and if I told them they really need to see a movie about
the rape and scared and lonely death of a sweet 18 year-old girl, including a really squirm-worthy waking-up-to-being-raped-scene
, they might not really enjoy it so much even if it was a good movie or they might at least wish I had warned them, which I can't without spoiling the movie.
Know what I mean?


Fri Jan 12, 2018 3:25 am
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Captain Terror wrote:
Letterboxd sent me an end-of-the-year email, which included certain stats about my viewing in 2017. According to this email, out of all the films I watched in '17 my "most-watched actor" was Lon Chaney Jr. I can't decide if that's awesome or embarrassing. And I'm single, ladies!

It's awesome, he was in some great stuff.
Wolfman
Frankenstein Meets The Wolfman
Ghost of Frankenstein
House of Frankenstein
The Mummy's Tomb
House of Dracula
Abbott and Costello Meet Frankenstein
The Mummy's Curse
The Black Sleep
The Alligator People
Spider Baby
Witchcraft

I mean, those are all legitimately enjoyable films.


Fri Jan 12, 2018 3:32 am
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Captain Terror wrote:
Letterboxd sent me an end-of-the-year email, which included certain stats about my viewing in 2017. According to this email, out of all the films I watched in '17 my "most-watched actor" was Lon Chaney Jr. I can't decide if that's awesome or embarrassing. And I'm single, ladies!


My "most-watched actor" was Vin Diesel :shifty: :-/

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Fri Jan 12, 2018 5:39 am
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Thief wrote:

My "most-watched actor" was Vin Diesel :shifty: :-/

Nice! I'm feeling better about myself now, thanks. :P

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Fri Jan 12, 2018 5:48 am
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My most-watched actor was Philip Seymour Hoffman.


Fri Jan 12, 2018 6:43 am
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My most watched actor was Adam Driver.


Fri Jan 12, 2018 12:04 pm
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Most watched actor: Charles Lane


Fri Jan 12, 2018 4:11 pm
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Post Re: Horrorcram XV: Let's Scare Corrierino To Death

I got Max von Sydow. I think I did alright.

Although this year so far it's shaping up to be Marie-Pierre Castel. :shifty:

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Sat Jan 13, 2018 10:46 am
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Post Re: Horrorcram XV: Let's Scare Corrierino To Death

Rock wrote:
Although this year so far it's shaping up to be Marie-Pierre Castel. :shifty:

Didn't Catherine make more films? I smell a rig.


Sun Jan 14, 2018 2:28 am
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Post Re: Horrorcram XV: Let's Scare Corrierino To Death

Jinnistan wrote:
Didn't Catherine make more films? I smell a rig.

As I googled their filmographies I learned that they weren't actually twins, which leaves me deeply disappointed.

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Mon Jan 15, 2018 1:03 pm
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Post Re: Horrorcram XV: Let's Scare Corrierino To Death

Image

There’s a consistency to the Jean Rollin films I’ve been watching that you can probably tell fairly accurately how much you’ll like one based on how much you liked the others you’ve seen. Requiem for a Vampire doesn’t really refute that theory, but it does offer some extra pleasures for Rollin fans while having things to both attract and repel non-fans. Two women flee from pursuers and wind up in the hands of some castle-dwelling vampires who want them to continue their bloodline. We get a greater variety of vampires than usual, with an aging somewhat sympathetic male vampire, a sharp dresser (Dominique, giving a similarly stylized performance as in The Shiver of the Vampires), a dominatrix-type (she carries around a whip) and a couple of guys who look like they stepped out of a toga party. We even get some reflection on the vampire condition by the aging vampire and a somewhat more complicated conflict as the heroines differ on their willingness to become vampires, which makes this a touch weightier than some of the other Rollins.

But what really makes this stand out is the first act. The heroines are introduced in clown costumes, and along with a male driver who dies shortly, are fleeing from unspecified pursuers in a car chase/shootout. The opening suggests a crime thriller (although a fairly lax one; after all, this is a Rollin joint), and the movie morphs into horror more slowly than usual, with the heroines encountering a smattering of stock horror imagery (bats, skulls, being buried alive) before they get to the vampires. This all happens with minimal dialogue and exposition (we get a brief explanation after the vampires hypnotize one of the heroines) and much of the movie is shot in broad daylight, which all give Requiem a much more distinct atmosphere and narrative compared to the other Rollins I’ve seen and might make it more appealing to people not already in the fan club.

Unfortunately, this movie earns a good chunk of its skin quotient through some interminable rape scenes, which will likely keep those people out of the fan club. However, one of these scenes ends with a bat on a woman’s crotch, so perhaps there is some levity here. Also, while the film has only one Castel sister, Marie-Pierre was cast because Catherine was unavailable, so it couldn’t have both even if it wanted to. Also, the heroines are supposed to be lovers, which would make it pretty awkward if both sisters were playing them.

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Mon Jan 15, 2018 1:06 pm
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Post Re: Horrorcram XV: Let's Scare Corrierino To Death

While I'd categorize it more as a drama/thriller than a horror, I'd like to plug Seance on a Wet Afternoon. At times it knocks on the door of horror, especially with one specific plot point.

If you've seen it, I was just horrified again that the main character
was not allowed to even see her stillborn baby. Might she still have gone crazy? Maybe. But the line where she says something like "After so much waiting!". She spent months with that baby, and then wasn't even allowed the closure of seeing his body. When you couple that with the odd implication that she'd "known" him since she was younger, it implies a depth of mental illness far beyond just "mother loses child and goes crazy".


Mon Jan 15, 2018 1:32 pm
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Post Re: Horrorcram XV: Let's Scare Corrierino To Death

Watched The Thing from Another World tonight. Cross-posting my thoughts from Thief's thread:

I would say that while the 80s version of the story is most memorable for its ending, the 50s version has a very strong first act. There is an image in the first 20 minutes that I think is maybe one of my favorite things I've seen in a horror film (it's the shot of the men
trying to figure out the shape of the object under water, slowly assembling themselves into a circle, then slowly realizing what shape they've made
). There's a fun sense of banter and camaraderie among the soldiers and scientists at the outpost. There's also a romantic subplot between an army captain and a secretary at the outpost. The gender politics are dated, of course, but not nearly as cringe-y as other films of the same era. The character of Nikki is mostly one of the crew, and there's an early reference to her having out-drunk the captain when he was trying to seduce her. Similarly there is a very cliched portrayal of the scientist who values science above all else. Having just watched Life I have very little patience right now for stupid science, and the portrayal of the lead scientist is pretty broadly drawn. The film does offer him some sympathy (and so do the other characters), but the film could have really benefited from a more nuanced approach to the knowledge vs safety debate.

The biggest let-down of the film (which is strong on atmosphere and character dynamics), is the look of the actual Thing. It is incredibly evocative of Frankenstein's monster. This is the one area where the 50s version can't help but feel like it's coming up against the 80s version and falling way, way short. The movie is incredibly successful when it works with implication (such as the scene on the ice and later when someone is describing a scene in a greenhouse).

Overall I'm glad I finally checked it out. It was a lot more interesting and fun than I expected.


Tue Jan 16, 2018 10:22 am
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