Horrorcram XV: Let's Scare Corrierino To Death

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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by DaMU » Mon May 11, 2020 5:35 am

The pan in the rec room to the wall of guns is magnificent. Reba double-fisting pistols. Flare + elephant gun. The film does fantastic work with front projection and miniatures to sell its special effects. God damn it, what a fun movie.

Holy crap, the flick does a Raimi demon-cam effect with Nestor's death that starts at ground level, smacks into a bush (to hide a cut), and then stutters up to the brat boy on the tin shed roof.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by Deschain13 » Mon May 11, 2020 5:45 am

DaMU wrote:
Mon May 11, 2020 5:35 am
The pan in the rec room to the wall of guns is magnificent. Reba double-fisting pistols. Flare + elephant gun. The film does fantastic work with front projection and miniatures to sell its special effects. God damn it, what a fun movie.

Holy crap, the flick does a Raimi demon-cam effect with Nestor's death that starts at ground level, smacks into a bush (to hide a cut), and then stutters up to the brat boy on the tin shed roof.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by MadMan » Mon May 11, 2020 5:46 am

Wooley wrote:
Sun May 10, 2020 5:46 am
Rewatched Silence Of The Lambs.
You guys are crazy. Nowhere near a horror movie. Less so than I even remembered. Straight up thriller with a great villain.
Eh I counted it as such the last time I made my Top 100 Horror films list.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by MadMan » Mon May 11, 2020 5:51 am

Tremors rules, Deep Rising sucks and I didn't get the ending to Under the Skin but I dug the rest of the movie.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by MadMan » Mon May 11, 2020 5:53 am

I made a Top 20 1990s Horror list on Twitter with gifs. No one read it.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by Stu » Mon May 11, 2020 5:55 am

Regarding the discussion on Lambs, former poster Willow posted a really nice article on it and "The Intuitive Feminism of Jonathan Demme" that I feel would be worth your time to read:
If Clarice Starling is to face all the evil of a patriarchal world then the characterization of Buffalo Bill complicates and endangers the film. Bill is coded as a transsexual, but in the text of the film Clarice and Lecter toss this aside with a cute, but rather inaccurate description of transgender people as “docile and non-violent.” Tell that to the cops at Stonewall. Bill has asked for sex reassignment surgery, but has been denied by many doctors for not qualifying under their guidelines, which in turn is a rather nimble way of discussing the stigma within the medical community of transgender bodies and medically necessary treatment. In the rather famous tucking sequence set to the song “Goodbye Horses,” Bill’s body is framed as something monstrous, crossing the line between femininity and masculinity despite being in alignment with true-to-life transgender bodies to a degree. Bill prances and whispers before we see his Rocky Horror lips in close up utter the morbidly hilarious line, “Would you fuck me? I’d fuck me.”

It’s altogether shocking, like opening the apartment door in Blue Velvet and entering into territory that we were never supposed to see. If Bill is a trans woman then The Silence of the Lambs feminist intentions are damned to a degree, but there’s something within the characterization of Bill that strikes me as sympathetic rather than truly vile. He is very obviously a monster, but he has looked for help in the only way he knew how to by seeking psychiatric counseling and gendered medical transition before being denied for both. Was he driven towards these actions by society’s misunderstanding of transgender bodies or was he always evil? The film never comes to a definitive conclusion on these questions. Bill is an enigma that I’ve never quite been able to figure out. He’s a curiosity with some level of hidden depth among all the bloodshed (which is only ever implied, not shown). He’s akin to Anthony Perkins in Psycho with his deep-seated secrets and confused reactionary violence rather than the blanket evil of most serial killer examinations in cinema.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by Wooley » Mon May 11, 2020 6:28 pm

MadMan wrote:
Mon May 11, 2020 5:53 am
I made a Top 20 1990s Horror list on Twitter with gifs. No one read it.
Aw, that sucks. I'd read it if I had Twitter.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by ThatDarnMKS » Mon May 11, 2020 6:31 pm

MadMan wrote:
Mon May 11, 2020 5:53 am
I made a Top 20 1990s Horror list on Twitter with gifs. No one read it.
I'm convinced no one reads anything on Twitter unless it's connected to a checkmark account.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by Popcorn Reviews » Mon May 11, 2020 6:36 pm

MadMan wrote:
Mon May 11, 2020 5:53 am
I made a Top 20 1990s Horror list on Twitter with gifs. No one read it.
Could I have a link to it? I'll read it.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by Wooley » Mon May 11, 2020 6:56 pm

Stu wrote:
Mon May 11, 2020 5:55 am
Regarding the discussion on Lambs, former poster Willow posted a really nice article on it and "The Intuitive Feminism of Jonathan Demme" that I feel would be worth your time to read:
Yeah, Bill is an interesting character, aside from Clarice and the feminist nods in the film (which I thought were quite good for the time on this re-viewing the other night).
I've been spending a lot of time lately reviewing the differences between psychopaths and sociopaths and then there's the question of Bill's confused sexuality, so what is he? Probably a sociopath (made not born)? We don't really know. But for all of Bill's attempts at self-help, make no mistake, his over-riding pathology is the socio/psycho path for sure. If he had been granted gender reassignment he still would have had his disorder and he still likely would have harmed or killed people.
The obvious path to understanding him is to read about the retrospective psychoanalysis of Ed Gein, right? Which I have not done because I'm actually not interested in serial killers, I'm interested in psychopaths and sociopaths (and narcissists) who live and function in our day to day world. Apparently Gein was diagnosed with schizophrenia, but psychiatric diagnosis then was a much blunter tool then than it is today and the classifications for these disorders have been refined multiple times since Gein was diagnosed. There is lots of retrospective diagnosis out there, and it gets pretty complicated. Gein apparently admitted that he knew it was wrong to kill these women. In psychopathy and sociopathy, the principal does not have an internal sense of right and wrong but that doesn't mean they can't say that they knew something was wrong in terms of societal definitions. They just didn't have any feeling about it. And in fact may get more pleasure out of flouting it. What they lack is not knowledge or understanding it's empathy and feeling. So the question is, did Bill have empathy and feeling for and about other people?
There is one moment, just a couple of seconds really, when we see that he might. "Put the fuckin' lotion in the basket!" Is there a hint there that Catherine's pleas start to reach him and he has to scream her down? Or is he simply frustrated that she is not obeying and that her screaming is grating at his fragile psyche?
I don't think we ever really know. Does Bill have schizophrenia like Gein? One suspects but it's probably not totally clear. Are the tools of psychiatry and psychology yet sharp enough to define these people? I honestly don't know.

One more thing I will say. While the "butterfly scene", as I dubbed it years ago, for my own reference, the scene when Lt. Boyle is eviscerated and hung up with his arms out and the odd red white and blue cloth draped under them making them appear as wings (what the fuck was Demme doing with the red white and blue cloth there? What would it be doing there?) is often cited as the scene that turns the movie toward Horror, I would disagree. It is a shocker for sure but the way that it is shot and the score that accompanies it really keeps it grounded within the framework of a Thriller, just one that steps further than most have into the grisly. The Horror scene in the movie is Bill in the mirror. That scene and the time in his basement lair are the only times in the film when the movie felt like it could be Horror. But especially that scene even that one shot when he not only tucks his penis back to become a woman but also spreads his "wings" to become, a word that is stressed in the film. That is the moment that he sees himself as what he feels he truly is and it is the first glimpse that the audience gets of him as something more than just a psychopath, he really seems like a monster. I thought it was a special moment and if anyone wants to make the case with me (and I now everyone's sick of it by now, so...) that this movie is a Horror movie, start with that shot.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by Wooley » Mon May 11, 2020 6:57 pm

ThatDarnMKS wrote:
Mon May 11, 2020 6:31 pm
I'm convinced no one reads anything on Twitter unless it's connected to a checkmark account.
I just found out what a checkmark account is a few days ago.
Because someone was saying exactly what you just said.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by Takoma1 » Mon May 11, 2020 8:27 pm

Wooley wrote:
Mon May 11, 2020 6:56 pm
The obvious path to understanding him is to read about the retrospective psychoanalysis of Ed Gein, right? Which I have not done because I'm actually not interested in serial killers, I'm interested in psychopaths and sociopaths (and narcissists) who live and function in our day to day world.
I would highly recommend that you read The Wisdom of Psychopaths if you haven't already. It's an interesting text that posits that psychopathy (absent violent inclinations) is very present in many corners of society and can even be beneficial/necessary (ie if a boat is sinking because it is overloaded, it's the psychopath on board who will throw someone off to save the rest).

I'd also recommend the 90s TV show Profit, in which the main character is certainly a psychopath in the very literal definition of the term--he makes all of his decisions based on a cold cost/benefit analysis.'
'
You could probably make a really good case for someone like Bill being a psychopath. He has a goal in mind (to "become"--and this becoming seems to be more than just a basic male-to-female transition), he first pursues it through legal, socially-acceptable means. When these avenues are closed to him, he pursues other means. His kidnapping of the women is not for the purpose of harming them or enjoying their suffering, but rather as a means to an end.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by Wooley » Mon May 11, 2020 8:42 pm

Takoma1 wrote:
Mon May 11, 2020 8:27 pm
I would highly recommend that you read The Wisdom of Psychopaths if you haven't already. It's an interesting text that posits that psychopathy (absent violent inclinations) is very present in many corners of society and can even be beneficial/necessary (ie if a boat is sinking because it is overloaded, it's the psychopath on board who will throw someone off to save the rest).

I'd also recommend the 90s TV show Profit, in which the main character is certainly a psychopath in the very literal definition of the term--he makes all of his decisions based on a cold cost/benefit analysis.'
'
You could probably make a really good case for someone like Bill being a psychopath. He has a goal in mind (to "become"--and this becoming seems to be more than just a basic male-to-female transition), he first pursues it through legal, socially-acceptable means. When these avenues are closed to him, he pursues other means. His kidnapping of the women is not for the purpose of harming them or enjoying their suffering, but rather as a means to an end.
That sounds really interesting, I'll look for it. There are definitely lots of psychopaths and sociopaths around. I've met some and obviously there are many in the corridors of power.
As for Bill, was he born with it or not. If he was then he could be called a psychopath but if he was born with normal empathy and was shaped through abuse and childhood trauma then he's wouldn't qualify as a psychopath and we'd have to start parsing whether or not he is a sociopath. If he does have empathy then he can't really be either.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by Rock » Tue May 12, 2020 2:52 am

Wrote something on the blog about Don't Go in the Woods. Thar be slight spoilers.
More than competent filmmaking, what I really value in first wave slashers is a sense of texture. It sounds intangible, but there’s a kind of roughness that emerges from low budgets and pitiless violence that gives these movies a distinct kind of tension that’s hard to find in other genres. Don’t Go in the Woods is not a well made movie in most respects, but it has texture in spades. It captures the proceedings in an off the cuff anti-style that seems allergic to playing up tension in any traditional sense and instead leans into the fundamentals of the premise and production circumstances to evoke suspense with an almost documentarian quality. Most of the action takes place in broad daylight, using almost none of the darkness and shadows that more accomplished horror films rely on, and the soundtrack clumsily assaults our eardrums with its discordant synthesizers. The murders are captured through matter of fact camerawork and abrupt editing that, perhaps intending to hide special effects that weren’t quite up to snuff, gives them a strangely elliptical quality. (There is at least one memorably nasty kill involving a bear trap that should help sate gorehounds.)

The story can be characterized generously as minimalist, with the movie depending on its hostile forest setting to do much of the heavy lifting in keeping the audience on edge. A group of friends go camping in the woods, where a feral mountain man (think Papa Jupiter from The Hills Have Eyes but with less personality and a similar indifference to hygiene) is going around killing people who cross his path. There isn’t much in the way of characterization, except depicting the sheriff who sends his people to search for the killer as lazy and useless, although there is some novelty in the way of having both a final girl and a final guy. The latter is introduced as almost a diva, bitching endlessly about how uncomfortable he is during their trip (apparently soiling himself after being startled by another hiker in an early scene), only to become more traditionally masculine as he steps into the hero’s role. The heroines also have fairly masculine hairdos and seem a lot more in their element in the wilderness, which also ties into this gender-bent reading. Another point of contrast with other slashers is the relative absence of sex in the movie, with only one aborted coupling in a van between characters outside of the main group, so that the killings seem fairly unmotivated and free of the moralizing that can be read into a lot of slasher movie violence.

The closing images provide a bit of explanation, showing a recently orphaned child (whose mother had been offed by the killer in a scene depicted on the poster) chopping playfully with an axe, suggesting that the villain’s capacity for violence developed from similar origins. This is followed by a song that plays over the end credits that like the title warns you not to go in the woods due to the likelihood that bad things will happen to you. Compared to how flat much of the movie might seem, the tongue-in-cheek quality of the closing song might seem out of place, but I think the production and release history clues us into the kind of the movie it really is. It was made a pretty marginal budget (which is readily apparent on screen) and, before finding some notoriety as a video nasty, only played a handful of theatres in the Salt Lake City area. You can tell from the affectless line readings that most of the actors were not professionals. These are things that might seem off putting to viewers looking for a traditionally well executed horror movie, but I think give it a charming handmade quality. Like I said, this movie has a distinct feeling, a tactility that can be harder to achieve with more polish, and despite the lack of technique involved, its basic building blocks sidestep into effective horror.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by Torgo » Tue May 12, 2020 3:04 am

Another spoiler: They go in to the woods.
Oops, forgot the tags.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by Rock » Tue May 12, 2020 3:33 am

Torgo wrote:
Tue May 12, 2020 3:04 am
Another spoiler: They go in to the woods.
Oops, forgot the tags.
Spoiler alert: They were in the woods the whole time.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by Takoma1 » Tue May 12, 2020 3:33 am

Torgo wrote:
Tue May 12, 2020 3:04 am
Another spoiler: They go in to the woods.
Oops, forgot the tags.
Another misleading Hollywood title. I guess I'm glad you spoiled that plot twist. Now I can go in with adjusted expectations.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by Popcorn Reviews » Tue May 12, 2020 5:49 am

Rock wrote:
Tue May 12, 2020 2:52 am
Wrote something on the blog about Don't Go in the Woods. Thar be slight spoilers.
More than competent filmmaking, what I really value in first wave slashers is a sense of texture. It sounds intangible, but there’s a kind of roughness that emerges from low budgets and pitiless violence that gives these movies a distinct kind of tension that’s hard to find in other genres. Don’t Go in the Woods is not a well made movie in most respects, but it has texture in spades. It directs the proceedings in an off the cuff anti-style that seems allergic to playing up tension in any traditional sense and instead leans into the fundamentals of the premise and production circumstances to evoke suspense with an almost documentarian quality. Most of the action takes place in broad daylight, using almost none of the darkness and shadows that more accomplished horror films rely on, and the soundtrack clumsily assaults our eardrums with its discordant synthesizers. The murders are captured through matter of fact camerawork and abrupt editing that, perhaps intending to hide special effects that weren’t quite up to snuff, gives them a strangely elliptical quality. (There is at least one memorably nasty kill involving a bear trap that should help sate gorehounds.)

The story can be characterized generously as minimalist, with the movie depending on its hostile forest setting to do much of the heavy lifting in keeping the audience on edge. A group of friends go camping in the woods, where a feral mountain man (think Papa Jupiter from The Hills Have Eyes but with less personality and a similar indifference to hygiene) is going around killing people who cross his path. There isn’t much in the way of characterization, except depicting the sheriff who sends his people to search for the killer as lazy and useless, although there is some novelty in the way of having both a final girl and a final guy. The latter is introduced as almost a diva, bitching endlessly about how uncomfortable he is during their trip (apparently soiling himself after being startled by another hiker in an early scene), only to become more traditionally masculine as he steps into the hero’s role. The heroines also have fairly masculine hairdos and seem a lot more in their element in the wilderness, which also ties into this gender-bent reading. Another point of contrast with other slashers is the relative absence of sex in the movie, with only one aborted coupling in a van between characters outside of the main group, so that the killings seem fairly unmotivated and free of the moralizing that can be read into a lot of slasher movie violence.

The closing images provide a bit of explanation, showing a recently orphaned child (whose mother had been offed by the killer in a scene depicted on the poster) chopping playfully with an axe, suggesting that the villain’s capacity for violence developed from similar origins. This is followed by a song that plays over the end credits that like the title warns you not to go in the woods due to the likelihood that bad things will happen to you. Compared to how flat much of the movie might seem, the tongue-in-cheek quality of the closing song might seem out of place, but I think the production and release history clues us into the kind of the movie it really is. It was made a pretty marginal budget (which is readily apparent on screen) and, before finding some notoriety as a video nasty, only played a handful of theatres in the Salt Lake City area. You can tell from the affectless line readings that most of the actors were not professionals. These are things that might seem off putting to viewers looking for a traditionally well executed horror movie, but I think give it a charming handmade quality. Like I said, this movie has a distinct feeling, a tactility that can be harder to achieve with more polish, and despite the lack of technique involved, its basic building blocks sidestep into effective horror.
I did wish that some of the fighting/kill scenes were easier to follow, but overall, I enjoyed my time with this one.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by DaMU » Tue May 12, 2020 5:55 am

Rock wrote:
Tue May 12, 2020 3:33 am
Spoiler alert: They were in the woods the whole time.
Very serious spoiler:
The real woods were the friends they made along the way.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by Torgo » Tue May 12, 2020 12:22 pm

Good news: TCM is doing a little Stuart Gordon tribute this weekend. They're playing From Beyond and Dolls.
Bad news: They're airing on Saturday, 5/16 at 2:00 AM and 3:30 AM, so set your DVRs.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by Captain Terror » Tue May 12, 2020 8:26 pm









Had myself a Triple Feature from director Ray Danton this weekend. I thoroughly enjoyed all three of them. None of these films are "Good".
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by ThatDarnMKS » Tue May 12, 2020 10:26 pm

The NOES remake was neither as terrible as I remembered nor half as good as it should've been. It had some ideas but not nearly enough of them to merit it's existence and it wastes a surprisingly strong cast.

Thoroughly middling, which may be the worst thing a slasher film can be but I felt no passionate dislike. It just... Is.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by Popcorn Reviews » Wed May 13, 2020 5:21 am

I kind of loved Sleepaway Camp. After I finished it, I wasn't too impressed with it (I already knew about the twist ending from reading an article a couple years back), but the more I thought about the implications the ending brought to the film, the more complex and nuanced it felt.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by Wooley » Wed May 13, 2020 5:43 am

ThatDarnMKS wrote:
Tue May 12, 2020 10:26 pm
The NOES remake was neither as terrible as I remembered nor half as good as it should've been. It had some ideas but not nearly enough of them to merit it's existence and it wastes a surprisingly strong cast.

Thoroughly middling, which may be the worst thing a slasher film can be but I felt no passionate dislike. It just... Is.
I fucking hated it.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by ThatDarnMKS » Wed May 13, 2020 7:23 am

Wooley wrote:
Wed May 13, 2020 5:43 am
I fucking hated it.
I strongly disliked it the first time. This time it's just... Meh.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by MadMan » Wed May 13, 2020 7:51 am

Popcorn Reviews wrote:
Mon May 11, 2020 6:36 pm
Could I have a link to it? I'll read it.
I tweet so much it is lost. I'll just remake the list and post it here. I welcome more recs because I like 1990s horror more than most.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by MadMan » Wed May 13, 2020 7:52 am

ThatDarnMKS wrote:
Mon May 11, 2020 6:31 pm
I'm convinced no one reads anything on Twitter unless it's connected to a checkmark account.
Eh sometimes people read my tweets. Sometimes.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by MadMan » Wed May 13, 2020 7:53 am

Torgo wrote:
Tue May 12, 2020 12:22 pm
Good news: TCM is doing a little Stuart Gordon tribute this weekend. They're playing From Beyond and Dolls.
Bad news: They're airing on Saturday, 5/16 at 2:00 AM and 3:30 AM, so set your DVRs.
Sounds like it is TCM Underground, which I have been a fan of for years. I miss TCM.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by ThatDarnMKS » Wed May 13, 2020 7:55 am

MadMan wrote:
Wed May 13, 2020 7:52 am
Eh sometimes people read my tweets. Sometimes.
Lucky.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by MadMan » Wed May 13, 2020 8:10 am

My Top 20 Horror Films of the 90s list:
1. Lost Highway (1997)
2. Dead/Alive (1992)
3. Cemetery Man (1994)
4. Perfect Blue (1998)
5. Twin Peaks: Fire Walk with Me (1992)
6. The Exorcist III (1990)
7. In the Mouth of Madness (1994)
8. The Silence of the Lambs (1991)
9. Candyman (1992)
10. Tales from the Crypt Presents: Demon Knight (1995)
11. Cronos (1993)
12. The Addiction (1995)
13. Ghostwatch (1992)
14. Dust Devil (1992)
15. Scream (1996)
16. Sleepy Hollow (1999)
17. Arachnophobia (1990)
18. Event Horizon (1997)
19. Army of Darkness (1993)
20. Ravenous (1999)
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by Popcorn Reviews » Wed May 13, 2020 9:57 pm

Wrote some more on Sleepaway Camp on Discord. I'll copy and paste my thoughts here:
Before the ending happens, this film feels like a really sub-par slasher with very little in the way of scares. After you see that Angela is the killer though and that "she" was actually the boy who survived the boating accident at the start, many segments take on far greater implications the more you think about them. There's so much to unpack from this moment beyond the initial surprise of it. For instance, the first thing one would notice was that all the people who were killed or injured all tried to sexually abuse or bully Angela. First, Angela takes her anger out on the chef who tries to sexually assault her. As the film goes on though, her acts of revenge get more and more questionable, given how she eventually axes a group of kids to death simply for throwing sand at her once. Due to this, we get to the sense of an already emotionally scarred child who takes her anger out on other people due to not knowing how to process it. Her time at the camp only escalates her already existing troubles. The instances of her staring at many people who eventually become her victims take on far greater implications as we get the sense that she's thinking about offing them. When rewatching this film, one would see that the many instances of bullying, which initially feel like bloat, becomes the central fabric of the film considering that it's in the foreground of the film while the actual kills are mostly left in the background.

Now we have her relationship with Paul.

There's a lot to gather out of this sub-plot considering the knowledge that Angela is actually a boy. As we see in a flashback when Paul kisses her, her dad was gay himself as she saw him and his friend in bed together. When we see Angela's and Paul's relationship escalating, we get the sense that she's afraid of what this could mean since she's likely confused on her sexuality at that point. Seeing him fall for her and seeing her reactions to it, we see her desperately trying to make sense of the situation. After all, her memory of her dad likely complicated this. And, concerning her age, she might still be confused on her sexuality. When she encounters him at the end by the beach, I don't think her goal was to kill him from the start. Considering that Angela is naked when we see her, it becomes apparent that she was seeing if he'd still like her despite the fact that she has a penis. Due to her experience with her dad, she decided to throw all caution to the wind and hope for the best. While we don't see how Paul reacted to her, there's all kinds of implications that scene gave to the film. Maybe she killed him because he was disgusted when he saw what gender she really was or maybe he bullied her as well once seeing that. Maybe her intention was to not kill him as long as he still liked her for who she was with the reveal and, since that didn't happen, that was why he was killed. These implications give this moment so much emotional power and the ending, while initially horrifying and surprising for a first time viewer who goes in with no knowledge of the ending, also feels tragic once you think about it. The ending is just a perfect horror moment in every way for this reason as there's so much depth it gives the film. It lets you know that the film you were initially mixed on is actually really complex and nuanced.
So, in short, while Sleepaway Camp is a pretty okay mystery driven slasher for a first time viewer, it becomes a powerful character driven slasher the second time around.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by Popcorn Reviews » Wed May 13, 2020 9:59 pm

MadMan wrote:
Wed May 13, 2020 8:10 am
My Top 20 Horror Films of the 90s list:
1. Lost Highway (1997)
2. Dead/Alive (1992)
3. Cemetery Man (1994)
4. Perfect Blue (1998)
5. Twin Peaks: Fire Walk with Me (1992)
6. The Exorcist III (1990)
7. In the Mouth of Madness (1994)
8. The Silence of the Lambs (1991)
9. Candyman (1992)
10. Tales from the Crypt Presents: Demon Knight (1995)
11. Cronos (1993)
12. The Addiction (1995)
13. Ghostwatch (1992)
14. Dust Devil (1992)
15. Scream (1996)
16. Sleepy Hollow (1999)
17. Arachnophobia (1990)
18. Event Horizon (1997)
19. Army of Darkness (1993)
20. Ravenous (1999)
Nice list! I've only seen 4 of those, but I'll make sure to keep an eye out for the other ones in the future. A couple of those have been on my watchlist for some time.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by MadMan » Thu May 14, 2020 7:10 am

Popcorn Reviews wrote:
Wed May 13, 2020 9:59 pm
Nice list! I've only seen 4 of those, but I'll make sure to keep an eye out for the other ones in the future. A couple of those have been on my watchlist for some time.
Thanks! And I always welcome more recs.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by Takoma1 » Thu May 14, 2020 2:20 pm

MadMan wrote:
Thu May 14, 2020 7:10 am
Thanks! And I always welcome more recs.
Fun list!

Have you seen Blood and Donuts?
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by Popcorn Reviews » Thu May 14, 2020 3:31 pm

MadMan wrote:
Thu May 14, 2020 7:10 am
Thanks! And I always welcome more recs.
Other 90s horror films I've seen:

Misery
Popcorn
From Dusk Till Dawn
Cube
Pi
Lake Placid
The Blair Witch Project
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by Melvin Butterworth » Thu May 14, 2020 3:42 pm

Popcorn Reviews wrote:
Thu May 14, 2020 3:31 pm
Other 90s horror films I've seen:

Misery
Popcorn
From Dusk Till Dawn
Cube
Pi
Lake Placid
The Blair Witch Project
Cube is one of those great films like Buried and Red Eye which make the most of a confined space. One room re-lit and re-used and BAM you have a Rubic's Cube from Hell.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by MadMan » Thu May 14, 2020 6:32 pm

Popcorn Reviews wrote:
Thu May 14, 2020 3:31 pm
Other 90s horror films I've seen:

Misery
Popcorn
From Dusk Till Dawn
Cube
Pi
Lake Placid
The Blair Witch Project
I need to see Misery, Cube and Lake Placid. Popcorn is a solid slasher. From Dusk Till Dawn is a lot of fun. Pi is really good and very weird. I like The Blair Witch Project a lot despite its flaws-it sticks the ending.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by MadMan » Thu May 14, 2020 6:36 pm

I am still behind on J-Horror. I saw Dark Water last Horrorfest but Ringu and Ju-On: The Grudge are major ones I have not viewed. I also love Kairo aka Pulse (2001).
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by Wooley » Thu May 14, 2020 8:09 pm

MadMan wrote:
Wed May 13, 2020 8:10 am
My Top 20 Horror Films of the 90s list:
1. Lost Highway (1997)
2. Dead/Alive (1992)
3. Cemetery Man (1994)
4. Perfect Blue (1998)
5. Twin Peaks: Fire Walk with Me (1992)
6. The Exorcist III (1990)
7. In the Mouth of Madness (1994)
8. The Silence of the Lambs (1991)
9. Candyman (1992)
10. Tales from the Crypt Presents: Demon Knight (1995)
11. Cronos (1993)
12. The Addiction (1995)
13. Ghostwatch (1992)
14. Dust Devil (1992)
15. Scream (1996)
16. Sleepy Hollow (1999)
17. Arachnophobia (1990)
18. Event Horizon (1997)
19. Army of Darkness (1993)
20. Ravenous (1999)
You almost make it seem like the 90s weren't a wasteland for Horror.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by MadMan » Thu May 14, 2020 8:44 pm

Believe me there are some stinkers. I made the list because I grew up in the 1990s and it's my decade, for better or for worse.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by ThatDarnMKS » Thu May 14, 2020 9:37 pm

90's horror worth checking out that I don't think have been mentioned:

Bride of Re-Animator
Def by Temptation
Frankenhooker
Two Evil Eyes
Cape Fear
Alien 3
Dracula
Maniac Cop 3
Body Bags
Carnosaur
Cronos
Return of the Living Dead 3
Castle Freak
Bad Moon
The Frighteners
I Know What You Did Last Summer
The Night Flier
Ringu
Urban Legend
Vampires
Audition
Deep Blue Sea
Sleepy Hollow
Stir of Echoes
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by Torgo » Thu May 14, 2020 11:08 pm

The Comedy of Terrors features two of the best actors of all time, Vincent Price and Peter Lorre, playing the kind of roles they do best while lampooning them at the same time. They are clearly letting their hair down and having fun and it shows, but as you would expect from greats like these, they do so without compromising their class and professionalism. The supporting cast, which includes Basil Rathbone as the landlord and Boris Karloff as Trumbull's father-in-law, are just as worthy of top billing. Even so, it's Joyce Jameson as Trumbull's put-upon wife who made me laugh the most. Her attempts at singing, which are dire to everyone but the in-love Gillie, never stop being funny. The production design is also a highlight because like the sets in Young Frankenstein, it rides a fine line of both honoring and poking fun at the classic horror movies that inspired it. The movie is predictable, far from anyone in its all-star cast's best work and is ultimately a trifle, but since it features moments like Vincent Price belittling Boris Karloff at a kitchen table and Peter Lorre being doe-eyed while hearing awful singing, does it really matter?
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by Takoma1 » Thu May 14, 2020 11:16 pm

ThatDarnMKS wrote:
Thu May 14, 2020 9:37 pm
90's horror worth checking out that I don't think have been mentioned:

Bride of Re-Animator
Frankenhooker
Cronos
Bad Moon
I will especially give these ones a :up:
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by ThatDarnMKS » Fri May 15, 2020 12:22 am

Takoma1 wrote:
Thu May 14, 2020 11:16 pm
I will especially give these ones a :up:
I like how great they each are at doing something very specific and different from one another. Not much of a trend between them.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by Takoma1 » Fri May 15, 2020 12:52 am

ThatDarnMKS wrote:
Fri May 15, 2020 12:22 am
I like how great they each are at doing something very specific and different from one another. Not much of a trend between them.
I mean, two of them are campfests about building women, but yeah, they are their own distinct things.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by ThatDarnMKS » Fri May 15, 2020 1:05 am

Takoma1 wrote:
Fri May 15, 2020 12:52 am
I mean, two of them are campfests about building women, but yeah, they are their own distinct things.
Heh. I completely blanked that I'd put both Bride of Reanimator and Frankenhooker on that list. It's been a rough 24 hours of migraine and intermittent sleep.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by ThatDarnMKS » Fri May 15, 2020 2:59 am

House on Sorority Row is one of the better slashers I've found. Very excited to see one this good this late in the game.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by Rock » Fri May 15, 2020 3:00 am

MadMan wrote:
Wed May 13, 2020 8:10 am
13. Ghostwatch (1992)
I have never heard of this but I am intrigued. Also I appreciate that you put Dust Devil and not Hardware, correctly recognizing the superior Richard Stanley.

Regarding underseen '90s horror films, this is the point at which I cautiously recommend The Untold Story and Ebola Syndrome to the more hardened souls here, with the caveat that they're utterly repulsive and I take no responsibility for your reactions.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by Rock » Fri May 15, 2020 3:03 am

ThatDarnMKS wrote:
Fri May 15, 2020 2:59 am
House on Sorority Row is one of the better slashers I've found. Very excited to see one this good this late in the game.
Yeah, it's pretty terrific, and unexpectedly stylish. Even aside from the more overt bursts of style in the third act, there's one shot that pans across a party with all the main characters looking nervous that that I remember being really moved by.
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Re: Horrorcram XV: Let's Scare Corrierino To Death

Post by ThatDarnMKS » Fri May 15, 2020 3:05 am

Rock wrote:
Fri May 15, 2020 3:03 am
Yeah, it's pretty terrific, and unexpectedly stylish. Even aside from the more overt bursts of style in the third act, there's one shot that pans across a party with all the main characters looking nervous that that I remember being really moved by.
I can't pinpoint the specific shot early on (migraine hangover) but I know about 10 mins in I thought "oh shit, this is a REAL movie!"
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