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 Horrorcram XV: Let's Scare Corrierino To Death 
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crumbsroom wrote:

I think it is a movie where you can have it both ways

By the end the movie is obviously manifesting its terrors into a physical reality. It plays as straight horror in the last twenty minutes, where the previous hour and a half was as much dysfunctional family thriller as a horror. But where is our reliable witness to prove that the levitating Toni Collettes and naked Satanists and combusting fathers is not all still a result of delusions caused by mental illness? The son? In a film with the title Hereditary, what it is that is passed down through generations can be taken two ways. He has either received the birthright of being crowned a demon prince through a family lineage that was waiting for a male to be 'honored' this way. Or the crown is more an example of the long history of mental illness now being bestowed upon him. Considering the sons behavior in the movie from the moment he experiences the trauma of killing his sister, he has begun withdrawing from family, is possibly suffering from delusions and has engaged in self harm. Once the movie shifts to his vantage point, should we be trusting what we are seeing as reality? I'm find with it going either way, but you can have your cake and eat it too here

I'll buy this. I don't want it to be true, but you make a credible case.


Thu Jul 05, 2018 1:27 am
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Some friends of mine had picked up the Wolfcop bluray set so I hung out and watched Wolfcop and Another Wolfcop with them. I think it is safe to say they are not my type of film. I wouldn't say they were bad and there were occasional clever moments but the humor mostly missed for me. It also doesn't help that the gore and fact it has a werewolf is all that really hits the "horror" side of things. I generally prefer my horror comedies to have some sense of creepiness or dread, whether it's the delirious absurdity of the cabin coming alive in Evil Dead 2 or Young Frankenstein's jail scene with the monster, those moments help sell the comedy even more as a contrast to the horror aspect of the film.

The one good for me that came from watching these films was it inspired us to check out one of the films that had a trailer before Another Wolfcop called Mayhem. It is a wickedly entertaining horror/action/black comedy about a virus that causes reduced inhibitions and it's affect when it spreads at a law office. I was particularly impressed with Samantha Weaving, she brought a lot of fun and glee to a dark situation and I think it made it both more palatable and more biting at the same time.


Sun Jul 08, 2018 1:45 pm
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daakmore wrote:
Some friends of mine had picked up the Wolfcop bluray set so I hung out and watched Wolfcop and Another Wolfcop with them. I think it is safe to say they are not my type of film. I wouldn't say they were bad and there were occasional clever moments but the humor mostly missed for me. It also doesn't help that the gore and fact it has a werewolf is all that really hits the "horror" side of things. I generally prefer my horror comedies to have some sense of creepiness or dread, whether it's the delirious absurdity of the cabin coming alive in Evil Dead 2 or Young Frankenstein's jail scene with the monster, those moments help sell the comedy even more as a contrast to the horror aspect of the film.

The one good for me that came from watching these films was it inspired us to check out one of the films that had a trailer before Another Wolfcop called Mayhem. It is a wickedly entertaining horror/action/black comedy about a virus that causes reduced inhibitions and it's affect when it spreads at a law office. I was particularly impressed with Samantha Weaving, she brought a lot of fun and glee to a dark situation and I think it made it both more palatable and more biting at the same time.


I only watched the first cop and aside from the punny main character name, I thought it was terrible. It was one of those lazy “homage the 80s” flicks but didn’t have the cinematic vocabulary to do it. It looked like a cheap SYFY movie rather than a relic from the past, complete with quick cuts and digital blood. Things that have no place in a throwback.

I too enjoyed Mayhem. It’s closer in tone to what I think James Gunn had intended for the Belko Experiment before McLean made it fairly harrowing. It was nice seeing Yeun in a lead role. I hope he gets more and doesn’t have to always hop across the pond to get big roles


Mon Jul 09, 2018 1:07 am
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I've had my Val Lewton set for a number of years now but never pulled the trigger on Bedlam and don't even remember The Seventh Victim or Isle of the Dead. Think it's time for maybe a full-on Val-athon, so started last night and got through rewatching the first 20 minutes of The Seventh Victim. It's good y'all.

My memory is my favorites are the Tourneur three, then Curse of the Cat People, The Body Snatcher, and then The Ghost Ship being the least of them.

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Tue Jul 10, 2018 1:05 am
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DaMU wrote:
I've had my Val Lewton set for a number of years now but never pulled the trigger on Bedlam and don't even remember The Seventh Victim or Isle of the Dead. Think it's time for maybe a full-on Val-athon, so started last night and got through rewatching the first 20 minutes of The Seventh Victim. It's good y'all.

My memory is my favorites are the Tourneur three, then Curse of the Cat People, The Body Snatcher, and then The Ghost Ship being the least of them.


I think those Bedlam and Isle of the Dead are the weakest Lewtons. Even weaker than Ghost Ship, as I enjoyed the subtle ways it revealed both clues and murders to the audience. It's a film that's easy to mistake for having nothing going on.

The Seventh Vixtim was similarly lethargic to these weaker films but has a much more unique and influential plot for it's time so it gets a higher ranking.

Bodysnatchers is one of my favorite Lewtons though. If not my favorite. Karloff getting to show off his skills AND showdown with Legosi was cathartic.


Tue Jul 10, 2018 2:16 am
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DaMU wrote:
I've had my Val Lewton set for a number of years now but never pulled the trigger on Bedlam and don't even remember The Seventh Victim or Isle of the Dead. Think it's time for maybe a full-on Val-athon, so started last night and got through rewatching the first 20 minutes of The Seventh Victim. It's good y'all.

My memory is my favorites are the Tourneur three, then Curse of the Cat People, The Body Snatcher, and then The Ghost Ship being the least of them.

I can always watch some Lewton. I will do I Walked With A Zombie at any moment, and The Body Snatcher is really one of my favorite black and white films. I also really enjoyed Cat People, Curse of the Cat People, The Leopard Man, and the odd Isle of the Dead.


Tue Jul 10, 2018 2:42 am
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The Body Snatcher is the bee's mother-effing knees.

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Tue Jul 10, 2018 2:53 am
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DaMU wrote:
I've had my Val Lewton set for a number of years now but never pulled the trigger on Bedlam and don't even remember The Seventh Victim or Isle of the Dead. Think it's time for maybe a full-on Val-athon, so started last night and got through rewatching the first 20 minutes of The Seventh Victim. It's good y'all.

My memory is my favorites are the Tourneur three, then Curse of the Cat People, The Body Snatcher, and then The Ghost Ship being the least of them.


I think that The Seventh Victim is my favorite of his, tied with Cat People.

The film is so full of angst and dread and the creeping horror that it's nothing
supernatural or overtly wicked. It's like . . . life, man. You don't need ghosts or satanists to put you at the edge of despair. And I think that it's ending is one of the more affecting horror endings.


I posted about it in Thief's thread, but if you have not seen Demon (the Polish film), check it out ASAP. I think it's more supernatural-drama than straight up horror, but it's got some great imagery and acting.


Tue Jul 10, 2018 3:17 am
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Captain Terror wrote:
The Body Snatcher is the bee's mother-effing knees.

Yes. Yes, it is.


Tue Jul 10, 2018 3:34 am
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Takoma1 wrote:
if you have not seen Demon (the Polish film), check it out ASAP.

I asked about this last year!!!!


Tue Jul 10, 2018 4:29 am
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I think Bedlam is pretty slow and talky compared to the rest of the Lewton catalogue.

I'm hard pressed to find any fault in the rest of it.


Tue Jul 10, 2018 4:30 am
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Jinnistan wrote:
I asked about this last year!!!!


You've watched it, or looking for a rec?

Either way, I read a review of it when it first came out and then totally forgot about it. Really solid flick, in my opinion.


Tue Jul 10, 2018 6:54 am
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I enjoyed Pandorum surprisingly enough. I'd anticipated to dislike it and there were some clunky moments that felt like they might sink the film, in particular the scenes with Dennis Quaid. However, the bulk of the film is well made, has remarkable production value. It may be something of a Frankenstein film in that it is comprised of elements ripped from it's influences but there aren't enough of these films given the respect and budget that this one was. It's closer to Event Horizon and Ghosts of Mars than Alien but if you're needing some pulpy space horror, it's easy to do a whole lot worse.


Wed Jul 11, 2018 7:03 am
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I'd like Pandorum more if it didn't try to be clever and completely shit the bed during the ending. The first 80% or so is reasonably proficient low rent space horror.

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Wed Jul 11, 2018 11:51 am
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Rock wrote:
I'd like Pandorum more if it didn't try to be clever and completely shit the bed during the ending. The first 80% or so is reasonably proficient low rent space horror.

The Quaid stuff didn't work but I didn't think any of his stuff was working so I'd already prepped myself and built a tolerance for that nonsense. I actually liked..

That they'd crash landed very long ago and all of this was happening beneath the sea.


Wed Jul 11, 2018 12:05 pm
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I remember seeing a trailer for Pandorum and thinking it looked interesting . . . then a few days later reading an Entertainment Weekly review that gave it a D+ and it fell off of my radar.


Wed Jul 11, 2018 12:19 pm
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I finally saw A Quiet Place. It was to my likings.


Wed Jul 11, 2018 12:42 pm
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Takoma1 wrote:
I remember seeing a trailer for Pandorum and thinking it looked interesting . . . then a few days later reading an Entertainment Weekly review that gave it a D+ and it fell off of my radar.


Bad reviews and word of mouth similarly pushed me away. I was expecting something that was of Mutant Chronicles quality and instead I got something that I would place maybe slightly higher than Event Horizon. It's not great by any metric, even the presence of Ben Foster is minimized because he never once surprise Kung fus someone or has a shrieky outburst. But if you can suspend some disbelief and enjoy some pulpy trapped in a creepy spaceship fun, there's enough to give it a passing score.


Wed Jul 11, 2018 1:10 pm
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ThatDarnMKS wrote:
surprise Kung fus someone

If Pieces has taught me anything (and it certainly has), it's that surprise Kung Fu is never a bad thing.

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Wed Jul 11, 2018 1:16 pm
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Rock wrote:
If Pieces has taught me anything (and it certainly has), it's that surprise Kung Fu is never a bad thing.

Are you familiar with Foster's wonderful turn in Alpha Dog?


Wed Jul 11, 2018 2:02 pm
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Yah, The Seventh Victim is good, although I want to watch it again soon - apportioning it out over a few nights made the already fragmented story almost incoherent. The final stretch is a compelling bit of stalk and slash. The heroes citing the Lord's Prayer felt a little trite, almost a finger-wag, but given that it doesn't really bring peace to the story as much as they might think it does, that's okay.

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Thu Jul 12, 2018 1:08 am
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ThatDarnMKS wrote:
Are you familiar with Foster's wonderful turn in Alpha Dog?

Pretty much exactly why I can't stand Ben Foster.


Thu Jul 12, 2018 8:43 am
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Piranha was mostly dopey fun. Needed stronger characters, though.


Thu Jul 12, 2018 10:07 am
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I am trying out Shudder, mostly to be able to watch as much of Joe Bob Briggs' marathon this Friday as possible. The selection is decent but they need to add more films. Maybe its just my fault that I spend every year watching as many horror films as possible.

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Thu Jul 12, 2018 12:05 pm
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MadMan wrote:
I am trying out Shudder, mostly to be able to watch as much of Joe Bob Briggs' marathon this Friday as possible. The selection is decent but they need to add more films. Maybe its just my fault that I spend every year watching as many horror films as possible.


There's a YouTube channel called something like Jofer Jeff who has a lot of full films, many of which I'm not familiar with (but all like low-budget stuff).

I'll be interested to hear what you think of Shudder.


Thu Jul 12, 2018 12:15 pm
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MadMan wrote:
I am trying out Shudder, mostly to be able to watch as much of Joe Bob Briggs' marathon this Friday as possible. The selection is decent but they need to add more films. Maybe its just my fault that I spend every year watching as many horror films as possible.

Their selection isn't huge, but I've found it to be worth my monthly $5. That's about the cost of an Amazon rental, so I feel like if I watch one movie a month I've gotten my money's worth. Also, it's really convenient to have Tombs of the Blind Dead available 24/7. :)

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Thu Jul 12, 2018 12:19 pm
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Takoma1 wrote:
Piranha was mostly dopey fun. Needed stronger characters, though.

Are you talking about the original? I liked that it was bold enough to cite its sources right at the beginning. I thought the actors did a good enough job to breath life into the characters.

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Thu Jul 12, 2018 12:55 pm
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Rock wrote:
Are you talking about the original? I liked that it was bold enough to cite its sources right at the beginning. I thought the actors did a good enough job to breath life into the characters.


Yeah--the 70s one. I thought that the actors were fine, but the writing of the characters was pretty poor. The scenes between the girl and the camp counselor are probably the best written. Everything else has moments or one-liners that work, but overall feel like they're treating the characters as campy pawns as opposed to real people. It kind of leaves them stranded in this odd middle ground between being people you'd care about and goofy cannon-fodder.


Thu Jul 12, 2018 1:05 pm
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Takoma1 wrote:

Yeah--the 70s one. I thought that the actors were fine, but the writing of the characters was pretty poor. The scenes between the girl and the camp counselor are probably the best written. Everything else has moments or one-liners that work, but overall feel like they're treating the characters as campy pawns as opposed to real people. It kind of leaves them stranded in this odd middle ground between being people you'd care about and goofy cannon-fodder.

That's probably a fair complaint, but I think because I was approaching it as a cheap Corman-produced cash-in, I liked that it was actually funny and better made than it needed to be and was kinder to it as a result.

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Thu Jul 12, 2018 1:08 pm
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Rock wrote:
That's probably a fair complaint, but I think because I was approaching it as a cheap Corman-produced cash-in, I liked that it was actually funny and better made than it needed to be and was kinder to it as a result.


It was better than I thought it would be, but in a weird way that almost made me more irritated with the elements that were annoying low-budget staples, like the repeated inelegant boob shots, or the lack of effective staging in most of the death scenes. The part where the
camp counselor is dragged down to the bottom of the lake and just slowly fades from view is really powerful and memorable, as is Keenan Wynn's stripped feet death--but everything else was way too similar
.

It felt like the kind of movie that, with just a little more effort, could have actually been something good (still campy, but better). It felt more like talent that was slumming as opposed to amateurs pulling off something above their pay grade. Does that make sense?


Thu Jul 12, 2018 1:44 pm
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In the sub-genre of horror films set in mental hospitals, Don't Look in the Basement! was just okay.

Though I think I figured out where Jordan Peele got some of his inspiration: Get out! Get out!


Fri Jul 13, 2018 11:43 pm
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Rock wrote:
That's probably a fair complaint, but I think because I was approaching it as a cheap Corman-produced cash-in, I liked that it was actually funny and better made than it needed to be and was kinder to it as a result.

In light of this discussion of Corman-esque, 70s, D-level Jaws knockoffs, and the impending release of The Meg, I feel that everyone should watch THIS favorite from my childhood:

https://www.youtube.com/watch?v=_v13GU9udN4


Sat Jul 14, 2018 12:00 am
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Wooley wrote:
In light of this discussion of Corman-esque, 70s, D-level Jaws knockoffs, and the impending release of The Meg, I feel that everyone should watch THIS favorite from my childhood:

https://www.youtube.com/watch?v=_v13GU9udN4


Sam Bottoms and a fish that can blow up a yacht. Sold!


Sat Jul 14, 2018 12:39 am
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Takoma1 wrote:
In the sub-genre of horror films set in mental hospitals, Don't Look in the Basement! was just okay.

Though I think I figured out where Jordan Peele got some of his inspiration: Get out! Get out!


I prefer the companion film Don't Open the Door, even though it is equally shitty looking and aimless. I inexplicably find myself returning to it every few years though since it is a distinctly weirder more unique film, if not also filled with long stretches of tedium.


Sat Jul 14, 2018 12:44 am
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Wooley wrote:
In light of this discussion of Corman-esque, 70s, D-level Jaws knockoffs, and the impending release of The Meg, I feel that everyone should watch THIS favorite from my childhood:

https://www.youtube.com/watch?v=_v13GU9udN4


It's been years since I've seen this, and all I have to say about it is that it is definitely better than Barracuda.


Sat Jul 14, 2018 12:45 am
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crumbsroom wrote:

It's been years since I've seen this, and all I have to say about it is that it is definitely better than Barracuda.

It is definitely better than Barracuda. :up:


Sat Jul 14, 2018 12:48 am
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I hereby submit Lamberto Bava's Devilfish to this discussion.

Image

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Sat Jul 14, 2018 1:24 am
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Ah, Devil Fish. The subject of one of my favorite MST3K episodes.
"You know, after this beer, we should have a beer sometime."

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Sat Jul 14, 2018 1:26 am
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Captain Terror wrote:
I hereby submit Lamberto Bava's Devilfish to this discussion.

Image


Ooo, I don't know that one. Just in time for my vacation.


Sat Jul 14, 2018 3:35 am
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Captain Terror wrote:
I hereby submit Lamberto Bava's Devilfish to this discussion.

Image

Oh, I gotta see that.


Sat Jul 14, 2018 5:07 am
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Torgo wrote:
Ah, Devil Fish. The subject of one of my favorite MST3K episodes.
"You know, after this beer, we should have a beer sometime."

I’ll second the MST3K version of Devil Fish. Very funny.


Sat Jul 14, 2018 8:38 am
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Devilfish just got a brand new blu Ray release and you can have that classic in 1080p for the low low price of $22.


Sat Jul 14, 2018 8:39 am
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ThatDarnMKS wrote:
Devilfish just got a brand new blu Ray release and you can have that classic in 1080p for the low low price of $22.


Never heard of it.

Nevermind. I looked it up on IMDB. Lamberto Bava. I need to see this.


Sat Jul 14, 2018 1:27 pm
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I just had one of the worst audiences of my life watching Hereditary. Aside from that, I quite liked it. It was very well made even if it didn't have an original bone in it's body. Sort of like the Conjuring but for classy horror instead of pulpy, jump scare haunted house pics.


Sat Jul 14, 2018 3:50 pm
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ThatDarnMKS wrote:
It was very well made even if it didn't have an original bone in it's body.


I see this criticism consistently regarding Hereditary, and I don't really see it. If the argument is about how Hereditary probably has a dozen transparent reference points from other horror films, yeah, okay, but in determining the originality of a films voice it always has more to do with how a movie mixes and blends its influences. And what it chooses to mix and blend in the first place. Tonally, the film has a language all its own with its mix of over the top violence, sneaky surrealism and domestic drama. Just because I could look at any given scene and say where it may have originated doesn't make its ultimate affect in the film unoriginal. Combining
the hysteria of a film like Possession, with the somberness of Don't Look Now, with the Satanic trappings of Rosemary's Baby etc etc
is not the recipe to make a movie that is as painfully generic as a Conjuring. Good artists copy, great artists steal. Now while I'm fairly hesitant to exactly call Aster a great artist (as good as I think Hereditary is), he is much closer to great than being the kind of shameless carbon paper auteur that Wan is.


Sat Jul 14, 2018 11:45 pm
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crumbsroom wrote:
in determining the originality of a films voice it always has more to do with how a movie mixes and blends its influences. And what it chooses to mix and blend in the first place. Tonally, the film has a language all its own with its mix of over the top violence, sneaky surrealism and domestic drama. Just because I could look at any given scene and say where it may have originated doesn't make its ultimate affect in the film unoriginal.

Here, here!


Sun Jul 15, 2018 12:41 am
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crumbsroom wrote:

I see this criticism consistently regarding Hereditary, and I don't really see it. If the argument is about how Hereditary probably has a dozen transparent reference points from other horror films, yeah, okay, but in determining the originality of a films voice it always has more to do with how a movie mixes and blends its influences. And what it chooses to mix and blend in the first place. Tonally, the film has a language all its own with its mix of over the top violence, sneaky surrealism and domestic drama. Just because I could look at any given scene and say where it may have originated doesn't make its ultimate affect in the film unoriginal. Combining
the hysteria of a film like Possession, with the somberness of Don't Look Now, with the Satanic trappings of Rosemary's Baby etc etc
is not the recipe to make a movie that is as painfully generic as a Conjuring. Good artists copy, great artists steal. Now while I'm fairly hesitant to exactly call Aster a great artist (as good as I think Hereditary is), he is much closer to great than being the kind of shameless carbon paper auteur that Wan is.

I agree.
Except that I don't find The Conjuring painfully generic, if anything I think Wan painted the new aesthetic of what pop-horror would be for the next 10 years with that movie and now everyone's just copying him like they did with J-horror a decade or so before.


Sun Jul 15, 2018 2:12 am
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crumbsroom wrote:

I see this criticism consistently regarding Hereditary, and I don't really see it. If the argument is about how Hereditary probably has a dozen transparent reference points from other horror films, yeah, okay, but in determining the originality of a films voice it always has more to do with how a movie mixes and blends its influences. And what it chooses to mix and blend in the first place. Tonally, the film has a language all its own with its mix of over the top violence, sneaky surrealism and domestic drama. Just because I could look at any given scene and say where it may have originated doesn't make its ultimate affect in the film unoriginal. Combining
the hysteria of a film like Possession, with the somberness of Don't Look Now, with the Satanic trappings of Rosemary's Baby etc etc
is not the recipe to make a movie that is as painfully generic as a Conjuring. Good artists copy, great artists steal. Now while I'm fairly hesitant to exactly call Aster a great artist (as good as I think Hereditary is), he is much closer to great than being the kind of shameless carbon paper auteur that Wan is.


I don't think originality is inherently positive nor do I think being unoriginal is inherently negative or critical (huge fan of Italiam cinema). But I don't think you can necessarily claim that this film is constructing itself in a particularly original way because it is, essentially, a Frankenstein's monster of the films you mentioned and it acheives it's ultimate goal in similar means.its especially harmful as numerous influential movies from the past and recent critical darlings have built to that almost identical ending, rendering the entire goals of the film derivative of works like...

Rosemary's Baby, Kill List and the Witch.


And unlike the latter two, more recent films, it doesn't transplant it's narrative into unfamiliar territory. It plants it all firmly in a grieving household with seances. I struggle to point to an element of the film.and say "I haven't seen this before less than several times."

As I said, the craft is there and it's very well made/acted. Perhaps had I not been surrounded by cackling hyena phone addicts, I would have felt more submersed. I think your general bone of contention is that I compared it to the Conjuring, of which I'm a fan and you are not.


Sun Jul 15, 2018 2:30 am
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Wooley wrote:
I agree.
Except that I don't find The Conjuring painfully generic, if anything I think Wan painted the new aesthetic of what pop-horror would be for the next 10 years with that movie and now everyone's just copying him like they did with J-horror a decade or so before.


Its influence is undeniable, I'll give you that. As you mentioned, it has (sadly) been the template for modern pop horror, just like the Japanese films Ju-On and Ringu were before that. Or Blair Witch before that. Or Scream before that. But for me the difference between The Conjuring and those (far superior) films is that The Conjuring was already a tailor made piece of pop culture before it even began to influence it. Ju-On and Ringu are tethered to notions of surrealism. Blair Witch is basically primitive outsider art. Scream was slacker post-modernism. These all brought subversive artistic sensibilities into the genre and still somehow managed to connect with fairly large audiences. The Conjuring, on the other hand, is really just straight up filmmaking and storytelling, which is already what most popular horror films were in the first place. And so it ultimately doesn't really bring anything of lasting interest to the genre, and its influence is really only felt through little more than its subject matter (hauntings/possessions) and the directors fairly straight forward depiction of what horror is. Obviously this is what some people want, but for me this is hardly any kind of legacy, unless we want to include competent meagerness as some kind of innovation.


Sun Jul 15, 2018 3:11 am
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ThatDarnMKS wrote:
I think your general bone of contention is that I compared it to the Conjuring, of which I'm a fan and you are not.


Nah. While The Conjuring will always be that film for me that can't help but drag me into a fight, it has nothing to do with my general disagreement with the premise that there isn't an original bone in Hereditary's body. I've seen this mentioned a dozen times in other criticisms of the film that don't bring the dreaded Conjuring up, and my feelings were pretty much exactly the same. The reduction of the films destination as being one of the binding arguments that 'we've seen this all before', for one example, just doesn't wash with me. I look at it as being variations on a theme. Just because Monet painted the same church over and over again, doesn't mean that any of those paintings are remotely the same thing. Just because Come Together completely rips off You Can't Catch Me, doesn't mean it's remotely a Chuck Berry song. So while those three films you referenced in regards to their samey endings absolutely have a similar ring about them, regardless of their similarities when reducing them to their basic element (like Monets church, like Chuck Berry's melody), none of them reveal themselves in the same way, even if the face beneath the mask is always the same. They all punctuate the ends of their films in ways that are emotionally and stylistically distinct for me. As are what leads us to these conclusions.

Basically, calling Hereditary unoriginal, considering whatever the bulk of empty, generic and useless horror films that have been released over the course of the last ten years, just seems weird. We could pull similar criticisms against other standout examples of horror of recent years, whether it be It Follows or The Babadook or Get Out or The Witch, that they too are Frankenstein's monsters composed of pieces of other horror movies, but that would just get too depressing and reductive.

Honestly, I'd really like to know what you think qualifies as a distinctly original horror film. Because I think I'd be hard pressed to come up with five of them that couldn't also be very easily accused of taking serious liberties with the intellectual property of movies that came before them.


Sun Jul 15, 2018 3:29 am
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