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

Nice! Thanks for the tip. As for Bava, I've done Black Sunday, Kill Baby Kill, Black Sabbath, Planet of the Vampires, and A Bay of Blood, in descending order of preference. I was mixed on the latter two, but really enjoyed the first three, like, this is some peak stylish horror-making on par with Whale and Tourneur. I think people a couple pages back were stumping for Lisa and the Devil.


Lisa and the Devil is great and I think you'll be a fan but I think you'd like the Whip and the Body the most. It's got more than a few parallels to Hammer horror with it's gothic setting and use of Christopher Lee but it's very distinctly Bava in aesthetics and content. His best giallo is Blood and Black Lace with I would say is likely the high water mark of the whole sub-genre.

And Tak is right. Erik the Conqueror is neat. The way he depicts the Viking lair is pure Bava expressionism.

Des- I love Split Second. It was a childhood favorite that I bought on Blu Ray this year. It's pure B movie cheese but it's the best B movie cheese. When Hauer shows the dog his badge and it backs off, you know you're in for something special.


Sun Oct 28, 2018 5:33 pm
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ThatDarnMKS wrote:

Des- I love Split Second. It was a childhood favorite that I bought on Blu Ray this year. It's pure B movie cheese but it's the best B movie cheese. When Hauer shows the dog his badge and it backs off, you know you're in for something special.

Yes I loved that. He literally says, “I’m police, dickhead” to the dog.

I also liked: “I followed him through an alley, he shot a trash can.”
“Sounds like Stone.”


Sun Oct 28, 2018 11:41 pm
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Jinnistan wrote:

Image




I just watched this the other night. I thought it was a dud.

As for the Milligan movie, I was actually deliberately looking for this one earlier this week. I'm not sure why, since the only Milligan I've seen is The Body Beneath, which is horrible. Maybe its just the titles of the films he makes that make him seem so alluring to me (The Promiscuous Sex, Gutter Trash, The Filthy Five, The Weirdo, not to mention The Ghastly One which I've been trying to track down for over a year now)


Mon Oct 29, 2018 12:07 am
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Captain Terror wrote:
NO, that's been in my queue all month but Netflix is being a jerk about sending it to me. Guess I'll have to break down and pay for that one.

It's definitely worthwhile.


Mon Oct 29, 2018 1:44 am
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DaMU wrote:
Dario Argento's Inferno - B

Gorgeous and surreal throughout, although it loses something in the middle once you realize the film operates on a repetitive story pattern of person wanders around / person finds a clue / shrouded figure kills person. And the final image of the villain made me laugh, not scream. Camp may be the point, but I doubt it, and the image is needless. But for real, the first hour delighted me to the point of giggling with horror-fanboy pleasure at the mere appearance of new bizarre sets and buildings. The colors, the architecture, the perfectly-framed images of open-faced women in wrecked rooms lit up in purples and blues and greens. Among the most beautiful horror films I've ever seen. That makes it worth it. For a spell there, I liked this more than Suspiria. Somewhere in this 107-minute movie is an 80-minute masterwork.

Yeah, I think the resetting protagonists kind of kills the momentum and made it a lot harder for me to get into. And maybe it's the different aspect ratio, but I found the visuals here striking but not necessarily absorbing in the way Suspiria's are (one I admire from a distance, the other I find losing myself in). And I think it's more consistently silly than Suspiria (like the scene where the old man tries to drown some cats, gets attacked by rats, calls for help and gets the bejesus stabbed out of of him). I'd like to give it another shot someday but it's the Argento I was most underwhelmed by, although no movie with this much sweet corridor-traversing action can be a total misfire in my eyes.

(For what it's worth, some words I wrote way the heck back.)

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Mon Oct 29, 2018 2:04 am
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ThatDarnMKS wrote:
Then I think Phenomena would likely be the best next Argento. A nice fusion of giallo and supernatural with the best usage of a chimpanzee in cinematic history.

I just want to stress how accurate a statement this is. :up:

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Mon Oct 29, 2018 2:06 am
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Deschain13 wrote:
Yes I loved that. He literally says, “I’m police, dickhead” to the dog.

I also liked: “I followed him through an alley, he shot a trash can.”
“Sounds like Stone.”

Yes. That's the line. I couldn't remember what he called the dog and was too tired to look it up.

It's just such a strange movie where the script and performances are going for camp and the plot is one of the oddest genre bending stories I've seen and yet the filmmaking is oddly dedicated to making a Verhoeven-esque dystopia through technical prowess and tracking shots. It doesn't feel like a low budget direct to video film but it also doesn't feel like anything that would ever touch a cinema. It's just the big ole weirdo of a film and I just love it.


Mon Oct 29, 2018 2:34 am
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Didn't go with any of them; watched Happy Death Day instead.

Which was fun! ...mostly. Sort of.

Two great things lift Happy Death Day. One, its fun conceit, which allows the film to function on three levels: slasher picture, murder mystery, and comedy. Two, Jessica Rothe, who develops her character with necessary bluntness and occasional subtlety. She knows how to play for comic timing, she approaches final girl ferocity with conviction. She heroically hangs herself at one moment (to "reset" the day), and her smirk feels triumphant. It's a star-making turn.

The director, Chris Landon, who made a film I didn't give many shits for (Paranormal Activity: The Marked Ones), sometimes leans onto hacky camera tricks (a Snorri-cam freakout, a tiresome zip through a frat party that looks like a beer commercial). But he shows restraint during moments that need it, like when Jessica Rothe's Tree finally meets with her dad, and during the multiple scenes where she wakes up alongside Carter in his dorm room. One visual moment I adored: the killer swings a bat at her head, and as it connects, the camera slows and follows her head's arc as it falls from the scene of the crime and back into the dorm room bed, imagery transitioning behind her. That's great. That's kinda new.

One of the reasons I hesitated to watch this for a while was the PG-13 rating. Not because I'm a gorehound, but because I think a film that leans into college life and slasher convention has a certain responsibility to be true to the nature of both, which are R-rated. The film skirts this issue by having Tree "wake up" at the moments of violent impact, which is fair, I think. But also, operating on the premise that Happy Death Day is a film fundamentally made for young (pre-college) women, a PG-13 rating allows many of them to more freely go see a film about a young woman who deals with some common teenage girl problems (the unspoken threat of date rape, falling to peer pressure, learning to be a responsible adult) and come out the end watching a girl who's learned to be a better, more confident, more empathetic person.

This also makes the depiction of college life a bit more understandable. Its caricatured people and places don't play like reality; they play like a high-schooler's dream of what college is. Queen Bees and Dorm Dorks and Hunky Teachers and a campus quad designed by an Abercrombie and Fitch flyer. It's absurd and sometimes threatens the more grounded emotional moments, but it may also connect to teens with how it feels emotionally true to their fears and anxieties and predictions. [There's also the question of whether or not the film's lighter tone and comic choices would suffer were it to play closer to reality. But Groundhog Day played specific with its world-building. Happy Death Day feels a bit like it was written by people who learned everything about college from '80s brat comedies, rather than from living it.]

Shame about the multiple endings, though. The film tries to have it both ways regarding its story, offering up a heartwarming "final day" where Tree becomes a better person and makes herself emotionally vulnerable and reconciles with those who require her contrition (her father, a roommate) while sticking it to those enabling her worst tendencies, all before saving the day and herself...

...but the film springs another surprise reveal after that final satisfying day, and it quickly sucked all the energy out of the film, choosing the surprise of an unexpected development over the satisfaction of a film that came to a firm moral conclusion. Worse, it comes with one of those monologues where someone puts the pieces together in the middle of a final fight. At that point, what motivation would actually satisfy us? Why even bother? Who cares? It's not fun when a movie flashes back to two or three breadcrumbs strewn throughout the movie and declares its surprise like some kind of meaningful puzzle. This development reminded me of how the Final Destination producers got cold feet and "fixed" their quieter ending into another goddamn Rube Goldberg death.


That held me back the most while watching, but since that's only the final 10 minutes (if even that), the film's a marginal but genuine success.

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Mon Oct 29, 2018 4:16 am
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Yeah I had fun with Happy Death Day. In terms of the ending:

I was initially disappointed that the killer turned out just to be a generic serial killer guy so I’m glad when they added the twist st the end, it’s just the final confrontation with the roommate was underwhelming.


And I’m surprised this is getting a sequel. Saw the trailer before Halloween.


Mon Oct 29, 2018 5:47 am
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RETURN OF THE LIVING DEAD is hilarious, but you all knew that already. Dan O'Bannon is crushing it this month.

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Mon Oct 29, 2018 6:52 am
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Captain Terror wrote:
RETURN OF THE LIVING DEAD is hilarious, but you all knew that already. Dan O'Bannon is crushing it this month.


A recent rewatch recently proved to me all over again it is one of my favourite things in the world. Managing to be both legitimately funny and legitimately scary is just about one of the most impossible things for any movie to do. In honesty, it's hard for any movie to do one of those things.

If it isn't in my top 10 horror films of all time, it should be.


Mon Oct 29, 2018 6:55 am
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crumbsroom wrote:
Managing to be both legitimately funny and legitimately scary is just about one of the most impossible things for any movie to do. In honesty, it's hard for any movie to do one of those things.

Right, making a broad goofy zombie movie isn't hard so I appreciated that this was, like you said, legitimately funny. So many little moments of dry humor that I really loved. Example: Ernie spending an inordinate amount of time trimming the leg of his pants.

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Mon Oct 29, 2018 9:06 am
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Any of you guys getting the Suspiria remake around your area? I believe it's getting a few shows around my area (Ohio) but apparently it's expanding a bit more in the next week or so do to good business. I'm curious because it sounds like something that would turn off the main audiences (mostly German dialogue/atmosphere) but sounds interesting from what I just read about it.

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Mon Oct 29, 2018 9:40 am
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topherH wrote:
Any of you guys getting the Suspiria remake around your area? I believe it's getting a few shows around my area (Ohio) but apparently it's expanding a bit more in the next week or so do to good business. I'm curious because it sounds like something that would turn off the main audiences (mostly German dialogue/atmosphere) but sounds interesting from what I just read about it.


I imagine we're getting it here in Toronto. We get everything, because we're spoiled bitches here.

I probably plan on seeing it. It is one of the few remakes that I have ever had any remote kind of interest in.


Mon Oct 29, 2018 9:46 am
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crumbsroom wrote:

I imagine we're getting it here in Toronto. We get everything, because we're spoiled bitches here.

I probably plan on seeing it. It is one of the few remakes that I have ever had any remote kind of interest in.


I didn't really know much about it and not much interest due to it being a remake, which can fail miserably in this day and age, but it sounds like it isn't a mainstream attempt. I haven't watched the original in quite a while.

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Mon Oct 29, 2018 10:08 am
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topherH wrote:
Any of you guys getting the Suspiria remake around your area? I believe it's getting a few shows around my area (Ohio) but apparently it's expanding a bit more in the next week or so do to good business. I'm curious because it sounds like something that would turn off the main audiences (mostly German dialogue/atmosphere) but sounds interesting from what I just read about it.

I am disappointed to report that it is not even playing in New Orleans, I wanted to see it before Halloween.


Mon Oct 29, 2018 11:35 am
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Have you guys seen the last Treehouse of Horror? Is it as bad as usual?


Mon Oct 29, 2018 11:39 am
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Wooley wrote:
I am disappointed to report that it is not even playing in New Orleans, I wanted to see it before Halloween.

It opens at the Broad on Wednesday, which technically isn't before Halloween, I guess.

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Mon Oct 29, 2018 11:48 am
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I just watched Cutting Class. This looked like it was shot on home video. The creepy kid kept lurking in impossible locations. Martin Mull’s role was embarrassing...well almost all of it was embarrassing, and really creepy. Everyone kept leering at and sexually harassing Paula. Also why does she bathe by kneeling in front of the tub?


Mon Oct 29, 2018 12:39 pm
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I really enjoyed Strait-Jacket. It was less a Whatever Happened to Baby Jane and more a Psycho meets Mildred Pierce. I would place or just under Homicidal as my favorite William Castle film.

Also rewatched Blood and Black Lace. Still marvellous but my appreciation grew watching it alongside Strait Jacket as they both came out the same year, but it's so much more experimental and ground breaking.

Good horror night.


Mon Oct 29, 2018 12:39 pm
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ThatDarnMKS wrote:
I really enjoyed Strait-Jacket. It was less a Whatever Happened to Baby Jane and more a Psycho meets Mildred Pierce. I would place or just under Homicidal as my favorite William Castle film.


Nice! I watched Strait-Jacket ages ago, but my memory is it's a fun potboiler with some solid work from Crawford and a not-at-all bad twist.

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Mon Oct 29, 2018 3:01 pm
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Isle of the Dead (Robson, 1945)

This is maybe my favorite "discovery" of the month. I've tried watching it before a few times, but the slow open (and poor timing on my part) left the movie mostly unseen. D'oh! The story itself is about a small group of characters who cordon themselves off on the title island after one of them dies of the plague. And the rest of the story is about their gradual dissolution, as some of them cling to scientific solutions while others believe a mythical force might be at work. Significantly stronger than Robson's The Ghost Ship (and about on par with The Seventh Victim), anchored by Boris Karloff delivering a real performance as a man so hard-headed that he can't adapt to the uncanny... and flops over into a sort of superstitious mania to compensate. The boilerplate stalwart hero is the only real shortcoming here. And the best element is a matronly sort of woman who cares for the others and admits, early on, that she has a tremendous fear of being buried alive. No guesses for how that turns out for her... but the fallout leads to one of the only moments this October when I actually full-on gasped and jumped out of my seat (thank the Gods Lewton and his team believed so much in the power of shadow and suggestion). The opening still moves slowly, but the film does pay off. Does it ever.

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Mon Oct 29, 2018 3:13 pm
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topherH wrote:
Any of you guys getting the Suspiria remake around your area? I believe it's getting a few shows around my area (Ohio) but apparently it's expanding a bit more in the next week or so do to good business. I'm curious because it sounds like something that would turn off the main audiences (mostly German dialogue/atmosphere) but sounds interesting from what I just read about it.

I'm seeing it this wednesday as a Halloween double feature together with Mandy. I'm really excited. I have already seen Mandy a couple of months ago on the big screen, but it would be nice to see it with subtitles this time (english is not my birth language).

Also, at the end of November, my local repertory theater is playing a a double bill of The City of the Dead and the original Suspiria, both on 35mm. Can not wait for that!


Mon Oct 29, 2018 5:42 pm
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DaMU wrote:

Nice! I watched Strait-Jacket ages ago, but my memory is it's a fun potboiler with some solid work from Crawford and a not-at-all bad twist.

That's a pretty accurate assessment of the flick. Crawford is wonderful as always and really seemed to be evoking her inner Mildred Pierce once more. I think the film also operates as a clear proto-slasher with more similarities to what would become that genre than the oft cited Psycho. There's a sequence with George Kennedy that I found rather shocking given the era in which it was made.

I've got two there Crawford "Psycho Biddy" films lined up with Berzerk and I Saw What You Did. They aren't as famous or infamous as Strait-Jacket but the latter is also directed by William Castle so Im optimistic. Have you seen either of those or Homicidal? No Crawford in Homicidal but Psycho homage/rip-off by way of William Castle makes them feel spiritually connected.


Mon Oct 29, 2018 11:11 pm
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ThatDarnMKS wrote:

I've got two there Crawford "Psycho Biddy" films lined up with Berzerk and I Saw What You Did.

Nice. Haven't seen it in a long time but I liked ISWYD a lot. I remember thinking it was a borderline legitimately-good movie, as opposed to the "isn't this fun" type of good (ie, The Tingler).


I don't remember enough about Berzerk to comment.

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Mon Oct 29, 2018 11:39 pm
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Captain Terror wrote:
Nice. Haven't seen it in a long time but I liked ISWYD a lot. I remember thinking it was a borderline legitimately-good movie, as opposed to the "isn't this fun" type of good (ie, The Tingler).


I don't remember enough about Berzerk to comment.



Yes. It does seem to be that there are three types of Castle films- legitimate thrillers (or close to legitimate), camp/gimmick or tedious bore. I really did not care for his Old Dark House or 13 Frightened Girls. They were not nearly good enough to be legitimate and lacked the gimmicky fun of ones like the Tingler or 13 Ghosts.

Homicidal is his best of all world's flick. Gimmicky AND legitimate.


Tue Oct 30, 2018 1:03 am
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ThatDarnMKS wrote:


Yes. It does seem to be that there are three types of Castle films- legitimate thrillers (or close to legitimate), camp/gimmick or tedious bore. I really did not care for his Old Dark House or 13 Frightened Girls. They were not nearly good enough to be legitimate and lacked the gimmicky fun of ones like the Tingler or 13 Ghosts.

Homicidal is his best of all world's flick. Gimmicky AND legitimate.

Man, his Old Dark House was tough to even watch. I'm actually not sure that I even finished it, now that I'm thinking about it.


Tue Oct 30, 2018 4:12 am
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I liked, but didn't love Lord of Illusions: it has the style and striking visuals you'd expect from something to come out of Clive Barker's imagination, but the airport potboiler novel-grade story left me with a bland taste in my mouth. There's Scott Bakula's down-and-out, divorced, grizzled private investigator who someone says "looks like shit,"
the black guy dies first,
the only two places that exist in America are New York and California, etc.

But anyway, the best thing about it is easily Kevin J. O'Connor's hair. It's the best hair in a horror movie, '90s or otherwise.

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Tue Oct 30, 2018 4:44 am
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Torgo wrote:
I liked, but didn't love Lord of Illusions: it has the style and striking visuals you'd expect from something to come out of Clive Barker's imagination, but the airport potboiler novel-grade story left me with a bland taste in my mouth. There's Scott Bakula's down-and-out, divorced, grizzled private investigator who someone says "looks like shit,"
the black guy dies first,
the only two places that exist in America are New York and California, etc.

But anyway, the best thing about it is easily Kevin J. O'Connor's hair. It's the best hair in a horror movie, '90s or otherwise.

Image

Yeah, I feel like LoI has gold in it, but you do have to dig.


Tue Oct 30, 2018 5:02 am
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Deschain13 wrote:
Also why does she bathe by kneeling in front of the tub?


That's what you do when you're washing just your hair.

The realities of womanhood, Cutting Class knows them all.


Tue Oct 30, 2018 7:29 am
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Captain Terror wrote:
I don't remember enough about Berzerk to comment.


You don't remember it for good reason.


Tue Oct 30, 2018 8:05 am
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Takoma1 wrote:

That's what you do when you're washing just your hair.

The realities of womanhood, Cutting Class knows them all.

Well Cutting Class taught me something then. :D


Tue Oct 30, 2018 8:27 am
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Deschain13 wrote:
Well Cutting Class taught me something then. :D


It's basically a documentary.


Are any of you watching The Chilling Adventures of Sabrina? It's much more horror-driven than I expected. As in, ooooookaaayyyy that lady just took a pair of scissors to the neck! Aside from this weird "vaseline on the lens" blurry camera thing that they have going, it's pretty good and there's some neat, spooky imagery.


Tue Oct 30, 2018 8:43 am
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DaMU wrote:
Nice! I watched Strait-Jacket ages ago, but my memory is it's a fun potboiler with some solid work from Crawford and a not-at-all bad twist.

My favorite part about the twist is that
it was copy-pasted directly as the twist of Psycho II, a fitting consequence for a film that was largely a cash-in on Psycho to begin with.


Tue Oct 30, 2018 8:47 am
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Gave up on The Neon Demon after about half an hour and will revisit later this week. Looks absolutely stunning but feels totally empty and artificial. When Jesse started monologuing about the moon I could feel my brain shutting down. I get that the artificiality and "written" feeling of it might be part of the point, but if that's the case it just wasn't working for me.


Tue Oct 30, 2018 10:06 am
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Takoma1 wrote:
Gave up on The Neon Demon after about half an hour and will revisit later this week. Looks absolutely stunning but feels totally empty and artificial. When Jesse started monologuing about the moon I could feel my brain shutting down. I get that the artificiality and "written" feeling of it might be part of the point, but if that's the case it just wasn't working for me.

While I think it's a weaker Refn, I'm a rabid fan and think it's a damn good film that feels like a fusion of Kubrick and Argento.


Tue Oct 30, 2018 10:57 am
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Takoma1 wrote:
Gave up on The Neon Demon after about half an hour and will revisit later this week. Looks absolutely stunning but feels totally empty and artificial. When Jesse started monologuing about the moon I could feel my brain shutting down. I get that the artificiality and "written" feeling of it might be part of the point, but if that's the case it just wasn't working for me.

It's a roundabout parody of the celebrity industry (not to be confused with the entertainment industry), so the forced hollow sparkle is intentional, and will not get any less heavy-handed as you go on. I liked it though.


Tue Oct 30, 2018 11:05 am
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Takoma1 wrote:

It's basically a documentary.


Are any of you watching The Chilling Adventures of Sabrina? It's much more horror-driven than I expected. As in, ooooookaaayyyy that lady just took a pair of scissors to the neck! Aside from this weird "vaseline on the lens" blurry camera thing that they have going, it's pretty good and there's some neat, spooky imagery.

Yeah, I've been getting a nice horror vibe from that so I might give it a shot later. This is probably a dumb reason for being interested, but Kiernan Shipka is a really neat name.

(Also, considering that the one show I watch, Mindhunters, is only getting its next season next year, I might have to watch something in the meantime.)

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Tue Oct 30, 2018 11:12 am
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Deschain13 wrote:
I just watched Cutting Class. This looked like it was shot on home video. The creepy kid kept lurking in impossible locations. Martin Mull’s role was embarrassing...well almost all of it was embarrassing, and really creepy. Everyone kept leering at and sexually harassing Paula. Also why does she bathe by kneeling in front of the tub?


Had a male friend who did that. Mainly when he woke up and was kind of short on time, he did it to wash his hair.


Tue Oct 30, 2018 11:14 am
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Takoma1 wrote:
Gave up on The Neon Demon after about half an hour and will revisit later this week. Looks absolutely stunning but feels totally empty and artificial. When Jesse started monologuing about the moon I could feel my brain shutting down. I get that the artificiality and "written" feeling of it might be part of the point, but if that's the case it just wasn't working for me.

I wasn't in love with it. I like Refn's style and two of the supporting performances (Kershaw and Reeves) but I don't think Fanning was a strong enough presence to really hold the movie together. Considering Kershaw's fashion background, I feel like a much better movie could have been made with her as the lead.

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Tue Oct 30, 2018 11:14 am
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Post Re: Horrorcram XV: Let's Scare Corrierino To Death

Wooley wrote:
Yeah, I feel like [b]LoI has gold in it, but you do have to dig.
[/b]


Same.

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Tue Oct 30, 2018 11:17 am
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Post Re: Horrorcram XV: Let's Scare Corrierino To Death

Torgo wrote:
I liked, but didn't love Lord of Illusions: it has the style and striking visuals you'd expect from something to come out of Clive Barker's imagination, but the airport potboiler novel-grade story left me with a bland taste in my mouth. There's Scott Bakula's down-and-out, divorced, grizzled private investigator who someone says "looks like shit,"
the black guy dies first,
the only two places that exist in America are New York and California, etc.

But anyway, the best thing about it is easily Kevin J. O'Connor's hair. It's the best hair in a horror movie, '90s or otherwise.

Image

I should give this one a shot, I've enjoyed everything I've read by Barker to varying degrees.

I'm actually going through The Damnation Game right now, and it's pretty good, but there's one part where he describes pornographic playing cards in a way that's supposed to be disturbing, but my reaction is just "Dude, fetishes are not scary." It's like that one part in The Scarlet Gospels where he makes a reference to a monster's swinging genitals and then never mentions them again.

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Tue Oct 30, 2018 11:21 am
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Post Re: Horrorcram XV: Let's Scare Corrierino To Death

Since there's no a lot of material left from RT, I'll reshare my preserved entry for the top 100 horror films. Obviously I'll need to amend it (Blackcoat's Daughter, I'll avenge you!), but it's still a serviceable checklist for greenbellies.


01. Psycho ('60)
02. The Texas Chainsaw Massacre ('74)
03. The Exorcist ('73)
04. Alien ('79)
05. Jaws ('75)
06. The Fly ('86)
07. The Blair Witch Project ('99)
08. Poltergeist ('82)
09. The Shining ('80)

10. Hour of the Wolf ('68)
11. Cure ('97)
12. An American Werewolf in London ('81)
13. Frankenstein ('31)
14. Throne of Blood ('57)
15. Suspiria ('77)
16. Haxan ('22)
17. Cat People ('42)
18. Repulsion ('65)
19. Dracula ('31)
20. The Wicker Man ('73)

21. Black Sunday ('60)
22. Nosferatu ('22)
23. Night of the Living Dead ('68)
24. Invasion of the Body Snatchers ('56)
25. The Haunting ('63)
26. The Cabinet of Dr. Caligari ('20)
27. I Vampiri ('57)
28. Peeping Tom ('60)
29. King Kong ('33)
30. Gojira ('54)

31. Freaks ('32)
32. Evil Dead ('81)
33. Onibaba ('64)
34. Faust ('26)
35. Phantom of the Opera ('25)
36. Dr. Jekyll & Mr. Hyde ('31)
37. Eyes Without a Face ('60)
38. Shadow of the Vampire ('00)
39. Targets ('68)
40. Videodrome ('83)

41. Vampyr ('32)
42. I Walked With a Zombie ('43)
43. Rosemary's Baby ('68)
44. Valerie and Her Week of Wonders ('70)
45. Creepshow ('82)
46. The Thing ('82)
47. The Body Snatcher ('45)
48. The Old Dark House ('32)
49. Man Bites Dog ('92)
50. Beetlejuice ('88)

51. The Wolf Man ('41)
52. The Howling ('81)
53. Dawn of the Dead ('78)
54. Ringu ('98)
55. Bride of Frankenstein ('35)
56. Destiny ('21)
57. The Leopard Man ('43)
58. The Black Room ('35)
59. The Descent ('05)
60. Black Christmas ('74)

61. Prince of Darkness ('87)
62. Dead of Night ('45)
63. The Monster ('25)
64. A Page of Madness ('26)
65. Murders in Rue Morgue ('32)
66. Let the Right One In ('08)
67. Re-Animator ('85)
68. Witches of Eastwick ('87)
69. Carrie ('76)
70. Spider Baby ('64)

71. Deep Red ('75)
72. Kill Baby Kill ('68)
73. Carnival of Souls ('62)
74. The Tenant ('76)
75. Night of the Demon ('57)
76. Island of Lost Souls ('32)
77. Halloween ('78)
78. Dead Alive ('92)
79. The Devils ('71)
80. Curse of Frankenstein ('57)

81. Evil Dead II ('87)
82. Dracula, Prince of Darkness ('66)
83. Blood and Black Lace ('64)
84. The Fog ('81)
85. Phantom of the Paradise ('74)
86. Hellraiser ('87)
87. A Tale of Two Sisters ('03)
88. The Masque of Red Death ('64)
89. The Witchfinder General ('68)
90. Don't Look Now ('73)

91. Dementia 13 ('63)
92. The Devil Rides Out ('68)
93. The Company of Wolves ('84)
94. Martin ('77)
95. House of Wax ('53)
96. Basket Case ('82)
97. Seconds ('66)
98. House of the Devil ('09)
99. Body Double ('84)
100. Black Swan ('10)


Still a damn fine list, imo. Taut, lean, perniciously comprehensive.


Tue Oct 30, 2018 11:35 am
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Post Re: Horrorcram XV: Let's Scare Corrierino To Death

I'll have to see if I still have all the stuff from the horror countdown we did a few years back. I wouldn't mind reposting it if I can dig it up.

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Tue Oct 30, 2018 11:37 am
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Jinnistan wrote:
11. Cure ('97)

You're a big fan of this one, eh? I watched this earlier this month and was hoping to hammer something out, but couldn't find the words. Wouldn't mind talking it out with you.

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Tue Oct 30, 2018 11:38 am
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Rock wrote:
I'll have to see if I still have all the stuff from the horror countdown we did a few years back. I wouldn't mind reposting it if I can dig it up.

That'd be great. Along with Damu's 100 Greatest Film list, these were the best RT projects I could be a part of.

Selfish as I am, I only have drafts of my stuff, the write-ups for Evil Dead and Psycho.


Tue Oct 30, 2018 11:41 am
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Rock wrote:
You're a big fan of this one, eh? I watched this earlier this month and was hoping to hammer something out, but couldn't find the words. Wouldn't mind talking it out with you.

Sure, if I can help. It's a very non-verbally inspiring film.


Tue Oct 30, 2018 11:42 am
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Jinnistan wrote:
That'd be great. Along with Damu's 100 Greatest Film list, these were the best RT projects I could be a part of.

Selfish as I am, I only have drafts of my stuff, the write-ups for Evil Dead and Psycho.

My problem right now is that I don't remember the email I used for that contest, but everything should be saved in there.

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Tue Oct 30, 2018 11:46 am
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Didn't care for I Saw What You Did. It pales in comparison to Strait Jacket and effectively wastes Crawford. It has a fine Hitchcock-esque premise and doesn't really do anything too bad but it can't decide what to be tonally and is so simple that even at it's brief 80 min runtime, it feels too long.

Dead & Buried, on the other hand, was a fine Tales from the Crypt style horror film with great gore effects. I wish the lead was stronger and the film a little more artfully shot but it felt like a solid, fully realized premise. I'm surprised I liked this as much as I did as the reason I watched it was Dan O'Bannon's name but he apparently claimed to have not written any of it. Even so, it feels somewhat connected in setting and idea to his Return of the Living Dead so I find that very surprising. Good stuff.


Tue Oct 30, 2018 11:55 am
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Messiah of Evil

Image

I wish I’d watched a better copy of this, as the one I saw was cropped and grainy and rife with print damage and probably didn’t do justice to some of the more intriguing visuals, and I wouldn’t be surprised if my opinion of this goes up after watching a nicer print. (It wasn’t as bad as the copy of Seizure I watched recently, which looked like it was rescued from a soggy compost bin. If this print of Messiah of Evil was kept in a compost bin, it was at least a dry one.) Yet I still enjoyed this one a fair bit, and I think it’s a case where a low budget not only encourages ingenuity on the part of the filmmakers, but also enhances the general ambience. There’s a memorable scene where a character goes to a theatre that seems like it’s padding the runtime with its liberal use of footage from the western that character is watching (Gone with the West, starring Sammy Davis Jr. and James Caan), until you realize how gradually it’s been building dread in between those clips. But even that plays like a big shocker moment compared to the sparseness and eerie sense of quiet that pervades the rest of the film, something likely dictated by the budget but contributing to the low key yet unsettling atmosphere of the film. Characters are barely fleshed out, yet the performances are effective in their generally unforced quality, and what plot there is gets sketched out almost at its own leisure with mood taking precedence. It’s like if Jean Rollin made a film out of distinctly American imagery (and less skin), which to this viewer is not a bad thing at all.

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Tue Oct 30, 2018 12:03 pm
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