People always bring up the Mac OS on the alien ship thing, but the film is quite clear to point out that our computer tech was reversed engineered from the crashed Roswell craft
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The speech was fine, and I had no problem with it.
The montage of them contacting military holdouts around the world and them all reacting "Well thank God the Americans have solved the problem" got a laugh from me, and the cinema I saw the film in. Specifically the bit with Cliche British Air Force Officer #1 going "Well it's about bloody time those Yanks got the rest of us organised."
edit: (I have a friend in the RAF, and he said that is the scene they find the most unbelievable in this story about giant alien spacecraft with Mac-compatible interfaces.)
edit edit: Plus, wasn't he only giving that speech to the Americans in front of him? Them having to use morse code to communicate was kind of a big detail, I don't think worldwide radio pep-talks were an option. I imagine the British version was different: "Alright chaps, let's get these crates in the air and show those aliens what for, last one back's a rotten egg, haw haw haw." (This is absolutely how they talk in the RAF, according to my 100% reliable friend).
I always saw it as the RAF officer slagging Americans for once again taking their sweet time to join in on the global conflict.
Yeah, that matches the text pretty well.
"It's the Americans. They want to organize a counteroffensive."
"Well, it's about bloody time. What do they plan to do?"
I find El Royale shares more common ground with Kevin Smith's Red State than Tarantino.
Explain plz
Sounds like an interesting take
Less a condemnation of the Church, but the trailing of characters that don't seem central but are given room to breathe, what starts as a long-winded character exploration and slowly turns into a survival film, and while Red State starts and closes as a condemnation of faith as a weapon to empower weak men to take what they're entitled to, El Royale also toys with the themes of faith and false prophets, is way more optimistic that Good can overcome Evil.
Both movies are messes, but El Royale is far kinder.
it's not a surprise that both characters who survive are both Noble, and in the case of Flynn, someone who had served his time; it also raises a question about identity and who we actually are. Would Miles have lived if he had been forgiven earlier? Was he on the right path, since he treated those with kindness in kind?
It's a pretty surface reading but they hit similar beats.
"A new take on the epic fantasy genre... Darkly comic, relatable characters... twisted storyline."
"Readers who prefer tension and romance, Maledictions: The Offering, delivers... As serious YA fiction, I’ll give it five stars out of five. As a novel? Four and a half." - Liz Ellor My new novel: Maledictions: The Offering. Now in Paperback!
It doesn't really make any sense anyway, because we were never dependent on the aliens to become independent.
It would have been more appropriate if Pullman had invoked Liberation Day, saying:
From this day on, the fourth day of July will no longer be remembered as a Rwandan holiday...
As Liberation Day denotes the end of an actual genocide.
In that case Columbus Day would be more appropriate.
Columbus Day isn't on the 4th of July, whereas Liberation Day is.
It's more a statement on the jingoism - not only does the script imply that only the US has a national holiday on 4th of July, but that in doing so it ignores a non-US holiday that is far more appropriate to the situation on the exact same date.
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AtomikaLive fast and get fucked or whateverRegistered Userregular
I find El Royale shares more common ground with Kevin Smith's Red State than Tarantino.
Explain plz
Sounds like an interesting take
Less a condemnation of the Church, but the trailing of characters that don't seem central but are given room to breathe, what starts as a long-winded character exploration and slowly turns into a survival film, and while Red State starts and closes as a condemnation of faith as a weapon to empower weak men to take what they're entitled to, El Royale also toys with the themes of faith and false prophets, is way more optimistic that Good can overcome Evil.
Both movies are messes, but El Royale is far kinder.
it's not a surprise that both characters who survive are both Noble, and in the case of Flynn, someone who had served his time; it also raises a question about identity and who we actually are. Would Miles have lived if he had been forgiven earlier? Was he on the right path, since he treated those with kindness in kind?
It's a pretty surface reading but they hit similar beats.
I got a very similar read re: faith as you did, I just wish the movie had more to say about it. The movie spends loads of time with things that don’t end up mattering much at all.
It doesn't really make any sense anyway, because we were never dependent on the aliens to become independent.
It would have been more appropriate if Pullman had invoked Liberation Day, saying:
From this day on, the fourth day of July will no longer be remembered as a Rwandan holiday...
As Liberation Day denotes the end of an actual genocide.
In that case Columbus Day would be more appropriate.
Columbus Day isn't on the 4th of July, whereas Liberation Day is.
It's more a statement on the jingoism - not only does the script imply that only the US has a national holiday on 4th of July, but that in doing so it ignores a non-US holiday that is far more appropriate to the situation on the exact same date.
I think there might be another reason the script for a movie that started filming in July 1995, doesn't reference the anniversary holiday of an event that occurred in 1994.
Roger Corman's The Masque of the Red Death is one of his better Poe adaptations (It actually pulls from two or three stories). It looks great, with cinematography by Nicolas Roeg (Dir. Don't Look Now) and a great performance from Vincent Price as Prince Prospero, hiding out in his castle with his debauched noble 'friends' from the plague ravaging the countryside. He's always worth watching chew the scenery, but his Prince Prospero is fantastically cruel, he gets more of a thrill from corrupting everyone else, and enjoys making people debase themselves, though is not above getting his hands dirty.Also features Jane Asher (Paul McCartney's ex) as the purer than pure heroine that Prospero has set his mind to corrupting. It never reaches the heights of absurd melodrama of the earlier Price/Corman The Fall of the House of Usher but it's still campy as hell and I love it!
Also gave Asylum (1972) a watch, one of the anthology horrors that Amicus Productions was shovelling out back then. It's a fun one too; the screenplay is by Robert Block (Psycho) and each segment is based on one of his own short stories (So wiki tells me). The framing device concerns Robert Powell's doctor interviewing for a job at the titular asylum only to be told that the former head doctor has gone insane and is now one of the patients. If he wants the job, he'll need to interview the patients and identify the former chief psychiatrist. Shenanigans, as you can imagine, ensue. It sticks to formula but is a lot of fun. What effects there are kind of ropy, and all the twists can be spotted a mile away but it all adds to its 70s charm. It's got a hell of a cast too with Robert Powell, Patrick Magee, Sylvia Sims, Peter Cushing, Charlotte Rampling, Britt Eckland, and Herbert Lom which lends it just enough credibility. It also unashamedly blares Mussorgsky's Night on a Bare Mountain over the opening and closing credits, so I was already suitably psyched.
Just got my copies of The Witchfinder General (Conquerer Worm in the USA I believe) and Blood on Satan's Claw, both produced by Tigon and both really good from memory, so looking forward to seeing them again. They pair up nicely with the original Wicker Man, a trio of films Mark Gatiss (League of Gentlemen, Sherlock etc.) once referred to rather aptly as Folk Horror.
Contemplate this on the Tree of Woe
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AstaerethIn the belly of the beastRegistered Userregular
Masque of the Red Death is super good. Price is so fucking sadistic in that. I love the bit where he mentions testing to see whether color alone could drive you insane by imprisoning a man for years in a small room where literally everything was bright yellow.
I love Independence Day. Its so cheesy and bright and fun. Millions of people are may be getting slaughtered off screen, but damn it all AMERICA WILL SAVE THE DAY attitude is presented with such earnestness that it just works. There is nothing in the movie that pretends that its anything other then a b movie given a budget and real effects.
Its so pro-american that the Alien in the Mothership commanding the landing platform has more screentime then any non-american human character. That scene above? That makes up pretty much all the screen time devoted to the rest of the world and not because they are doing the "see the big event from a limited perspective" thing that War of the Worlds 2005 did.
Let the people that want watch the Tom Cruise/Steven Spielberg 2005 version of War of the Worlds. I will stick with a true classic take on the alien invasion movie.
The sky was full of stars, every star an exploding ship. One of ours.
This one's a bit difficult to measure. At its heart, it's a love story. It's about two people from different backgrounds who have some difficulty navigating their professional lives. But it's a love story whose meet-cute involves a break-in, an angry doberman, and pissing in the face of a man while sharing a first kiss. So it's really about a petty crook who falls into a relationship with a dominatrix.
It's the BDSM material, specifically as it relates to her job, that's probably the most curious and impressive thing about it. It's clearly unsimulated, and seems like it's going to be pretty straightforward humiliation and impact play until she hammers a dude's cock into a piece of wood. Ouch. So much BDSM and kinky sex is really aestheticized in film, and it was cool to see it faithfully and plainly represented like that.
As far as the actual love story part... it's fine? Depardieu and Ogier especially are really talented actors, and they find a good deal of truth and vulnerability in their characters, but its Schroeder's direction and the film's tone that confuses me a little. I'm lost as to how campy or sincere its being, with some scenes (like the ending) being kinda silly, and others being pretty stern and starkly dramatic. Maybe if it had tighter pacing and a clearer focus it could work better, but it's got some stuff worth appreciating.
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AstaerethIn the belly of the beastRegistered Userregular
Friday the 13th part 3 is also bad, although in not quite the same ways as part 2
Maybe all 80s horror movies were bad and I just need to stick to new stuff, older stuff, and Asia
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FencingsaxIt is difficult to get a man to understand, when his salary depends upon his not understandingGNU Terry PratchettRegistered Userregular
I liked the way the shaky cam and quick cuts were used in the Bourne films. They knew how and when to do those things. It's not really their fault that a ton of bad films copied the techniques without any of the artistry.
I always found the Bourbe movies to be pretty coherent woth that stuff. There are momebts of Chaos, but they are at moments of impact.
Masque of the Red Death is super good. Price is so fucking sadistic in that. I love the bit where he mentions testing to see whether color alone could drive you insane by imprisoning a man for years in a small room where literally everything was bright yellow.
...All I can think of is Frank Miller's All Star Batman drinking a nice cool glass of Lemonade
Friday the 13th part 3 is also bad, although in not quite the same ways as part 2
Maybe all 80s horror movies were bad and I just need to stick to new stuff, older stuff, and Asia
3 would be more enjoyable if we got a proper 3D re-release. The effects don't translate well to modern 2D.
4 is viewed as the best in the series, 5 is hated by many but is also the most vicious in the series, and 6 is simply delightful. If there is a chance of you liking any of these movies, I'd place my wager on part 6.
Really all of the Friday movies are pretty bad (as is the case with most 80s slasher horror). My guess is that if you don't have any nostalgia for them they probably won't resonate super well. Granted, that's impossible for me to say definitively since I was a horror junkie as a kid.
If you're looking to do a recap of the whole series I greatly recommend checking out the Dead Meat channel on Youtube. The guy there does awesome killcount/recaps of old movies with tons of great trivia sprinkled in.
For me, 4 is my fave. Can't go wrong with ole Tommy Jarvis.
Friday the 13th part 3 is also bad, although in not quite the same ways as part 2
Maybe all 80s horror movies were bad and I just need to stick to new stuff, older stuff, and Asia
3 would be more enjoyable if we got a proper 3D re-release. The effects don't translate well to modern 2D.
4 is viewed as the best in the series, 5 is hated by many but is also the most vicious in the series, and 6 is simply delightful. If there is a chance of you liking any of these movies, I'd place my wager on part 6.
They did a version of the DVD and maybe Bluray that had an anaglyph mode and came with the blue and red 3d glasses at some point
Friday the 13th part 3 is also bad, although in not quite the same ways as part 2
Maybe all 80s horror movies were bad and I just need to stick to new stuff, older stuff, and Asia
3 would be more enjoyable if we got a proper 3D re-release. The effects don't translate well to modern 2D.
4 is viewed as the best in the series, 5 is hated by many but is also the most vicious in the series, and 6 is simply delightful. If there is a chance of you liking any of these movies, I'd place my wager on part 6.
They did a version of the DVD and maybe Bluray that had an anaglyph mode and came with the blue and red 3d glasses at some point
Yeah, it didnt look very good though. Still waiting for Jason Goes to Hell uncut on Blu-ray.
I'm of the personal opinion that if JGTH wasn't a Jason movie it would be held in high esteem as a cult classic. Especially the uncut version. It is a great horror movie in the vein of the Evil Dead series, but a let down as a Jason flick.
Green, one of my favorite filmmakers working today, delivers potent thrills in Halloween, but the question of a woman telling this particular story lingered in my mind, in large part thanks to recent reporting on the issue of gender imbalance in Hollywood. A study published in January by Dr. Stacy L. Smith and the Annenberg Inclusion Initiative found that, of the 1,100 top-grossing films released between 2007 and 2017, 95.7 percent of all directors were male and 4.3 percent were female. That means for every 22 male directors hired for major releases, one female director earned the same job. Another report published by Martha M. Lauzen, Ph.D., and the Center for the Study of Women in Television & Film earlier this year found that women accounted for 11 percent of directors working in the top 250 films of 2017. As someone who looks to the film medium for perspectives and experiences outside his own, the numbers stunned after their initial publication, and continued to shade the machinations of an industry, consciously or unconsciously, set in its ways.
Blumhouse Productions has been in the scare business since 2006’s Paranormal Activity, and in that time, despite dozens of movies behind it, the company has not produced a theatrically distributed horror film directed by a woman. With more and more female voices emerging through the festival circuit, from which many of Blumhouse’s directors emerge, the omission struck me as odd and compelling. When I ask Blum about hiring a woman to direct one of the company’s horror films, he too seemed jolted by the idea that it hasn’t.
“We’re always trying to that,” he says. “We’re not trying to do it because of recent events. We’ve always been trying.”
Blum goes on to explain his strategy so far for getting a woman to direct one of his horror movies, which seems to be to identify one or two women and pester them forever even though it’s clear they don’t want to work for him.
A lot of Blumhouse horror is low budget fare and typically directed by men who made a one or two low budget studio horror movies (as opposed to the female indie darlings Blum targets). The biggest problem here is that those men got their breaks, but now Blum is making a bunch of the horror movies in that space. If he doesn’t give women their breaks now, there will continue to not be women with even the kind of minimal track record Blum is apparently waiting for.
I'm still shocked that the house that Paranormal Activity built somehow got its hands on Halloween. They've produced, maybe, five good movies, and a whole lot of meh. That said, I know there are a bunch of independent female horror directors in the ATL who would jump at a shot to work for a well known company like Blumhouse. If the company really wanted to hire a woman director, they would have by now.
I'm still shocked that the house that Paranormal Activity built somehow got its hands on Halloween. They've produced, maybe, five good movies, and a whole lot of meh. That said, I know there are a bunch of independent female horror directors in the ATL who would jump at a shot to work for a well known company like Blumhouse. If the company really wanted to hire a woman director, they would have by now.
Well considering there are like what 1 and a half good halloween movies? Its not exactly a prestige franchise.
I would like some money because these are artisanal nuggets of wisdom philistine.
I've only seen 1,2 & 3 and that scene in Jason Takes Manhattan on the rooftop (You know the one!)
It was super interesting to me as a kid to see the first three films gradually pieced together the iconography of Jason that everyone was familiar with without even seeing the movies.
"Wait, where's Jason?"
"I thought he had a hockey mask?"
"Oh! There it is."
"These films aren't very good, are they?"
I'm still shocked that the house that Paranormal Activity built somehow got its hands on Halloween. They've produced, maybe, five good movies, and a whole lot of meh. That said, I know there are a bunch of independent female horror directors in the ATL who would jump at a shot to work for a well known company like Blumhouse. If the company really wanted to hire a woman director, they would have by now.
Well considering there are like what 1 and a half good halloween movies? Its not exactly a prestige franchise.
I'd say the first four movies are good, or at least between the bad/good bar. Granted three gets shit on for no Mikey, but its still a good movie.
I'm still shocked that the house that Paranormal Activity built somehow got its hands on Halloween. They've produced, maybe, five good movies, and a whole lot of meh. That said, I know there are a bunch of independent female horror directors in the ATL who would jump at a shot to work for a well known company like Blumhouse. If the company really wanted to hire a woman director, they would have by now.
Well considering there are like what 1 and a half good halloween movies? Its not exactly a prestige franchise.
I'd say the first four movies are good, or at least between the bad/good bar. Granted three gets shit on for no Mikey, but its still a good movie.
I agree. If three would have just been a stand alone horror movie called "Season of the Witch" it would probably be remembered more fondly. Hell, Tom Atkins performance alone in that movie is pretty damn outstanding. It's a pretty good horror flick that unfairly had additional baggage dumped onto it be being in the Halloween series.
I had such a huge crush on Danielle Harris as a kid that I was infatuated with Halloween 4 and 5. I probably watched them more than I watched most of the Disney movies I was supposed to watch.
I had such a huge crush on Danielle Harris as a kid that I was infatuated with Halloween 4 and 5. I probably watched them more than I watched most of the Disney movies I was supposed to watch.
Same. I watched 4 and 5 more times than 1-3 when I was younger just because of her.
Finished up 1936, seeing everything I wanted which is a nice feeling.
It's a good year, one that might be defined by the amount of films about class awareness and the notions of justice. The struggle was real world-wide, and I guess with so much political strife, films that reflected on the place of the lower class and standing for justice spoke to people. I mean, the Best Picture winner this year was about Emile Zola's role in the Dreyfuss scandal. When else would that happen?
There isn't the greatest diversity in my favorites, just four countries represented, but I feel like that's to be expected given what was just around the corner. Renoir's the MVP, three films in one year, all great; Chaplin makes his best work; De Fuentes surprises me again making him 2/2; Lang transitions to American film naturally; my soft spot for Len Lye's experimental advertisements keeps lingering; many established Hollywood directors make strong pictures (Ceiling Zero rarely gets mentioned, but it's prototypical of some of Hawks' best films); and the early Japanese masters crowd my honorable mentions.
Favorites:
1. Modern Times
2. The Crime of Monsieur Lange
3. A Day in the Country
4. Rainbow Dance
5. Show Boat
6. Ceiling Zero
7. The Lower Depths
8. Let's Go With Pancho Villa!
9. The Devil-Doll
10. Fury
Honorable Mentions in vague preferential order:
-The Only Son
-My Man Godfrey
-The Life of Emile Zola
-Dodsworth
-Swing Time
-Sisters of the Gion
-Desire
-Camille
-Mr. Thank You
-Priest of Darkness
-La Belle Equipe
So onto '37, which has a couple of my favorites of the decade and has a pretty good handful of films I still need to see, though there's a couple I'm unsure I'll get my hands on. Also, I haven't really been making posts about watching any of the stuff from the 30's, but I think I'll start mentioning ones that wind up on my favorites as I discover them. Hoping to get through the 30's by the end of the year.
Tenzytile on
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TexiKenDammit!That fish really got me!Registered Userregular
This is kind of a weird thing that has annoyed me but it's really not classy when film companies are using their modern logo at the opening of a movie as opposed to the one that came attached to the film when it was released. Case in point: put Empire Records on on Netflix, and it doesn't have the simple WB shield on the clouds, it has the movie lot reflecting on the side of the logo as it turns into play with the fancy music which came out 4 years or so after the film actually came out.
It seems to have been a thing that really took off with streaming but it just always throws me off and is mainly a Fox/WB/Universal thing. I expect that film grain but what's this, a super clean logo? No dice. There's some leeway when it comes to a company who bought up or phased out a company like MGM or Orion but even then just keep it to the box art.
Inconsequential nitpick over, carry on, Paddington rules Captain America sucks.
4 and 6 usually duel for fan favorite. Like I said earlier, 5 is pretty much the nastiest of the series, and exemplifies all the negative thoughts on the franchise. Hell, the stories from the set make me feel less than good for enjoying the entry.
If @Astaereth is a Crispin Glover fan then 4 is a necessary watch. Six highlights the directors love for old gothic horror flicks and the Universal monster movies. Plus the intentional humor is a welcome change, and surprisingly well executed.
I'm going to watch Jennifer's Body tonight and I am 100% certain that I am going to love it. I saw some tumblr posts about how it was kind of an underrated b-movie gem with lots of cute one-liners that weren't truly appreciated by le wrong generation, and I'm still convinced Megan Fox has a personality that wasn't allowed to be flexed.
Eddy on
"and the morning stars I have seen
and the gengars who are guiding me" -- W.S. Merwin
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Yeah, that matches the text pretty well.
"It's the Americans. They want to organize a counteroffensive."
"Well, it's about bloody time. What do they plan to do?"
Explain plz
Sounds like an interesting take
Less a condemnation of the Church, but the trailing of characters that don't seem central but are given room to breathe, what starts as a long-winded character exploration and slowly turns into a survival film, and while Red State starts and closes as a condemnation of faith as a weapon to empower weak men to take what they're entitled to, El Royale also toys with the themes of faith and false prophets, is way more optimistic that Good can overcome Evil.
Both movies are messes, but El Royale is far kinder.
It's a pretty surface reading but they hit similar beats.
"Readers who prefer tension and romance, Maledictions: The Offering, delivers... As serious YA fiction, I’ll give it five stars out of five. As a novel? Four and a half." - Liz Ellor
My new novel: Maledictions: The Offering. Now in Paperback!
It's more a statement on the jingoism - not only does the script imply that only the US has a national holiday on 4th of July, but that in doing so it ignores a non-US holiday that is far more appropriate to the situation on the exact same date.
I got a very similar read re: faith as you did, I just wish the movie had more to say about it. The movie spends loads of time with things that don’t end up mattering much at all.
I think there might be another reason the script for a movie that started filming in July 1995, doesn't reference the anniversary holiday of an event that occurred in 1994.
Yay being old.
“Like, aren’t we all, like, aliens, man? Woah.”
Steam: Elvenshae // PSN: Elvenshae // WotC: Elvenshae
Wilds of Aladrion: [https://forums.penny-arcade.com/discussion/comment/43159014/#Comment_43159014]Ellandryn[/url]
Roger Corman's The Masque of the Red Death is one of his better Poe adaptations (It actually pulls from two or three stories). It looks great, with cinematography by Nicolas Roeg (Dir. Don't Look Now) and a great performance from Vincent Price as Prince Prospero, hiding out in his castle with his debauched noble 'friends' from the plague ravaging the countryside. He's always worth watching chew the scenery, but his Prince Prospero is fantastically cruel, he gets more of a thrill from corrupting everyone else, and enjoys making people debase themselves, though is not above getting his hands dirty.Also features Jane Asher (Paul McCartney's ex) as the purer than pure heroine that Prospero has set his mind to corrupting. It never reaches the heights of absurd melodrama of the earlier Price/Corman The Fall of the House of Usher but it's still campy as hell and I love it!
Also gave Asylum (1972) a watch, one of the anthology horrors that Amicus Productions was shovelling out back then. It's a fun one too; the screenplay is by Robert Block (Psycho) and each segment is based on one of his own short stories (So wiki tells me). The framing device concerns Robert Powell's doctor interviewing for a job at the titular asylum only to be told that the former head doctor has gone insane and is now one of the patients. If he wants the job, he'll need to interview the patients and identify the former chief psychiatrist. Shenanigans, as you can imagine, ensue. It sticks to formula but is a lot of fun. What effects there are kind of ropy, and all the twists can be spotted a mile away but it all adds to its 70s charm. It's got a hell of a cast too with Robert Powell, Patrick Magee, Sylvia Sims, Peter Cushing, Charlotte Rampling, Britt Eckland, and Herbert Lom which lends it just enough credibility. It also unashamedly blares Mussorgsky's Night on a Bare Mountain over the opening and closing credits, so I was already suitably psyched.
Just got my copies of The Witchfinder General (Conquerer Worm in the USA I believe) and Blood on Satan's Claw, both produced by Tigon and both really good from memory, so looking forward to seeing them again. They pair up nicely with the original Wicker Man, a trio of films Mark Gatiss (League of Gentlemen, Sherlock etc.) once referred to rather aptly as Folk Horror.
Its so pro-american that the Alien in the Mothership commanding the landing platform has more screentime then any non-american human character. That scene above? That makes up pretty much all the screen time devoted to the rest of the world and not because they are doing the "see the big event from a limited perspective" thing that War of the Worlds 2005 did.
Moviebob did a video essay on this a few years ago:
Let the people that want watch the Tom Cruise/Steven Spielberg 2005 version of War of the Worlds. I will stick with a true classic take on the alien invasion movie.
This one's a bit difficult to measure. At its heart, it's a love story. It's about two people from different backgrounds who have some difficulty navigating their professional lives. But it's a love story whose meet-cute involves a break-in, an angry doberman, and pissing in the face of a man while sharing a first kiss. So it's really about a petty crook who falls into a relationship with a dominatrix.
It's the BDSM material, specifically as it relates to her job, that's probably the most curious and impressive thing about it. It's clearly unsimulated, and seems like it's going to be pretty straightforward humiliation and impact play until she hammers a dude's cock into a piece of wood. Ouch. So much BDSM and kinky sex is really aestheticized in film, and it was cool to see it faithfully and plainly represented like that.
As far as the actual love story part... it's fine? Depardieu and Ogier especially are really talented actors, and they find a good deal of truth and vulnerability in their characters, but its Schroeder's direction and the film's tone that confuses me a little. I'm lost as to how campy or sincere its being, with some scenes (like the ending) being kinda silly, and others being pretty stern and starkly dramatic. Maybe if it had tighter pacing and a clearer focus it could work better, but it's got some stuff worth appreciating.
Maybe all 80s horror movies were bad and I just need to stick to new stuff, older stuff, and Asia
I always found the Bourbe movies to be pretty coherent woth that stuff. There are momebts of Chaos, but they are at moments of impact.
At least from what I remember
...All I can think of is Frank Miller's All Star Batman drinking a nice cool glass of Lemonade
Are you planning on watching them all? Have you seen them before? I'll be curious of your thoughts if you haven't on a couple of them.
3 would be more enjoyable if we got a proper 3D re-release. The effects don't translate well to modern 2D.
4 is viewed as the best in the series, 5 is hated by many but is also the most vicious in the series, and 6 is simply delightful. If there is a chance of you liking any of these movies, I'd place my wager on part 6.
3DS: 1521-4165-5907
PS3: KayleSolo
Live: Kayle Solo
WiiU: KayleSolo
If you're looking to do a recap of the whole series I greatly recommend checking out the Dead Meat channel on Youtube. The guy there does awesome killcount/recaps of old movies with tons of great trivia sprinkled in.
For me, 4 is my fave. Can't go wrong with ole Tommy Jarvis.
They did a version of the DVD and maybe Bluray that had an anaglyph mode and came with the blue and red 3d glasses at some point
Yeah, it didnt look very good though. Still waiting for Jason Goes to Hell uncut on Blu-ray.
3DS: 1521-4165-5907
PS3: KayleSolo
Live: Kayle Solo
WiiU: KayleSolo
I'd say the best are 1,4,6
That’s the plan but right now I’m pretty behind, so we’ll see how many I actually get through. I may end up finishing the series next year.
I'm of the personal opinion that if JGTH wasn't a Jason movie it would be held in high esteem as a cult classic. Especially the uncut version. It is a great horror movie in the vein of the Evil Dead series, but a let down as a Jason flick.
My personal favorites are 4, 6, and 7.
3DS: 1521-4165-5907
PS3: KayleSolo
Live: Kayle Solo
WiiU: KayleSolo
Blum goes on to explain his strategy so far for getting a woman to direct one of his horror movies, which seems to be to identify one or two women and pester them forever even though it’s clear they don’t want to work for him.
A lot of Blumhouse horror is low budget fare and typically directed by men who made a one or two low budget studio horror movies (as opposed to the female indie darlings Blum targets). The biggest problem here is that those men got their breaks, but now Blum is making a bunch of the horror movies in that space. If he doesn’t give women their breaks now, there will continue to not be women with even the kind of minimal track record Blum is apparently waiting for.
3DS: 1521-4165-5907
PS3: KayleSolo
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Well considering there are like what 1 and a half good halloween movies? Its not exactly a prestige franchise.
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It was super interesting to me as a kid to see the first three films gradually pieced together the iconography of Jason that everyone was familiar with without even seeing the movies.
"Wait, where's Jason?"
"I thought he had a hockey mask?"
"Oh! There it is."
"These films aren't very good, are they?"
I'd say the first four movies are good, or at least between the bad/good bar. Granted three gets shit on for no Mikey, but its still a good movie.
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I agree. If three would have just been a stand alone horror movie called "Season of the Witch" it would probably be remembered more fondly. Hell, Tom Atkins performance alone in that movie is pretty damn outstanding. It's a pretty good horror flick that unfairly had additional baggage dumped onto it be being in the Halloween series.
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Same. I watched 4 and 5 more times than 1-3 when I was younger just because of her.
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It's a good year, one that might be defined by the amount of films about class awareness and the notions of justice. The struggle was real world-wide, and I guess with so much political strife, films that reflected on the place of the lower class and standing for justice spoke to people. I mean, the Best Picture winner this year was about Emile Zola's role in the Dreyfuss scandal. When else would that happen?
There isn't the greatest diversity in my favorites, just four countries represented, but I feel like that's to be expected given what was just around the corner. Renoir's the MVP, three films in one year, all great; Chaplin makes his best work; De Fuentes surprises me again making him 2/2; Lang transitions to American film naturally; my soft spot for Len Lye's experimental advertisements keeps lingering; many established Hollywood directors make strong pictures (Ceiling Zero rarely gets mentioned, but it's prototypical of some of Hawks' best films); and the early Japanese masters crowd my honorable mentions.
Favorites:
1. Modern Times
2. The Crime of Monsieur Lange
3. A Day in the Country
4. Rainbow Dance
5. Show Boat
6. Ceiling Zero
7. The Lower Depths
8. Let's Go With Pancho Villa!
9. The Devil-Doll
10. Fury
Honorable Mentions in vague preferential order:
-The Only Son
-My Man Godfrey
-The Life of Emile Zola
-Dodsworth
-Swing Time
-Sisters of the Gion
-Desire
-Camille
-Mr. Thank You
-Priest of Darkness
-La Belle Equipe
So onto '37, which has a couple of my favorites of the decade and has a pretty good handful of films I still need to see, though there's a couple I'm unsure I'll get my hands on. Also, I haven't really been making posts about watching any of the stuff from the 30's, but I think I'll start mentioning ones that wind up on my favorites as I discover them. Hoping to get through the 30's by the end of the year.
It seems to have been a thing that really took off with streaming but it just always throws me off and is mainly a Fox/WB/Universal thing. I expect that film grain but what's this, a super clean logo? No dice. There's some leeway when it comes to a company who bought up or phased out a company like MGM or Orion but even then just keep it to the box art.
Inconsequential nitpick over, carry on, Paddington rules Captain America sucks.
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Awww 4 and 6 are fan favorite's and I wonder how you'll feel about those 2 and 5.
If @Astaereth is a Crispin Glover fan then 4 is a necessary watch. Six highlights the directors love for old gothic horror flicks and the Universal monster movies. Plus the intentional humor is a welcome change, and surprisingly well executed.
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and the gengars who are guiding me" -- W.S. Merwin
They also use "salty" to mean "hot" and I can see why the current meaning won out.
and the gengars who are guiding me" -- W.S. Merwin