Friday The 13th (1980).

I saw this recently with some other friends, and it was mildly scary! The acting was, of course, completely meh, and there was some cheesy scenes (i.e. the random body falling down as the person is running away from the killer), but in all it was an okay horror film! There were chilling and scary scenes, and a twist (which wasn't really a twist was it? everyone knew it was gonna happen). It was enjoyable and i am looking forward to seeing more of the Friday the 13th series.

bwahahaha - Rue Morgue just crowned it WORST CINEMATIC ATROCITY TO WOUND YOUR RETINAS of 2010.


...


The Last Exorcism (2010)

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This actually was pretty good... Well, about 2/3 was quite enjoyable... Solid acting, really good atmosphere... The actual plotline was a great, refreshing take of your usual demon-possession tale, so I really really liked that...

HOWEVER:

This is supposed to be a documentary-style film, yet the soundtrack does pick up during tense scenes, which ultimately distracts the anal retentive amongst us (where is that violin coming from - IT'S RIGHT BEHIND YOU!!

Also, the end is overly elaborate and ultimately unnecessary, leaving you with a bit of a let down.

In short, there are some good scares (though if you don't like the documentary-style, then definitely avoid it), but the end was a huge letdown for me (which I actually think a few people on this board have already sited.

I have a hard time giving it less then a 3/5, though, so here it is:

3/5.

stag night

Taxi Driver (1976). The majesty of the opening scene, where kaleidoscopic colors intermingle with the score's bipolar sounds, serve as a harbinger of the enigmatic Travis Bickle. Maybe Cybill Shephard's character described him best as a walking contradiction. His is a character that defies comprehension, a character that we want to root for but cannot even find a place to start.

The sense of loneliness and isolation emanates from each character, from the lowly cab driver to the campaign worker to the candidate she is promoting, a man literally separated from the people by way of the secret service. But Travis is further isolated through his awkward capacity in relating to other humans. Though he lives on this planet, his thoughts and dialog belong elsewhere. At the most mundane of moments he seems thoroughly lost in a thought, as if the contemplation of the door handle might just unlock the secrets of the universe. Ironically, it is the so-called scum of the earth, the hooker and the pimp, that exhibit the only sense of human connection as seen through a disturbingly gentle slow dance scene.

The story is a wonderfully slow descent into an unavoidable hell. But this is a contrived hell, complete with a physical training program, a fresh new hairdo, and apparently a contingency plan. This story is in no rush, but rather rallies in its attention to detail, highlighting the mundane repetitions of life. But when things do get heated up, time seems to take on a life of its own until boom! we are left on our own to sift through the madness.

Little more needs to be said of De Niro and crew. From the spectacular lead performance to the peripherals, every scene is replete with talent.

Martin Scorsese's brilliance is found in capturing the prosaic and transforming it into art. The first person narration, really a blather of irreverence, works to enhance the magic in the dull evidence of life. Working with an incredible script, Scorsese whips up a world of alienation and loneliness that cannot help but to drive those on the margins to crack. The distortion of speed and the disconnection of sound from "the event" serves to infuse the viewer with the madness of the moment. We can almost feel Travis' expression of hell through the disheveled artistry of camera and microphone.

In the end, the audience is not only left to fend for itself in regards to what has just occurred, that onscreen blasphemy of insanity, but we are likewise left in the dark, cold, outside world, where fantasy and reality refuse to cooperate and offer the audience some resolve, or should I say closure, as to what we are to think, for we too are left with a feeling of alienation. Merci.
d

Agree...after reading so much bad reviews, it really turned out pretty enjoyable indeed. Liked it too.

Sorry, I found it annoyingly dull.

Hyenas (2010)

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WereHyenas!

>>: D

Vanishing on 7th Street (2010)

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There was a Night Shyamalan feel all over it; even in few scenes it was like watching The Happening II: The Shadow Invaders! A pretty "dark" & disappointing effort from Brad Anderson.

>>: C-

outbreak.
outcast

When this was in the theatres, I went every day and sat through it numerous times. Great flick. "Piece o' chicken"

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"Klovn - the movie" 6-7/10

Klovn has invented a new genre in danish comedy. A genre best described as "embarrassing comedy", consisting of scenes after scenes that makes the audience either laugh or Cringe, or both at the same time, due to especially the main characters constantly wrong actions and cover-up lies. It's "Meet the parents"x10. Painful to watch.

But especially embarrassing for the lead actors involved. A brave bunch.

My boyfriend felt the same way. :D

The Possession of David O'Reilly (2010). This had so much potential that its let-down factor was like jumping from the roof of the DMV and surviving.
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Brotherhood (2010)

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This is not a slasher but a fairly intense drama about "a prank goes horribly wrong". Definitely worth a watch.

>>: B+

The Perfume of the Lady in Black (1974)

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A slow burn but pretty decent occult horror with a bit of Giallo flavor.

>>: B+

LET ME IN

Loved it.....I haven't seen the original yet but I plan on it.

Are you so damn (sorry! :p) stupid to watch a remake before you watch the original?!... Shame. ;)

..Or maybe I just say this because I am from Sweden..? ..Oh well how should I know..? :D

Sorry just a joke ^^

Btw my last seen was Friday The 13th part 1, me and my friend watched it. But he never watch horror and he is like very easy scared so when I made a punch at the wall his head got suck in the roof lol :D

"It's alive" 2011 6/10


Not as catchy a titel as It's Alive 75, but what the hell. ;)

Probably the youngest evil child in movie history. And quite possibly also the hungriest.

Had some funny moments but nothing big. Stupid ran-out-of-money ending.

Dogtooth (2009).................recommended

It's not a remake, it's an adaptation of the same story. Like The Thing.

Haha whatever, I still think you should watch the first one first :rolleyes:

Took a couple weeks off work so I watched a few movies.

Easy A: Awesome movie. Seriously. The dialogue is is so well written, particularly between Olive and her parents. Emma Stone, Patricia Clarkson, and Stanley Tucci have such an incredibly realistic delivery and chemistry with each other. Very, very funny stuff.

Nightmare on Elm Street (remake): I didn't mind it. I liked the more serious Freddy by far. A more indepth look at his background was cool too. Was the movie necessary? Not really, but it was worth watching.

The Last Exorcism: I liked it right up to the end then I thought they went way over the top. It's pretty effective at making wonder just what the truth of the matter is which made it engaging. Then the ending got all stupid and pretty much ruined it for me.

The Social Network: I really don't get what the hype was about. It's not a bad movie, but it's not great either. I didn't see anything that would make me want to watch it ever again. It's just not that interesting. I found it somewhat interesting to see how Facebook got started, but I really didn't care about any of the characters.

I agree...If you think for a second that the only reason that the US remake wasn't done was done because the original was so received then you are deluded....

Do you think The thing from the other world was remade for the same reason then you are fucking deluded..

Last Seen
 

The most recent movie that I have seen is Growth, about some parasitic bugs taking over a small research island off the coast of Maine.

Not bad, but not great either.

Ravynn

Congrats you just watched the remake of a 1974 film.

So what?

Did i win something?

Why? Because it came first? They're both adaptations of a book, neither are completely original works of fiction. However, both have their own completely distinct styles of directing, writing, acting, cinematography, and music. What makes the original so much more special? The fact that it came first? They're both great movies that are great for entirely different reasons. The author of the book agrees. There's absolutely no rule against watching the second adaptation before the first adaptation. Or watching either adaptation before reading the book. Or watching either adaptation or reading the book at all.

The people who say "you should have watched the original first. It's far superior." are the same people who say "I liked that band before they were famous. You should listen to their stuff when they were still indie." It's entertainment, people can choose to watch, read, or listen to and enjoy anything they want without people telling them what they SHOULD have looked into first.

If you think I said either of those things... You're bad at reading.

If anyone asks me then I'll definitely prefer or suggest the Swedish one but in compare to any recent remakes or originals I think Matt Reeves did a nice job in Let Me In. The thing is when the story is so good then it's really hard to make a bad movie from it by any director who at least got the decent amount of understanding about the original content & uses best of his skills of movie making for it. I think they could or should wait for some years before giving this 2nd film adaptation of the original work; when the love & memory of LTROI still so fresh in the mind of the audience then LMI was pretty early for them and quite natural to raise this sorta debates and comparisons as we all so much love Lindqvist's this timeless classic.

last seen:

Choose (2010)

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>>: C

It's Kind of a Funny Story (2010)

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Zach Galifianakis was wonderful in this pretty decent feel good movie.

>>: B+

Hellbound: Hellraiser II (1988). This second installment begins almost where the original left off. And with some of the same cast but a new director, instead of a fits-n-starts transition, it smoothly makes its way into the deeply bizarre and wonderfully disturbing realms of Clive Barker's vision of Hell.

The story was a perfect continuation of the original. It answers some of the questions left out of its predecessor. Character development for protag and antag alike is included for our amusement. The introduction of new characters seems fitting and appropriate, though I must admit that I was quite relieved when one of them came to his demise, almost as if his horrific acting was offensive even to the bowels of Hell. The remainder of the acting was decent, far from lamentable at least. At times hammy and histrionic, it was enjoyable none the less. Even the Cenobite's expansive roles enjoyed some decent acting.

Though we'll probably never know whether or not newbie director Tony Randel was responsible for the improvements in the acting, his success in making a sequel arguably better than the groundbreaking and viscous original is a monumental achievement in film history. Together with an impressive cinematographer, he has undoubtedly created a technically and visually superior sequel. Even more so, the abstract and disturbing visuals combine to dishevel the viewer, and a sense of the underworld is fashioned as a place barely tolerable onscreen, thereby unimaginable were it to be real.

The sound in the beginning was splendidly grating to the ears, a combination of sounds that lent themselves to machines and growls alike, barely perceptible and yet ostensible. As the depth's of this movie were penetrated, the sounds changed into classic monumental and cheesy climaxes, and delightfully so.

Of course, a movie such as this could not end with doors closed to further franchise opportunities, though many a disappointed fan could have been spared unnecessary cruelty had these doors not only been closed but securely dead-bolted, chained, and then boarded-up.
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The Gravedancers!
Scared me really, how refreshing since modern horror movies so rarely do.

And also before that saw Stir Of Echoes, maybe not shocking but definitely a great haunting horror movie!

The Sicilian Girl (2009). For those firmly entrenched in realism in their movies, especially when laced with some actual event, this movie will prove a disappointment. But for those willing to let themselves go and just enjoy The Sicilian Girl for what it is, a pleasant movie experience is sure to follow.

The story is one that we have heard before, but this mafia story is driven by character portrayal instead of raw violence. The futility of corruption is more the bad guy here. Go along and flourish or die are the options. Our protagonist is not so much a champion of morality but a victim of her anger, a trait that is exploited for the occasional good reason. And while her confliction is the highlight, the other characters are not without inner turmoil, with the mother's final scene a perfect example of spirit's rupture from a living polarity.

The acting was endearing. Veronica D' Agostino plays her role to perfection, a nihilist driven by the lure of vengeance. Her forehead in a constant furrow, her bleak situation offers no consolation, not reason for life. Her one escapade from the droll existence is seen as a negation of duty. Not much there to live for. Both supporting antagonists and protagonists alike are not relegated to the conceptual black and white, and the antagonists especially portray their parts not as evil villains but as empathetic humans on the darker side of the ledger. That these parts are believably portrayed takes this whole drama to a heart-felt level not without discomfort.

The direction and cinematography were competent. One scene with Rita spinning amongst the fluttering black clothes in the wind was especially poignant of the inner turmoil within. The score was perfectly supportive, the melody occasionally pulling our strings of empathy.

In the end a hero is born through time-tested means, and the raw documentary footage at the end really helps to drive this one's message home. Yeah, there were some story flaws that may not ring true, but for those who cannot enjoy a little poetic license then stick to your documentaries.
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They Live
"I have come to chew bubble gum and kick ass....and im all outta bubble gum."

Love this movie, late 80s at its best. Imagine what those sunglasses would show a person if they had a pair of em today.

We'll all know when the remake comes out.

the incredible hulk

Tamara Drewe (2010)

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A fine Britt comedy.

>>: B+

The Presence (2010)

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>>: C+

Fair Game (2010)

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A good political thriller based on former CIA Operations Officer Valerie Plame's memoir: Fair Game: My Life as a Spy, My Betrayal by the White House. Naomi Watts & Sean Penn as usually done a great job on their respective roles as Valerie Plame & Joseph Wilson.

>>: A-

Anatomy of a Murder (1959). If you are merely looking for a recommendation for a movie classic then read no further and dig up a copy of Anatomy of a Murder. If you would like to find out why you should not miss out on this masterpiece then read on.

As the story begins to unfold we are given material whose transparency seems to contradict the 160 minute run time, leaving us to wonder how in the heck they are gunna fill in all the gaps of such a simple story. But the story here is neither simple nor a convoluted roller coaster of unnerving twists and turns. Instead it is a slowly building study of courtroom ambiguity that transports the audience through its cinematic time teleporter in such a fashion that as the end nears our tension is a cross between the climax and our fears that this brilliant experience must finally come to its end.

James Stewart's performance was astounding. His legal wit appropriately mounts as his client's prospects for freedom approaches its doom. The combination of a country bumpkin lawyer with morally uncertain tactics works as they only create a sense of humanity missing in film today. Compounding this ambivalence is that it is never clear whether or not his enemy is the prosecutor or his client's flirty wife. Lee Remick plays her part perfectly. We are never really privy to the truth as her character dances around this notion as if to a two step whose score remains unsettled. Ben Gazzara, the client with a dubious future, was at his smarmy best, contemptuously aware of both his intelligence and his situation. George C. Scott blusters onto the screen with a silent intensity of puissance. His legal wits are never challenged as he quickly substantiates his reputation. There is not a stinker amongst the rest of the cast, and that the judge was played by a real-life judge only adds depth to this fantastic piece of cinema.

Otto Preminger likely deserves most of the credit for dictating the superior technicalities of Anatomy. Each and every scene was framed with an incredible sense of aesthetic and emotional design. The mise en scène was a masterpiece of formalist filmmaking. Never was there a time where character placement did not impart subtle yet substantial information concerning the scene. One of my favorite scenes utilized the silhouette of Scott to block out Stewart's character who, as if on cue, claws his way back into the picture, almost as if to ensure the audience that his presence will not be literally concealed. How this hilarious scene was tied into the story was just a slice of Otto's wit.

Though this can be thought of as a slow-burner, many scenes were a wicked blend of action, layers of activity that defies the viewer's frantic attempts to keep up, and yet never letting us fall into the quagmire of confusion. More so, the subtle touches of using a lighter, and who will offer a light to another, confers more important information about the characters than could any action, event, or dialog. Who lit the cigarette says it all.

The lighting was initially used to give this one a film noir feel, setting the mood even for when the tone was moved indoors and into the illuminated safety of the courtroom. More than that, lighting was used as a tool to effectively shield the character's intents and emotions from the viewer, giving us even more reason to want inside their skulls.

Duke Ellington's score was candy for the ears, and from the get-go it intimates that what we are about to experience is no trivial matter.

If you are looking for a courtroom drama where blindsiding twists make up the bulk of the story then look elsewhere. But instead if it's a smart drama that unfolds in the courtroom, and does so not by picking on your intelligence but by the sheer monument of crafty movie genius, then get ready to take in one of the all time best legal dramas to have graced the silver screen. Merci.
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Black Death (2010)


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Uhhhhhhhhh

Note to self: When you're already in the midst of a flu/depression spiral, DO NOT go out of your way to watch incredibly grim movies.

I'm having a hard time giving an objective review of this film because I was already feeling rotten and now, coming out of it, my spirits aren't exactly uplifted.

But I'll try anyway.

Well, it really shouldn't come as a surprise that this movie was directed superbly. Christopher Smith was the creator of other genre pieces such as Creep and Triangle, both of which stirred up the horror community and made a name for himself (I'm not sure if it's worth mentioning, but he also directed Severance, which I personally enjoyed, but people seemed torn about). This is really a jaw-dropping period piece - It's rough, gritty, and feels realistic (not your average swords-and-shields type fare). It's dirty, it's dark, and you really feel as though you are part of a believable tale of the 1300s with everything from the sets to the costumes to the make-up.

In terms of plot, Black Death is a journey into the medieval Heart of Darkness. Fairly straight-forward, but by no means simple. When it comes down to it, message of Black Death is that religion is ultimately evil and that people will maim, kill, and cannibalize each other in order to gain religious power. Incredibly dark, extremely grim, and ultimately left me feeling unhappy.

But that's to be expected.

It's a well-executed movie. I think that A LOT of people on here will like it (so to you I highly recommend it). It's just not something personally that I need to see again.


3.5/5.

Your Honor, I object! What is the norm of jealousy!

Lethal Weapon 2.
This one used to be my favourite, and while I enjoyed watching it while borrowing my friends box set I couldn't help but think only the first one was really any good. Though I still quite liked it...they made some decent action films around this time. Leaning a little further into the comedy routine with some funny dialogue and the addition of the rather annoying Joe Pesci, but still some solid action and relatively interesting villain/s, an ok storyline stringing it all together, and admirably with the events of/prior the first film as well. It's a reasonable sequel, and one of the better ones.

The Next 3 Days.
It was fairly watchable, with some very intense scenes.
Well acted, and a fun if not implausible overall "prison break" type storyline, with a couple of intelligent twists thrown in.
I don't usually like Russel Crowe at all, but he seemed good at the "normal" guy/husband/dad role and for once I didn't actually mind him at all.
It has a few dips here and there, but is quite edge of your seat a lot of the time too...couple of laughs, but overall a relatively sombre tone.
...Musical score borrowed a little heavily off LOST I thought.

Lethal Weapon 3
Still my LEAST favourite...I think it's because the whole thing feels a bit more like an episode of a cop/law drama? I actually found it pretty boring and didn't even watch the last half hour...the villain was just so...cookie cutter...
I mean it's "ok" but shit, even the 4th one was better than this, and that had fucking Chris Rock in it...

Piranha 3D (2010). The problem for exceptional directors is that when they just want to have some fun in making a movie, there will be scores of people that just don't get it. Still, people that expected a movie with the feel of High Tension from the remake of Piranha must be suffering from fetal alcohol syndrome. This movie was obviously meant to be a horror comedy and from that it point it delivers swimmingly.

Men that complained of the gratuitous nudity should either divorce their oppressive wives or have their man cards revoked. Yep, there are a lot of boobs floating around. I particularly like the choreography of the mermaid ballet scene.

What might not seem apparent is that this movie delights in making fun of itself. Those gruesome over the top waves of carnage were not meant to scare, but to draw delicious laughter from that naughty place in our skulls where such frivolity should not seem funny but still is.

Though not great, the acting was surprisingly good for such a trashy delight. In fact, superior acting would have been a wasted effort.

My only criticism, and this is a minor slight, would have been to shorten the contest scene as it quickly became boring. That said, the navigation through the sea of humanity scene was hilariously stupid. Loved it!

The effects were perfect here. The gore was unwholesome fun. When the effects were made to be unbelievable it was more to tickle the funny bone and was in no way an inept endeavor. To have made many of the scenes more believable would have detracted from the fun, and fun was the whole point.

Great moments abound. The opener with a certain hero of an ocean movie classic should have alerted viewers just what they were in for. For sheer movie magnificence, Ving's moment of glory creating a bay full of fish puree was one of many outrageous highlights, which seemed the whole point, to be a mere monument of outrage.

I almost feel sorry for those that could not see the entertainment value of this movie, insisting that the director should have remained true to form instead of reveling in the audacious smarm that this flick's genre demanded.
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The Illusionist

A truly beautiful movie

Devil

Wow, was this written by a 5 year old? After all the hype and being told how scary it was, this was terrible. The only real reason I watched it was because I saw about 100 adverts for it a few months ago. Basically about a group of people getting trapped in an elevator then all sorts of weird stuff goes on, the twists are incredibly obvious to anyone paying attention.

Seriously, avoid this like the plague.

3/10.

Frozen

A bit like Open Water, instead they're on a ski slope. Some crazy moments and the whole time you are sitting there thinking there are far better alternatives to getting out of the lift. Certain scenes were needless and a bit OTT but apart from that it wasn't that bad of a movie. Certainly kept me a lot more interested than Open Water did.

7/10.

Long Weekend

By the time I watched this it was about 1/2am, though this film wouldn't have made sense if it's 1/2pm. A couple go away to sort their marriage out but spend the whole time arguing and aimlessly wondering around this deserted beach. Then stuff starts dying but isn't dead, I don't even know I gave up caring half-way through.

5/10.

Last Exorcism
Heard pretty poor reviews about it, agree with them. Trying to be another 'Paranormal Activity' 'Blair Witch' style film, a little bit bored of that now. The finish was pretty anti-climactic.

5/10.

deep red
black dynamite
avatar
salt
death race 2
red heat
flavia the heretic

Blow-Up (1966). The opening of Blow-Up portends symbolic significance that can only be realized at the end, if at all. It then moves in the typical Antonioni direction which seems repulsed by such things as story and plot, as if such hum drum movie norms would somehow obstruct the movie making process. What is wonderful during this time spent accomplishing nothing is that we are lured in by a Thomas, a guy who exudes a violence of character without lifting a finger to harm.

Thomas, the show's anti-hero, is really more a menace than a citizen. He is impetuous, self-centered, a photographer. To him, even when there is something greater than his own presence available to occupy him, getting the perfect shot is paramount. Thomas is much like Alex in A Clockwork Orange but without the bloodshed.

But this story is not about Thomas. Instead it dances around perception. Thomas sees the world as he sees fit, until his camera catches something that he was looking at but did not see. This is where the magic of this movie really starts to shine, for it is here that it threatens to become something it is not. The movie itself plays with our perceptions. The audience tries to make something out of it but the movie does not comply with our wishes but toys with us none the less.

Even things such as worth are challenged. One of the best scenes in the movie fabulously demonstrates to us the fuel that drives worth, and that once an item's lure is lost in others then it is no longer worth coveting, in fact best dropped on the spot. This is one of many scenes that are both delightful to the eye and rich in symbolism. A landscape painting, an antique propeller, the droll existence of an antique shop, all of these scream out some message to Thomas, and it is never clear whether or not he even caught on to the director's designs- perfect.

The acting was absolute quality on all accounts, but it was David Hemmings' Thomas that stole the show. Vanessa Redgrave's character was probably the only one to make an impression on Thomas, but even here the mold does not match the original. Perception even here is skewed a tad.

Little more can be said of the direction except that it was magnificent. Known to extend scenes longer than the audience would like, Michelangelo Antonioni drags out the scenes with the aplomb a true master, daring us to look away or even pretend to be bored. We follow suit, and except for the adrenalin set, none of us exhibit restlessness mainly because we are too fascinated to be bored.

The camera work was mostly subtle when it worked its magic. From majestic long-shots to close-up pans, the camera is used to drive the movie and capture our curiosity. Is is by no means above manipulating its audience.

How to end such a movie creates almost a panic in the audience, for what we have just experienced defies a suitable ending, and we want not to be disappointed. Not to worry, the ending is almost a continuation of the unspoken question of its beginning, but this time allows the audience to understand its significance, or at least forgives us when when we too are caught up in the misrepresentation that is reality.
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