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 Horrorcram XV: Let's Scare Corrierino To Death 
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Captain Terror wrote:
Yay, me too. I always hear the "style over substance" complaint, but I say substance is overrated. I've been made to feel like a dummy for defending both of those films.


I just figure it's all proportional. If someone expects me to go to bat for the story in Immortals, why on Earth would I? The story is a rote pretext for the visuals. But, oh my eyeballs, I have so much fun watching the crazy framings and high-key golds and costume design and individual sequences (that speed ramping in the finale!).

It's a huge part of why I love Kong: Skull Island. I would trade entire movies for that shot where the guy loads his gun tripod on a triceratops skull.

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Sun Jan 28, 2018 3:23 pm
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DaMU wrote:

I just figure it's all proportional. If someone expects me to go to bat for the story in Immortals, why on Earth would I? The story is a rote pretext for the visuals. But, oh my eyeballs, I have so much fun watching the crazy framings and high-key golds and costume design and individual sequences (that speed ramping in the finale!).

It's a huge part of why I love Kong: Skull Island. I would trade entire movies for that shot where the guy loads his gun tripod on a triceratops skull.
It is proportional/situational, definitely; it's why the shadowy lighting and creeping cinematography of something like It Comes At Night could elevate a just okay script into being something worth watching (once), while the Snyder-y, "living painting" visuals of something like 300 couldn't overcome that film's regressive politics, mindless, cliched dialogue, and overall terribly poor pacing. It's all relative, yo.

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Sun Jan 28, 2018 3:32 pm
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Stu wrote:
It is proportional/situational, definitely; it's why the shadowy lighting and creeping cinematography of something like It Comes At Night could elevate a just okay script into being something worth watching (once), while the Snyder-y, "living painting" visuals of something like 300 couldn't overcome that film's regressive politics, mindless, cliched dialogue, and overall terribly poor pacing. It's all relative, yo.


Snyder is substantially better than Tarsem as evidence by 300's clear superiority to Immortals.


Sun Jan 28, 2018 3:38 pm
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ThatDarnMKS wrote:

Snyder is substantially better than Tarsem as evidence by 300's clear superiority to Immortals.
Well, I certainly wasn't trying to directly compare those directors or their respective films to each other, since... I've never seen Immortals, or any Singh, for that matter. :oops: Guess I just had 300 on the brain once I saw people talking about Immortals, since I remember the ads for the latter reminded me a bit of 300's (admittedly) impressive visuals. Maybe someday I'll check it out, like so many other movies, eh?

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Sun Jan 28, 2018 3:41 pm
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Stu wrote:
Well, I certainly wasn't trying to directly compare those directors or their respective films to each other, since... I've never seen Immortals, or any Singh, for that matter. :oops: Guess I just had 300 on the brain once I saw people talking about Immortals, since I remember the ads for the latter reminded me a bit of 300's (admittedly) impressive visuals. Maybe someday I'll check it out, like so many other movies, eh?

I wouldn't rush to check it out. The visuals aren't nearly as strong as his reputation would imply and they don't really seem to exist to serve much of a purpose, rather theme, story or emotional effect.

I think the Fall may be the only "good" movie he's ever made.


Sun Jan 28, 2018 4:11 pm
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Captain Terror wrote:
Well said, sir. Pretty much my thoughts exactly, just presented more eloquently. Funny, that's the second reference to Dr Who I found regarding this one. I'm not a Whovian so I'll take your word for it.

Thanks. I just recalled that Series 2 of the new show, The Lazarus Experiment, effectively channels TMWCCD rather well, too. I love Doctor Who and eagerly rec it to everyone I meet, heh.

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Sun Jan 28, 2018 4:56 pm
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Both The Fall and Immortals are really well made, gorgeously shot films.

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Sun Jan 28, 2018 4:57 pm
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ThatDarnMKS wrote:
The visuals aren't nearly as strong as his reputation would imply

Strongly disagree
ThatDarnMKS wrote:
and they don't really seem to exist to serve much of a purpose, rather theme, story or emotional effect.

This is my point. Maybe I'm biased as a painter, but I maintain that providing the world with great images is a worthwhile endeavor and if they're good enough I'm willing to overlook other deficiencies. One could ask "why not just stick to music videos or be a photographer?" I'd be ok with either of those too, but he's chosen to make movies, so it is what it is. I've used a musical analogy before: The fact that Carlos Santana isn't the greatest lyricist and his voice is weak doesn't mean I can't enjoy his albums. The difference with films is that you're asking for a 2-hour commitment from the viewer, but I'm ok with it. Personally, I wish Singh would just go the Samsara route from now on.

ThatDarnMKS wrote:
I think the Fall may be the only "good" movie he's ever made.

I agree with this (pending a re-watch of The Cell).

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Sun Jan 28, 2018 9:41 pm
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DaMU wrote:

I just figure it's all proportional. If someone expects me to go to bat for the story in Immortals, why on Earth would I? The story is a rote pretext for the visuals. But, oh my eyeballs, I have so much fun watching the crazy framings and high-key golds and costume design and individual sequences (that speed ramping in the finale!).

It's a huge part of why I love Kong: Skull Island. I would trade entire movies for that shot where the guy loads his gun tripod on a triceratops skull.

That moment for me was the battle-in-heaven shot in Immortals. One of my favorite moments ever.
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Sun Jan 28, 2018 9:46 pm
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Stu wrote:
Speaking of Flanagan, did you hear that he's set to direct an adaptation of The Shining sequel Doctor Sleep? I never finished the book, but, while I've heard mixed things about it overall, still, the idea of a sequel to it after all this time can't help but hold an allure for me regardless...


Flanagan now has a good enough track record with me that I'll check out something he makes. I'm pretty meh on Stephen King, but I'll concede that there's certainly enough to be pulled from any of his work that could be the foundation of a solid film.

Captain Terror wrote:
I agree with this (pending a re-watch of The Cell).


I watched The Cell again last night and I feel like I could genuinely go to bat for it as just a straight up good movie. Each time I watch it I find more details to appreciate in it (in terms of color scheme and background imagery especially). The textures and the shapes of the costumes alone are out of this world.


Mon Jan 29, 2018 1:42 am
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Captain Terror wrote:
Strongly disagree

This is my point. Maybe I'm biased as a painter, but I maintain that providing the world with great images is a worthwhile endeavor and if they're good enough I'm willing to overlook other deficiencies. One could ask "why not just stick to music videos or be a photographer?" I'd be ok with either of those too, but he's chosen to make movies, so it is what it is. I've used a musical analogy before: The fact that Carlos Santana isn't the greatest lyricist and his voice is weak doesn't mean I can't enjoy his albums. The difference with films is that you're asking for a 2-hour commitment from the viewer, but I'm ok with it. Personally, I wish Singh would just go the Samsara route from now on.


I agree with this (pending a re-watch of The Cell).


I think a beautifully composed shot generates a reaction from audiences. Aside from the one money shot that you mentioned, I don't find anything about the film particularly striking, let alone more striking. I remember a helmet match cutting to a boat, as well.

I love style in cinema above narrative. Aside from the homage to the occasional famous painting, I don't see a reason to hold Tarsem above the Proyas' of well composed B movie filmmaking. I think he'd make a better photographer than filmmaker as once the camera has to move or characters have to change, something gets lost.

I may rewatch the Cell and the Immortals though. It's always fun to challenge my opinions on movies and filmmakers I don't particularly care for. If I can grow to like Bay, no one is out of the question.


Mon Jan 29, 2018 3:02 am
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Takoma1 wrote:
I watched The Cell again last night and I feel like I could genuinely go to bat for it as just a straight up good movie. Each time I watch it I find more details to appreciate in it (in terms of color scheme and background imagery especially). The textures and the shapes of the costumes alone are out of this world.


Eiko Ishioka's costume work in Tarsem's movies almost merit watches on their own. The dresses in Mirror Mirror are dazzling.

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Mon Jan 29, 2018 4:54 am
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ThatDarnMKS wrote:

I think a beautifully composed shot generates a reaction from audiences. Aside from the one money shot that you mentioned, I don't find anything about the film particularly striking, let alone more striking. I remember a helmet match cutting to a boat, as well.

I love style in cinema above narrative. Aside from the homage to the occasional famous painting, I don't see a reason to hold Tarsem above the Proyas' of well composed B movie filmmaking. I think he'd make a better photographer than filmmaker as once the camera has to move or characters have to change, something gets lost.

I may rewatch the Cell and the Immortals though. It's always fun to challenge my opinions on movies and filmmakers I don't particularly care for. If I can grow to like Bay, no one is out of the question.

Sounds like we agree in theory then, if not on the guy himself. The reason Singh clicks with me is a matter of cinematography vs production design. PD-wise, Immortals and 300 are very similar, but I happen to prefer the way Singh composes his images, which is again something that might be better served through photography. (Another shot that turned me on was the prison full of Titans which is basically a still image).
Image

On the other hand, The Fall and Immortals both feel like Tarsem movies even though they don't "look" alike in terms of color pallette, etc. One's very bright and the other's very dark, to use technical jargon, but they seem like the work of the same guy. I don't sense that same throughline with say, Dark City and Gods of Egypt.

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Mon Jan 29, 2018 5:12 am
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Takoma1 wrote:
Flanagan now has a good enough track record with me that I'll check out something he makes. I'm pretty meh on Stephen King, but I'll concede that there's certainly enough to be pulled from any of his work that could be the foundation of a solid film.

I coincidentally watched Before I Wake today, and kind of waffled on my opinion throughout the film but ultimately found myself won over by the end. There's a lot of mumbo-jumbo involved and it uses some of my contemporary horror pet peeves, so this isn't an unqualified recommendation but I guess I liked it as much as Oculus, for example. Hush is still my favorite, with Gerald's Game on deck for tonight.

Also, if I ever meet Jacob Tremblay I'm going to buy him an ice cream cone or something. Poor lil' guy always seems to find himself in such unhappy situations.

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Mon Jan 29, 2018 5:16 am
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Captain Terror wrote:
Sounds like we agree in theory then, if not on the guy himself. The reason Singh clicks with me is a matter of cinematography vs production design. PD-wise, Immortals and 300 are very similar, but I happen to prefer the way Singh composes his images, which is again something that might be better served through photography. (Another shot that turned me on was the prison full of Titans which is basically a still image).
Image

On the other hand, The Fall and Immortals both feel like Tarsem movies even though they don't "look" alike in terms of color pallette, etc. One's very bright and the other's very dark, to use technical jargon, but they seem like the work of the same guy. I don't sense that same throughline with say, Dark City and Gods of Egypt.


I think that shot you posted highlights what bothers me about Tarsem. There's obviously a lot of costume and set design at play and he chooses the most boring, oblique angle to shoot it. A God's Eye or Planimetric shot would have worked wonders for the symmetry on display yet it's just an off angle. It doesn't appeal to me visually and works to undercut what is on display.

I think Gods of Egypt can be equated to Proyas' on Self/Less, in that there's very little of his stamp on it as he seems to have just been a director for hire on the flick. That said, I do see some moderate connection in his depiction of the earth eating worms. There's definitely connection between Dark City and the Crow.


Mon Jan 29, 2018 6:21 am
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ThatDarnMKS wrote:
I think that shot you posted highlights what bothers me about Tarsem. There's obviously a lot of costume and set design at play and he chooses the most boring, oblique angle to shoot it. A God's Eye or Planimetric shot would have worked wonders for the symmetry on display yet it's just an off angle. It doesn't appeal to me visually and works to undercut what is on display.


While I'm not fan of Tarsem, and basically have the exact same complaints as you in tying his images to anything tangibly interesting, I think the angle used in that shot is compositionally pretty great, in that it disrupts the obvious symmetry of the arrangement of actors, highlighting the claustrophibia of the image. It makes it meatier. More upsetting. Playing to the symmetry would dilute what makes it so striking.


Mon Jan 29, 2018 6:44 am
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Not to open a big can of worms (...pop...), but I increasingly find Snyder's Ayn Randy sub-fascism to be gross and ethically bizarre. His problematic messaging in movies like Man of Steel and BvS and 300, his weird indulgences in Watchmen (like turning the rape of Silk Spectre into a suspense set-piece and upending the comic's restrained violence so the fights are gory but the apocalypse is anodyne). These choices aren't "fascinating" so much as they are distracting - and persistent enough to actively bother me. I don't like the things his films say, and it's gotten more and more in the way of my appreciation of his virtues with the craft (such as they are).

Please understand, though, that I'm not accusing anyone who likes Snyder of being gross or ethically dubious themselves. Like I said earlier, we're all coming to these movies with our own senses of proportion.

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Mon Jan 29, 2018 8:51 am
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DaMU wrote:
Not to open a big can of worms (...pop...), but I increasingly find Snyder's Ayn Randy sub-fascism to be gross and ethically bizarre. His problematic messaging in movies like Man of Steel and BvS and 300, his weird indulgences in Watchmen (like turning the rape of Silk Spectre into a suspense set-piece and upending the comic's restrained violence so the fights are gory but the apocalypse is anodyne). These choices aren't "fascinating" so much as they are distracting - and persistent enough to actively bother me. I don't like the things his films say, and it's gotten more and more in the way of my appreciation of his virtues with the craft (such as they are).

Please understand, though, that I'm not accusing anyone who likes Snyder of being gross or ethically dubious themselves. Like I said earlier, we're all coming to these movies with our own senses of proportion.


I don't think his films particularly endorse those philosophies as they tend to end with a rejection of them. I could see accusing him of that aspect being weak in the face of sensational violence and mouth pieces for said philosophy, but I can't think of a single film that ends endorsing such a view. 300 comes the closest but so much of that is detailing the nature of propaganda and myth that I'll give him an out.

That said, I don't need to agree with a film's politics to find them interesting works of art. I'm a fan of Gibson, Eastwood, Siegel and Frank Miller.


Mon Jan 29, 2018 10:47 am
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crumbsroom wrote:

While I'm not fan of Tarsem, and basically have the exact same complaints as you in tying his images to anything tangibly interesting, I think the angle used in that shot is compositionally pretty great, in that it disrupts the obvious symmetry of the arrangement of actors, highlighting the claustrophibia of the image. It makes it meatier. More upsetting. Playing to the symmetry would dilute what makes it so striking.


I like your justification but I still find it wholly unappealing aesthetically.


Mon Jan 29, 2018 10:48 am
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DaMU wrote:
Not to open a big can of worms (...pop...), but I increasingly find Snyder's Ayn Randy sub-fascism to be gross and ethically bizarre. His problematic messaging in movies like Man of Steel and BvS and 300, his weird indulgences in Watchmen (like turning the rape of Silk Spectre into a suspense set-piece and upending the comic's restrained violence so the fights are gory but the apocalypse is anodyne). These choices aren't "fascinating" so much as they are distracting - and persistent enough to actively bother me. I don't like the things his films say, and it's gotten more and more in the way of my appreciation of his virtues with the craft (such as they are).

Please understand, though, that I'm not accusing anyone who likes Snyder of being gross or ethically dubious themselves. Like I said earlier, we're all coming to these movies with our own senses of proportion.


Nothing he has made has ever appealed to me in the least--as in, to even want to see it. I watched Watchmen because I like a lot of the cast, but I was very underwhelmed and at times embarrassed. Like, people watched that sex scene in a theater. Did they all just pretend it didn't happen? It was so cringe-y.

Anyway--I needed something to watch while doing a puzzle (and, let's be real, avoiding planning lessons) on a rainy Sunday, so I put on The Collection. It is so dumb, and yet so entertaining. It dispenses with the torture scenes of the first movie and just goes for over-the-top mayhem and is all the better for it. Josh Stewart is a good lead, and it's now on Netflix.

I'm about 15 minutes into the movie the Open House and liking it so far. I did semi-recently read a book about
people who fake their deaths and there was one story about a man who faked his death, let his kids think he was dead, but then put on a disguise and lived with his wife as a "tenant" of the house so that they could use his insurance money to get out of debt. So my brain immediately was like "What if the dad isn't dead?!". We'll see if that goes anywhere.
.

I vividly remember a woman on a talk show telling a story (which may or may not have been made up, but it was memorable, so whatever) about coming home to a locked house and finding surgical tubing laying on her bed. She freaks out, leaves, gets someone to come back, they search the house, can't find anyone, check all of the locks. And then when she comes home again later the surgical tubing is still on her bed but now it's been tied into knots. Then she discovered that this man had tunneled into her bathroom through a shared basement or something. This story has been imprinted on my brain for over 20 years, and I always think of it when I watch "Is someone in the house?!" movies.


Mon Jan 29, 2018 10:52 am
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ThatDarnMKS wrote:

I like your justification but I still find it wholly unappealing aesthetically.

Bullshit artist!
(Just kidding. Crumb gave the exact response I was going to offer, so now I'm resorting to Greasy Strangler quotes.)

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Mon Jan 29, 2018 11:32 am
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DaMU wrote:
Not to open a big can of worms (...pop...), but I increasingly find Snyder's Ayn Randy sub-fascism to be gross and ethically bizarre. His problematic messaging in movies like Man of Steel and BvS and 300, his weird indulgences in Watchmen (like turning the rape of Silk Spectre into a suspense set-piece and upending the comic's restrained violence so the fights are gory but the apocalypse is anodyne). These choices aren't "fascinating" so much as they are distracting - and persistent enough to actively bother me. I don't like the things his films say, and it's gotten more and more in the way of my appreciation of his virtues with the craft (such as they are).

Please understand, though, that I'm not accusing anyone who likes Snyder of being gross or ethically dubious themselves. Like I said earlier, we're all coming to these movies with our own senses of proportion.

I'd say Sucker Punch qualifies as "problematic messaging" too. It's my understanding that Snyder thinks it's a feminist film, but I've read lots of opinions that disagree.

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Mon Jan 29, 2018 11:35 am
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Captain Terror wrote:
Bullshit artist!
(Just kidding. Crumb gave the exact response I was going to offer, so now I'm resorting to Greasy Strangler quotes.)

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Mon Jan 29, 2018 11:54 am
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I like neither Immortals nor 300 (both look great in still frames and awkward as fuck in motion), but Immortals gets my vote for being less repetitive and obnoxiously macho. 300 feels like the actors are about to start measuring dicks at any second. Also, if I remember correctly, Immortals has a dude in a bull mask hit another dude in the balls with a mallet, so that's another point in its favour.

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Mon Jan 29, 2018 12:10 pm
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Zack Snyder routinely makes the ugliest movies to come out of the modern studio system. Muddy color palettes, rubbery CGI, and laughable costumes and production design. His whole aesthetic is garbage. He occasionally moves the camera in ways that are interesting, but what he puts in front of the camera is such dogshit that who honestly cares?

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Mon Jan 29, 2018 12:18 pm
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Captain Terror wrote:
I'd say Sucker Punch qualifies as "problematic messaging" too. It's my understanding that Snyder thinks it's a feminist film, but I've read lots of opinions that disagree.


I cannot comment on the movie itself. But I can comment on the trailer, which had me laughing out loud. It's like a stereotype of a super-nerdy teenage boy masturbatory fantasy. "Okay, there's this girl in pigtails, a schoolgirl outfit, and thigh-highs. And also there's a dragon. And robots."

If you are unironically shooting up-skirt shots of your "teenage" girl protagonist, I'm going to go ahead and question your feminist credentials.

Side note: Have any of you been hearing buzz about the film Hereditary? I keep reading almost hyperbolically amazing things about it from its run at Sundance.


Mon Jan 29, 2018 12:53 pm
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Takoma1 wrote:
Side note: Have any of you been hearing buzz about the film Hereditary? I keep reading almost hyperbolically amazing things about it from its run at Sundance.

I have only also read such things.


Mon Jan 29, 2018 1:15 pm
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BL wrote:
Zack Snyder routinely makes the ugliest movies to come out of the modern studio system. Muddy color palettes, rubbery CGI, and laughable costumes and production design. His whole aesthetic is garbage. He occasionally moves the camera in ways that are interesting, but what he puts in front of the camera is such dogshit that who honestly cares?


But do you like Tarsem?


Mon Jan 29, 2018 1:17 pm
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ThatDarnMKS wrote:

But do you like Tarsem?
Not particularly, since from the time of The Cell, it was pretty clear his most "visionary" images were cribbed from other artists like Damien Hirst and Matthew Barney. But I'd still take Tarsem's counterfeit beauty over Snyder's authentic trash.

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Mon Jan 29, 2018 1:36 pm
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BL wrote:
Not particularly, since from the time of The Cell, it was pretty clear his most "visionary" images were cribbed from other artists like Damien Hirst and Matthew Barney. But I'd still take Tarsem's counterfeit beauty over Snyder's authentic trash.


Fair enough sir. But have you seen the Immortals?

And Rock, the Bull Mask was not a positive for the Immortals. To have actual gods in your film then just do a dude on a bull mask for your minotaur was unforgivable.


Mon Jan 29, 2018 2:25 pm
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ThatDarnMKS wrote:

Fair enough sir. But have you seen the Immortals?

And Rock, the Bull Mask was not a positive for the Immortals. To have actual gods in your film then just do a dude on a bull mask for your minotaur was unforgivable.


Now, if it was an actual minotaur but we still kept the mallet to the balls, I think we'd be looking at a four-star film.

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Mon Jan 29, 2018 4:05 pm
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DaMU wrote:

Now, if it was an actual minotaur but we still kept the mallet to the balls, I think we'd be looking at a four-star film.

I'm glad I'm not the only one who wants the best from my cinema.


Mon Jan 29, 2018 9:25 pm
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Good to see some fellow Football in the Groin fans on here.

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Mon Jan 29, 2018 9:48 pm
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Rock wrote:
Good to see some fellow Football in the Groin fans on here.
George C. Scott was never better.

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Mon Jan 29, 2018 11:33 pm
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ThatDarnMKS wrote:
I'm glad I'm not the only one who wants the best from my cinema.

For what it's worth, even I'm not prepared to defend this.

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Mon Jan 29, 2018 11:46 pm
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ImageImage

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Tue Jan 30, 2018 12:49 am
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DaMU, you may need to see a doctor. Sphincters are not meant to have spikes.


Tue Jan 30, 2018 3:21 am
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Post Re: Horrorcram XV: Let's Scare Corrierino To Death

ThatDarnMKS wrote:
DaMU, you may need to see a doctor. Sphincters are not meant to have spikes.

Anus Dentata

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Tue Jan 30, 2018 3:30 am
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Post Re: Horrorcram XV: Let's Scare Corrierino To Death

Captain Terror wrote:
There's a lot of mumbo-jumbo involved and it uses some of my contemporary horror pet peeves, so this isn't an unqualified recommendation but I guess I liked it as much as Oculus, for example. Hush is still my favorite, with Gerald's Game on deck for tonight.

So, I would like the official list of your contemporary horror pet peeves.


Tue Jan 30, 2018 6:20 am
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Post Re: Horrorcram XV: Let's Scare Corrierino To Death

Takoma1 wrote:
I watched Watchmen because I like a lot of the cast, but I was very underwhelmed and at times embarrassed. Like, people watched that sex scene in a theater. Did they all just pretend it didn't happen? It was so cringe-y.

It wasn't just me?


Tue Jan 30, 2018 6:26 am
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Post Re: Horrorcram XV: Let's Scare Corrierino To Death

Takoma1 wrote:
Side note: Have any of you been hearing buzz about the film Hereditary? I keep reading almost hyperbolically amazing things about it from its run at Sundance.

I am also hearing this.
"Most traumatically terrifying movie in ages."
"This isn’t a scary movie. It’s pure emotional terrorism, gripping you with real horror..."


Tue Jan 30, 2018 6:31 am
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Post Re: Horrorcram XV: Let's Scare Corrierino To Death

Captain Terror wrote:
Anus Dentata


Working name for the Sarlacc.

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The above-written is wholly and solely the perspective of DaMU and should not be taken as an effort to rile, malign, or diminish you, dummo.


Tue Jan 30, 2018 7:10 am
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Post Re: Horrorcram XV: Let's Scare Corrierino To Death

ThatDarnMKS wrote:
DaMU, you may need to see a doctor. Sphincters are not meant to have spikes.


Somewhere a sequel to Teeth was just pitched.

(And thinking about a gender-swapped version of Teeth really highlights the weakness of the original).


Tue Jan 30, 2018 10:31 am
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Wooley wrote:
I am also hearing this.
"Most traumatically terrifying movie in ages."
"This isn’t a scary movie. It’s pure emotional terrorism, gripping you with real horror..."


I mean, I love Toni Collette. I hope this is as good as the buzz suggests.


Tue Jan 30, 2018 10:33 am
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Wooley wrote:
So, I would like the official list of your contemporary horror pet peeves.

Happy to oblige, sir. There are many of course, but in this film you can expect:
*CGI creature performing impossible feats of contortionism
*little kid suffering from a case of "Scary Face"
*possessed or otherwise demon-addled person spewing insects and/or small birds from his/her mouth

There's nothing inherently wrong with any of that, they're just way overused in my opinion. Again, by the time it was over I mostly liked it but there were some parts in the middle when I thought "screw this movie".

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Tue Jan 30, 2018 11:53 am
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Wooley wrote:
I am also hearing this.
"Most traumatically terrifying movie in ages."
"This isn’t a scary movie. It’s pure emotional terrorism, gripping you with real horror..."

I've read some good stuff about Mohawk, from the director of We Are Still Here. Comes out in March I believe.

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Tue Jan 30, 2018 12:10 pm
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Captain Terror wrote:
Happy to oblige, sir. There are many of course, but in this film you can expect:
*CGI creature performing impossible feats of contortionism
*little kid suffering from a case of "Scary Face"
*possessed or otherwise demon-addled person spewing insects and/or small birds from his/her mouth

There's nothing inherently wrong with any of that, they're just way overused in my opinion. Again, by the time it was over I mostly liked it but there were some parts in the middle when I thought "screw this movie".

Agree on the first, for sure, except when its done very well, such as The Crooked Man from The Conjuring 2.
I don't think I know the second one.
CGI blood just pisses me off.


Tue Jan 30, 2018 8:51 pm
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Wooley wrote:
Agree on the first, for sure, except when its done very well, such as The Crooked Man from The Conjuring 2.
I don't think I know the second one.
CGI blood just pisses me off.

Scary Face is generally some variation of this
Image
usually accompanied by a shrieking violin.

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Tue Jan 30, 2018 10:26 pm
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Wooley wrote:
It wasn't just me?
Nope :D Granted, I didn't think it was a bad movie, just really clunky and unpleasant on the whole. Ambitious, yes, but that wasn't enough to make up for all its (significant) flaws, in the end.

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Wed Jan 31, 2018 2:31 am
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Captain Terror wrote:
Scary Face is generally some variation of this
Image
usually accompanied by a shrieking violin.

Oh, that's just terrible.


Wed Jan 31, 2018 5:24 am
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