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 Horrorcram XV: Let's Scare Corrierino To Death 
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Why do people seem to think that A Quiet Place is a debut? It's his third film directing.


Tue Jul 17, 2018 9:34 am
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Actual line of dialogue from Family Blood:
"You could be a serial killer...but in a good way"
-teen girl flirting with teen boy

This isn't "so bad it's good", more like "takes itself so seriously that it becomes funny". This is not a recommendation.

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Tue Jul 17, 2018 10:46 am
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Apex Predator wrote:

The second film is a middling sequel to the strong original. The big twist is that the child in this one is a boy, played by the late Jonathan Brandis. Meg Foster plays his mom. It's mostly of the "If you loved part 1, you'll like this" variety and drop.


Yeah, I think I'll probably check out the second one but skip the third.

Apex Predator wrote:
The Boy was an odd one. Considering I'm not a fan of puppets/mannequins in horror films, it still managed to work a la The Woman in Black style.


I liked it because it managed to trick me plot-wise, which is not too common. I also liked that the film gave the main character a good reason to go through the logical/emotional stuff that she experienced while trying to figure out what was going on.


Tue Jul 17, 2018 11:11 am
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Ditch Day Massacre was garbage, and not fun garbage.

1) Poor acting
2) Unsexy, sleazy back-to-back sex scenes
3) Wildly inconsistent characters (one character is happy to cruelly torture a man one minute, then queasy about pointing a gun at someone the next?)
4) Cliche dialogue

I will give it credit for some decent practical effects, but they're not worth checking it out. Skip.


Wed Jul 18, 2018 12:02 am
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Shudder just added a bunch of movies with "Female Prisoner Scorpion" in the title. Anybody familiar with these? Do they have to be watched in sequence?
If not what's a good one to try for an intro?

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Wed Jul 18, 2018 3:34 am
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Captain Terror wrote:
Shudder just added a bunch of movies with "Female Prisoner Scorpion" in the title. Anybody familiar with these? Do they have to be watched in sequence?
If not what's a good one to try for an intro?


I'm not sure which one I've seen, but I'm pretty sure it was the first. I thought I had a copy somewhere, but can't find it to check. Not sure if watching them in order is important, but I remember liking what I saw quite a bit. Tarantino was clearly paying attention.


Wed Jul 18, 2018 6:16 am
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Captain Terror wrote:
Shudder just added a bunch of movies with "Female Prisoner Scorpion" in the title. Anybody familiar with these? Do they have to be watched in sequence?
If not what's a good one to try for an intro?

I own these but haven't watched them yet. They're Meiko Kaji flicks so if they're anything like the Stray Cat Rock films or the Lady Snowblood films, then they should be a fine mix of exploitation and class. I'd just start with the first one in release date.


Wed Jul 18, 2018 6:37 am
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Thanks fellas. Shudder is ostensibly a horror channel but I'm not getting a horror vibe from the thumbnails.

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Wed Jul 18, 2018 11:27 am
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CARGO

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I admit I've been burned out on zombies for a while, but this one is worth a watch. Martin Freeman roaming the zombie-infested Australian wilderness with his baby daughter in tow. His adorable, heart-wrenching baby daughter. (streaming on Netflix only)

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Wed Jul 18, 2018 11:37 am
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ThatDarnMKS wrote:
Stray Cat Rock films

These are good? I own the Arrow box set but haven't watched a single one.

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Wed Jul 18, 2018 11:38 am
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Rock wrote:
These are good? I own the Arrow box set but haven't watched a single one.

I dug them. The three by Hasebe are much stronger than the two by Fujita. Kaji isn't as big of a deal in most of them as expected but they're still very worth watching. They've got this wild style that matches the rock n roll tone and music of the film. They're far less exploitative than titles like Sex Hunter, which is probably my favorite, would imply. The visuals and editing really make them well worth watching so I'd say you made a wise purchase.

I'm currently two films into the Outlaw Gangster VIP set from Arrow and I'm digging them a ton too. They're tonally between SCR and Yakuza Papers (which I plan to finish next). This set is why I'm not currently watching Female Prisoner Scorpion though. Had to choose a box set to get through this week and Outlaw won out. Excellent tanto fights/brawls


Wed Jul 18, 2018 11:49 am
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Captain Terror wrote:
Thanks fellas. Shudder is ostensibly a horror channel but I'm not getting a horror vibe from the thumbnails.


I've come across the titles a few times before. They're women-in-prison flicks based on what I've seen. I tend to avoid those, as they are not my preferred brand of exploitation to say the least.


Wed Jul 18, 2018 12:09 pm
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Takoma1 wrote:
They're women-in-prison flicks based on what I've seen.

Yes, I've since looked up a trailer and that appears to be the case. The word "prisoner" in the title should have tipped me off, in hindsight. :shifty:

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Wed Jul 18, 2018 1:52 pm
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Female Prisoner Scorpion is BAD-ASS!!!!!! Great series. Not horror but essential viewing for Tarantino-ites.


Wed Jul 18, 2018 2:26 pm
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I really enjoyed The Endless and would particularly recommend it to fans of Resolution.
It's a little bit Lovecraft-y, but with the humor that's evident in their previous films.

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Fri Jul 20, 2018 9:38 pm
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Captain Terror wrote:
I really enjoyed The Endless and would particularly recommend it to fans of Resolution.
It's a little bit Lovecraft-y, but with the humor that's evident in their previous films.


I just watched a thing about "Most Underseen 2018 Films" and this one was on the list.


Fri Jul 20, 2018 10:38 pm
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I had one minor quibble regarding The Endless, but have decided to not concern myself with it. Still, it lends itself to some discussion. Resolution is available on Shudder so I'll probably rewatch that one this weekend. Maybe Spring too, while I'm at it.

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Sat Jul 21, 2018 12:08 am
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The Beast From The Haunted Cave - sure, why not?/10

Why would anyone bother to rate or critique a film like this?
There's a monster. A sort of amorphous thing with tentaclegs(?) covered in cobwebs that is definitely not a spider but is also definitely not anything that's not a spider, either. There's some excuse for a few people to encounter it and after some of them die (in The Haunted Cave) someone kills the Not-Spider. The End.
I'm not sorry.


Tue Jul 24, 2018 8:54 am
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Roscoe P. Coltrane stars in... The Killer Shrews!


Tue Jul 24, 2018 8:55 am
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Wooley wrote:
Roscoe P. Coltrane stars in... The Killer Shrews!


Is that the one where the "shrews" are played by small dogs in masks? I read a review of it (or maybe it's a different killer shrew film?) as a child, and that detail totally captured my imagination.

Also, I'm not totally done with it yet, but The Love Witch is hilarious. "Aah!!! Your coat is so bright!!!".


Tue Jul 24, 2018 9:34 am
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Takoma1 wrote:

Is that the one where the "shrews" are played by small dogs in masks? I read a review of it (or maybe it's a different killer shrew film?) as a child, and that detail totally captured my imagination.

Also, I'm not totally done with it yet, but The Love Witch is hilarious. "Aah!!! Your coat is so bright!!!".

No, this is the one. Yeah, I feel like I'd heard they were dachshunds, but I can't necessarily corroborate that.
I wasn't sure what to think about The Love Witch so I haven't watched it yet. I couldn't tell if it was just exploitation masquerading as a parody of exploitation or what so I back-burnered it.


Tue Jul 24, 2018 12:29 pm
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Wooley wrote:
I wasn't sure what to think about The Love Witch so I haven't watched it yet. I couldn't tell if it was just exploitation masquerading as a parody of exploitation or what so I back-burnered it.


Queue it up. It's funny and sexy and you'll either love it or hate it. In either event, I think it's a pretty knowing take on the sort of witch/cult films from the 60s/70s--whether you like what the writer/director did with it is another question.


Tue Jul 24, 2018 12:44 pm
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Wooley wrote:
Roscoe P. Coltrane stars in... The Killer Shrews!
Killer shrew! Killer shrew! Don't know the difference 'tween me and you!:


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Tue Jul 24, 2018 12:44 pm
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I don't know if parody is the right word. It plays like a loving homage crossed with an interrogation of '70s sexploitation-tinged genre movies.

That being said, I'm definitely in the minority, but I straight up hated it. Some of the aesthetic elements were interesting (and occasionally effective as humour, like some of the Jess Franco style zooms), but every actual joke landed with the grace of a gender studies textbook being hurled across the room. Whenever the movie tried to pass off a punchline, all I could see were all the citations and repeatedly underlined passages, and the stilted delivery (borrowed from the movies it's paying tribute too) killed whatever spontaneity the gag may have had.

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Tue Jul 24, 2018 12:50 pm
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Rock wrote:
I don't know if parody is the right word. It plays like a loving homage crossed with an interrogation of '70s sexploitation-tinged genre movies.

That being said, I'm definitely in the minority, but I straight up hated it. Some of the aesthetic elements were interesting (and occasionally effective as humour, like some of the Jess Franco style zooms), but every actual joke landed with the grace of a gender studies textbook being hurled across the room. Whenever the movie tried to pass off a punchline, all I could see were all the citations and repeatedly underlined passages, and the stilted delivery (borrowed from the movies it's paying tribute too) killed whatever spontaneity the gag may have had.


You didn't laugh at "Your jacket--it's so BRIGHT!!", or Wayne curled up in the bed "I don't know what I'm feeling!" or "I've got two words for you: perfect love and perfect trust."


Tue Jul 24, 2018 1:12 pm
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Rock wrote:
I don't know if parody is the right word. It plays like a loving homage crossed with an interrogation of '70s sexploitation-tinged genre movies.

That being said, I'm definitely in the minority, but I straight up hated it. Some of the aesthetic elements were interesting (and occasionally effective as humour, like some of the Jess Franco style zooms), but every actual joke landed with the grace of a gender studies textbook being hurled across the room. Whenever the movie tried to pass off a punchline, all I could see were all the citations and repeatedly underlined passages, and the stilted delivery (borrowed from the movies it's paying tribute too) killed whatever spontaneity the gag may have had.

That's a bit harsh but I will admit it's not necessarily an easy watch. I think The Love Witch suffered from my having watched Viva earlier the same week, so it was maybe all starting to wear a bit thin for me, but I still liked it a lot. It should be noted that I am a big supporter of Style Over Substance and the style here is just unassailable. And that's not to say that there is no substance, as Takoma has pointed out, but if the message is heavy-handed it didn't bother me.

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Tue Jul 24, 2018 1:15 pm
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Captain Terror wrote:
but if the message is heavy-handed it didn't bother me.


I will completely concede that the message is heavy-handed and not all that original, and that's one of the things I can see being annoying to some.

But like you, it didn't bother me, especially since I found the humor that went with the messaging pretty funny. The unsexy sister dance, for example.


Tue Jul 24, 2018 1:29 pm
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Image


What can anyone tell me about The Unnamable (1988)? Never heard of it, but just read about an upcoming BluRay release. Seems to have traumatized lots of youngsters back in the day and that poster is calling my name. Someone tell me this isn't terrible so I can sleep tonight. (This is based on the HPL story, btw)

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Mon Jul 30, 2018 5:03 am
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It's bland. Sorry. Sort of a C movie.

The monster's creatively designed (even though it's nothing like the short story), and the side-character of Randolph Carter feels specific and real, but way too much of the film is teens wandering around in the dark being dumb.

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Mon Jul 30, 2018 1:55 pm
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DaMU wrote:
way too much of the film is teens wandering around in the dark being dumb.

That reads like a recommendation to me, haha.

I found myself resistant to Mom and Dad at first, as the concept seemed ready made for cult status and the filmmaking felt oddly sloppy, but I think the totally committed work by Cage and Blair and the way the movie builds momentum won me over by the end.

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Mon Jul 30, 2018 9:10 pm
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DaMU wrote:
It's bland. Sorry. Sort of a C movie.

The monster's creatively designed (even though it's nothing like the short story), and the side-character of Randolph Carter feels specific and real, but way too much of the film is teens wandering around in the dark being dumb.

A horror film that doesn't live up to its poster? Preposterous, I say!

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Mon Jul 30, 2018 9:25 pm
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Captain Terror wrote:
Image


What can anyone tell me about The Unnamable (1988)? Never heard of it, but just read about an upcoming BluRay release. Seems to have traumatized lots of youngsters back in the day and that poster is calling my name. Someone tell me this isn't terrible so I can sleep tonight. (This is based on the HPL story, btw)

It's not good, that's what I can tell you.


Tue Jul 31, 2018 12:11 am
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Wooley wrote:
It's not good, that's what I can tell you.

Guess I'll be content to stare at the poster, then. The reviews I found at Amazon were all glowing, but upon re-reading them just about every one is some variation of "scared me when I was a kid".

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Tue Jul 31, 2018 12:20 am
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Soylent Green.

Eh.

Not even something I feel super inclined to discuss.


Tue Jul 31, 2018 5:19 am
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Soylent Green is a complete dud. I just checked to see who directed it and was surprised he was the guy responsible for the pretty great 10 Rillington Place.

And also the questionably great Mandingo


Tue Jul 31, 2018 5:58 am
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crumbsroom wrote:
Soylent Green is a complete dud.


There's some decent world-building in the first fourth and a good performance from Robinson, but that's about it. I thought the last half was excruciating, especially as I knew exactly what it was building to.

Also, I mean, call me crazy, but is it really so bad that
they are recycling people as a food source? I get that it's not super ethical to use a dead body without permission or to feed people under the pretense of it being a different food source, but what's the alternative? And, ultimately, what good comes of everyone knowing?


Tue Jul 31, 2018 6:07 am
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I guess it's time to dive into The Boy.

I'll give it a marginal rec even if I wasn't quite won over by the domestic violence converging into a slick horror film about a doll Although admittedly, it did do a fairly good job of showcasing how sometimes we fall back into old habits and ways of doing things when dealing with someone less than honorable from our past.

Also was less than enthused with the writing in the final third.

Although fans of House on Sorority Row might forgive it more.


But it moved quick enough, set the mood enough, and had enough wait, WTF is going on moments that it kept me watching.

It may be my favorite horror involving a doll/mannequin, so there's that.


Tue Jul 31, 2018 7:45 am
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My god. All this time, Takoma has been a flesh-thirsty cannibal. Why waste quality dead shanks?


Tue Jul 31, 2018 8:19 am
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Jinnistan wrote:
My god. All this time, Takoma has been a flesh-thirsty cannibal. Why waste quality dead shanks?


I am all about upcycling.


Tue Jul 31, 2018 11:12 am
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Captain Terror wrote:
Guess I'll be content to stare at the poster, then. The reviews I found at Amazon were all glowing, but upon re-reading them just about every one is some variation of "scared me when I was a kid".

Hey, I rented it entirely because of the cover of the VHS box. Even young, I was unimpressed enough to be a little angry that they didn't make a better movie with that awesome-looking monster.


Tue Jul 31, 2018 11:56 am
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Soylent Green is a fantastic film. It has one of the best third acts of any film I've seen.


Tue Jul 31, 2018 1:03 pm
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I've never seen it, but it did inspire one of my favorite Simpsons references ever:

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Tue Jul 31, 2018 1:18 pm
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Given how much I hated The Strange Color of Your Body's Tears, I was surprised that I enjoyed Amer. It's in a similarly bold style, but uses it a bit more judiciously, intensifying it at key moments to build dread (although one of those key moments is really dumb). It also grounds the proceedings more firmly in the heroine's experience (both plot-wise and sensory), rather than trying to Steve Bannon itself for ninety minutes like the other film and its disorientation for its disorientation's sake. Based on an earlier short I watched from the same directors, it seems style works best in small doses, and this movie seems to understand that lesson, structuring itself into smaller sections so dread can at least build tension within each part, if not necessarily across the whole movies.

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Tue Jul 31, 2018 1:28 pm
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Hmmm. I'm the opposite. I don't like Amer.


Tue Jul 31, 2018 6:45 pm
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Stu wrote:
I've never seen it,


See it, Stu. It's a wonderful, off-kilter but vivid depiction of a dystopia that has a lot to offer beyond it's twist. It also uses Heaton's scene chewing strengths better than just about any film I've seen (Planet of the Apes comes close).


Wed Aug 01, 2018 1:37 am
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Rock wrote:
Given how much I hated The Strange Color of Your Body's Tears, I was surprised that I enjoyed Amer. It's in a similarly bold style, but uses it a bit more judiciously, intensifying it at key moments to build dread (although one of those key moments is really dumb). It also grounds the proceedings more firmly in the heroine's experience (both plot-wise and sensory), rather than trying to Steve Bannon itself for ninety minutes like the other film and its disorientation for its disorientation's sake. Based on an earlier short I watched from the same directors, it seems style works best in small doses, and this movie seems to understand that lesson, structuring itself into smaller sections so dread can at least build tension within each part, if not necessarily across the whole movies.


Amer is more judicious with its style??? I hardly thought that would be possible. Amer is the antithesis of judicious.

For me, I like Amer, but by the time I get to the last two segments of the film, I'm exhausted by two dozen over articulated cuts per minute. You just can't have a film that operates at 11 the entire run time. It's all just too much, and so I struggle with the last hour or so.

That first segment though is spectacular, and if taken on its own, I would place it as one of the greatest bit of horror on film of the last thirty years.


Wed Aug 01, 2018 2:34 am
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I love The Strange Color. When you see both it and Amer, to me it feels like Amer was practice. Like they didn't know exactly what they wanted the first time around but hit all the right notes in their second movie. Amer has a few excellent parts, but it doesn't really go together that well as a whole.

It's a bit of a shame that they didn't do horror for their third movie, but oh well.


Wed Aug 01, 2018 4:14 am
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I liked Let The Corpses Tan. That movie was wild. Seeing it on the big screen was an attack on all my senses.

I have never seen any of their previous films. I should.


Wed Aug 01, 2018 6:05 am
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Slentert wrote:
I liked Let The Corpses Tan. That movie was wild. Seeing it on the big screen was an attack on all my senses.

I have never seen any of their previous films. I should.


Oh yes. Keep in mind that they're much more Giallo inspired where Let The Corpses Tan is a lot more Tarantino.


Wed Aug 01, 2018 6:22 am
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crumbsroom wrote:

Amer is more judicious with its style??? I hardly thought that would be possible. Amer is the antithesis of judicious.

For me, I like Amer, but by the time I get to the last two segments of the film, I'm exhausted by two dozen over articulated cuts per minute. You just can't have a film that operates at 11 the entire run time. It's all just too much, and so I struggle with the last hour or so.

That first segment though is spectacular, and if taken on its own, I would place it as one of the greatest bit of horror on film of the last thirty years.


Charles wrote:
I love The Strange Color. When you see both it and Amer, to me it feels like Amer was practice. Like they didn't know exactly what they wanted the first time around but hit all the right notes in their second movie. Amer has a few excellent parts, but it doesn't really go together that well as a whole.

It's a bit of a shame that they didn't do horror for their third movie, but oh well.


Gonna tackle both of you at the same time, Charles Crumb (brother of Robert, apparently).

Strange Color probably is better defined in what it's trying to do, but I feel like going full bore on such an aggressive style isn't actually a good idea, and it comes off like the movie's trying to Steve Bannon itself for its entire runtime. Amer is probably less assured, but while it occasionally lowers its head for attempted Bannoning, I think the uncertainty that Charles perceives actually leads to a more varied and therefore less repetitive approach.

And yes, Amer is more judicious, although I must stress how relative I'm being. Amer I think does slow down somewhat in the second act, and also gives you some time to adjust your bearings in between the cranking to 11, while Strange Color has a bit with splitscreens that literally left me with a sore neck. I also agree with Crumb that the first act is the strongest, mostly because it makes the most interesting use of its setting (which is less of a concern in the second and third acts). It probably borrows most directly from Argento, which actually gives it the strongest voice of the three segments.

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