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Pretzel Rod Stewart posted:Ah gently caress. Let me copy paste Well, this reads like a man who won't be coming back for House of Usher 2
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Jul 13, 2023 11:52
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CelticPredator posted:Horror thread I need your help Unsolicited advice so 100% feel free to ignore, but your action flick idea might be more manageable on an independent budget / as a first feature if you drop the bloodline element and switch up the evil Bond's motivation; he's in denial about his own mortality, and he's desperate to prove to his superiors (and himself) that he's not obsolete. So he's trying to find and assassinate his younger 'replacements' in the city's bars and poker dens (a Suave Bond, a Brooding Bond, a Female Bond, etc), and he hijacks the kid's driving test to that end. Basically, if you make it more of a Collateral-spoofing two-hander and keep the protagonist and antagonist together for most of the movie, I think you can still get across the satire and build tension while focusing on the dialogue and relationship between the two characters in controlled environments (and then have bursts of violence or action in the interior locations with Old Bond fighting various Young Bonds, the kid turning on Old Bond, etc.) Whereas right now, like you say, even with a lot of indie directorial creativity it feels like the pitch is contingent on car chases, props, and expensive outdoor action, which could be incredibly tough.
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Jul 27, 2023 11:30
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The thing is that 'jumpscare' can describe some of horror's most inventive and varied moments where the horrible and grotesque unexpectedly intrudes on the narrative and shatters the audience's expectations and comfort, and this very specific, rote, overplayed device with strict parameters where a tense stillness and silence is followed by a SFX sting accompanied by sudden movement and a scary face getting in your face, which is essentially part of the genre's universal punctuation at this point. Leatherface's first appearance is a masterwork jumpscare, even though he ducks into frame from a distance rather than very suddenly appearing in extreme close-up like we've been conditioned to expect from lazier movies / video games about killer robot bears. Jumpscares can be incredible, they just get a bad rap from the lowest common denominator.
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Sep 1, 2023 12:12
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Magic Hate Ball posted:UK electric kettles do boil noticeably faster (typically at least twice as fast) than kettles in North America, simply due to the wattage. We use them a lot in Canada and they're still a bit faster than stovetop, but it's not quite like European kettles that can boil two cups of water in forty-five seconds. Plugging a lower-wattage electric kettle (like those from the US or Japan) into a more powerful 240v UK outlet can also be a fire risk, just in case the writers of the next Final Destination film are reading this and need an unlikely series of events to culminate in someone's grisly death. "Ooh, blimey, I can't believe I got safely off that doomed plane. Now to have a nice cuppa." Etc.
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Oct 6, 2023 18:13
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MrMojok posted:Dear diary, 5 June. The case of MrMojok grows more interesting the more I get to understand the man. He seems to have some settled scheme of his own, but what it is I do not know. His redeeming quality is a love of horror. Just now his hobby is watching anthology films. I enquired which anthologies he had already tried and failed to enjoy, and suggested that Mario Bava's Black Sabbath, The Company of Wolves, and Kwaidan were all older classics, and that Trick 'R' Treat remains good straightforward fun.
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Oct 9, 2023 09:21
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Did a couple of episodes of Fall of House of Usher. Eh, meh, maybe. Certainly it's very much a Flanagan production: Carla Gugino seems like she's going to ominously appear every episode and spend a good few minutes delivering an unhurriedly-paced, langorous monologue about fate or consequences. We will have sudden scary faces flashing up in the foreground and unseen ghosts lingering spookily in the background. The acid shower sequence at the orgy was good fun, but as with Hill House it feels like the text's themes and ideas are getting lost for the sake of a fresh reinterpretation that's...not bad, but certainly not better than the original. The Masque of the Red Death is a story about the super-rich believing their wealth can shield them from sickness and death, which is a perfect morality tale for our current age of billionaire freaks undergoing de-aging procedures or having 10 children so their genius sperm can live on. Turning that into a story about feckless 20-somethings who get massacred by Carla in a skeleton mask for the crimes of being young, rich, pansexual and horny feels retrograde, but it's also just not as interesting or as cutting as the source material.
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Oct 12, 2023 23:35
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As Tom Cardy and Montaigne already argued in their tour de force 'Red Flags (The Human Centipede Song)', every total freak with terrifying taste in movies deserves to find love. https://www.youtube.com/watch?v=GFokXnCCMf8
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Oct 22, 2023 09:25
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Sometimes heightened acting that we might think of as over-the-top in another context makes for the most memorable horror. The characters are in unimaginably awful situations, and when their expressions of emotion feel uncomfortable, strange, grotesque, and offputting, distinct from ordinary 'dramatic' grief, that can take us as an audience to interesting, transgressive places of discomfort - we don't know whether to empathise with them, feel terror at them, or laugh at them. When Donald Sutherland's kid dies at the start of Don't Look Now, he doesn't cry or scream in a dignified way; he howls, makes incomprehensible animal pants and gasps, falls over in the mud, howls again - it's tragic, but it's also uncomfortably close to slapstick. Piper Laurie in Carrie is literally playing Carrie's mother for comedy, and I don't enjoy her performance so much at the start of the movie, but by the climax I think it becomes something extraordinary and terrifying - that shining-eyed, smiling sincerity as she advances upon her daughter, and the bizarre, semi-sexual satisfaction in her dying cries that go on for far too long. Sally in TCM devolves into an extended hysteria that's essentially animalistic, and it makes for an astonishing, traumatic final sequence. More recently, I guess, the credits of Pearl - we could call that overacting, because it's so grotesque and exaggerated and it goes on for far longer than we'd expect, but that'd be missing the point. grobbo fucked around with this message at 14:33 on Oct 22, 2023 |
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Oct 22, 2023 14:08
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I genuinely really enjoy the fact that Stan Winston and team were handed the rights to a 16-line children's poem and a name, and were expected to make up a concept and story around that. And then they said, "no, gently caress it, we're not giving him a pumpkin for a head even though that's the only thing we know about him. Pumpkinhead is in fact the lovechild of a xenomorph and Rawhead Rex." The inexplicable disconnect between the name, the poem, and the final concept help to give the movie a rambling, shaggy-dog, 'your gran is telling this story and making it up as she goes along' folk-tale vibe. Poem's good, too. grobbo fucked around with this message at 19:21 on Oct 22, 2023 |
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Oct 22, 2023 19:14
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CelticPredator posted:Anyone do a movie where the drug metaphor isn’t bad bc man sometimes drugs are good Videodrome, kinda
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Oct 26, 2023 19:12
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Gripweed posted:Man, why do people act like The Haunting (1999) is bad? The Haunting (1999) is a land of contrasts, and like others here I first watched it when I was 12 and still sometimes think about it. Cons: -The Haunting of Hill House is a very sad novel with a famously unhappy ending, about a repressed shut-in who tragically finds that she can't form genuine connections with other human beings. The Haunting (1999) ends with Nell heroically saving her new friends by yelling at her undead great-granddad that she no longer fears him. - The Haunting of Hill House is about inhuman architectural malevolence and its impact on generations of residents rather than individual ghosts - a fresh and interesting take that went on to heavily inspire other writers such as Nigel Kneale. The Haunting (1999) opts for an approach where the good child ghosts are battling the bad Palpatine ghost. - Neeson looks tired and upset throughout. Pros: - The spooky CGI house makes an evil frown at one point. - Neeson looks tired and upset throughout. - Owen Wilson's head. - When Owen Wilson loses his head, Neeson gently winces and turns slightly away, but does not otherwise move or react. - Great companion piece to the 1995 Sierra adventure-game Phantasmagoria. - Unlike the famously ambiguous and subtle work of horror fiction that it adapts, The Haunting (1999) ends by objectively confirming that heaven is real.
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Oct 27, 2023 07:23
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Doltos posted:Midnight Mass was insanely boring to me but Hill House was extremely good even though they're both similarly paced. That's really interesting, because to me they're basically polar opposites: - Hill House, a show that's frontloaded with memorable ghost stories and scares, but which doesn't have a good narrative way to effectively tie all of those together to provide an effective threat or final confrontation, so it completely loses its momentum and its direction towards the end. - Midnight Mass, a show that has a great final monster and a great central turn for Hamish Linklater, but which doesn't want to give the game away too quickly, so instead it mills about for too long doing setup work and character drama with a bunch of sub-Stephen King townies, and strains the audience's patience in the process.
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Oct 30, 2023 17:59
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Martman posted:Yes ok, I missed that. But clearly there's a reason people are having a strong reaction to calling a movie "just a remake of x" while acting like you're just talking about the concept of inspiration. It is hard to separate that language from accusations of hackery After the buzz around Saltburn I watched the trailer and it just looks like a hacky YA take on Gormenghast/Talented Mr Ripley to me, that's my hot take. My less hot take is that we should get a proper Gormenghast adaptation, some really sumptuous horror-adjacent high gothic / high weird fantasy by del Toro or David Lowery.
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Nov 20, 2023 12:07
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Megasabin posted:How do you define “hacky here”? I guess I'd define hacky as 'successfully utilising / imitating a popular theme, genre, or story template, but doing so in a calculated and mercenary manner; potentially with a lot of style but without genuine love or fresh insight towards the material'? (So actually pretty much the same complaint that Ayesha Siddiqui has with Promising Young Woman as a rape-revenge thriller.) But really glad you enjoyed it and I agree, Keoghan rocks.
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Nov 20, 2023 13:41
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Sergio Leone's dad directed silent movies, although I guess that's practically a different medium at this point so unfair to make the comparison.
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Nov 20, 2023 15:57
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Doltos posted:The Terror was alright. The spirit bear was a little ridiculous . I loved and cherished the Terror S1, but if you found that silly, you'd have hated the concept of the Tuunbaq from the novel, a polar bear with a Stretch Armstrong neck, why is that scary, Dan Simmons
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Jan 2, 2024 18:38
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Pooh review posted:The silly factor is instead relegated to wild set pieces, including a particularly gnarly rave massacre that involves Tigger uttering the phrase, “Come here you fluorescent bitch,” to an unfortunate rave attendee. oh no i'm definitely going to watch this
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Mar 26, 2024 17:55
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You know what, I am at least curious to see what charmingly half-baked solution the crew come up with to the problem of 'visibly rotting horse-sized deer that can be ridden by the other monsters during action sequences and which can fit into our usual two-week zero-budget production cycle'.
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Mar 29, 2024 10:06
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I could go for a Night House 2 (one where the embodiment of nothingness doesn't need to stop the movie dead in its tracks in order to explain its motivations and can just be an awesome achievement of set design and photography instead) sure, thank you for asking.
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Apr 21, 2024 19:43
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The Berzerker posted:Which Bigfoot movie is the one where Bigfoot rips a guy's dingus off? That's the best Bigfoot movie WeaponX posted:Night of the Demon At first I thought you meant Night of the Demon (1957) and was nodding approvingly like, 'it's a creative interpretation, but yes, the movie is really about proving the existence of Satanic Bigfoot who shows up out of the woods and rips guys' dinguses off'
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Apr 23, 2024 08:34
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Perhaps the only fun thing about the Jaws sequels is how they start to undergo their own supernatural slasher-inspired shift towards the idea that the shark is an unkillable, immortal and demonic entity of the undersea, but the movies never fully come to terms with that or make sense of why it's happening. (I think the novelisations try and explain it's a voodoo curse, for whatever reason). You've got the scene in Jaws 2 where a sea helicopter comes to rescue our heroes, and then Jaws spitefully pops up, grabs the sea helicopter, and drags it, rotors spinning at all, into the ocean - and it vanishes underwater, as if into the void. You've got the entire premise of Jaws: The Revenge, where it's argued that this is not another shark, but the same shark, which keeps coming back seeking vengeance for its own death, and Mrs Brody, a la Nightmare on Elm Street 3, starts to develop a psychic connection with it that lets her see its victims' deaths and its deaths from the previous movies. But the movies also start to include these fascinatingly weird establishing scenes where we're looking at the quaint seaside town from the ocean, we hear the Jaws theme playing - and then the dorsal fin emerges menacingly from the water, pointing towards the target, before diving back down. As if the dorsal fin is the shark's eyes, which it uses to see above water. grobbo fucked around with this message at 12:55 on May 8, 2024 |
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May 8, 2024 11:24
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david_a posted:“Jaws at Sea World” should be cool but just isn’t. It’s the type of movie where if you saw it on a weekend afternoon on TV when you were a kid it seemed really awesome but it absolutely does not hold up. For all the poo poo The Revenge's final scene gets, Jaws 3 very slowly (and repeatedly) approaching the weirdly-fragile glass of an undersea command centre like it's John Cleese attacking the wedding in Monty Python and The Holy Grail and then bonking to an instant standstill is just as good/bad: https://www.youtube.com/watch?v=arsAllZIa1Y
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May 8, 2024 13:29
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Gripweed posted:Is there a werewolf movie that plays with the idea that the guy might just be crazy, like it leaves it ambiguous for at least a bit if the guy is actually physically transforming or if it’s all in his head? Jack Nicholson's Wolf is at least coy for a little while, I think? And After Midnight is partly the vibe you might be looking for.
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May 9, 2024 18:08
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