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DeimosRising
Oct 17, 2005

¡Hola SEA!


I watched horror express with my older kid tonight

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DeimosRising
Oct 17, 2005

¡Hola SEA!


Uncle Boogeyman posted:

weirdly i've seen this but not the original

Yeah I think that’s not uncommon. I THINK I’ve seen the first one but if so it was once and I was 9 or something, I’ve seen 2 like 400 times on tv

DeimosRising
Oct 17, 2005

¡Hola SEA!


Lil Mama Im Sorry posted:

Definitely watch Enemy

Less horror, but Richard Ayoade’s version of The Double from the same year is also very good

DeimosRising
Oct 17, 2005

¡Hola SEA!


weekly font posted:

Did anyone say Videodrome? Solid investigation there and the lead being a scumbag makes James Woods’ worminess tolerable.

Woods is a good actor and his being a total piece of trash just enhances a big chunk of his roles.

DeimosRising
Oct 17, 2005

¡Hola SEA!


Darthemed posted:

Bruce Coville’s Book of ____ (Monsters, Nightmares, Aliens, Ghosts, Magic, and Spine Tinglers) series are great for this. Each category has two books to it, and each book is a curated collection of short stories fitting the theme, with a nice variety of authors, though some of them do show up regularly. There’s contributions from Joe Lansdale, Jane Yolen, Terry Jones, Ray Bradbury, Michael Markiewicz, Neal Shusterman, and Al Sarrantonio (whose “Snow” still creeps me out), among others.

Always loved these. My son picked up this https://www.amazon.com/Cabinet-Curi...ps%2C95&sr=8-10 at the library the other day and while I’ve only read one story it was very cool and he seems to be extremely into it. He’s nine but a high level nine in terms of things he’s been exposed to, it seemed aimed a little older than him to me.

DeimosRising
Oct 17, 2005

¡Hola SEA!


Phy posted:

That thing grossed me out bigtime but then it got Byford Dolphined so it was like double gross

E: I think like a solid half of what I love about Alien is the 70s But The Future aesthetic.

I didn’t understand this reference and…yikes

DeimosRising
Oct 17, 2005

¡Hola SEA!


Xiahou Dun posted:

I guess you were right not to google that. The GIS results aren’t exactly fun.

It was a depressurization accident that killed 5(?) people very brutally, including one guy who got instantly sucked through a hole smaller than his body.

Oh no I looked it up on Wikipedia, which has a helpful diagram of what happened with stick figures. The yikes was my response. I did not look up pictures however

DeimosRising
Oct 17, 2005

¡Hola SEA!


Pretzel Rod Stewart posted:

I was wondering about jazz. is there a horror soundtrack that’s all jazz? nothing is coming to me right now. I sort of vaguely remember Ganja & Hess running the gamut of Black music, like there’s some Afrobeat, some gospel…

Rosemary’s Baby, Martin

DeimosRising
Oct 17, 2005

¡Hola SEA!


Magic Hate Ball posted:

Honestly, my biggest complaint about Malignant was that they color-graded it like one of those Mike Flanagan Netflix shows, which sapped a lot of the fun.

Even that would be a fine gag if it was just the parts in the first act before it wilds out

DeimosRising
Oct 17, 2005

¡Hola SEA!


feedmyleg posted:

Just watched The Woman in Black, currently watching the remake. The first was solid, if a bit lacking in tension. So far I really like the style, tone, and mood of the remake, which is about 80% of what I'm here for anyway, plus Radcliffe has a great screen presence, but about 30 minutes in and it's quite clear to me that this film's primary problem is just how little it trusts its audience. It's all so obvious.

In the first 10 minutes it really hammers (heh) home that his wife is dead and has left him in unending grief—but not only that, we have to see her death in flashbacks. Instead of him flipping through papers and seeing death certificates, only to later understand their true relevance, we have to scan across them and see that a child drowned in the marshes and linger on it. Then he has to flip over and look at the drawing his child made him, just to drive the personal connection home. We can't just hear the carriage accident in the mists, we have to see flashbacks there, too. Even the intro of the three little girls jumping out the window feels like it doesn't trust the audience to be interested in a slow burn.

I actually think most of the story tweaks so far are quite interesting—making him a widower who is on his last chance with his place of work is a different angle to explore, rather than a bright-eyed young family man at the beginning of his career. It's one of those tweaks that makes a remake feel like it could tread in slightly different territory without having to change everything or retread everything. But the execution is just a bit off. I like the addition of the spiritualism angle quite a bit, though.

I saw a stage production once and it’s really great in that format. Better than either film version, or at least the one I saw was

DeimosRising
Oct 17, 2005

¡Hola SEA!


Hollismason posted:

Midsommar is mid. Just not real impressed. I've still got like I think 20 minutes to go. The length of this doesn't really do it any favors. It could be like 120 minutes and still get across what it needs to say.

yeah if i was a bit bemused by the ari aster hype after hereditary, i was outright perplexed after midsommar.

DeimosRising
Oct 17, 2005

¡Hola SEA!


ruddiger posted:

Bokeem Woodbine is great in it. Speaking of which, I just rewatched Caught Up with Bokeem Woodbine and Jeffrey Combs, it’s got some pretty fun Jamaican/voodoo stuff going on in it.

How have I not seen this, what a cast

DeimosRising
Oct 17, 2005

¡Hola SEA!


MacheteZombie posted:

The end of that movie wrecked me the first time I saw it

I just rewatched it a couple of weeks ago and I teared up a few times. I’m a big wuss for those kind of working people in a hopeless situation stories

DeimosRising
Oct 17, 2005

¡Hola SEA!


M_Sinistrari posted:

Barbie's starting to taper down a bit by me. Oppenheimer's still going strong, but that's expected with the New Mexico connection.

As far as hottest/sweatiest movies, I'd go with an episode of Night Gallery. I forgot the name of it, but something happened and the Earth's heading closer to the Sun. Everyone's sweating like crazy and near the end the main character's collapsed delirious while the paintings in her room are melting off the walls. It ends with it was a dream, turns out the Earth's heading away from the Sun and everything's slowly freezing .

That’s The Midnight Sun, it’s a Twilight Zone episode

Edit I typed twilight instead of midnight

DeimosRising fucked around with this message at 23:11 on Aug 25, 2023

DeimosRising
Oct 17, 2005

¡Hola SEA!


Phy posted:

The Interior: that one scare you were all talking about is indeed terrifying but I don't feel like the rest of it was quite worth the trip.

Because of the premise of a J. Random Whiteboi who looks like Joshua Jackson but taller getting a lethal diagnosis and loving off to BC, I spent most of the movie thinking about One Week*. That is, when I wasn't yelling at the screen not to steal from the people you're camping around or walk around a coastal island in the dead of night, that's how you get eaten by mountain lions you fuckwit. But that's my issues, YMMV.

And fortunately for my sanity the scenery didn't look much at all like the Kootenays.

*Not a horror movie in the slightest unless you count watching a Norton motorcycle get backed over, or seeing a dude kiss the Stanley Cup when you know for a fact babies have pissed in it

Look I haven’t seen the movie but maybe a character with a terminal diagnosis might have a motivation for not prioritizing responsibility and safety, perhaps

DeimosRising
Oct 17, 2005

¡Hola SEA!


Microwave massacre is the rare film for which a description is wilder and more interesting than watching the movie. It’s so poorly made it drains all the interest out of its gonzo plot and concepts

DeimosRising
Oct 17, 2005

¡Hola SEA!


Jump scares are good, it’s fun when one gets you.

DeimosRising
Oct 17, 2005

¡Hola SEA!


Magic Hate Ball posted:

I think jump scares have their place, but often they're overused as a cheap tactic to prop up an otherwise uninteresting fBOO!

Sure, a bad one is bad, no argument. I just think that’s trivially true. All the weak ones that make you roll your eyes just make the good ones more fun

DeimosRising
Oct 17, 2005

¡Hola SEA!


HUNDU THE BEAST GOD posted:

The Carrier (1988)

Ever since you made that movie of the month I think about this movie a lot

DeimosRising
Oct 17, 2005

¡Hola SEA!


EL BROMANCE posted:

It’s me, the other guy who liked A Cure For Wellness.

I think it's quite popular around here. I liked it a lot

DeimosRising
Oct 17, 2005

¡Hola SEA!


Gripweed posted:

Earlier this year I managed to get literally ones of people to watch Legend of the Stardust Brothers, so I have faith that this will be the year I finally talk someone into watching X-Cross. It's such a fun movie!

i watched i just forgot to post. i'll dredge up the thread tomorrow and say something

DeimosRising
Oct 17, 2005

¡Hola SEA!


A Fancy Hat posted:

I live in Western PA, I've got Kennywood Phantom Fright Nights as my major haunted attraction but we also have Hundred Acre Manor and The Scarehouse which are absolutely incredible. Hundred Acre Manor is on par or above anything I've done at Universal; just completely wild set design and costumes. Scarehouse used to be on par with that but I haven't gone in a few years.

Down to what age would you say these are appropriate? I live in pittsburgh too and my kids would love a haunted house, but they're 6 and 9.

DeimosRising
Oct 17, 2005

¡Hola SEA!


the whole premise of jigsaw's deal, finding out if you really love life and want to keep it and poo poo, is what happens every time i find 3 week old coleslaw in the fridge and try to decide if i should put it on my hot dog anyway

DeimosRising
Oct 17, 2005

¡Hola SEA!


Watched the first two episodes of the Flanagan Poe series. Embarrassing. He clearly just wanted to direct some episodes of succession. Characters constantly saying the names of Poe short stories out loud is incredibly corny. The pseudo monologue framing story is some of his worst writing ever. When it’s being funny it’s actually decent, maybe he should try his hand at a comedy. The ghosts standing in the background of shots is such a playing the hits move I almost respect it. The hot club bangers being entirely mid tempo remixes of earth 90s radio staples tells you everything about the audience and the vibe here

DeimosRising
Oct 17, 2005

¡Hola SEA!


Kart Barfunkel posted:

Theater near me is doing a double feature tomorrow and I wanna know if this sounds worth it to you guys.

Fulci’s The Church (1989)

Argento’s The Sect (1991)

Now, I’ve seen films from both directors and I’ve enjoyed them very much. But I’ve not heard anybody ever talk about these ones. I don’t wanna get stuck with two duds!

I appreciate the deep cuts they are wont to play at that theater, but last week I saw their screening of Messiah of Evil and it fell totally flat for me.

Messiah of Evil is an all time banger so if you don’t like that one I’m not sure I can understand your taste well enough to be sure but :

The sect/devil’s daughter is a Michael soavi movie, argento just wrote it. The church is also a soavi movie. Church is a lot wilder and more fun, though the sect has its moments. Church plays fast and loose with the idea of a plot, it’s sort of kind of Demons 3 but you don’t need to have seen any of the various other movies in the “series”. If you don’t mind the Italian style of blending horror with comedy and stringing scenes together more by vibes and feel than plot, it’s fun. The sect is more buttoned down but the plot is hackneyed to the point that it would be better if it wasn’t. Neither are a patch on Soavi’s next movie, Cemetery Man, which is getting a rerelease soon and is probably why your theatre is showing these two

DeimosRising
Oct 17, 2005

¡Hola SEA!


Uncle Boogeyman posted:

Those are actually both by Michele Soavi. The Sect is just okay, but The Church is GREAT.

I would go.

I did not know when i wrote that earlier that the sect sometimes got billed as demons 4, and now I’m very amused that they’re screening them “out of order”

DeimosRising
Oct 17, 2005

¡Hola SEA!


PriorMarcus posted:

How is the remake of Susperia?

How does it compare content wise to the original?

You've already gotten a lot of answers, but if it were titled something different you might not recognize it as a remake. You could watch them back to back and you'd probably think, what a weird coincidence that those were both set at ballet academies and featured witches. i wonder if it was an intentional homage.

i like both a lot

DeimosRising
Oct 17, 2005

¡Hola SEA!


Uncle Boogeyman posted:

If you want a weird 3 hour long gothic horror movie with Mia Goth, I can’t recommend A Cure for Wellness highly enough

i can think of much worse ways to spend an evening that this double feature.

i will say i've never wanted an intermission in a movie more than the suspiria remake though

DeimosRising
Oct 17, 2005

¡Hola SEA!


Punkin Spunkin posted:

his actress/director relationship with his wife reminds me of Polanski and Emmanuelle Seigner too...just obviously way less creepy...

the wholesome version of that was Roberto Benigni always casting his wife as MAMA MIA DA MOST BEAUUUUTIFUL WOMAN IN THE WOOORLD

Tbf Rob and Sheri is also the wholesome version

DeimosRising
Oct 17, 2005

¡Hola SEA!


HUNDU THE BEAST GOD posted:

No one makes this comparison because it's not flattering but Flanagan is VERY much like Ryan Murphy.

Absolutely, except it's not flattering to Ryan Murphy

DeimosRising
Oct 17, 2005

¡Hola SEA!


HUNDU THE BEAST GOD posted:

There isn't a single sequence from the first 3 V/H/S movies that seem anything like Eli Roth.

Yeah I’m very bemused at the idea of Eli Roth directing Second Honeymoon or Slumber Party Alien Abduction. Seems like PS got so thrown by the dickhead frat boys in the first wraparound and Amateur Night it took him 3 movies to recover

DeimosRising
Oct 17, 2005

¡Hola SEA!


pospysyl posted:

Blumhouse Production’s box-office blockbuster Five Nights at Freddy’s grossed $80 million when it opened, just days after the American broadcast debut of Morrissey’s legitimately terrifying new song “Sure Enough, the Telephone Rings.” Morrissey’s taunt, “You should tell little kids / They’re living in hell now” calls out the unserious Blumhouse agenda and our current political nightmare.

The relentless, video-game-style paranoia of Five Nights at Freddy’s updates teenage scary-lore: Mike Schmidt (Josh Hutcherson) can’t get over the memory of witnessing his baby brother’s abduction and, after his parents die, becomes the guardian of his autistic kid sister, Abby (Piper Rubio), Mike compulsively relives his trauma, believing in dream theory, according to which “he walks through memory as if experiencing it for the first time anew, no longer a passenger but an active participant.”

That Nightmare on Elm Street steal exposes Blumhouse’s juvenile shtick, yet Mike’s recognizable fears — encompassing unemployment, sex trafficking, parental abandonment, institutional distrust — evoke something real. In his first five night-shift stints as watchman at a disused ’80s amusement park/arcade mall — Freddy Fazbear’s Pizza Place — Mike stares glaze-eyed at security monitors, then drifts into violent 3-D incidents, His circumstance incarnates the hell that Morrissey sings about.

But Morrissey zeroes in on present-tense shell shock. The song comes from his album Bonfire of Teenagers memorializing victims of the 2017 Islamic terrorist bombing of the Ariana Grande concert at Manchester Arena. Capitol Records still refuses to release the album. This censorship contrasts with Blumhouse exploitation movies (the Purge film series, Get Out, Us, M3GAN, Insidious), which contrive our acceptance of horror, keeping consumers in a state of anxiety — and without catharsis, same as the fake-news media do.

Morrissey’s puckish perspective always scares pop-music traditionalists by exploring previously unspoken depths. “Sure Enough, the Telephone Rings” raises fears afloat in the culture — whether unwanted telemarketers (“Who wants my money now?”) or the daily evidence of political evil and vengeance that cannot be hidden from children. His complaint chugs along, its bridge recalling The Smiths’ “You Just Haven’t Earned It Yet, Baby.” These social vexations work as cultural criticism, pinpointing Mike’s terror — the panic of exasperated people going through hell, not dream theory.

As a left-leaning, social-activist studio, Blumhouse manipulates political paranoia, selling it as inevitable. (Imagine Britain’s Hammer horror films but with less craft.) Only the most fanatical horror-movie devotees can ignore the shallow exploitation of Blumhouse products. So the coincidental release of Morrissey’s song acts as a counterweight to the half-baked ideas in Five Nights at Freddy’s. Otherwise, it’s another grab-bag of pop-paranoia clichés. Freddy’s place combines the arcade repository of National Treasure with the Safdie brothers’ Good Time. Mike protects Abby from the arcade’s oversized animatronic creatures — grisly embodiments of lost and dead children whose ghosts make the cartoon-figure robots move. Director Emma Tammi imitates how the Stranger Things kids similarly relive ’80s pop culture, with a little Saw-franchise torture-porn thrown in.

One unexpected pleasure is seeing Mike disable the mutant bots, as if exacting revenge on Pixar and woke Disney and woke Sesame Street. We need our fears expiated, yet Hutcherson’s boyish face, a distressed child actor’s face, makes Mike’s adventures unsatisfying; he slips into solipsism. And an unfinessed subplot about a female cop (Elizabeth Lail) retaliating against her abusive father never attains the genius sympathy of the parental martyr’s punishment in De Palma’s Carrie.

Consider the cultural concurrence of Blumhouse’s latest hit meeting Morrissey’s political humor and seriousness: one a threat, the other a warning. If we don’t tell children that lawfare is wrong, then you’re letting them think that political prisoners and irrational hatred and censorship are all excusable and good. We are living in hell now when our institutions, media, and politicians oppose our common interests. Morrissey’s counterpoint to Five Nights at Freddy’s tells us there are few childhood or adult amusements free from sexual grooming and political lies.

(USER WAS PUT ON PROBATION FOR THIS POST)

honestly i can barely even figure out what the gently caress armand is talking about these days, it's such a mismash of stuff that seems like he was half watching the movie and is throwing out right wing catchphrases whether or not they make sense at all.

DeimosRising
Oct 17, 2005

¡Hola SEA!


Halloween Jack posted:

Well, he's the National Review's film guy. Degenerating into that kind of hackery was inevitable.

SuperMechagodzilla posted:

Obscurantism fails when you can just skip to the conclusion. White's complaining that the Five Nights At Freddy's movie isn't promoting Qanon, as the failure of any artwork to do so is a moral failure. RIP to his drat mind.

at first after his turn he at least made sense even if what he was saying was stupid but now it's just nonsense. i think you're right and it's not just grift for him, he's got Q brain and legitimately thinks sex trafficking is a common and normal thing to be worried about and "there are few childhood or adult amusements free from sexual grooming"

M_Sinistrari posted:

He's pretty much the contrarian for the sake of being a contrarian. You can have a thousand critics praising a film with ten times that in the audience praising a film and he's going to go the exact opposite.

old armand was a contrarian, but often an insightful and interesting one. what's he being a contrarian about here? no one is arguing five nights at freddie's is actually great, he's not swimming against the current of critical acclaim. his problems with the movie are just really weird

DeimosRising
Oct 17, 2005

¡Hola SEA!


SuperMechagodzilla posted:

Beyond The Black Rainbow and Mandy are absolutely better Leviathan and Rambo 2.

psycho 3 is pretty good but i think oz perkins is better than his dad as well.

DeimosRising
Oct 17, 2005

¡Hola SEA!



Worse, the update has their statement which outright says there is no ethnic cleansing or genocide happening in Israel-Palestine. This is significantly more than just shying away from controversy

DeimosRising
Oct 17, 2005

¡Hola SEA!


flashy_mcflash posted:

Yeah I absolutely can and have told people to shut up but this was like half the theatre. It was actually one of the more bizarre experiences I've had because it was like a bunch of people just decided to have a party in a full movie theatre.

Not quite as bad as the time a guy sat in the row in front of me in a 4DX screening of Prometheus with his very drunk girlfriend and she was extremely using the water spraying gimmick to masturbate though.

so i've never sat in a 4dx screening and i'm finding this hard to picture. like has she got a full on showerhead over there or what

dorium posted:

Penelope Cruz completely steals the movie. She went deep into her bag on this one. Adam Driver dials down the crazy Italian accent into something reasonable. Mann delivered a solid film that’s way more character study than racing action movie. He used the same cinematographer that Fincher had on The Killer and the movie MOVES when it needs to but finds some real great angles for character moments.

It’s also a dad movie through and through. I had this dude next to me in the screening with the Ferrari Mechanic hat on his knee and he went “drat” during big character moments “what the hell” when something shocking happened and clapped when the Ferrari company was cleared of wrongful deaths. Mann really built out another gem for his cap.

cruz is 100% the highlight, does some serious facial acting. this is a big time face movie, and as a lover of cinema featuring weird faces I appreciated it. this was the first time I did a dolby cinema and there's no way this movie lives up to that in any other setting, the doppler effect and vibrating seats when a car blasts across the screen was a hoot

DeimosRising
Oct 17, 2005

¡Hola SEA!


Splint Chesthair posted:

It’s been a while since I saw Dawn04 - which character are people saying was queer-coded? Ty Burrell?

i have no idea but ty burrell is almost totally characterized by being a narcissistic lecher and enthusiastically fucks a woman on screen so probably not him

DeimosRising
Oct 17, 2005

¡Hola SEA!


STAC Goat posted:

Like a big pattern of the movie is basically the characters who do what need to be done and the characters who don’t. And Ty is constantly all “gently caress you, not my problem”. I’d say value in that movie is defined less morally and more by utility and bravery hence how CJ gets redeemed despite being the villain of the first act. He doesn’t have any deep emotional or character change, he just says “for fucks sake” and does the action stuff that needs to be done. Ty’s big moment on the other hand is him simply not doing his easy job in the big rescue mission and getting people killed.

what does any of this have to do with "queer coding"

STAC Goat posted:

There’s a smaller character. The older bald guy who seems to have been written as gay. There’s some shot of him trying on heels and some deleted scene with him I think. But he’s hardly a “villain”. At most I think you could argue he’s one of the more passive characters lesser than the macho action stars.

Ty Burrell I guess fits into that idea sorta since he’s always avoiding action and responsibility. Where as like CJ is a pretty terrible person but is “redeemed” by being a man of action.

The sensitive dad who has a tender death scene with his daughter? i guess he could be gay as opposed to just kind of liking heels, but he's like...the least villainous character in the movie. his whole personality is being sweet

CJ is "redeemed" by doing a suicide bombing to save other people

DeimosRising
Oct 17, 2005

¡Hola SEA!


Uncle Boogeyman posted:

Queer God, the upcoming sequel to Mad God

i would be extremely hype for this

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DeimosRising
Oct 17, 2005

¡Hola SEA!


Uncle Boogeyman posted:

heels guy and dead dad guy are two different guys. dead dad guy is in like two scenes including his death scene, heels guy makes it almost all the way to the end of the movie.

ah i forgot there was another bald guy but still

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