finally watched Zombie's Halloween 2 -wow what an enormous load of crap. really total garbage - I think i've seen better films in the Middle School section of youtube

"127 hours" 7-8/10

Yup, good one.


That's one nasty cutting scene.

http://ia.media-imdb.com/images/M/MV...V1._SY317_.jpg

It does not get much more fun then this.

http://ia.media-imdb.com/images/M/MV...0,214,314_.jpg
Gonna be a STAR!

You really liked Red X, huh?

Ok. I need that explained to me.

It means fuck you.

Watched two Australian films over the weekend.

*Tomorrow when the war began...seriously, the book came out in the early 90's and I'd always hoped for an adaptation of some kind...it's not a bad film and fairly true to the book, though yeah, feeling my age I guess. When I first read it, these kids were older than me.
It became a series of books then it spun off. I'm sure there'll be some kind of sequels...yeah, not bad really. Not about to win any awards but it's ok, I did however prefer the book.

*Look Both Ways - If you like WEIRD films, watch this if you can get your hands on a copy. Don't want to spoil too much but yeah it's warm, a bit tragic, and just...quirky and strange.

Hellraiser (1987). After reading a few reviews and then watching this flick I must admit that I am shocked at the lengths that people will go to in defending this movie. Don't you take this the wrong way, for I am not about to shred this movie, but to say that the cast gave incredible performances lamentable. The reason "Kirsty's" career didn't take off was because she sucked here as an actress. Her dialog delivery was laughable. Oliver Smith was OK, but it's not too hard to imitate a monster on the lamb. Sean Chapman's Frank was scary bad acting. Even Higgins was hit and miss. The only decent performance was from Andrew Robinson, but playing the prosaic husband and father really gave him no chance to shine or shamble.

What is remarkable is that this movie was great despite the lamentable acting. The atmosphere, the sadistic imagery, and the characters from beyond, this is where the movie really earned its due. Clive Barker may have dropped the ball on the regular characters, but he made up for it with subtleties that were truly disturbing, such as the rose unfolding on the TV set.

As to the effects, for the times they were pretty dang good. Save for the editing blunder where the dolly is painfully apparent just behind the charging ghoul, these were some truly chilling effects. But I cannot get over dolly ghoul. Its two appearances, the first laughable because of the bad editing and second because it seemed forced. Great in concept but horrendous in execution. I know that this was a low budget affair but come on. They should have stuck with the stop-motion animation and great makeup effects and left the moving horror scenes to films with an appropriate budget.

Moving on, the real depth of Hellraiser is secreted in the fusion of passions gone awry. Blending sex, passion, pain, and death has never been better received. It is the hidden lure of the dark side and the resultant pain of succumbing, that's where the genius of this film is anchored. Bad editing aside, my greatest criticism is not with the movie itself, but with the champions of the series and the lengths that people will go defending a movie that does not need to be defended. What is truly impressive here is that it rose above its litany of shortcomings to deserve its cult status. Now that is something to be proud of.
d

We can't see your pics bro

Now, that's funny. Why can I see them and no one else can?

KICK ASS - was excellent. The little girl Chloe is gonna be a star.

They're in your cache...

i guess they stopped the mandatory IQ testing around here

Coming from someone who voluntarily watched Zombie's Halloween 2, that answer should be abundantly clear.

Blackout (2008)


Three people stuck in a lift, as time drags by and help doesnt come things go downhill quickly. I quite enjoyed it, solid enough performances and cut scenes taking us away from the claustrophobic elevator dont detract from the tension. Not as good as it could have been but good enough.

Spawn (directors cut)

just as cheesy as i remember :cool:

The Company Men (2010)

http://l.yimg.com/eb/ymv/us/img/hv/p...mallposter.jpg

>>: B+

The Ugly (1998)

http://l.yimg.com/a/i/us/mov/video/i.../84/133084.jpg

>>: B

Black Swan (2010). Starting with an almost unpolished demeanor, Black Swan slowly builds into an amazing movie experience, but then it just... Let's start from the beginning.

The opening shots depict the confidence of Darren Aronofsky, rugged, almost washed out and without visual substance, luring the viewer into a false sense of security. Slowly and surely, Black Swan builds into an intense and believable depiction of the unappreciated and misunderstood dedication that this discipline requires. The underlying force here is the lure to achieve perfection, the bait that ensnares the perfectionist into thinking that such a thing is possible, where fate brings one to the brink, the precarious edge, and then whispers into the hopeful ear that to jump is to own.

Natalie Portman is simply perfect in this role. Her fanatic drive for perfection would impress the most ardent of Nazis, a belief that life itself can be cheated through dogged preparation. The cracks of reality that occasionally slip through are splendidly ignored, and not until the end do we see just how bent this determination is. Mila Kunis chirps in a surprising good performance, the perfect counterpoint to Portman's Nina, dedicatedly unleashed and all the more perfect because of it. Vincent Cassel, what can I say? This guy owns every role. While he plays a rather unlikable character here, it is one that perfectly balances the ambiguity of his intentions. Is his core filled with ooze or is his love of the craft so intense that he will opportune any moment to drive artistic heights out of his dancers?

Vying for top honors, the camera work goes head to head with Portman's performance. This is no surprise, but its dazzling effects, from the voyeuristic walking of Nina, a symbol of her journey that demonstrates her denouement through the camera's increasingly agitated ambling, to the agile capacity that the camera demonstrates, almost cavorting with the dancers themselves, was simply phenomenal.

The editing and direction was typical Aronofsky, his style an earmark of artistry, toned down when appropriate but ramped up to MTV speed for effect, as can be seen in the dance club scene.

The story was a superb take on the brutality that life has to offer this pursuit. These dancers are to both strive for perfection and yet must also live their lives; they live the perfect polar impossibility, for they must dedicate their every ounce of existence towards perfecting their craft but must also live life such that their performance is based on more than just sheer preparation. How these performers do no go postal is one of life's greater mysteries. As the story moves forward and to its end, as it builds up a momentum that is just barely tolerable, the viewer becomes strapped to the seat, electrocuted with anticipation as to how this thriller will execute its final moments, white knuckles all the way.

And then it ends, suddenly and without much fuss. This ending makes perfect sense, and I guess to some it might seem a brutal finality, but to me it was so lackluster that I could not help but feel cheated. I mean, really, that's it, that's the payoff? Maybe my expectations were too high, but in almost ever other moment of this showing I was suitably Wowed by the performance but then left unfulfilled, hollow even, as the credits rolled. Had I walked out just moments before the last scene I bet this would have been considered Oscar worthy, but instead I cannot help but feel spurned, and alone, a feeling that only a chocolate shake heavily spiked with Gran Marnier could fix. Merci.
d

OOPS! No one wants to read my review once, let alone twice...

Yeah right. Your reviews are highly anticipated and valued.

The Horde
I thought this was a great zombie flick. Pulled no punches and didnt try to be anything other than a zombie movie. Considering the past couple of turds that have come out lately (The Walking Dead obviously excluded) this was a descent movie. Meaning you know what your gonna get, no gimmicks or surprises. Liked the way the zombies looked along with desent gore/cgi. Bad acting and sub par plot aside i enjoyed it and only hope it doesnt turn into an american version. Just read the sub-titles and enjoy the movie, honestly its not that hard.

Make Out with Violence

Bronson (2008). Nicolas Winding Refn does not disappoint in this dark art house take on the notorious English prisoner "Charlie Bronson." With a premise that could easily be dismissed, Bronson turns a prolonged prison stint into a violent caricature of theater. The mind of Charlie is set upon the stage, literally, and this wily character finds his dreams of fame reified by way of celluloid.

Tom Hardy must be seen to be believed, for this performance frustrates description, but common sense will find no repose in this pathetic attempt. In the story proper, Hardy creates authenticity for a creature that defies belief, a man that so loves the physical act of the fight that we almost come to understand his joyful brutality. His frequently naked body is a testament to the feral nature that he fully employs at each and every opportunity. This portrayal is not one of sadism, but instead of a love of life through fisticuffs. This guy was built for cage-fights, but he seemed hell-bent on living there as well. Each new prison is a like a new hotel stay, where making vicious friends becomes his vocation.

Whereas his portrayal of life seems authentic, his stage presence is perfectly contrived, facial expressions held for just the right amount of time, then dropped with a sociopathic aplomb. On this dreamy stage our anti-hero gets what he wants, fame for being himself. His antics are only perpetuated through hammy makeup and histrionic mischief. He sings he plays he entertains. His creative expression finds his desperate audience, and Charlie Bronson seems truly happy for it.

Refn does a magnificent job taking the life of a thorough thug and turning it into splendid entertainment. His manipulation of the screen captures our emotions effortlessly. His creativity was daring and refreshing, dark art house has never been better. The camera work was incredible, creating a literal ballet of violence that was more entertaining than repugnant, manufacturing for the audience the literal sense of bliss that Bronson found in the beatings. In the end, the awful truth of his existence is not glorified, but his life's choices stand naked, caged up and ready to pounce.
d

http://www.mysteryfile.com/blogImg610/Dark-Poster.jpg

This was the failed pilot for a TV series starring Leslie Nielsen as Psychic Investigator. Though its set in late 19th century it reminds me a lot of the Kolchak series. Nielson is tops as the playboy turned magician monsterhunter complete with midget assistant..

Pity this never got off the ground..

A History of Violence

Good flick!



I don't know why but I tried Return To Sleepaway Camp again. What a steaming pile of dung. Terrible acting and really, who didn't unravle the "mystery" of who the killer was right off the bat? What the hell were Vincent Pastore and Isaac Hayes thinking when they signed on for this?

it is pretty sweet, but ill never understand the random sex on the stairs :confused:

Wolf Creek (2005)

http://l.yimg.com/eb/ymv/us/img/hv/p...eek_poster.jpg

Saw it just once before & started forgetting about many parts of the story lately. So gave it a watch again.

>>: B+

The Cell (2000)

http://l.yimg.com/eb/ymv/us/img/hv/guide/02581001.jpg

Saw it for the first time. Bit disappointed with the ending.

>>: B

Carver (2007)

http://i1097.photobucket.com/albums/...c/Carver07.jpg

>>: C+

http://vidmines.com/wp-content/uploa...tch-poster.jpg

Very different from the Romero original.

Complete mindless, stupid junk that I still enjoyed...WTF was it with Stephen Graeme still sounding Al Capone...

Alfred Hitchcock's Notorious.

BURIED: Sucked sucked and sucked some more.

is this just horror?

The Last Exorcism, it was terrible...
Salt, very good
Necromentia, pretty awful

Nope.

Beauty and the Beast (1946). For me, there is life before and then after watching Beauty and the Beast. Not simply because it was an amazing movie; it was. Not because of how the penetrating psychological implications have affected my soul; they have. And not because of the overwhelming symbolism has come to define just how shallow I am; yep. Instead, it has given my life new meaning, new direction, for I must now amass a boatload of money in order to build a living replica of the Beast's mansion.

Now when I say living replica, what I mean to intimate is that I want to somehow incorporate living anatomy into its architecture. Candle holders are to be human arms surrealistically branching out of the walls to apperceptively (sorry) illuminate my way. Statues will keep wary notice of my every move; now that is solidly creepy. Yep, the remainder of my life is to be spent infusing my existence with the essence of this great French movie adaption of this fabulous fairy tale. At least until something new and shiny graces my eyeballs.

Yes, this movie classic was that good. Cocteau was a poet, and Beauty and the Beast is dark poetry put to film. Every scene is memorable, lithe, and just another piece of the puzzle that will come to wondrous fruition at its resolve. An arrow shot through a window takes on sexual implications. A request for a rose shatters a life, maybe for the better. A nasty old smelly Beast a metaphor and vehicle alike. It's all there for the taking, too much really, which necessitates the wearing out of this perfect movie classic.

The acting was impressive. Josette Day piles on the beauty, at first simple, followed by a complete transformation into pulchritudinous (again, sorry) nobility. Jean Marais' three roles are not only sublime, but they add even further to the grim yet transcendental symbolism. The rest of the cast were perfectly supportive of our main stars.

As stated, the writing and direction were astounding. In a France freshly devastated by war, budgetary limitations could not stave the majesty of Beauty and the Beast, and probably for the better. This country probably benefited from such a cinematic boon as this. To heck with convention, there are times when the old ego needs a little nutritional shot in the arm.

More so, the effects were amazing, maybe even by today's standards. But this was 1946, and to think of what this film accomplished is a testament to the occasional genius that blesses our existence. Not to worry, no such talent will be found here in all of its ego swollen glory.

If you have yet to see it, get Beauty and the Beast immediately to the top of your cue, and then get to ordering a copy to keep at home, always by your side. That way, when the human creature drives you again to the brink, an occurrence that will never see the threat of extinction, you can simply pop this in your player to remind yourself that there is some rare occasional worth in humanity.
d

Rear Window

Few months ago I saw some amazing screen shots & read some great things (now including yours) in different sites about this masterpiece; I've already added it to my 'must see' list....really excited & eagerly waiting to see this soon.

Thanks for the rec with an excellent review.

Let Me In (2010)

http://i1097.photobucket.com/albums/...dc/LetMeIn.jpg

An okay American version of John Lindqvist's timeless masterpiece...not a bad effort from Matt Reeves; he tried though some scenes were overdone e.g. the pool scene and it was bit awful to see the vampire look they gave here for Abby (Eli).

>>: B

You will not be disappointed by Cocteau's Beauty an the Beast...

Just Before Dawn (1981). What this flick has left me with is a bag full of conflicted emotions. On the one hand, I want to get back into camping, mainly because it seems that all tag along chicks will be sporting short shorts and tied shirts. Yay!. On the other hand is my inherent fear hillbillies. Jason Voorhees has better table manners. In the end, slightly protruding buttocks have won the day, and when something goes bump in the night I will be sure not to be the one stupid enough to go and see what the fuss is about just beyond the campfire's flicker.

For the genre, the acting was above par. I cannot recall a single moment where a cringe was elicited from a moment of theatrical putrification.

If story is the most important thing, then this flick might be quick to bore. There is nothing really new here. But what it lacks in backwoods originality it makes up for with filmmaking style. The camera worked magic in creating that uncomfortable sensation in our bellies, a phenomenon that humans seem compelled to not only seek out but pay dearly for. More so, it took the organic beauty of the out of doors and used its expansive majesty to belittle us humans into the realms of puny significance. This sets the stage for the intrusive ugliness that takes forever to find its way to the center stage.

After evil drops its initial celluloid bomb, it really does take its time worming its way into the dark fathoms of our minds. Usually this translates into movie boredom, but Just Before Dawn keeps our interest by the continuous addition of other story elements, letting our imaginations wander around in its fruitless efforts to figure out how it will all fit in. And when the actions finds its fuel, it keeps revving until the very end.

The payoff scenes were confoundedly obvious and yet awe inspiring, dragging out these moments with the aplomb of a porn director that is looking to get laid. These moments were then augmented by the snappy editing that took no prisoners. Keep up or fall prey to the hideous force behind those viscous giggles.

Deliverance this was not. But we should have known that before dropping this one into the player. Instead, this was a genuinely atmospheric monument of backwoods terror whose greatest inspiration was found in the notion that chicks should never leave their makeup bags at home because you never know who you might meet in the middle of nowhere.
d

How could you be disappointed in a classic? It's like saying is Casablanca, M, or Gone with the Wind any good.

LEAP YEAR: Eh.

FREEWAY: Still one of Witherspoon's best.

TCM: Up in the top ten of horror movies ever made.

Gone With the Wind disappoints me.

ROBOGEISHA

You should just be ashamed of yourself.

But, frankly my dear I don't give a da..

The Matrix and The Dark Knight

Enter the Void (2009)

http://l.yimg.com/eb/ymv/us/img/hv/p...mallposter.jpg

>>: C-

In their Sleep (2010)

http://i1097.photobucket.com/albums/...heir-Sleep.jpg

Though the ending was somewhat disappointing but overall a fine French thriller with a simple predictable story.

>>: B

Howl (2010)

http://l.yimg.com/eb/ymv/us/img/hv/p...mallposter.jpg

O victory, forget your underwear...we're free!

>>: A-

Really? That really sucks mon.

Volver (2006). OK, when I popped this into the VCR thingy I was expecting an action flick. It opened with chicks discussing family stuff at a cemetery, prompting me to rightfully yank it out, replacing it with a Scorsesee flick for good measure. But curiosity got the better of me and Volver found its way back into my life. Oh the horror thought I, for if I was caught watching this veritable chick flick then my man card would be yanked for sure. But watch on did I, and in doing so was blessed with an amazing story punctuated by even better acting, AKA man card fully intact.

Volver is a story that hints at the supernatural, that flips the prosaic upside down and makes it wonderful, and that comes to an ugly conclusion that somehow matches the incredible beauty of Penelope Cruz. How it begins as a wildly tangential venture and ends as a tightly knitted present is the work of directorial splendor of Almodovar. Even the familial parallelism, fantastic by its very nature, seems both mundane yet wildly entertaining.

This really should have been a boring affair, a feminine flick with no explosions to speak of, let alone a substantial male actor to incite some sort of manly shenanigan. Instead this was a film dominated by the fairer sex, but done in such a fashion that its feminine flair was far from a turnoff for the stinky gender of which I belong. Maybe it was Penelope's incredible screen presence. Here is a woman filled with primal fire, a woman not exactly bright but street-smart and driven to action for all of the right reasons- family.

And while Cruz is the star, the supporting cast does more than their fair share to support her. Lola Duenes was incredible as the secretive sister, and what a secret she holds. The mother, skillfully played by Carmen Maura, delivers a performance powered through her on screen capacity to barely hold back her character's emotions. The greatest supporting performance might just have come from Yohana Cobo as Penelope's daughter. Her character captured both the profoundly disturbed emotions of the story's grim hinge as well as the barely contained verve of a secret that proves incapable of containment.

The symbolism from the exquisitely composed photography soared way over my head, but in eyes more capable than mine volumes of celluloid momentum must have been emoted to great effect. The dialog, even by way of the off-putting subtitle, was substantially better than the Hollywood droll that is born just south. Writer/director Pedro Almodovar has simply created a light-hearted movie of insidiously profound implications, told in an open style through believable characters whose life struggles we cannot help but to understand and root for.
d

I liked HOWl..

I thought Enter the Void looked great.