|
Jedit posted:I'm not watching any horror movies for Christmas, because I have not killed and eaten my family. And have sex with their corpses too. Love ya Xandoom
|
#
¿
Dec 24, 2013 23:05
|
|
|
|
| # ¿ May 21, 2024 14:54 |
|
|
Tuxedo Catfish posted:Well, it's why I love this subforum. I ain't apologizing. Well he's kinda a hack, and this is coming from someone who likes him. Seriously the CitW discussion is just about as bad as the Prometheus which is as bad as the World's End discus-OH MY GOD SOMETHING IS WRONG WITH THIS PLACE.
|
|
#
¿
Mar 29, 2014 17:06
|
|
|
Tuxedo Catfish posted:Ooh, I get it. Clive Barker's posthumous releases are gonna be more egregious than Tupac's
|
|
#
¿
Jul 19, 2014 22:23
|
|
|
Literally The Worst posted:Megan Is Missing, in fifteen minutes of footage, manages to make me want to hit the director with a rock and keep him away from children. It's like witnessing the best argument for obscenity laws.
|
|
#
¿
Aug 10, 2014 23:13
|
|
|
kjetting posted:...I think both movies are pretty good except for the framing story and the two segments containing _____aliens____, but some posters here will say that those were the high notes of the series. Says you. ___Alien___ Slumber Party Massacre is my personal favorite, after Safe Haven which is a given. And trust me, I know I'm not the only one. P.s. Might wanna fix your spoiler
|
|
#
¿
Aug 26, 2014 22:58
|
|
|
Hollismason posted:I think Repo Man is still the best Horror Musical not counting Rocky Horror, I think you mean Repo. Repo Man, while having both awesome music, is very much not a horror or a musical. As for Repo, it is the winner based on being fairly passable in a very narrow genre with a very small pool. That said, I enjoyed it when I watched it, but it certainly isn't a runner for one of the great musicals.
|
|
#
¿
Aug 29, 2014 06:07
|
|
|
One more 'horror' themed album, Dead Man's Bones. Unlike other recommendations, this is more of a indie vibe than metal/punk/all of the above. A collaboration between a dude named Zach Shields, and Ryan Gosling, the one from Drive. The atmosphere is more chill than oppressive, and the content camps itself in 'Spooky Story' territory than 'Dead Teenagers'. Especially with titles such as 'My Body's a Zombie for You', 'Werewolf Heart', and 'Flowers Grow Out Of My Grave'. Basically, it's the music of your childhood Halloween parties through the eyes of your twenty-something-year-old self. And through that, due to a near lack of competiton, it is probably the best Halloween album in terms of craft. To firmly cement it's horror cred, this song was featured in The Conjuring: https://www.youtube.com/watch?v=kEwKVhSZAhE
|
|
#
¿
Sep 12, 2014 01:47
|
|
|
Sire Oblivion posted:Nah, that can't be true, right? I imagine it's mainly because it's a stumbled-into accident of having a great location with awesome atmosphere, and having tense, 'what is going to happen' suspense. Unfortunately, it becomes way too apparent way too late that nothing does happen. And when that something does at the end, it's even more apparent that these kids are the pinnacle of amateur filmmakers. It's comparable to Texas Chainsaw Massacre as an example of a film falling into a semblance of quality. But unlike Tobe Hooper, these kids have no set goal in mind while filming, and they have no underlying meaning to their art. Maybe the idea behind SMG's acclaim is that it is the ultimate found footage video, an example of footage created by average people doing normal things that are incomprehensible because we weren't among them, that we weren't there. Thus it is the ultimate example because it isn't made to be shown for an audience, but intended as a reminder to themselves. Unfortunately, this is incompatible with the idea of found footage horror films, and even filmmaking itself. Film is a medium meant to be seen witnessed and interpreted by many people. It is a message carried throughout a sequence of events and/or images. From moment one to the very end a film builds towards one message or statement. To bring up TCM again, the film brings us on journey explaining the fatality in rural isolation. In Abandoned Grain Elevator, we have two disparate segments, one says 'kids dick around and explore' the other says 'your creepy looking friend will kill you'. They both play with the isolation of rural america, but only Texas shows it's deadliness. Nothing in the first half remotely informs the second, and the second only tries to build upon the characters and events of the first like a parasite. Only there is nothing informing who these kids are and what they're doing. There is not a whole lot of important or even legible dialog, or goals, or even conflict. It's not a film with a lack of plot, kids exploring an abandoned space and geting killed could power a thousand stories, but it's a film with a lack of substance. Now let's be honest, it's unfair to compare what was a bunch of kids fun project to an actual professional production. But just because it's an underdog does some things right doesn't mean we have to take it seriously. When you want to compare fluff to actual professional work, you have to do it on what is done wrong as well as what is done right. To change the object of comparison to another found footage film, V/H/S, we find that the professional work has substance, meaning, and direction in every moment. It may not have the look and feel of actual abandoned footage but it has more craft, and is certainly more satisfying. Much like how The Room works better as a comedy than a drama, this film barring the ending works as a cinema verite style documentary on America's fallen industrial sector. Again, it is unfair to compare amateur filmmaking to professional, but let us not pretend it is anything but amateur. SomeJazzyRat fucked around with this message at 05:35 on Sep 18, 2014 |
|
#
¿
Sep 18, 2014 05:33
|
|
|
Disagreements are fun.  Drag Me To Hell was okay but not great. Not worth it to hate it, but certainly enough to contrast it with the Evil Dead films. However, the charm of the trilogy come from Bruce, and distantly followed by blood. And Drag me to Hell was an Evil Dead film without Bruce. An Evil Dead show featuring Bruce being splattered by presumed gallons of blood is certainly worth watching in my books.
|
|
#
¿
Nov 14, 2014 05:51
|
|
|
DrVenkman posted:Man, the Fright Night remake is almost really good. Farrell is great and uses his looks and image to play Dandridge as this sexual predator, but I'm still not sure why they make Tennant (Who is a lot of fun) an illusionist. For me the closest comparison would've been the host of one of those supernatural reality tv shows that are everywhere. I know he's framed as this sort of occult expert, but still. And it really suffers in the last act where it's just about Farrell becoming the Terminator. Because Chris Angel was at his peak during filming (pre-production at least), and they wanted to take the piss out if him. Plus he'd be a believable exposition machine. If it was released in the early 2000's, we'd probably have a sex-crazed David Blane in Tennant's place.
|
|
#
¿
Jan 24, 2015 22:47
|
|
|
schwenz posted:I love the idea of a slasher film with Ronald Reagan killing screaming teenagers. Something slightly relevant, the comic 'The Auteur' deals with a dude trying to make a 'President's Day' horror movie. Unsure if Reagan is involved, but I do know drugs, murderers, bodacious booties (plot point, fyi), actual murder, bleeding from your pores, the justice system, and hollywood is involved. It kinda dips it's toes in horror from time to time, but it has more DNA shared with skateboard decks and indie comix than actual horror movies. Still, I imagine plenty of people here would enjoy.
|
|
#
¿
Feb 17, 2015 01:22
|
|
|
CopywrightMMXI posted:Has anyone seen the new movie made by the Marble Hornets crew yet? It's called Always Watching and it involves Slenderman. I saw it available for rent but the PSN is charging $9.99 for a rental and that seems kind of steep. Pretty sure that it's a completely separate group who just purchased the rights to Marble Hornets. As far as I know the original dudes visited the set one day and that's their contribution (but I haven't seen the film so this might be moot). As is I'm waiting for Netflix to pick it up.
|
|
#
¿
Apr 27, 2015 18:03
|
|
|
HUNDU THE BEAST GOD posted:Where do the August Underground movies end up in the grand scheme of things, anyway? On the fringe of the fringe most blatantly.
|
|
#
¿
Dec 15, 2015 04:56
|
|
|
IMHO, that was awful and you should feel bad.
|
|
#
¿
Dec 21, 2015 05:17
|
|
|
resurgam40 posted:Apropos of nothing, where does the "spoopy" meme come from? P isn't that close to K on the keyboards so I don't see how it could be done in excitement a la Holky gently caress... is it just because it was popularized by the usual suspects of PewDiePie, Markiplier and the like? I believe typical dollar store engrish/accident happened to a decorative sign stating 'Spooky'. 12-year-olds and me latched on to it. Edit: Found it. 
SomeJazzyRat fucked around with this message at 04:39 on Jan 20, 2016 |
|
#
¿
Jan 20, 2016 04:10
|
|
|
XIII posted:Here's kind of an odd question that maybe no one else gives a poo poo about : What horror movie characters/creatures would lend themselves to being translated to tattoos? A friend and I (both of us being pretty heavily tattooed horror fans) were discussing who/what we would get tattooed and in what style and I kept finding myself drawing a blank. A few of the ones we discussed were: You're missing the best one. The face of the Necronomicon Ex-Mortis, on left butt cheek.
|
|
#
¿
Jan 22, 2016 06:43
|
|
|
I remember reading an interview where the writer or the director said it was their goal to make the dudes just as freaked out/hysterical and vulnerable as female victims always were in slasher films. I wouldn't know if they captured it, as the film always looked like a piece of poo poo. Plus, from what I heard, the production was so rushed that it seemed impossible for anything to have been intentional. Like, almost short enough that it was a few steps removed from literally hiring two dozen guys, immediately threw them in a room with a camera, and told them to shoot all in a 30 minute period. Looking it up, the film was announced in development in '08, Director hired in Feb '09, cast in April, filmed in May, wrapped up in June. Now I don't know that much about film making, but that sounds maybe a little too quick.
|
|
#
¿
Feb 10, 2016 09:45
|
|
|
And come on, she just takes it all like a chump, totally bogus and unsuitable for our audience.
|
|
#
¿
Mar 1, 2016 18:47
|
|
|
Timeless Appeal posted:Not that anyone should. But I had a realization today that if you were going to remake The Shining, Aaron Paul would be loving amazing in it. flashy_mcflash posted:After seeing him in Devil's Candy I really think Ethan Embry could pull it off really well too. Can we do a remake of the Shining starring Ethan Embry and Arron Paul as two gay dads who both may be going insane? In the end they release the tension by loving. Still kills a jazz musician though.
|
|
#
¿
May 28, 2016 21:09
|
|
|
I'm wondering if anyone has suggestions of Horror films that neatly fit into other genres? Kinda like how Silence of the Lambs fits perfectly as a mystery procedural as it does as a realistic serial killer film.
|
|
#
¿
Jul 29, 2016 06:41
|
|
|
Dr. Angela Ziegler posted:I found Tucker & Dale average at best. It's just doing what Cabin in the Woods does, but worse. It's got this weird cult fandom of people who are all "zOMG BEST MOVIE EVER!! jajjaja" who I'm pretty sure just haven't seen Scream Eh, I'd say it's more than unique from Cabin in the Woods. Cabin more deals with the settings and tropes, satirizing the way the genre keeps coming back to them out of laziness/duty. Tucker & Dale is more about perceptions and irrationality and how dumb you would have to be to get caught in a horror movie. It's the difference between 30 Rock and It's Always Sunny. They're both about bad people trying to get something out of life, using their format to be antithetical to sitcoms. But they both use that broad framework to do something very different and execute them in phenomenally successful ways.
|
|
#
¿
Jul 29, 2016 20:15
|
|
|
ObamaPhone posted:RT audience scores are usually legit. Wouldn't it be more likely to be the reverse? Where as a critic you would need a small body of work or a professional publication/website to vouch for your career, where audience score all you need is an account? So if you wanted to avoid people who worked on a film puffing up it's score, you should only look at, say the top critics reviews of a film?
|
|
#
¿
Aug 1, 2016 19:32
|
|
|
So I just came home from watching both Blair Witch and Don't Breath at the theater. Definite escalation in quality. Especially as some light reading makes it sound that Blair Witch was more of a film made from the top down, where Lionsgate had an elevator pitch they wanted Wingard to execute. Meanwhile Don't Breath was Alvarez's baby, and executes on it's ideas a lot more deftly and stylishly. Blair Witch definitely suffered from being a followup to a great film (Great in this case being on the same lines as calling Hitler a Great Man. Hitler performed many actions that left a long shadow on history, but they were not good) (I am not comparing The Blair Witch Project to Hitler). The first, being as it was treading new ground, felt a lot more naturalistic and honest compared to it's follow up. The latter suffers from having to follow two decades of an entire genre's vocabulary being developed, and being informed by that development than reflecting on the original. So where in the original everyone is an rear end in a top hat and do nothing but bitch at each other, but it's all in the reflection of how actual found footage can only give brief and incomplete glimpses into the lives of real people. And the footage of the original is of three people slowly facing down the barrel of death. And the new one just establishes archetypes in the first 20 minutes through tenuous grasps to the actual story. Including the scene at the start where the two black characters are incredulously staring at the townies confederate flag. Not that it matters that they have a confederate flag, as it has no bearing on the plot other than to emphasize the two black character's distrust of the two crazies. That said, once the film really got into the second half, it did sort of start to get into that Blair Witch flavor. Things started to get more tense and subtly inexplicable, the colors started to desaturate, and they relied less on the first person camera's. Though said first person cameras were perhaps the weakest part of the film to me, as they strained credibility being so small and being such good quality, and on film only seemed to be there as a cheat to use professional handheld cameras in ways that normal found footage can't. And once we enter the third act, it definitely was straining to become it's own film after using the original as a crutch for the majority of it's run time. And that sort of is a thematic through line of the entire piece with it's relationship to the original. Where it is so reverent to the original and it's mystery, inexplicably, tension, and overall weirdness; yet it doesn't care to do any of the slow build up, or introduce any inexplicably that isn't forewarned, or even leave any veneer of reality. The new Blair Witch has to punctuate any scary bits with scare chords, fake visual glitch transitions, dropping the overcast skies that characterized the original for pitch black, giving brief glimpses of the witch/supernatural phenomena and, like I said, the incredulous first person cameras in a world where go pros and smartphones would have sufficed. But this brings me back to the point I made at first, this seems like a film that was made by the execs at Lionsgate and was given to a talented director to execute. It seemed like a cheap film that was made fairly quickly, though probably not as cheap as the original just to make it a 'safer' production. Maybe with more development and lead time, something a lot more interesting and honest to the original film could have been made. And at the very least, in the last third [spoilers]we get some Grave Encounters style inexplicable doors and phenomena (though I once again point to my argument of it being mainly informed by other found footage films)[/spoilers] which is fun. And it can be tense and a bit scary at times, which is better than a hell of a lot of horror films out there. So, I think it's fair to say that it was okay, but unfortunately it's a lot easier to dish out on what a film does wrong than what it does right. And to that same thesis, mainly all I can say about Don't Breath is that you should go see it. It is a very tight, near flawless jem of a thriller. Where in the beginning of Blair Witch I was slowly becoming disappointed with the decisions being made, in Don't Breath I was legitimately taking joy from the developments and the foreshadowing. Worst I can say is that it probably ended a few too many times, but I felt it was going for a level of exhaustion and surprise that characterized the latter half of The Thing. So I figure it's earned. And to cap this off I'm starting to develop my October Challenge list, I'm hoping if anyone has some good examples of some proto-Slasher films like Psycho. Pretty much anything that informed the sequel heavy franchises of the 80's.
|
|
#
¿
Sep 22, 2016 04:55
|
|
|
I think it was worthwhile, reflecting the filmmaker's POV on America's weird fixation with 'rape' without understanding it. It works to shine a light on the fact that there's more to rape than the 'traditional' act of it. Just because you don't hold down a thrashing girl and force yourself on her doesn't mean it's super gross and wrong. It's the same type of stuff that's happening all across America, where men think that because she isn't fighting back or yelling 'No!' means that it isn't rape. And the fact that 'big, powerful' men feel entitled to a woman's body to whatever end they seem fit, because they're 'important' and 'in need' and whoever they're with doesn't matter as much as them. It's not a scene that's supposed to be enjoyed, or applauded. You're supposed to feel gross and uncomfortable, and wish it wasn't happening. But considering the climate we're in, it's a hell of a lot smarter than most scenes that would depict the exact same thing.
|
|
#
¿
Nov 20, 2016 23:04
|
|
|
Well it's hard to argue against. I mean, Vietnam gave us Tom Savini.
|
|
#
¿
Nov 30, 2016 04:20
|
|
|
Uncle Boogeyman posted:ever since seeing this gag on twitter I can only think of the It Follows sequel as It Follows Back. I know this is from a page back, but I came up with the premise. It posted:Forward this to ur hottest daddy in 5 min or im gonna kill you P.S. im a demon boo. For real though, I would actually kinda love it if for the second film they went bonkers with the premise and turned the thing into a goofy comedy. Like as if the sequel to Rambo was Hot Shots Part 2.
|
|
#
¿
Dec 16, 2016 07:22
|
|
|
Street Trash, The Film That Would Not Die! Unrelated, I found a copy of God Told Me To in a Clearance Bin for $5. Their loss is one hell of a gain for me. 
|
|
#
¿
Dec 29, 2016 01:34
|
|
|
Lurdiak posted:Jason Takes Manhattan has that boxer scene going for it and that's about it. I guess you can say the scene where he pulls his mask off at some urban youths is a fun moment, but it's also really racist and it's a comedy beat at a totally inappropriate point in the film. Your also forgetting how hateful of those sinful sluts (More so than most of the genre) to an MRA-ish extent. It's hate for women is almost as strong as it's hate for academic authority figures. Seriously, the dude chaperoning is the bigest, horniest dick. And shockingly, it is not fun to watch at all. His character is such a slog, draining any trace background levels of entertainment, to the point that even his death isn't fun to watch. That, and it's way too loving long. Like you get an entire Friday film out at sea, and then they tack on an extra 30 min cause they promised "Jason Takes Manhattan". At least the times square scene is fun-ish.
|
|
#
¿
Jan 21, 2017 09:02
|
|
|
Hollismason posted:The loving time line of the Halloween movies are gonna be so loving hard to follow in 10 years. Like even more than Friday the 13th. Actually, it's a little more complicated. We start off with the base cannon: Halloween Halloween 2 And then off on it's own thing: Halloween 3 Then we get to the Jamie Lloyd Saga, which follows: H1 H2 Halloween 3 Halloween 4 Halloween 6 (Curse) And basically ignoring all that, we get the Jamie Lee Curtis chronicles (basically ignoring the previous entries): H1 H2 H20 Halloween Resurrection The Remakes: Halloween (07) Halloween 2 (09) And now the legend of the reboot, which goes: H1 H2 Halloween: How High 2.
|
|
#
¿
Feb 12, 2017 04:08
|
|
|
Incredibly Strange Porpuses Who Stopped Tusking and Became Mixed-Up Walruses!!?
|
|
#
¿
Feb 15, 2017 05:12
|
|
|
Ditto, but the exact opposite spectrum. I want the fetishiest poo poo not named Megan is Missing. I want a no budget slasher composed of nothing but long shots of people's bare toes.
|
|
#
¿
Apr 2, 2017 02:27
|
|
|
Franchescanado posted:Your friend is incredibly wrong, but I also want you to show them Terror Firmer and report back their reaction. I just figure it follows a number of several criteria. - Is an American Horror film (American in this case is less of a denotation of place origin, but rather a particular style of production) - Features a central character whose goal is to kill a number of the cast. - Said character is generally dehumanized, either by wearing a mask, transformed in a dehumanizing manner, or left unseen until they're codified as 'vulnerable'. - Features a number of kills from Act 1 to Act 2. While they may be witnessed, they are generally left unpreventable by the rest of the cast. The cast may or may not be aware of the killer, but their physical presence is left theoretical. - The action of killing is done in a radically nontraditional manner, to show the killer's perverted, maybe inhuman, pleasure in ending human life. - Death is generally acts as punishment for salacious or indecent behavior. - The number and frequency of kills ramps up until Act 3, where the surviving cast will physically witness the killer, making them 'real'. - The film ends in a 'chase sequence' where the surviving cast is either attempting to escape, or prevent more murder by killing or attacking the killer. A slasher may not fit all of these criteria, but will generally follow the ideas set out. I can see Alien arguably not fitting the mold, but it's just pedantry ignoring the feel and goal that the film shares with the genre. Also, gently caress him, Halloween is Slasher incarnate. SomeJazzyRat fucked around with this message at 01:20 on Apr 4, 2017 |
|
#
¿
Apr 4, 2017 01:16
|
|
|
I'd like to see a zombie movie that has the undead be weak, akin to vampire's weakness to crosses and other catholic symbols, to the Quran and star of Islam. Ha ha, social satire.
|
|
#
¿
May 21, 2017 00:17
|
|
|
married but discreet posted:What's y'all's horror movie pitch? If we're still doing this, a film about a group in Silicon Valley/San Francisco who provide the service of scaring people for other people. Ideally, you're some rich techbro, and you can hire these guys to sneak into a friend's office and scare them. I feel like the best version of this film would be a horror themed comedy/mockumentary along the lines of 'What We Do in the Shadows' with a lot of jump scares. That, or a somewhat more serious take on The Game where the scarers are being counter-scared by a group that obviously are using the same tactics as them, but the reasons why they are doing so is the mystery. Though the likely result would be a combination found footage-traditional horror film where the team is hired to scare a small tech party to recreate a faux slasher scene. The team would consist of a remote team, watching and coordinating from a side room, and a ground team who does the scaring. Only their party would be crashed by an actual murderer using the scarers to cover his work. Thus the team is forced to survive/escape from the scene of carnage in a kinda riff on Green Room and Scream.
|
|
#
¿
Jun 6, 2017 01:28
|
|
|
The Gremlins have instituted a travel ban on... (Gremlin throws a dart at a world map)... Holland!
|
|
#
¿
Jun 6, 2017 04:56
|
|
|
Hollismason posted:I swear if we have one more discussion about Friday the 13th I will make a thread dedicated to it!!! Has anyone considered that Jason X is actually... Good?!?!? I haven't.
|
|
#
¿
Jun 17, 2017 06:07
|
|
|
I recommend watching his 30 min short film "The Grandmother". It's what actually what got him the resources to make Eraserhead.
|
|
#
¿
Jun 29, 2017 23:16
|
|
|
Basebf555 posted:It's tough to single out the writing in Silence of the Lambs just because I feel like Demme's direction was way more important to what the film is. The dialogue is excellent of course, but when I think of the film the most memorable moments are all Demme. Lecter's escape, the deceptive cuts when Starling is about to encounter Buffalo Bill, the showdown in the pitch black dungeon, etc I feel the same about Halloween. Not to say that the script is bad, but what makes the movie so great goes beyond what was on page. Though, admittedly probably what did make it great was in service of what was on that page, such as a cast that could make the dialogue work. But the mood and tension was more work behind the camera and in the editing than it was written a certain way. It's perhaps unfair to say this, as it probably could be said of all great films, but if you gave that script to the average director and it probably would have fit right in with the rest of the era's Exploitation trash. It's what Carpenter and his crew did to meet the promise of the script that made it what it was. Plus, it's probably that I feel that the film had nothing really interesting to say thematically or about it's characters (barring maybe Loomis) that kinda makes me shy away from saying it's the best. Like it's technically well crafted, but unambitious in it's craft. I would legitimately nominate Nightmare on Elm Street though. Very inventive, technically well done, reasonably well grounded and engaging, and thematically quite interesting.
|
|
#
¿
Jul 12, 2017 19:10
|
|
|
I can see how the arguments of the pro-Queer reading of Sleepaway Camp. It's about a kid self assured in their orientation, who they are as a boy. Only for a higher power to say 'No, that's wrong', and force them to be who they're not. And their forced to play that role as society only knows them as that role, and will not accept them deviating from it. And it goes to an extent that they're pushed into a romance with someone on the spectrum that they're not into, all because a higher power expects them to play that part. Only instead of a Trans kid, you have a kid comfortable with the gender he's born with forced into the same situation. You could read the killing as being the side effect of such an indoctrination, showing that such hateful attitudes will in fact destroy us as well. But that's playing the Devil's Advocate. The text of the film is that it wanted to create something that would shock people without care about what it says regarding Queer groups. It's sleazy, kinda hateful, and completely a product of it's time (the 80's) and it's culture (exploitation films). I kinda love it from a detached point of view, but it's one that's hard to condone. Also, cool theme song: https://www.youtube.com/watch?v=4hv47GeVdtk
|
|
#
¿
Jul 15, 2017 22:37
|
|
|
|
| # ¿ May 21, 2024 14:54 |
|
|
I just want to say that I've been thinking about old VHS box art lately. Specifically, this box art. Also it's been on my mind seeing that the faux horror rental case aesthetic is starting to branch out into the mainstream. Last week I saw this in a book store.  So I'm here to ask, what's all y'alls favourite VHS art.
|
|
#
¿
Jul 16, 2017 18:06
|
|