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 Horrorcram XV: Let's Scare Corrierino To Death 
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Apex Predator wrote:

To keep things more horror related, she's also in Turistas (haven't seen), 30 Days of Night (decent), and Triangle (way better than any Amityville/Conjuring films).

Additionally, I was surprised to find her in Dark City when I rewatched it the other night.


Fri May 11, 2018 6:28 am
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Wooley wrote:
Additionally, I was surprised to find her in Dark City when I rewatched it the other night.
We're all comfortable calling Mulholland Dr. horror, right?

Image

Good. I'm glad we're all agreed.

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Fri May 11, 2018 6:42 am
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Jinnistan wrote:
Great picture. She looks frightened and miserable.

You might be better off touting Rachel Nichols instead.


Rachel Nichols :heart:

P2, anyone?

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Fri May 11, 2018 7:26 am
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BL wrote:
We're all comfortable calling Mulholland Dr. horror, right?

Image

Good. I'm glad we're all agreed.


David Lynch makes movies that unnerve and get under my skin better than anything traditionally labelled "horror," so yeah. I think it's his uncanny ability to remove any real ability to rationalize and compartmentalize the nature of what's "scary" so he cuts to the essence of what makes one frightened.

The various scenes of Sheryl Lee running at the camera and screaming feel like pure nightmare.

By that metric, he's by far my favorite director of horror.


Fri May 11, 2018 7:28 am
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Kayden Kross wrote:

Rachel Nichols :heart:

P2, anyone?

P2 and Maniac prove that Franck Kahlfoun should be taken seriously. Even his terrible Amityville Awakening has flashes of intelligence and style that made it somehow watchable. I wish he'd land a Conjuring universe flick or something. He could work wonders.


Fri May 11, 2018 7:30 am
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Apex Predator wrote:

To keep things more horror related, she's also in Turistas (haven't seen), 30 Days of Night (decent), and Triangle (way better than any Amityville/Conjuring films).


My go-to George flicks are Triangle, The Betrayed, and A Lonely Place to Die.


Fri May 11, 2018 8:04 am
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Oh no. Maniac (not Martyrs bad but close) deserves no more hype from anyone.


Fri May 11, 2018 8:59 am
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ski petrol wrote:
Oh no. Maniac (not Martyrs bad but close) deserves no more hype from anyone.


Wrong.


Fri May 11, 2018 9:33 am
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ThatDarnMKS wrote:

David Lynch makes movies that unnerve and get under my skin better than anything traditionally labelled "horror," so yeah. I think it's his uncanny ability to remove any real ability to rationalize and compartmentalize the nature of what's "scary" so he cuts to the essence of what makes one frightened.

The various scenes of Sheryl Lee running at the camera and screaming feel like pure nightmare.

By that metric, he's by far my favorite director of horror.

The hobo scene from Mulholland Drive might be the best jump scare ever.

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Fri May 11, 2018 9:41 am
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ThatDarnMKS wrote:
P2 and Maniac prove that Franck Kahlfoun should be taken seriously. Even his terrible Amityville Awakening has flashes of intelligence and style that made it somehow watchable. I wish he'd land a Conjuring universe flick or something. He could work wonders.


crumbsroom wrote:

Wrong.


Rock wrote:
The hobo scene from Mulholland Drive might be the best jump scare ever.


Takoma1 wrote:
My go-to George flicks are Triangle...


Some excellent opinioning happened today.

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Fri May 11, 2018 9:54 am
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Rock wrote:
The hobo scene from Mulholland Drive might be the best jump scare ever.


My heart still says the "Get out of there, Dallas!" scene from Alien but I won't necessarily fight you on it.


Fri May 11, 2018 10:30 am
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ski petrol wrote:
Oh no. Maniac (not Martyrs bad but close) deserves no more hype from anyone.


Actually, I'm down for some Maniac hype. It's a bit underrated with a good lead performance from Elijah Wood who should play creeps more often.

I can't get down with P2 hype however. It had a few moments, but it never came together for me as a whole.

BL, I've always thought of Mulholland Drive as a thriller instead of horror. *shrugs*


Fri May 11, 2018 10:43 am
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Apex Predator wrote:
BL, I've always thought of Mulholland Drive as a thriller instead of horror. *shrugs*
Lynch likes to hop genres scene-to-scene, so it's hard to pin any of his films down to one genre. But I think the final sequence of the movie goes so far toward the aim of generating sheer terror and disorientation that its end goal ultimately aligns most closely with horror.

EDIT: That having been said, if you were going to ask me to list my favorite movies by genre, Mulholland Dr. is going to show up on a whole lot of lists. It's a tremendous horror movie, thriller, mystery, melodrama and comedy all wrapped up into one.

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Fri May 11, 2018 10:47 am
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ThatDarnMKS wrote:

My heart still says the "Get out of there, Dallas!" scene from Alien but I won't necessarily fight you on it.


I'm probably a Wait Until Dark boy until the end, but these are excellent challengers. Also the head in the boat in Jaws is solid work.

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Fri May 11, 2018 11:02 am
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Rock wrote:
The hobo scene from Mulholland Drive might be the best jump scare ever.


I've tried, but I can't think of a better one. It's the rare example of one that gets under the skin and stays there. That's usually not the business of a jump scare but Lynch manages it nonetheless. Because he's the best.


Fri May 11, 2018 11:09 am
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crumbsroom wrote:

I've tried, but I can't think of a better one. It's the rare example of one that gets under the skin and stays there. That's usually not the business of a jump scare but Lynch manages it nonetheless. Because he's the best.
I really wish more filmmakers would learn how to handle jump scares the way Lynch does. Too often, movies create tension by setting up a sense of dread surrounding some irrational fear then releasing it with a reveal that the source of that tension was something mundane. What's so great about the Winky's scene is that Lynch does the irrational set-up and then follows through with the irrational payoff, complete with musical sting. That's really how nightmares work, and it's so much scarier than trying to tether everything to some baseline of reality.

It's a formula that's worked for Lynch not just in Mulholland Dr. but also in Inland Empire and Twin Peaks: The Return.

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Fri May 11, 2018 11:15 am
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DaMU wrote:

I'm probably a Wait Until Dark boy until the end


This was the first genuine jump scare I encountered, when my family rented this movie when I was 11 or 12. It blew my mind. It was such a different kind of scary.


Fri May 11, 2018 11:17 am
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crumbsroom wrote:

Wrong.


Elijah Wood killed that movie for me. I put it on my list of unintentional comedies.


Fri May 11, 2018 11:21 am
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DaMU wrote:

I'm probably a Wait Until Dark boy until the end, but these are excellent challengers. Also the head in the boat in Jaws is solid work.

I only saw WUD last year but that scene is genius, as is the bulk of the film.

If we're going to start listing favorite jump scares, I'm obliged to throw the blood test scene from the Thing in the mix.


Fri May 11, 2018 11:43 am
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ski petrol wrote:

Elijah Wood killed that movie for me. I put it on my list of unintentional comedies.

Why?


Fri May 11, 2018 11:43 am
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ThatDarnMKS wrote:
Why?


He's just one of those actors to me that is not menacing in any way. He doesn't scare me or creep me out. I couldn't buy him in any way in the role.


Fri May 11, 2018 2:37 pm
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Takoma1 wrote:

This was the first genuine jump scare I encountered, when my family rented this movie when I was 11 or 12. It blew my mind. It was such a different kind of scary.

May we have Geraldine on the table?


Fri May 11, 2018 2:46 pm
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ThatDarnMKS wrote:
I only saw WUD last year but that scene is genius, as is the bulk of the film.

If we're going to start listing favorite jump scares, I'm obliged to throw the blood test scene from the Thing in the mix.


...yeah, that one's pretty impeccable with how the film makes the moment about MacReady vs. Garry.

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Sat May 12, 2018 1:09 am
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Apex Predator wrote:
Triangle (way better than any Amityville/Conjuring films).


And no love for this opinion? :x


Sat May 12, 2018 1:27 am
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Apex Predator wrote:

And no love for this opinion? :x


I haven't seen any of the Amityville films, so I can't fairly corroborate.

Maybe I saw the original once, but it's been twenty years if it's been two.

[Also, I'm not sure what to do with your Scott-Adams-endorsing avatar, as Adams is currently a nightmareperson.]

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Sat May 12, 2018 2:00 am
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DaMU wrote:

I haven't seen any of the Amityville films, so I can't fairly corroborate.

Maybe I saw the original once, but it's been twenty years if it's been two.

[Also, I'm not sure what to do with your Scott-Adams-endorsing avatar, as Adams is currently a nightmareperson.]


Fair enough on the Amityville films.

As for Dogbert, I've enjoyed him for years. He was my avatar a while back in RT. Also, I find Dilbert and their office skewering ways funny.

I guess I shouldn't be shocked (and yeah, I am aware) that Scott Adams is a bit of a Trumphead. It does leave a bit of a sour note, but I think I can get through it for now. If I change my mind, then you'll probably see a new avatar.


Sat May 12, 2018 5:33 am
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ski petrol wrote:

He's just one of those actors to me that is not menacing in any way. He doesn't scare me or creep me out. I couldn't buy him in any way in the role.

Isn't that the point with his casting? He's supposed to be unassuming and unimposing. The kind of guy neighbors would describe as "nice."

The fact that it's from his POV reinforces this as we're supposed to view him as a victim of his own impulses. I think pity and revulsion is supposed to be more present than scare or creep.


Sat May 12, 2018 6:44 am
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Apex Predator wrote:

And no love for this opinion? :x

Well, no offense, but doesn't that really go without saying?


Sat May 12, 2018 6:52 am
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ThatDarnMKS wrote:
Isn't that the point with his casting? He's supposed to be unassuming and unimposing. The kind of guy neighbors would describe as "nice."

The fact that it's from his POV reinforces this as we're supposed to view him as a victim of his own impulses. I think pity and revulsion is supposed to be more present than scare or creep.


Plus he mines the same territory he did in Sin City where he played well against type.


Sat May 12, 2018 7:02 am
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Wooley wrote:
Well, no offense, but doesn't that really go without saying?


Yeah, but a little credit once in a while would be nice.


Sat May 12, 2018 7:06 am
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ThatDarnMKS wrote:
I think pity and revulsion is supposed to be more present than scare or creep.


For sure, it's much more Henry: Portrait of a Serial Killer than Halloween.

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Sat May 12, 2018 8:59 am
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I used to watch Jaws: The Revenge A LOT as a kid because it was the only one I owned on VHS. I can't hear The First Noel without thinking about sharks eating people.

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Sat May 12, 2018 10:41 am
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That was actually supposed to be in the other thread, but I guess it works here too!

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Sat May 12, 2018 10:42 am
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ski petrol wrote:

He's just one of those actors to me that is not menacing in any way. He doesn't scare me or creep me out. I couldn't buy him in any way in the role.

Well, he's at least as threatening as ... a hobbit.

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Sat May 12, 2018 11:11 am
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Apex Predator wrote:

Fair enough on the Amityville films.

As for Dogbert, I've enjoyed him for years. He was my avatar a while back in RT. Also, I find Dilbert and their office skewering ways funny.

I guess I shouldn't be shocked (and yeah, I am aware) that Scott Adams is a bit of a Trumphead. It does leave a bit of a sour note, but I think I can get through it for now. If I change my mind, then you'll probably see a new avatar.
I hear ya, Apex; I mean, I'm not happy about Adams being a pseudo-Trump supporter now either, but I grew up reading and enjoying Dilbert in the daily paper (back when we still had a subscription to it) fairly regularly; I still remember my dad having one of the strips pinned up on the outside of his own corporate, white collar cubicle, and my 4th grade teacher who was very religious (she was an ordained minister as well) rapping my knuckles very hard with a ruler when she looked over my shoulder while I was reading The Dilbert Future in class, when she saw the joke Adams wrote about how the future will suck because your coworkers will be able to prank you by using medical devices to seal a certain bodily orifice shut on you; aw, memories!

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Sun May 13, 2018 10:28 am
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Image

This isn't a horror movie, but it is Charles B Pierce's second film, immediately following The Legend of Boggy Creek and coming a couple of years before The Town That Dreaded Sundown. The plot is about rural Arkansas moonshiners during the depression and includes all of the expected shenanigans: gun fights, prison breaks, and car chases (accompanied by banjo, as the good lord intended.) It's mostly light-hearted in nature but like all good 70s grindhouse fare things get dark at the end.

Pierce is able to afford actual actors this time around, like Slim Pickens, but there's also a few people in here that are clearly not professionals, a la Boggy Creek. Whether or not you find that charming is your call. LoBC fans will recognize a few faces, such as Pierce Jr for example:

Image

The film is also notable as Jaclyn Smith's screen debut which is why it was retitled Bootlegger's Angel in later years.

Image


So yeah, the appeal of this one is limited but I'm calling attention to it for the benefit of any other Pierce fans out there. (I'm not the only one, right??) Amazon's print is muddy and pan-and-scan but in some ways that's the ideal way to watch a Pierce film.

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Sun May 13, 2018 10:45 am
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Speaking of horror, David Robert Mitchell's follow up to It Follows is playing at Cannes this week. It's billed as comedy/crime/drama. It managed to secure a slot in Main Competition.


Sun May 13, 2018 10:59 am
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Captain Terror wrote:
So yeah, the appeal of this one is limited but I'm calling attention to it for the benefit of any other Pierce fans out there. (I'm not the only one, right??)

The Norseman, man. How could I not be a fan?

I have this one of my watchlist.


Sun May 13, 2018 1:34 pm
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Image


Death Walks At Midnight (1972) proves to be a more satisfying film than the earlier match-up with director Luciano Ercoli and star Nieves Navarro ("Susan Scott") that I saw a couple months back, Forbidden Photos of a Lady Above Suspicion. I don't know it has to do with the story by Sergio Corbucci, relying less on sexual blackmail and more on hallucinatory paranoia, or whether this film seems to have a more explicit and direct influence on De Palma (on Sisters especially). But, at the end of the day, I'm going to say that the deciding factor is probably having killer Phil Spector looming about.


Image


Sun May 13, 2018 1:47 pm
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I've got that one sitting around. I enjoyed Forbidden Photos and Death Walks on High Heels well enough. Been meaning to get to it but I always end up grabbing something else.

I didn't care too much for Ercoli's foray into poliziotteschi, Killer Cop. His gialli feel more realized and unique in their genre.


Sun May 13, 2018 3:10 pm
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Jinnistan wrote:
The Norseman, man. How could I not be a fan?

:up:
You'll find Bootleggers much more competently-made than The Norseman. You can decide whether that's a good thing. There's nothing here to rival Deacon Jones in a viking helmet, I'm afraid.

Actually, having now seen 6 Pierce films (I think), I'm prepared to call Bootleggers his "best", just in terms of technical competence. There's the occasional non-actor to contend with, but I'd say this was the film where he was most successful in what he was trying to accomplish. Sundown and The Evictors would be the other two contenders, but I know there's a large group of horror fans that don't think very highly of those. But as a light-hearted moonshiner movie this one mostly works.

Boggy Creek is exempt from this discussion because its shortcomings are precisely what makes it effective. Plus my BC fandom has reached such an absurd level that I can't discuss it objectively. The poster hangs on my wall as I type this.

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Mon May 14, 2018 11:03 am
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Quote:
Time to fall in love with some monsters. Guillermo del Toro is creating and executive-producing a horror anthology for Netflix. Del Toro, who won the Best Director Oscar for this year’s Best Picture The Shape of Water, will curate 10 After Midnight, a “collection of personally curated stories, that are both equally sophisticated and horrific,” according to Netflix’s release. The director will write and direct select episodes, and bring in other acclaimed horror auteurs for the rest. Guillermo del Toro Presents 10 After Midnight will be Netflix’s first horror series. The director also works with Netflix on the animated series Trollhunters. Netflix hasn’t announced the release date, but says the series is coming soon.


Yay!

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Thu May 17, 2018 9:52 am
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Well, I find myself high again, this has not been my way for a while, but lately I've been feelin' comfortable with my life so here I am.
And I want a movie to watch that will fit the bill.
The last two nights I watched Thor: Ragnarok and Repo Man and both were just beautiful.
And I need one tonight.
If anyone's alive out there, and I know it's late, but if you are, let's here 'em.


Thu May 17, 2018 12:15 pm
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Cross-posting from Thief's thread.

Hooked Up

No bueno.

So this film is set in Barcelona, but I was immediately disappointed on multiple fronts.

1) While it is set in Barcelona, it is really just set in a house that could be anywhere.
2) The two leads are American and there are only a handful of words in Spanish.
3) It's found footage. Ugh.
4) It is . . . not good.

Hooked Up follows two horrible, truly unlikable men (Peter and Tonio) on vacation in Barcelona. Peter is still reeling from a breakup with his girlfriend. Tonio pushes Peter to have a wild night out on the town and the two men pick up two different girls, one of whom invites them back to her house for a wild night of sexy exploits. Soon, though, Peter and Tonio realize they are trapped in the house by someone (or something) bent on vengeance.

This movie is one of those horror-comedies that is neither very scary nor very funny. For the first 40 minutes I genuinely could not tell if the movie was supposed to be serious or not. There is one really nicely frightening image (a woman seen from a distance down a hallway wearing an eerie mask), and one really funny moment (a person is accidentally impaled on a statue of the Virgin Mary), and that's about it.

The real issue with the film is that there's nothing to hold onto, so to speak. Peter and Tonio are pretty repellant protagonists. They engage in a lot of "bro" behavior (in one shot Tonio urinates in a bathtub where Peter is bathing. Ha?), but there's nothing charming about it. In one scene Tonio tricks a man in a bar into drinking a pint glass full of urine. Later, Tonio badgers a woman who is so drunk she's on the verge of passing out into performing oral sex on him, berating her when she wants to stop. Peter is supposedly the "nice" one, but when a woman can't give him the information he needs in a timely fashion he quickly becomes physically rough with her.

With such awful "protagonists" I was totally ready to root for the killer. Unfortunately, she is even more sparsely drawn than the two male leads. We learn about her motivations through a 30 second exposition dump in which Peter and Tonio read a newspaper article about a young woman who was
raped and set on fire by American tourists.
. She gets virtually no dialogue and doesn't even physically appear in the movie all that much. There's no explanation as to why she
attacks and mutilates the woman who the men bring back to the apartment
.

A lot of the movie is just the two leads screaming at each other. The found footage element frequently doesn't make sense (who films a person they are arguing with?). The idea of being trapped in a house in a foreign country has a lot of potential, but here it just doesn't pan out.


Fri May 18, 2018 9:43 am
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Just finished The Rain, a Danish show on Netflix. Not technically horror but is great at being spooky and atmospheric. It’s got some minor problems like weird coincidences and confusing character motivations but if you like post-apocalyptic and virus/outbreak/contagion type stuff check it out.


Sun May 20, 2018 1:18 pm
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About 40 minutes in and I am loving Images. (Taking a looooong intermission to watch the Jets/Knights game).


Mon May 21, 2018 5:32 am
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Stanley Cup spoilers:
Poor Jets!


Images

I really, really dug this movie.

Cathryn is a writer who takes a trip to a country house with her husband, Hugh. While there, Cathryn is plagued by visions of three people: a dead former lover (Rene), a still-living former lover (Marcel), and a doppelganger of herself.

As the film goes on, Cathryn has more and more difficulty distinguishing the real from what is only in her mind. This is especially complicated by the fact that the real Marcel has come to visit along with his daughter Suzanne, who bears a striking resemblance to Cathryn. Cathryn begins to wonder if, through violent means, she might rid herself of these visions forever.

The film does a terrific job of keeping the viewer in the dark as to what is real and what isn't. Sometimes visions are quickly revealed to be unreal, but other times a vision will linger so long that we wonder if it is real. Even more confusingly, the film sometimes jumps to the point of view of the doppelganger (or does it?), and so we can't even always be sure that we are with our protagonist.

This movie made me think a lot of Let's Scare Jessica To Death, another low-key horror/thriller that puts its protagonist's sanity at the center of the narrative. Cathryn is clearly mentally ill (so much so that the only thing that bugged me about the film was how comfortable her husband was just leaving her alone and not ever having conversations about getting her some serious help), and it's challenging to know what to think of the different characters (especially Marcel) when we don't know if their actions are really their own or just in Cathryn's head.

This one also had a really surprising and memorable ending.


Mon May 21, 2018 9:27 am
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OK, may not be pure horror as much as it is a thriller. But The Sadist turned out to be a decent surprise.

Arch Hall Jr. proves to be a decent character actor that was miscast as a lead in his previous films. The last half hour is pretty tense and most actions make sense in the context of the film.

Biggest flaw is the "no heart, no conscience, no soul" bit that gets repeated over and over in the middle of the film. We get it, Film. They're SADISTS.

On Amazon Prime, it's worth investigating particularly if true crime thrillers are your thing. I give it a moderate recommend.


Sat May 26, 2018 5:28 am
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Takoma1 wrote:
Also: cross-posting my review of Mirror Mirror from Thief's thread. I'd be really interested on another point of view on it. It's on Amazon Prime.
I know about this movie mostly thanks to Rumpled's Guess the GIF contest. (I don't know about ya'll, but a certain hideous blue-checkered jacket is seared into my memory). But I have never heard anyone else talk about or reference it.

I really liked it.

The story is something that horror movies have done over and over again: social outcast gains access to supernatural powers and uses them to punish her enemies. Megan is an LA teen whose mother moves them to a smaller town after the death of Megan's father. The two move into a home with a mysterious mirror. Megan is befriended by a girl named Nikki, but she is also immediately picked on by the popular crowd. An evil spirit inside the mirror picks up on Megan's insecurities and begins to offer her powers. Megan thinks that she can control her powers, but slowly the powers begin to control her.

In terms of kills, Mirror Mirror only has three sequences that stand out (but boy do they stand out!). But to me where it rose above a lot of other middling horrors was in its treatment of its characters. Megan's mother begins the film as a total stereotype: the self-involved LA middle-aged woman, constantly on the phone to her therapist, and paying almost no attention to her daughter. But as the movie goes on, the mother's character evolves and changes. She begins to tune into her daughter's pain and tries to reach out to her. This adds a level of tragedy, because if the mom had given Megan this much love and attention to begin with, Megan wouldn't have been as vulnerable to the mirror.

The other notable relationship is the friendship between Megan and Nikki. Nikki's boyfriend doesn't like Megan, but Nikki persists in being kind to Megan and reaching out to her in friendship. But (and this is SO realistic of teen female friendships), Megan doesn't know how to be in a friendship that is just grounded in emotions. She wants to be the most important person to SOMEONE, and so when she senses rejection she tries to force her relationship with Nikki. The more Nikki begins to pull away, the more Megan pushes back.

The movie also does unexpected things with its male characters. There are two notable teen boy characters: Nikki's boyfriend, Ron, and Jeff, the boyfriend of the head "mean girl". Most horror movies would have obligatory over-the-top boorish behavior or inevitably one of them would be a rapist. But instead they are just . . . guys. From the beginning Jeff tries to get his friends to leave Megan alone, and maybe he even likes Megan a bit. But Megan overreacts to this kindness and interests and decides she and Jeff are meant to be. When Jeff rejects her (not unkindly), Megan completely overreacts and the movie is very clear that he is a victim. Similarly, Ron doesn't like Megan, but he's never overtly cruel to her. He's clearly jealous that Nikki wants to spend time with Megan.

I was generally just really impressed with seeing a movie that gave so much empathy to the different characters. Even characters who began as caricatures or horror tropes were given sympathy and a point of view. I really liked the way that the deaths were staged, and there weren't any "throwaway" victims. I totally didn't see the ending coming, and I loved that the movie played as a tragedy and not as a revenge fantasy.

More than just having a female protagonist, this turned out to be a movie with a female point of view. At one point a female character goes into a locker room, angrily rips off her clothes, and stomps off to the showers. The way that the scene was shot (there is nudity in the shot but it is incidental and the focus is the girl's anger, not her body) actually made me pause the film to go see who the director was. This was when I found out that the movie was written by two women (sisters) and directed by a third woman. But more than just being an example of how a sequence can involve nudity but not be about nudity, the movie reflects a writerly point of view of someone who has been around girls and keenly observed the dynamics of their friendships. There is a lot of sex in this film, and it varies from healthy expressions (like making out at a party) to less healthy expressions (like a disturbing death with upsetting sexual overtones).

Chalk this one up as a really pleasant surprise.


Finally got around to this today, good stuff. One thing I'd add to your comments is the portrayal of Megan. A lot of movies just reduce the Goth Girl to the monotone Wednesday Addams type, dripping with ennui and incapable of laughter, fun, or any other normal teenage emotions. It can be a really lazy trope, but Megan seemed like a real girl to me. Scenes like the one where she and the friend are giggling during the play rehearsal, or when she runs out of the classroom after having tripped, seemed at odds with the usual attempt to make the Goth Girl seem "creepy" or disaffected or whatever. (As a former art major, I've known my share of Goth Girls so maybe I'm extra sensitive about the topic :) )
But yeah, I agree with just about everything you said. I didn't hate the teenage males which is a major accomplishment, and the scene with Karen Black asking her to supper through the locked door was heartbreaking. And as for the kills the
death by steam
was legitimately hard to watch even though it was a pretty simple effect and not really "gory".
So yeah, well done. Calling this a lost classic would be a bit much (not that I think you were), but this was definitely better than it had any right to be.

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Sun May 27, 2018 10:06 am
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Captain Terror wrote:
Finally got around to this today, good stuff. One thing I'd add to your comments is the portrayal of Megan. A lot of movies just reduce the Goth Girl to the monotone Wednesday Addams type, dripping with ennui and incapable of laughter, fun, or any other normal teenage emotions. It can be a really lazy trope, but Megan seemed like a real girl to me.

Calling this a lost classic would be a bit much (not that I think you were), but this was definitely better than it had any right to be.


Right--this movie was written by someone who understands that teenagers are very conscious about image and are full of emotion. But just because teens sometimes look like caricatures it doesn't mean that they are. You could even extend this to the guy who is the boyfriend of the popular girl. He seems like an okay guy, but because he's a successful jock he's being pigeon-holed into this role as prom-king.

This one definitely deserves to be well-known. If anything, when I complain about the portrayal of women in horror or the way that they are filmed, this movie is a great demonstration of how you can have sex and nudity and even "bitchy" female characters but still treat them like human beings, and yet still have a movie that is suspenseful and violent. It's not an either/or proposition.


Mon May 28, 2018 12:34 am
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