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Summer of Blood is the best example it's a great film btw, another one would be Blood and Donuts. It's not even really that subjective. Also, I don't think the genre is bad and I don't think it makes them bad films. I actually like most of them.
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Jul 19, 2016 16:39
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Ti West definitely is hipster horror but it's good, and that's the only "hipster horror" I'm aware of edit: more so he's just a hipster who makes horror films
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Jul 19, 2016 17:54
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I'd call a good bit of art house horror hipster.
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Jul 19, 2016 18:02
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This is the reason I asked, I suspected that hipster horror is just a made-up term and doesn't really exist. I can't even think of any well-known horror movies where the characters are hipsters.
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Jul 19, 2016 18:04
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Typically people use "hipster" now as a derogatory term for individuals consumed by cynical self-reference, but consumption in cynical self-reference has been with horror for a long, long, long loving time, so I'm not sure that's a terribly effective working definition. I do think there's been a significant influence by New Hollywood, but they're usually rather quaint and non-oppositional in that they seem to be equally influenced by the 'mumblecore' trend of independent films. I think instead of 'hipster horror,' 'mumblecore horror' is a lot more accurate qualifier, especially for stuff like Ti West's The Innkeepers which is way less a horror movie and way more a conventional drama that just happens to have supernatural elements. There's also significant overlap with the found footage boom. Mumblecore horror: - Queen of Earth - The Gift - They Look Like People - You're Next - Creep - The Innkeepers - Ex Machina - It Follows - Entertainment - The Taking of Deborah Logan - V/H/S trilogy
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Jul 19, 2016 18:22
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InfiniteZero posted:Somebody should make a modern comedy-duo/monster crossover. Give me a Kimmy Schmidt / Hellraiser crossover.
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Jul 19, 2016 18:24
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Tuxedo Catfish posted:Give me a Kimmy Schmidt / Hellraiser crossover. "We are going to tear your soul apart!" "I know you are ... BUT WHAT AM I?!?"
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Jul 19, 2016 18:36
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I'm not sure Hellraiser is even the best example I just really crave a movie about a spiritual and/or physical battle between relentless optimism and existential despair.
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Jul 19, 2016 18:38
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Tuxedo Catfish posted:I'm not sure Hellraiser is even the best example I just really crave a movie about a spiritual and/or physical battle between relentless optimism and existential despair. It's called The Brothers Karamazov.
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Jul 19, 2016 18:39
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User-Friendly posted:It's called The Brothers Karamazov. I tried reading Crime and Punishment when I was fourteen and (to my shame, even then) I couldn't make it. I haven't even taken a crack at Dostoevsky since. I should fix this. Tuxedo Catfish fucked around with this message at 18:57 on Jul 19, 2016 |
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Jul 19, 2016 18:40
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Was El Angel Exterminador the first mumblecore horror?
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Jul 19, 2016 18:40
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I think mumblecore is a little too earnestly bourgeois for Bunuel's surrealism. The New Hollywood is really a much closer base. So, like, They Look Like People is riding The Conversation hard. Same with Queen of Earth and 3 Women.
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Jul 19, 2016 18:47
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K. Waste posted:I think mumblecore is a little too earnestly bourgeois for Bunuel's surrealism. The 70s Invasion of the Body Snatchers' new age post-hippies is what I thought of first.
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Jul 19, 2016 18:49
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morestuff posted:The 70s Invasion of the Body Snatchers' new age post-hippies is what I thought of first. I mean, sure, and Kaufman's Body Snatchers is a great classic of the late-New Hollywood. All the stuff with the two protagonists either compulsively listening to or hallucinating feminine voices that all sound disturbingly alike and ASMR is equal parts that yuppie self-help garbage from that film. But I think thematically it's still a lot more reminiscent of Coppola's disturbed vision of how towering urban landscapes and technology make the notion that everyone is being 'monitored' a lot more palpable. (It's also obviously a condition of the post-9/11 world's reverberations of the post-Vietnam world.) That's the horror in the pathology of They Look Like People, which is in line with the whole premise of a reptilian conspiracy theory: It's actually kind of comforting to believe that the reason the world is so hosed is because of some kind of vast, assimilating, repugnant force, rather than it just being this existentially dreadful social Darwinism. But I think that's the criminal flaw of They Look Like People. It's twist ending amounts to some phaff about "true friendship" helping you to overcome that niggling feeling you live in some kind of nightmare They Live world. At heart it's an entirely conservative film.
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Jul 19, 2016 19:05
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I'm not really following your logic about a happy ending making the film conservative?
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Jul 19, 2016 19:14
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Beyond the Black Rainbow was barely a film, and I hated it. It's 30 minutes of really awesome content stretched out to fill a 110 minute arthouse film. Recommending it to someone who liked The Guest is like recommending a glass full of molasses to someone who likes rum. I think it has maybe my favorite ending twist in a movie, but I'm not sure the writer/director intended it that way.
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Jul 19, 2016 19:16
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So a big surprise for me last year on Netflix was Grave Encounters . I'm a sucker for found footage films and it had a lot of nice build up before just letting loose. Some things I really liked were just how hosed they really were. Having their watches say it should be noon the next day but still being pitch black outside was like super creepy/chilling. I also like when they break through the front door only to find more asylum instead of freedom . It's a shame the sequel was pretty garbage. Does anyone have recommendations for other horror films where the protagonists are just totally hosed like that? Edit: or just good ghost movies in general. I think ghosts are way scarier then pyscho hillbillys or monsters Xinlum fucked around with this message at 19:22 on Jul 19, 2016 |
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Jul 19, 2016 19:19
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K. Waste posted:But I think that's the criminal flaw of They Look Like People. It's twist ending amounts to some phaff about "true friendship" helping you to overcome that niggling feeling you live in some kind of nightmare They Live world. At heart it's an entirely conservative film. I didn't see it that way, because in the end the best friend character basically says "gently caress it, even if I don't believe this right now, this guy is my friend and I'm going to trust him". So I saw it less as a comment on which world is actually the real one, and more as a comment about friendship and its power to handle whatever world you happen to find yourself at the moment.
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Jul 19, 2016 19:21
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K. Waste posted:Mumblecore horror: I believe "mumblegore" is the preferred term, although Ex Machina feels very out of place there. That's more symposium horror.
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Jul 19, 2016 19:34
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Lil Mama Im Sorry posted:I'm not really following your logic about a happy ending making the film conservative? Happy endings aren't the problem, how you portray the nature of the world is. Anything that says "things are basically okay" on a broad enough scale is conservative in that it necessarily implies a resistance to desperately needed change.
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Jul 19, 2016 19:39
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Xinlum posted:So a big surprise for me last year on Netflix was Grave Encounters . I'm a sucker for found footage films and it had a lot of nice build up before just letting loose. Some things I really liked were just how hosed they really were. Having their watches say it should be noon the next day but still being pitch black outside was like super creepy/chilling. I also like when they break through the front door only to find more asylum instead of freedom . It's a shame the sequel was pretty garbage. Does anyone have recommendations for other horror films where the protagonists are just totally hosed like that? I think Kairo fits the "utterly and completely hosed" criteria pretty well, but it's maybe not as immediately apparent as it is in Grave Encounters. Noroi too, to a lesser extent.
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Jul 19, 2016 19:39
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Tuxedo Catfish posted:Happy endings aren't the problem, how you portray the nature of the world is. Anything that says "things are basically okay" on a broad enough scale is conservative in that it necessarily implies a resistance to desperately needed change. I kind of get that, but where I need some clarification is this correct definition of the "nature of the world" and how this correct one... is uhh... correct? Because this Enlightenment era model of the universe (and that seems to me to be what you're alluding to), that it's cold, and uncaring and just totally hosed -- that everyone needs to face the fact of this -- and that we must impose ourselves upon it and take from it, like life is a bank that needs to be robbed... well, that was a very convenient model of the universe for men who were colonizing lands and subjugating the native people. I don't see how we're supposed to fix the world with the same model that brought us to where we are today.
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Jul 19, 2016 19:49
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Tuxedo Catfish posted:Happy endings aren't the problem, how you portray the nature of the world is. Anything that says "things are basically okay" on a broad enough scale is conservative in that it necessarily implies a resistance to desperately needed change. I don't think the ending is saying that though. Things are still super hosed up for the two main characters and a lot of it has to do with the nature of the world, which is far from perfect. Its just maybe not quite as bad as they thought 30 seconds earlier. To me the ending is saying that however hosed up the world may be, friendship can help you stand tall in the face of it.
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Jul 19, 2016 19:51
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I haven't even seen They Look Like People, I'm just thinking of how good Invasion of the Body Snatchers and They Live are and why. This: Basebf555 posted:To me the ending is saying that however hosed up the world may be, friendship can help you stand tall in the face of it. sounds like something I'd be totally on board with. Large-scale cynicism combined with personal optimism is extremely my jam. Lil Mama Im Sorry posted:I kind of get that, but where I need some clarification is this correct definition of the "nature of the world" and how this correct one... is uhh... correct? They were absolutely right in their assessment of the world, but the appropriate response to a cold, uncaring universe is to stand in opposition. You do not stand in opposition to the universe by emulating it, by being a better sociopath or colonizer because it's easy and rewarding, you stand in opposition to the universe by living the counter-example. Life is a bank that needs to be robbed and the funds redistributed to the homeless. Tuxedo Catfish fucked around with this message at 19:59 on Jul 19, 2016 |
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Jul 19, 2016 19:52
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As much as I love cynicism, as I've clinged to it most of my life: "Look man, we'd probably most of us agree that these are dark times, and stupid ones, but do we need fiction that does nothing but dramatize how dark and stupid it is? In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what's human and magical that still live and glow despite the times' darkness. Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this dark world AND to illuminate the possibilities for being alive and human in it. You can defend "[American] Psycho" as being a sort of performative digest of late-eighties social problems, but it's no more than that." -dfw
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Jul 19, 2016 19:59
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quote:Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this dark world AND to illuminate the possibilities for being alive and human in it. sounds like a close neighbor to what I'm saying, with the biggest difference being that I'm emphatically saying "yes, that's exactly what fiction should do." I've said this before but Tremors is my favorite horror movie of all time. (I mean, it's closely followed by Tetsuo: The Iron Man which undercuts my point somewhat but even then there's a kind of twisted potential for both personal and worldwide change in that ending.) Tuxedo Catfish fucked around with this message at 20:05 on Jul 19, 2016 |
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Jul 19, 2016 20:03
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Can I just put down here how much I absolutely detest the term "mumblecore"? I mean, I hate any "core" description that isn't "hardcore" or "softcore", but I especially hate "mumblecore". In a mumblecore film, do all the characters mumble? Is the core of the film about mumbling? Where does it land on the hard/soft core axis - is it chewy?
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Jul 19, 2016 20:03
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My reaction when I first heard the term "mumblecore" was to decide that I was going to hopefully never find out what it means. So far I have been successful.
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Jul 19, 2016 20:09
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Also while overall I was let down by Grave Encounters 2. It did have this scene which I really liked. https://www.youtube.com/watch?v=nPmCJ0Gqwzk
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Jul 19, 2016 20:11
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Lil Mama Im Sorry posted:I'm not really following your logic about a happy ending making the film conservative? The film's obscurantist editing and narrative structure blindsides you to the fact that this story about one estranged friend offering sanctuary to another is about two 'deadbeat dads.' The big twist is that the friendly ASMR voice that Christian plays to 'pump him up' for work is not in fact Mara, but Christian's ex-wife and their child. This dysfunctional, estranged domestic scenario is complemented by Wyatt's own: Wife and kid who he 'abandons,' disembodied feminine voice telling him the world is being taken over by aliens. Now, obviously, in Christian's case, the film is actually satirizing his commitment to living out this borderline chauvinistic fantasy of self-starting, upward class mobility. While Wyatt lives consumed in this nightmare of morphing faces and disembodied voices, Christian is ironically 'plugged into' the analog of this pathological delusion: He says there are 'no voices,' when what he actually means is, 'these voices are good.' Wyatt is a proxy for expressing the utter inadequacy of Christian's 'personal philosophy.' Ironically, it's simply not an effective strategy of interacting with 'the real world.' This is emphasized via conspicuous absence: Christian is fired, and his co-workers hate him, but we never actually see him behaving like an rear end in a top hat because it never even occurred to him. In the 'real world,' however, we are left to assume, Christian is both expendable and insufferable. Even his dream of being this self-confident, self-contained, professional masculine entity which simply accomplishes 'goals' is rooted in a virtualized, domestic 'voice' that he lives completely estranged from, while he returns to an empty apartment. Meanwhile all the 'real women' we see exist within the social sphere outside of and estranged from this domestic space, not only frequently giving tough love pep talks to Christian/Wyatt, but also turning into 'They.' The 'They' of They Look Like People is superficially feminism, though more accurately professional postfeminism. That They look 'Like People' is rooted in the patriarchal ascription of the neutrality of masculinity to human nature, while the feminine is merely masculinity in the absence of the crucial phallus. Christian's personal philosophy is a reactionary overcompensation for his feelings of symbolic castration and feminization, and Wyatt's pathology, like Tyler Durden in Fight Club, represents the nihilistic extremism that occurs when self-identifying 'traditional males' can't keep pace with the paradigm shifts of capitalism. The ending of the movie is, thus, the conversion of the masculine 'workshop' or 'toolshed' into a regenerative, domestic space, where Christian/Wyatt can work on their feelings of estrangement together and rejoin civilized society.
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Jul 19, 2016 20:13
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Thank you, I always love your analysis'ssss'ssss.
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Jul 19, 2016 20:18
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Lil Mama Im Sorry posted:Thank you, I always love your analysis'ssss'ssss. can i just say, you're one of the heartiest posters on this forum and i bet you're a handsome devil to boot
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Jul 19, 2016 20:21
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Just like to point out that Romero's Martin is the proto film for a lot of these films where the plot obscures whether it's real until the very end. It's super art house.
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Jul 19, 2016 20:25
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Grave Encounters 2 is great you swine
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Jul 19, 2016 20:27
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Basebf555 posted:To me the ending is saying that however hosed up the world may be, friendship can help you stand tall in the face of it. This should have been the music over the closing credits: https://www.youtube.com/watch?v=dO9BFGHTrC8 Also, if somebody invents a time machine, I propose that all the friends in this thread agree to meet right here: 
InfiniteZero fucked around with this message at 20:39 on Jul 19, 2016 |
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Jul 19, 2016 20:35
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Wizchine posted:Can I just put down here how much I absolutely detest the term "mumblecore"? I mean, I hate any "core" description that isn't "hardcore" or "softcore", but I especially hate "mumblecore". Mumblecore is a subgenre of independent film[1][2] characterized by naturalistic acting and dialogue (often improvised), low-budget film production, an emphasis on dialogue over plot, and a focus on the personal relationships of people in their 20s and 30s. You're Next is a great example particularly the dinner scene
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Jul 19, 2016 20:47
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A lot of times it just means "connected to the Duplass Brothers somehow"
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Jul 19, 2016 20:49
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Hollismason posted:Just like to point out that Romero's Martin is the proto film for a lot of these films where the plot obscures whether it's real until the very end. It's super art house. Martin is a film way to few people are even aware of.
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Jul 19, 2016 20:52
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Hollismason posted:I'd call a good bit of art house horror hipster. Problem is with these types of movies is that they're also usually indie and art house like you suggested. I can't even remember the names of the ones I have seen because they are so boring and forgettable. Certain film distribution companies I don't watch altogether, like IFC and Magnolia, which are basically art house versions of Troma. Oh, here we go... I recently saw Nina Forever at the suggestion of another poster in this thread and had to stop watching halfway through. Everything about that movie reeked of new age, urban, iPod jamming, snivelling youth. I would go as far as to say that the men in these types of movies are passive little bitches while the girls operate at a dike level of aggression. The entire cast is pasty, thin, and sickly looking, but that doesn't stop the director from including long scenes of silent eye loving for the sole purpose of increasing runtime. ObamaPhone fucked around with this message at 20:57 on Jul 19, 2016 |
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Jul 19, 2016 20:55
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What I liked about Grave Encounters is the spatial distortion and fuckery, not the overt ghostly apparition stuff. That's what I feel to be the strength of the better Silent Hill games, this unmooring from rational spaces and realities and getting caught in a vortex of shifting vistas. Are there any other movies that especially play with space and time like that?
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Jul 19, 2016 21:09
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