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 Horrorcram XV: Let's Scare Corrierino To Death 
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Apex Predator wrote:
Further into The Vault and you're definitely right on the missed opportunities. It's like they tried to merge two different films (bank robbery, horror) in the editing room and failed badly.


I should totally mention the last ten minutes of this because it came up with one facepalming moment after another. If it weren't for the somewhat intriguing family dynamics, this would have earned an F.


Tue Nov 13, 2018 5:26 am
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Slentert wrote:
I'm talking about the scene where

Dakota Johnson dances the lead role during a rehearsal and seemingly kills another girl (I believe she is called Olga) with her movements


That was a very chilling scene. And of course there were some people laughing loudly during that, because someone gets hurt and that's funny I guess... Sometimes horror audiences can be the worst.

People laughed during that?!
Jesus, that scene is so fucking brutal.
I would put that scene second in that film, though.


Tue Nov 13, 2018 6:31 am
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Wooley wrote:
People laughed during that?!
Jesus, that scene is so fucking brutal.
I would put that scene second in that film, though.


Now I'm curious what you would put first.

The evening was organized by BIFFF (a very popular horror film festival in Belgium) and they usually attract college kids and ironic hipsters. They're the worst.


Tue Nov 13, 2018 7:05 am
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Slentert wrote:

Now I'm curious what you would put first.

The evening was organized by BIFFF (a very popular horror film festival in Belgium) and they usually attract college kids and ironic hipsters. They're the worst.

Easily the main dance scene.


Tue Nov 13, 2018 9:07 am
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For Jennifer - The fourth found-footage flick in the uber-indie "Jennifer" series (To Jennifer, 2 Jennifer, From Jennifer). I'm a friend of the producers, so there's little point in opining, but if you are curious, I think the third one is the most accessible (since it's pitched on a less shrill, more comedic level and doesn't require knowledge of the others). This fourth one is sorta lunatic in that the writer/director tried to unify the previous three films (which are tangentially related at best) into some sort of coherent timeline and universe. Like a MCU smash-up that nobody's paying attention to. Does this flick work? Again, not a useful voice on the subject, but I admired the gumption and thought a couple individual scenes carried some good performance work from the actors. If you're okay with super-cheap found-footage flicks about people obsessed with "going viral" or "we have to make the movie, the movie's important!" try the third one and see how you're vibing.

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Tue Nov 13, 2018 4:14 pm
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-


Tue Nov 13, 2018 4:16 pm
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Wooley wrote:
Easily the main dance scene.

Yeah, I can see that.

The choreographer of Suspiria was also attending the screening. He spoke a bit about working on the movie. I can't tell you what he said cause they were speaking in French and I didn't understand shit.


Tue Nov 13, 2018 4:24 pm
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Slentert wrote:
Yeah, I can see that.

The choreographer of Suspiria was also attending the screening. He spoke a bit about working on the movie. I can't tell you what he said cause they were speaking in French and I didn't understand shit.

Hahahaha! :D

But yeah, that was the scene that really left my jaw hanging. I thought it was almost like nothing I've ever seen in a horror movie.


Tue Nov 13, 2018 9:02 pm
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For some reason I had thought that Fingerprints was a foreign horror. It is not.

The film follows a young woman named Melanie who moves with her family to a new town. Melanie and her boyfriend both OD'd, and only Melanie survived. The new town has a tragic history stemming from an incident when a schoolbus full of children was struck by a train at the town's train depot. Melanie begins to see one of the victims, Julie, around town and at the same time a mysterious killer begins knocking off locals.

This one alternated between being an okay middle-of-the-road horror and being totally, totally stupid. There were a few effective moments, such as ghostly handprints appearing in the condensation on a car's windows. But there were also some "What?!" moments, like Melanie's mother worrying that Melanie is back on drugs and then she and her husband hold Melanie down while the mother gets the biggest pair of scissors I've ever seen and cuts out a chunk of Melanie's hair screaming "A hair test is the only way to know for sure!!!". (This drug test is literally never mentioned again).

Unfortunately, the film does a pretty crappy job of setting up its secondary characters, so by the time all is said and done there is really only one suspect, maybe two. It's also very easy to guess who the killer is. Like . . . very easy.

This one is weak, but not so bad that it demands to be avoided.


Thu Nov 15, 2018 10:00 am
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I'll hammer out coherent thoughts later, but not a fan of the new Suspiria. That being said, if you're on the fence, you should go ahead and see it. It's not boring at the very least.

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Thu Nov 15, 2018 12:28 pm
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Suspiria

Image


The original Suspiria is one of my favourite horror movies, so obviously I come to this remake with some baggage. And considering that it’s a film whose greatness is defined less through any obvious narrative elements than almost purely through its direction, any new filmmaker tackling the material has their work cut out for them to surpass or present an alternate vision worthwhile enough not to bask in its shadow. I have to admit, the initial marketing was not doing much to win me over. I let out an audible “ugh” at the sight of the first promotional still showing the characters posing for a modern dance routine (which left me to explain to those around me what exactly I found so unpleasant about the image and more importantly what the hell Suspiria is and why they should care). I felt distaste after seeing the trailer and the respectable arthouse veneer the movie had been wrapped in. I wasn’t sure if I could give the movie a fair shake and appreciate it on its own terms, but figured somebody attempting to remake such a singular, towering work and putting in actual effort into the endeavour deserved my attention, so I decided to give it a shot. I’m glad that I saw it but I don’t think I liked it very much.

The good is that Guadagnino, realizing that he can’t beat Argento at his own game, doesn’t try to replicate what worked about the original and instead expands on the material. The original achieved greatness on the sheer strength of its craft, and worked on an experiential, almost first-person level, as if you were the heroine Suzy Bannion and were going through the movie along with her, traversing through Tanz Dance Academy with her footsteps and experiencing the horrifying and beautiful sights and sounds in her place. (I’m not sure if the idea has ever crossed any developers’ minds, but I suspect a terrific video game could be made from the material.) The remake shifts the viewer to a more obvious third person perspective, fleshing out the character of Suzy with the backstory of an Amish upbringing and positioning her more clearly in relation to the witches’ motives. (Spoiler alert: there are witches!) Dakota Johnson steps in for Jessica Harper (who has a cameo in a new role), and while she has more characterization to grapple with, I find her performance a mixed bag. She brings an interesting, unstable physicality, but I find many of her line deliveries too affected for her to work as an actual character.

In a similar spirit of elaboration, the characters around her feel more concrete and three-dimensional, and the film exists more firmly in a real-world context of 1970s Germany, compared to the original which worked primarily as an aesthetic object. It punctuates the proceedings with news of the political terrorism of the Baader-Meinhof Gang, drawing parallels between indoctrination in the terrorist group and in the witch coven, which I find interesting in theory but unwieldy in execution. There are also musings about gender which I don’t find cohere into anything substantial, although if your one complaint about the original is that the gaping chest wound wasn’t vaginal enough, this one might do the trick. Most offensively, the movie also throws in a Holocaust subplot. It’s one thing for your nonsense witch movie to adopt an arty style with pretenses of elevating the material, it’s another thing to use the real life horrors of the Holocaust as a shortcut to give your nonsense witch movie depth.

From the above it’s probably obvious where I stand on the movie, but I do think there are things that work in the movie. While I don’t like how the movie uses its historical context, I do think it sketches out the visual drabness of the era effectively, trading the baroque floridness of the original for a drained, chilly atmosphere. Surprisingly, given my reaction to the marketing materials, the dancing is one of my favourite things about the movie. It’s harsh and athletic, and the movie does a good job of evoking the heroine’s mania as she performs the routines and melding that intensity with a sense of visceral horror. The movie is not heavy with overt scares, but the few that are present are bracing in their bone-crunching distress. In terms of the supporting cast, Mia Goth gives an affecting performance as a fellow dancer (Sara, a role played by Stefania Casini in the original; sadly, nobody in this one suggests to her and Suzy that names which begin with the letter ’S’ are the names of snakes), and plays her role closer to the spirit of Suzy in the original, curious and sympathetic in what I found a refreshing contrast to Johnson’s stiltedness. And of course, there’s Tilda Swinton as a witch, who is as good as this movie’s version of a witch as one can be, and is probably the movie’s single greatest selling point. If the thought of Swinton playing a witch entices you, all the movie’s failings are probably worth sitting through for this inimitable pleasure.

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Sat Nov 17, 2018 12:23 pm
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Amish....Baader-Meinhof.....Holocaust.....

I'm sensing some serious MadLib inspiration here.


Sun Nov 18, 2018 2:27 am
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Rock wrote:
Suspiria

Image


The original Suspiria is one of my favourite horror movies, so obviously I come to this remake with some baggage. And considering that it’s a film whose greatness is defined less through any obvious narrative elements than almost purely through its direction, any new filmmaker tackling the material has their work cut out for them to surpass or present an alternate vision worthwhile enough not to bask in its shadow. I have to admit, the initial marketing was not doing much to win me over. I let out an audible “ugh” at the sight of the first promotional still showing the characters posing for a modern dance routine (which left me to explain to those around me what exactly I found so unpleasant about the image and more importantly what the hell Suspiria is and why they should care). I felt distaste after seeing the trailer and the respectable arthouse veneer the movie had been wrapped in. I wasn’t sure if I could give the movie a fair shake and appreciate it on its own terms, but figured somebody attempting to remake such a singular, towering work and putting in actual effort into the endeavour deserved my attention, so I decided to give it a shot. I’m glad that I saw it but I don’t think I liked it very much.

The good is that Guadagnino, realizing that he can’t beat Argento at his own game, doesn’t try to replicate what worked about the original and instead expands on the material. The original achieved greatness on the sheer strength of its craft, and worked on an experiential, almost first-person level, as if you were the heroine Suzy Bannion and were going through the movie along with her, traversing through Tanz Dance Academy with her footsteps and experiencing the horrifying and beautiful sights and sounds in her place. (I’m not sure if the idea has ever crossed any developers’ minds, but I suspect a terrific video game could be made from the material.) The remake shifts the viewer to a more obvious third person perspective, fleshing out the character of Suzy with the backstory of an Amish upbringing and positioning her more clearly in relation to the witches’ motives. (Spoiler alert: there are witches!) Dakota Johnson steps in for Jessica Harper (who has a cameo in a new role), and while she has more characterization to grapple with, I find her performance a mixed bag. She brings an interesting, unstable physicality, but I find many of her line deliveries too affected for her to work as an actual character.

In a similar spirit of elaboration, the characters around her feel more concrete and three-dimensional, and the film exists more firmly in a real-world context of 1970s Germany, compared to the original which worked primarily as an aesthetic object. It punctuates the proceedings with news of the political terrorism of the Baader-Meinhof Gang, drawing parallels between indoctrination in the terrorist group and in the witch coven, which I find interesting in theory but unwieldy in execution. There are also musings about gender which I don’t find cohere into anything substantial, although if your one complaint about the original is that the gaping chest wound wasn’t vaginal enough, this one might do the trick. Most offensively, the movie also throws in a Holocaust subplot. It’s one thing for your nonsense witch movie to adopt an arty style with pretenses of elevating the material, it’s another thing to use the real life horrors of the Holocaust as a shortcut to give your nonsense witch movie depth.

From the above it’s probably obvious where I stand on the movie, but I do think there are things that work in the movie. While I don’t like how the movie uses its historical context, I do think it sketches out the visual drabness of the era effectively, trading the baroque floridness of the original for a drained, chilly atmosphere. Surprisingly, given my reaction to the marketing materials, the dancing is one of my favourite things about the movie. It’s harsh and athletic, and the movie does a good job of evoking the heroine’s mania as she performs the routines and melding that intensity with a sense of visceral horror. The movie is not heavy with overt scares, but the few that are present are bracing in their bone-crunching distress. In terms of the supporting cast, Mia Goth gives an affecting performance as a fellow dancer (Sara, a role played by Stefania Casini in the original; sadly, nobody in this one suggests to her and Suzy that names which begin with the letter ’S’ are the names of snakes), and plays her role closer to the spirit of Suzy in the original, curious and sympathetic in what I found a refreshing contrast to Johnson’s stiltedness. And of course, there’s Tilda Swinton as a witch, who is as good as this movie’s version of a witch as one can be, and is probably the movie’s single greatest selling point. If the thought of Swinton playing a witch entices you, all the movie’s failings are probably worth sitting through for this inimitable pleasure.

Yeah, I just... I didn't receive the movie in remotely the way you did. With expectations checked at the door I let the movie unfold itself around me without ever comparing it to the original. I mean, really, after like 10 or 15 minutes I really wasn't thinking of Argento's film at all and within half an hour I had pretty much fully embraced this one. By the end it had completely won me over, especially the denouement.
I love the original Suspiria and it will be a favorite, I'm sure, for as long as I live, but I really liked this film and put it right alongside The VVitch as the new great witch movies.
At least until I see it again, which I definitely will.


Sun Nov 18, 2018 4:03 am
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I'm like 10 minutes into Thelma and really liking it. Thanks to Rumpled for recommending it!


Sun Nov 18, 2018 11:35 am
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Takoma1 wrote:
I'm like 10 minutes into Thelma and really liking it. Thanks to Rumpled for recommending it!



Yay me ;)


Sun Nov 18, 2018 11:58 pm
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Finished Thelma and really liked it.

It's on Hulu and I'd highly recommend it.

EDIT: Just to add more thoughts to the above.

Thelma follows a young woman, Thelma, who leaves for university. From the opening scenes (and an emotionally intense flashback) we understand that Thelma has an odd relationship with her parents. At first it simply seems like a case of coming from a religious background (Thelma doesn't drink, smoke, curse, etc), but as later scenes add nuance to their relationship, it becomes clear there's more to it.

At the same time, Thelma becomes enchanted by a classmate, Anja. But as Thelma reckons with her erotic desire for Anja she also begins to suffer strange seizures that are accompanied by flickering lights and other odd, telekinetic manifestations.

To begin with, I really loved the premise of the film, and specifically the way that it evokes the dark side of "magical thinking". When I was in college I experienced this in a particularly harsh way, and fortunately I happened to stumble on an article about the fact that it's not uncommon at that age. Basically (and I'm sure many people have experienced this), you start to believe that your actions impact events around you. For example, if you take the wrong number of steps walking from one building to another, then a friend falling off of their bike is your fault. I enjoyed the way that the film took this idea (which in some people can become a life-long state of delusion) and pushed it into supernatural territory. Adding to Thelma's unease is the added religious context that she is being punished for being evil.

The film wasn't about jump scares or gore. It was all atmosphere and haunting imagery. And on that front it really delivered for me. Two moments in particular were standouts for me, and in general the film is beautifully shot and very well-acted.

There were many parts that reminded me of other films: The Season of the Witch, The Other, and others, and I mostly mean that in a good way.


Mon Nov 19, 2018 1:34 am
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I should really make work of seeing Thelma. I missed it when it played in theaters (it only played for like a week out here). I kinda liked Louder than Bombs (2015) the previous movie by that director.


Mon Nov 19, 2018 5:05 am
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Slentert wrote:
I should really make work of seeing Thelma. I missed it when it played in theaters (it only played for like a week out here). I kinda liked Louder than Bombs (2015) the previous movie by that director.


I haven't seen Louder Than Bombs, but after I finished the movie I looked up the director and realized he directed both Reprise and Oslo, August 31st which I think are pretty good films, especially the latter (a heartbreaking central performance from Anders Danielsen Lie really gives it a boost).

Also, this film is the first ever time that I was pretty sure something must have been written and/or directed by a woman and it turned out that I was wrong on both fronts.


Mon Nov 19, 2018 6:39 am
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catching up on some current films on Netflix:

EMELIE sort of loses steam in the final stretch but for the first half or so goes to some disturbing places that really got under my skin. I went into it knowing nothing about the plot, so I suggest doing the same. Be forewarned that the disturbing stuff involves kids (but not physical abuse). My schoolteacher friend couldn't finish the film.

Lots of you have seen APOSTLE, I just wanted to add my name to the list of admirers. Loved it.

HOLD THE DARK is another great one. I wasn't 100% satisfied with the resolution of it all, but the ride to get there was terrific.

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Sat Nov 24, 2018 5:17 am
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Captain Terror wrote:
HOLD THE DARK is another great one. I wasn't 100% satisfied with the resolution of it all, but the ride to get there was terrific.

Agreed. Sadly, we are one of the few who didn't hate that picture.


Sat Nov 24, 2018 5:35 am
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I too loved Hold the Dark.


Sat Nov 24, 2018 8:36 am
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Takoma1 wrote:

Well, to be honest,
I think it's okay but not great. I think it stumbles trying to provide representation and ends up doing things like making a straight white girl the hero of a story involving a trans/gay/masculine/nonfeminine person being assaulted. And I don't find Sabrina herself all that interesting.


Lucy Davis is Hilda is the best, though.

Well, when you're right you're right.
The show falters fairly quickly (I think I'm on Episode 5 or 6). I was still in for a while but it's starting to be more of a slog each ep.
Unlike you, though, I suppose, I'm sticking it out because of Sabrina. I think she tentpoles the whole thing (as she's supposed to obviously) and my desire to watch her succeed no matter what keeps me going.
Two things I think are the problem here:
1. Director Lee Toland Krieger's first two episodes have really nice visual hooks and are overall well-filmed, giving a nice Michael Dougherty vibe. The following 2 episodes, the ones that lost me, were directed by some schmo. His hammy abuse of Dutch Angles lowers the proceedings and overall the episodes just lose the vibe and, honestly, end up looking like higher budget after-school specials. Fortunately, he only directs two episodes.
2. The writing isn't very good and I feel like the actors struggle a bit to make the dialogue work. Shipka, Davis, and Chance Perdomo fare best and really rise above the occasionally drecky dialogue but even Miranda Otto (a proven vet) and Richard Coyle falter a bit with how corny the lines they have to chew on are and some of the younger actors struggle.
And it's not just the dialogue. Cute, if not clever, ideas like the Devil and Daniel Webster stuff are undermined by the gap between the ambition and the product. I mean, they really botched that episode. And too often problems are solved ex machina instead of by actual cleverness, strength, or perseverance of the characters.
Still, I am completely charmed by Sabrina (if not her utter dud boyfriend, Harvey) and am sticking it out with her a bit longer and I feel like there's been a bit of an uptick in Episode 5.
I shall report back when I know more.


Sun Nov 25, 2018 1:48 am
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If you're not acquainted with the backstory behind Roar, check this out:
Image



I knew all of the stories before watching, and I half-expected that the actual film would be less interesting than its Wikipedia entry but I was mistaken. This was a very harrowing experience.
I'd put this in the same category as Freaks; as a film it fails in lots of important ways (script/acting), but the impact on the viewer can't be denied, and there's also the sense that this is something that will never happen again. The knowledge that no one died during the filming did nothing to lessen the feeling that I was watching a Faces of Death entry. I say this having never watched any of those, as I have no stomach for real animal attack footage. And yet here we have a film that consists of an hour and a half of -basically- real animal attack footage. Watching Marshall getting repeatedly tackled Polamalu-style by adult lions was hard enough to sit through, but watching baby-faced teen Melanie Griffith with a lion's mouth around her waist felt like child endangerment. The most disturbing part for me might've been the folk-song-encrusted feel-good ending, the message of which seemed to be that we can peacefully coexist with these animals simply by offering them an occasional hug. It's a miracle that this project didn't result in a Grizzly Man ending.
This made me incredibly tense, but I definitely recommend it to those of you that are attracted to such things.

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Sun Nov 25, 2018 10:11 am
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Captain Terror wrote:
If you're not acquainted with the backstory behind Roar, check this out:
Image



I knew all of the stories before watching, and I half-expected that the actual film would be less interesting than its Wikipedia entry but I was mistaken. This was a very harrowing experience.
I'd put this in the same category as Freaks; as a film it fails in lots of important ways (script/acting), but the impact on the viewer can't be denied, and there's also the sense that this is something that will never happen again. The knowledge that no one died during the filming did nothing to lessen the feeling that I was watching a Faces of Death entry. I say this having never watched any of those, as I have no stomach for real animal attack footage. And yet here we have a film that consists of an hour and a half of -basically- real animal attack footage. Watching Marshall getting repeatedly tackled Polamalu-style by adult lions was hard enough to sit through, but watching baby-faced teen Melanie Griffith with a lion's mouth around her waist felt like child endangerment. The most disturbing part for me might've been the folk-song-encrusted feel-good ending, the message of which seemed to be that we can peacefully coexist with these animals simply by offering them an occasional hug. It's a miracle that this project didn't result in a Grizzly Man ending.
This made me incredibly tense, but I definitely recommend it to those of you that are attracted to such things.


I love this movie.


Sun Nov 25, 2018 10:35 am
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crumbsroom wrote:

I love this movie.

:up:
The last sentence of my post was written with you in mind.

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Sun Nov 25, 2018 10:49 am
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Roar is definitely an oddity, but I don't think it's a very good movie. It's like a failed Disney family adventure. That was the intention, I guess. Instead, it became this horrifically irresponsible home movie.


Sun Nov 25, 2018 5:07 pm
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Thanks to Joe Bob Briggs I have more of a appreciation for The Hills Have Eyes than I did before.

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Sun Nov 25, 2018 5:26 pm
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Captain Terror wrote:
If you're not acquainted with the backstory behind Roar, check this out:
Image



I knew all of the stories before watching, and I half-expected that the actual film would be less interesting than its Wikipedia entry but I was mistaken. This was a very harrowing experience.
I'd put this in the same category as Freaks; as a film it fails in lots of important ways (script/acting), but the impact on the viewer can't be denied, and there's also the sense that this is something that will never happen again. The knowledge that no one died during the filming did nothing to lessen the feeling that I was watching a Faces of Death entry. I say this having never watched any of those, as I have no stomach for real animal attack footage. And yet here we have a film that consists of an hour and a half of -basically- real animal attack footage. Watching Marshall getting repeatedly tackled Polamalu-style by adult lions was hard enough to sit through, but watching baby-faced teen Melanie Griffith with a lion's mouth around her waist felt like child endangerment. The most disturbing part for me might've been the folk-song-encrusted feel-good ending, the message of which seemed to be that we can peacefully coexist with these animals simply by offering them an occasional hug. It's a miracle that this project didn't result in a Grizzly Man ending.
This made me incredibly tense, but I definitely recommend it to those of you that are attracted to such things.

You see, Disney, you could've easily made a live-action Lion King with actual lions...


Sun Nov 25, 2018 7:54 pm
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good gracious, Roar sounds so ill-advised it's almost hilarious (though maybe as a Simpsons-esque gag, not as a real-life movie production).


Sun Nov 25, 2018 9:49 pm
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Oxnard Montalvo wrote:
good gracious, Roar sounds so ill-advised it's almost hilarious (though maybe as a Simpsons-esque gag, not as a real-life movie production).

Not only was it a bad idea, it was poorly executed. The intended message was one of admiration for the cats, but the result is an hour and 20 minutes of carnage followed by 10 minutes of the family learning to love the cats that almost mauled them. This doesn't happen organically, it's just a complete left turn. We go from "He's eating me!" to "Aw, he just wants to cuddle" in a matter of minutes. Knowing that Marshall and Hedren were actually living with some of these cats and were involved in conservation efforts, it makes me wonder why they included the violence and didn't just make a feel-good family movie to begin with. It's like Spielberg making Jaws because he wanted people to like sharks more.
On the plus side, the film does serve to illustrate the power of these animals. Two adult male lions having a fight is frickin' terrifying. (Also, watching an elephant turn a boat into tin foil in real time was quite an eye-opener.)

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Sun Nov 25, 2018 10:44 pm
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Captain Terror wrote:
Knowing that Marshall and Hedren were actually living with some of these cats and were involved in conservation efforts, it makes me wonder why they included the violence and didn't just make a feel-good family movie to begin with.


maybe they felt 'When Animals Attack!' would get a larger audience than a gentler premise (after which they can hit 'em with the conservation stuff). this being a post-Jaws film after all.


Sun Nov 25, 2018 11:16 pm
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Oxnard Montalvo wrote:

maybe they felt 'When Animals Attack!' would get a larger audience than a gentler premise (after which they can hit 'em with the conservation stuff). this being a post-Jaws film after all.

Filming began in 1976, so that's probably the case.

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Sun Nov 25, 2018 11:30 pm
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I guess I have to see Roar! now.

EDIT: I thought that was going to be bigger.

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Mon Nov 26, 2018 6:53 am
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Rock wrote:
I guess I have to see Roar! now.

EDIT: I thought that was going to be bigger.

That's what she said


Mon Nov 26, 2018 7:08 am
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Rock wrote:
I guess I have to see Roar! now.

EDIT: I thought that was going to be bigger.

https://www.youtube.com/watch?v=wiJ0qQcN0w4

^Nice version on Youtube ^

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Mon Nov 26, 2018 7:11 am
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ThatDarnMKS wrote:
That's what she said

Inappropes!

But yes.

:(

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Mon Nov 26, 2018 7:18 am
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Captain Terror wrote:

Thank you, kind sir. Will probably check this out in a few days.

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Mon Nov 26, 2018 7:21 am
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Jinnistan wrote:
Roar is definitely an oddity, but I don't think it's a very good movie.


Thankfully, it's a movie that doesn't really need to be good. It's a geek show. You watch it to gawk at its sheer perversity. The tension in the movie is never derived from the filmmaker being in control, but instead, him clearly losing control of what is happening on screen. A decent director couldn't help but create the illusion that it was just a movie, and all of the danger was some kind of misdirection or manipulation. This movie though feels like it is under constant attack. Because it is. And it is all sort of horrifying as a result, in spite of the fact that much of it seems like a third rate Disney movie of the week.


Mon Nov 26, 2018 7:55 am
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What We Do in the Shadows is now my favorite film of 2014.

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Mon Nov 26, 2018 8:45 am
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crumbsroom wrote:
The tension in the movie is never derived from the filmmaker being in control, but instead, him clearly losing control of what is happening on screen. A decent director couldn't help but create the illusion that it was just a movie, and all of the danger was some kind of misdirection or manipulation.

Exactly, I didn't know how to verbalize that but yes. It's about those moments when an actor is attempting to recite his lines and involuntarily flinches at the approach of a lion. You can't fake that, and the audience flinches along with him. I spent 2/3 of the film wincing.

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Mon Nov 26, 2018 10:09 am
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The Hill House TV show on Netflix is really, really good... to a point. Whenever it's operating on its own wavelength and honoring the original in spirit, it feels convincing and psychologically real and adult-targeted and handsome. And often very scary. But whenever it deliberately reaches back to the original, citing key lines, images, and moments, it feels less convincing. You realize it doesn't have the grace and quiet whimsy of Jackson's first-person narration in the original, and weirder still, it often jams dialogue from Eleanor Vance into the mouths of many different people, few of whom plausibly share her specific brand of scattered, whimsical wishfulness.

Nowhere is this more evident than in the final narration of the final episode, which is mind-bogglingly out of place and infuriated me with its revisionism. I accept that this project is at its core a remix of the original work, creating a unique narrative with similar names and circumstances, but I can't accept how that final narration (and the final episode in general) rejects the harshness of the original novel (and film) for something much more cloying.

You do not fuck with the opening/closing lines of what's arguably the best horror novel of all time. You just don't. You either omit or include. Because your changes will be worse. "Whatever walked there... walked together"? Are you kidding me? Ugh.


Look, it's a show worth watching, with a few episodes that really knocked my socks off, in particular the three-episode run of "The Twin Thing," "The Bent-Neck Lady," and "Two Storms." Flanagan is still probably the current horror director to beat for generating tension the old-fashioned way, through building character psychology and opposite forces and then letting the camera roam with heroes. In a lot of ways, this flick is a ten-episode elaboration on the time-twisted terror of Oculus. The performances convince, and it's great to see quiet vets like Henry Thomas, Carla Gugino, and Timothy Hutton grounding the action. Gugino especially. The cast of kids works almost as well. And a few jump scares earn their jumps and made me gasp (a sequence in a basement, one during an argument in a car). I'm not sure what to make of the decision to hide ghosts in the background like the show's a Where's Waldo book; cool in theory, but risks turning the narrative into a sorta tacky game.

Ah, jeez, I feel like it could've been great but for a few key choices. But "strong" with occasional moments of excellence isn't a scathing judgment.

It's better than Owen Wilson muttering, "These carvings sure are creepy!"

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Mon Nov 26, 2018 4:01 pm
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DaMU wrote:
The Hill House TV show on Netflix is really, really good... to a point. Whenever it's operating on its own wavelength and honoring the original in spirit, it feels convincing and psychologically real and adult-targeted and handsome. And often very scary. But whenever it deliberately reaches back to the original, citing key lines, images, and moments, it feels less convincing. You realize it doesn't have the grace and quiet whimsy of Jackson's first-person narration in the original, and weirder still, it often jams dialogue from Eleanor Vance into the mouths of many different people, few of whom plausibly share her specific brand of scattered, whimsical wishfulness.

Nowhere is this more evident than in the final narration of the final episode, which is mind-bogglingly out of place and infuriated me with its revisionism. I accept that this project is at its core a remix of the original work, creating a unique narrative with similar names and circumstances, but I can't accept how that final narration (and the final episode in general) rejects the harshness of the original novel (and film) for something much more cloying.

You do not fuck with the opening/closing lines of what's arguably the best horror novel of all time. You just don't. You either omit or include. Because your changes will be worse. "Whatever walked there... walked together"? Are you kidding me? Ugh.


Look, it's a show worth watching, with a few episodes that really knocked my socks off, in particular the three-episode run of "The Twin Thing," "The Bent-Neck Lady," and "Two Storms." Flanagan is still probably the current horror director to beat for generating tension the old-fashioned way, through building character psychology and opposite forces and then letting the camera roam with heroes. In a lot of ways, this flick is a ten-episode elaboration on the time-twisted terror of Oculus. The performances convince, and it's great to see quiet vets like Henry Thomas, Carla Gugino, and Timothy Hutton grounding the action. Gugino especially. The cast of kids works almost as well. And a few jump scares earn their jumps and made me gasp (a sequence in a basement, one during an argument in a car). I'm not sure what to make of the decision to hide ghosts in the background like the show's a Where's Waldo book; cool in theory, but risks turning the narrative into a sorta tacky game.

Ah, jeez, I feel like it could've been great but for a few key choices. But "strong" with occasional moments of excellence isn't a scathing judgment.

It's better than Owen Wilson muttering, "These carvings sure are creepy!"


I think we're in pretty close agreement on this one. I really disliked the final episode a great deal and it felt like the worst impulses of the show snowballed together. I think it forgot what kind of horror it was setting up the whole run of the show and tried to get too cute and clever for its own good.


Tue Nov 27, 2018 7:47 am
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ThatDarnMKS wrote:
I think we're in pretty close agreement on this one. I really disliked the final episode a great deal and it felt like the worst impulses of the show snowballed together. I think it forgot what kind of horror it was setting up the whole run of the show and tried to get too cute and clever for its own good.


It's very strange that the final episode does what it does and communicates what it communicates in light of what it's been up to that point.

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Tue Nov 27, 2018 10:38 am
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Quick someone answer...

I'm watching the new Halloween

In about an hour, where does it actually take place from in the franchise and what films have been eradicated from history?


Fri Nov 30, 2018 10:14 am
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Too late... i'm going in


Fri Nov 30, 2018 10:34 am
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Rumpled wrote:
Too late... i'm going in

All but the first are no longer cannon.


Fri Nov 30, 2018 11:10 am
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Rumpled wrote:
Quick someone answer...

I'm watching the new Halloween

In about an hour, where does it actually take place from in the franchise and what films have been eradicated from history?

Only the first film occurred before this one.


Fri Nov 30, 2018 11:57 am
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Only Halloween 4 is canon.

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Fri Nov 30, 2018 12:46 pm
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Canon to the right of them, canon to the left of them...

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Fri Nov 30, 2018 2:20 pm
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Rock wrote:
Canon to the right of them, canon to the left of them...
Image

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Fri Nov 30, 2018 3:15 pm
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