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axelblaze
Oct 18, 2006

Congratulations The One Concern!!!

You're addicted to Ivory!!

and...oh my...could you please...
oh my...

Grimey Drawer
Ok, I'mma try to actually post in here this time

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axelblaze
Oct 18, 2006

Congratulations The One Concern!!!

You're addicted to Ivory!!

and...oh my...could you please...
oh my...

Grimey Drawer
V/H/S>VHS2>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>VHS Viral

axelblaze
Oct 18, 2006

Congratulations The One Concern!!!

You're addicted to Ivory!!

and...oh my...could you please...
oh my...

Grimey Drawer
Well you aren't helping!

I'll try to write something up about found footage unless I don't which seems equally if not considerably more likely.

axelblaze
Oct 18, 2006

Congratulations The One Concern!!!

You're addicted to Ivory!!

and...oh my...could you please...
oh my...

Grimey Drawer

TheKingslayer posted:

Speaking of Found Footage. Anything good come out in 2018? Outside of like, Unfriended: Dark Web.

I'm pretty behind on the genre these days but if Unfriended counts, so does Searching, which isn't a horror movie, but it still owns. Other than those I'm not sure what we got this year.

axelblaze
Oct 18, 2006

Congratulations The One Concern!!!

You're addicted to Ivory!!

and...oh my...could you please...
oh my...

Grimey Drawer
House of a 1000 Corpses has a pretty fantastic opening scene, further made to seem even better by the rest of the movie being kind weak.

The correct answer is Scream though.

axelblaze
Oct 18, 2006

Congratulations The One Concern!!!

You're addicted to Ivory!!

and...oh my...could you please...
oh my...

Grimey Drawer

COOL CORN posted:

Now, The Devil's Rejects, that's a good closing scene.

Of the many things I didn't like about 31, one thing that particularly stood out was him just trying to do that scene again with a different 70s staple, but without any of the buildup that gave the original scene any impact.

axelblaze
Oct 18, 2006

Congratulations The One Concern!!!

You're addicted to Ivory!!

and...oh my...could you please...
oh my...

Grimey Drawer
Wasn't 31 crowd funded though?

axelblaze
Oct 18, 2006

Congratulations The One Concern!!!

You're addicted to Ivory!!

and...oh my...could you please...
oh my...

Grimey Drawer

Kvlt! posted:

sorry for doublepost but i crowdfunded 31 bc im a huge fan of RZ as a musician and filmmaker but the MPAA just tore that movie to shreds

I saw it at Sundance which I think was before he had to make mpaa adjustments and it was still terrible

axelblaze
Oct 18, 2006

Congratulations The One Concern!!!

You're addicted to Ivory!!

and...oh my...could you please...
oh my...

Grimey Drawer
I bought a copy of Heridtary because I like it so much and, like my copy of Pan's Labyrinth, I'm not sure I'm ever going to actually rewatch it.

axelblaze
Oct 18, 2006

Congratulations The One Concern!!!

You're addicted to Ivory!!

and...oh my...could you please...
oh my...

Grimey Drawer
https://twitter.com/JordanPeele/status/1077564905258020864
:vince:

Seriously inject this directly into my veins RIGHT NOW

axelblaze
Oct 18, 2006

Congratulations The One Concern!!!

You're addicted to Ivory!!

and...oh my...could you please...
oh my...

Grimey Drawer
https://www.youtube.com/watch?v=A5Zdp1RfoyI

axelblaze
Oct 18, 2006

Congratulations The One Concern!!!

You're addicted to Ivory!!

and...oh my...could you please...
oh my...

Grimey Drawer
While I don't fully believe him, Peele has said that Us isn't really going to be nearly as race focused.

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axelblaze
Oct 18, 2006

Congratulations The One Concern!!!

You're addicted to Ivory!!

and...oh my...could you please...
oh my...

Grimey Drawer
Well, I immediately fell behind on this thread. That doesn't matter now though. I'm heading to Sundance in *check clock* 15 minutes and here are the horror or horror adjacent movies I'll be seeing:

The Nightingale

quote:

Writer/director Jennifer Kent’s The Nightingale premiered in the 2018 Venice International Film Festival’s Venezia 75 competition. Kent launched her debut feature, The Babadook, in the Midnight section at the 2014 Sundance Film Festival.

One night in 1820s Tasmania, Clare, a young Irish convict, loses everything she holds dear after her family is horrifically attacked. She’s immediately driven to track down and seek revenge against the British officer who oversaw the horror, so she enlists the service of an Aboriginal tracker named Billy. Marked by trauma from his own violence-filled past, Billy reluctantly agrees to take her through the interior of Tasmania. On this brutal quest for blood, Clare gets much more than she bargained for.

A snarling Aisling Franciosi drives this merciless revenge thriller through the unforgiving land of 19th-century Tasmania, a time when British colonists nearly decimated Aboriginal Tasmanians. With horrors around every corner, Jennifer Kent’s new nightmare will traumatize the weak of heart, but those willing will discover a majestic achievement most striking in its haunting moments of grace.

The Lodge

quote:

Devoted to their devastated mother, siblings Aidan and Mia resent Grace, the younger woman their newly separated father plans to marry. They flatly reject Grace’s attempts to bond, and they dig up dirt on her tragic past—but soon they find themselves trapped with her, snowed in in a remote holiday village after their dad heads back to the city for work. Just as relations begin to thaw, strange and frightening events threaten to unearth psychological demons from Grace’s strictly religious childhood.

An unblinking study of human frailty, The Lodge offers a haunting exploration of the traumatic aftershocks of religious devotion while positing that some evils just don’t die. Veronika Franz and Severin Fiala build an overwhelming disquiet from this visceral and stylish film’s very first scene, before nestling their claustrophobic thriller within a disorientingly endless snow-filled landscape. Riley Keough exudes fragility as well-meaning Grace’s every good intention leads her deeper back toward the hell of her own past, while Jaeden Martell and Lia McHugh do impressive work as the kids’ practiced defiance turns to fear.

A Hole in the Ground

quote:

Sarah moves her precocious son, Chris, to a secluded new home in a rural town, trying to ease his apprehensions as they hope for a fresh start after a difficult past. But after a startling encounter with a mysterious new neighbor, Sarah’s nerves are set on edge. Chris disappears in the night into the forest behind their house, and Sarah discovers an ominous, gaping sinkhole while searching for him. Though he returns, some disturbing behavioral changes emerge, and Sarah begins to worry that the boy who came back is not her son.

Lee Cronin’s exquisitely crafted and sublimely atmospheric feature debut pairs unsettling camera work with a deeply ominous score, casting even such innocuous images as a row of toys or a children’s recital in markedly sinister light. Seána Kerslake delivers an impressively controlled performance as a mother who has centered her strength around protecting her child but finds her devotion overcome by a terrified feeling—that there’s an impostor in her house, and he’s watching her as closely as she’s watching him.

Wounds

quote:

Will is a bartender in New Orleans. He has a great job, great friends, and a girlfriend, Carrie, who loves him. He skates across life’s surface, ignoring complications and concentrating on enjoying the moment. One night at the bar, a violent brawl breaks out, which injures one of his regular customers and causes some college kids to leave behind a cell phone in their haste. Will begins receiving disturbing texts and calls from the stranger’s phone. While Will hopes to not get involved, Carrie gets lost down a rabbit hole investigating this strange malevolence. They’ve discovered something unspeakable, and it’s crawling slowly into the light.

Writer/director Babak Anvari returns to terrify at the Sundance Film Festival Midnight section with this adaptation of the novella The Visible Filth by Nathan Ballingrud. From its opening scene, Wounds strikes an uneasy tone that begins to fester and continues to spread until its shocking climax. Armie Hammer revels in this unlikely turn that allows his attractive smile to fade away and reveals the true creature that may be lurking on the inside.

Koko-di Koko-da

quote:

Knowing their relationship is falling apart, Elin and Tobias embark on a mirthless camping trip hoping to find their way back to one another. Instead, they find themselves in an endless loop of torment, humiliation, and tangled dreams at the hands of a troupe of outlandishly distorted nursery-rhyme antagonists.

Festival alumnus Johannes Nyholm (whose short Las Palmas played at the 2012 Sundance Film Festival) creates a savage riff on Groundhog Day set to the haunting rhythm of a music-box melody. He deploys the darkest of circumstances to explore how a couple crippled by despair and embittered against each other try to fight their way back to one another. Injected with bursts of sadistic imagination and twisted slapstick, Koko-di Koko-da is a psychological horror film set within the nightmarish landscape between wakefulness and sleep, giving a tangible, physical manifestation of a relationship in disrepair.

Corporate Animals

quote:

Lucy (Demi Moore) is the egotistical, megalomaniac CEO of Incredible Edibles, America’s premier provider of edible cutlery. In her infinite wisdom, Lucy leads her staff, including her long-suffering assistants, Freddie (Karan Soni) and Jess (Jessica Williams), on a corporate team-building caving weekend in New Mexico. When disaster strikes, not even their useless guide, Brandon (Ed Helms), can save them. Trapped underground by a cave-in, this mismatched and disgruntled group must pull together in order to survive.

Director Patrick Brice brings together an unlikely cast of characters, locks them in a cave, and lets them go. What follows is a nightmarish study of human social interaction, all the while asking the question: What happens when people stop competing against each other and band together against their oppressor? Brice creatively weaves each character’s arc into the larger theme, playing their humanity against their animality as they fall prey to their base nature. Twelve people trapped in a cave, food is depleting, truths are revealed, betrayals and manipulations are exposed, alliances are made—what could possibly go wrong?

Sweetheart

quote:

Washing ashore onto a desolate island, Jen (Kiersey Clemons) has already survived a harrowing ordeal. Stranded and alone, she searches for shelter. Finding only the scattered remains of a long-abandoned campground and weary from her terrible journey, she collapses in hope of a peaceful rest. But night is when it’s most dangerous here. That’s when the creature comes. And when it slithers out of the water, it must feed.

Returning to the Sundance Film Festival after the genre-bending Sleight wowed audiences in 2016, director JD Dillard brings a refreshingly scrappy yet sophisticated sense of urgency and ingenuity to the classic creature feature. Kiersey Clemons owns every frame of the story, shining each step of the way as she’s forced to outrun, outwit, and outfight an otherworldly thing that hunts her each night. Methodically stripping this Blumhouse Productions chiller down to the raw essentials, Dillard shrewdly keeps the tension on a calculated simmer until the moment it boils.

Little Monster

quote:

After a rough breakup, directionless Dave (Alexander England) crashes at his sister’s place and spends his days expanding his young nephew’s questionable vocabulary. When an opportunity arises to chaperone an upcoming school excursion alongside the charming and enigmatic teacher, Miss Caroline (Lupita Nyong’o), Dave jumps at the chance to impress her. What he wasn’t anticipating was Teddy McGiggle (Josh Gad), an obnoxious children’s television personality who shapes the excursion’s activities. What he was expecting even less was a zombie invasion, which unfolds after an experiment at a nearby military base goes awry. Armed only with the resourcefulness of kindergartners, Dave, Miss Caroline, and Teddy must work together to keep the monsters at bay and carve a way out with their guts intact.

Doused with a generous helping of absurdity, and pitch-perfect in its timing, this genre comedy forges a path all its own, blending gore and wit like a peanut butter and jelly sandwich. Writer-director Abe Forsythe has crafted a wild, frenetic ride with Little Monsters, bolstered by a knowing self-awareness and an uproarious cast.

The Wolf Hour

quote:

It’s July 1977, and New York City is awash with escalating violence. A citywide blackout is triggering fires, looting, and countless arrests, and the Son of Sam murders are riddling the city with panic. June, once a celebrated counterculture figure, attempts to retreat from the chaos by shutting herself inside the yellowed walls of her grandmother’s South Bronx apartment. But her doorbell is ringing incessantly, the heat is unbearable, and creeping paranoia and fear are taking hold. Visitors, some invited, some unsolicited, arrive one by one, and June must determine whom she can trust and whether she can find a path back to her former self.

With Hitchcockian tautness, writer-director Alistair Banks Griffin flawlessly captures the style and texture of the 1970s and the interior unraveling of a woman who, like her city, is teetering on a knife-edge. Naomi Watts’s astonishing performance is that of an antihero racked with paralyzing anxiety. In this eerily resonant allegory for our times, she is, like all of us, weighing her actions in a world on the brink of collapse.

I'll let y'all know if any of them turn out to be good.

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