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PostPosted: Thu Oct 12, 2017 2:45 pm 
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Pender wrote:

Definitely not Mel Brooks best, but a solid core movie spoof of the old B&W horror movies.

8-)


I've always felt the same way about this movie but I know so many others who think it's his best. I think it's very good and I love that it's as much a tribute to those films as it is a spoof on them. Still, I think Blazing Saddles, High Anxiety and The Producers are all better than Young Frankenstein. I tend to like History of the World Part I better too because I saw it on Showtime over and over when I was a kid.

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PostPosted: Thu Oct 12, 2017 6:23 pm 
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It’s the 80’s / so do a lotta Coke / and vote for Ron-ald Rea-gan!

-Of Unknown Origin (1983): :hole1: :half: :nohole: :nohole: :nohole:

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A pre-Robocop Peter Weller is driven to obsessive madness dealing with an unruly rat in his New York tenement building, which ends up crippling his work performance and reducing his domicile to a rubble-strewn battlefield. Basically a Tom & Jerry cartoon played completely straight, this dull would-be shocker (directed by a pre-Rambo George P. Cosmatos) has little suspense, mediocre acting and poor special effects…in fact, the theatrical trailer on the DVD humorously tries to conceal the fact that the interloper invading Weller’s apartment is a rat, and basically implies that it’s a supernatural haunting! If you want a superior rat thriller, stick with the underrated 2003 remake of Willard with Crispin Glover (I honestly have not seen the original, to my chagrin).

-The Wraith (1986): :hole1: :hole1: :half: :nohole: :nohole:

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An Arizona teenager is murdered by a gang of street-racing toughs, only to come back as an avenging spirit -- clad head-to-toe in foreboding black leather and a feature-concealing motorcycle helmet and driving a radical Turbo Interceptor -- and proceeds to do away with the gang members who originally killed him. Lame crossbreeding of Fast & The Furious and Ghost Rider has a decent cast (Charlie Sheen, Randy Quaid, Sherilyn Fenn) and some reasonably solid crunched-metal vehicular smashups, but it’s also deadeningly repetitive and unimaginative in the ways of offing the various punk villains. If I want to see an 80’s movie with a supernatural car killing off one-dimensional bullies, I’ll stick with John Carpenter’s Christine.

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PostPosted: Thu Oct 12, 2017 7:45 pm 
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You'd take Carpenter's worst 80s movie over Maximum Overdrive? For shame. Also, The Wraith is pure cheesy goodness. I can't not watch it when I come across it on TV.


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PostPosted: Thu Oct 12, 2017 8:03 pm 
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Worse than Prince Of Darkness?

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PostPosted: Thu Oct 12, 2017 8:39 pm 
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Monterey Jack wrote:
Worse than Prince Of Darkness?

Monty lives in a Mirror, Mirror universe. PoD is one of my favourite Carpenter films.


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PostPosted: Thu Oct 12, 2017 9:19 pm 
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It did nothing for me. Not scary, plodding, poorly-acted, AWFUL makeup effects (it's like they shoved that actress' face in a pepperoni pizza and called it a night). Easily my pick for the worst pre-90's Carpenter movie (I also don't care for Dark Star that much, but that's really a student film with pretentions). But hey, that's the whole reason I like these Halloween threads every year...everyone has their own favorites.

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PostPosted: Fri Oct 13, 2017 4:01 am 
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I'm still struggling with the fact that people consider Young Frankenstein to be second-tier Mel Brooks.


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PostPosted: Fri Oct 13, 2017 7:08 pm 
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Eat one now / save one for later…

-Twins Of Evil (1971): :hole1: :hole1: :hole1: :half: :nohole:

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-Let Me In (2010): :hole1: :hole1: :hole1: :hole1: :half:

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Late-period Hammer vampire chills from their waning days in the early 70’s paired with a resurrection of the studio name from the past decade made for today’s double-bill. Twins Of Evil features the titular pair (Mary and Madeleine Collinson) as the nieces of a puritan (Peter Cushing, of course) who’s obsessed with burning comely young maidens at the stake in order to rescue their souls from Satan’s claws. But he’s looking in the wrong place, as the local Count Karnstein (Damien Thomas) truly is a Satanist, who quickly becomes a vampire and turns one of the girls into his willing servant who terrorizes the nearby countryside. directed by John Hough (The Legend Of Hell House), Twins offers up the usual early-70’s Hammer blend of atmospherically fog-shrouded sets, gratuitous – and occasionally unclothed -- cleavage (and how!), and a particularly gory climax as the enraged locals storm the Count’s castle for a rousing finale. 2010’s Let Me In is an American remake of the excellent 2008 Swedish film Let The Right One In, and – in many respects – is a worthy and, indeed, superior take on the material. Chloe Grace Moretz plays Abby, an eternally 12-year-old vampire who befriends a picked-upon boy named Owen (Kodi Smit-McPhee from ParaNorman) in his small town of Los Alamos, New Mexico, in the snowy winter of 1983. Extremely well-directed by Matt Reeves (Cloverfield, the last two Planet Of The Apes films), Let Me In is a more visceral, jarring piece of filmmaking than the more staid, slow-burn original (there’s a startling car crash scene shot entirely from inside said vehicle as it plows into oncoming traffic and rolls down a steep embankment in what appears to be an unbroken take), and yet it still features the same elegantly mournful sense of dread and loneliness. Moretz and McPhee both deliver terrific performances, and the film is elevated further by Greig Fraser’s excellent cinematography and Michael Giacchino’s eloquent score. As great as the original is, I’d rank the remake as being just as good in its own way, and better in some respects.

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PostPosted: Sat Oct 14, 2017 5:09 am 
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Movie Music for Halloween. Literally.


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PostPosted: Sat Oct 14, 2017 8:05 am 
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Chris Knight wrote:
Monterey Jack wrote:
Worse than Prince Of Darkness?

Monty lives in a Mirror, Mirror universe. PoD is one of my favourite Carpenter films.


Agreed!

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PostPosted: Sat Oct 14, 2017 6:55 pm 
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Things that are stranger than Stranger Things on tonight’s twofer (with special guest viewer the Nephew!).

-Beetlejuice (1988): :hole1: :hole1: :hole1: :hole1: :nohole:

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Tim Burton’s second feature is still one of his funniest pure comedies, a hellzapoppin’ gothic funhouse about a recently deceased young couple, Adam & Barbara Maitland (Alec Baldwin and Geena Davis), who find the home they spent so much loving time and energy building together invaded by a new family, including a pair of ghastly, unfeeling parents (Jeffrey Jones and Catherine O’Hara) and their sullen Goth Girl teenage daughter Lydia (Stranger Things’ future crazy mom Winona Ryder, who was one of my biggest adolescent crushes thanks in large part to this role). Incensed by all of the tacky décor they introduce into their former domicile, Adam & Barbara try to scare they away, with mediocre results, but then find themselves tempted by the offer of a self-proclaimed “bio-exorcist”, Betelgeuse (Michael Keaton, in a terrific turn), to do the job for them. But the couple find themselves striking up a friendship with Lydia (the only human who can see them, thanks for her being “strange and unusual”), which throws their frightful plans into question. Showing a lot of Burton’s past as an animator, Beetlejuice is a delightfully morbid live-action cartoon of a movie, brimming with lightly-scary imagery, terrific makeup effects (which copped an Oscar), a soundtrack which butts the obligatory whirligig Danny Elfman tunes against plenty of classic Harry Belafonte songs, and plenty of laughs.

-Poltergeist (1982): :hole1: :hole1: :hole1: :hole1: :hole1:

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Still one of the greatest haunted house movies of all time, this classic Steven Spielberg production offers up a perfect mixture of scares, laughs and genuine emotion, and you can totally see where Stranger Things copped it’s concept of “The Upside-Down” from in its frightful tale of a sweet young girl named Carol Ann Freeling (Heather O’Rourke) ferried away into another plane of existence by “The TV People”, and how her distraught parents (Craig T. Nelson and JoBeth Williams) invite a group of paranormal investigators (including Beatrice Straight and the diminutive Zelda Rubenstein) into their suburban home in a bid to find little Carol Ann and bring her home before she’s lost forever. In itself inspired by the classic Twilight Zone episode “Little Girl Lost”, Poltergeist has that classic 80’s Spielberg style, with a loving family unit torn apart and mending itself through a tough supernatural or extraterrestrial intrusion (this is, indeed, the dark mirror image of the same summer’s other, sunnier Spielberg production, E.T.), and it earns every scare, laugh and tear it generates. Boasting superb visual effects and a splendid Jerry Goldsmith score (which walks the tightrope between moments of eerie terror and sheer beauty and wonderment), Poltergeist is a must for anyone cramming for the second season of Stranger Things to note how many ideas that Netflix series lovingly cribbed. They’re heeeeeeeeeeeeeeeeeeeeeeere!

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PostPosted: Sun Oct 15, 2017 7:23 pm 
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A pair of Zombie love triangles formed today’s twofer…

-Burying The Ex (2015): :hole1: :hole1: :hole1: :nohole: :nohole:

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A young man named Max (the late Anton Yelchin) – who works at a horror-theme memorabilia shop -- loses his snobby girlfriend Evelyn (Ashley Greene) in an auto accident, and, after a period of mourning, begins to start anew with a comely new potential mate named Olivia (the outrageously gorgeous Alexandra Daddario) who works at the local hipster ice cream place, but then is astounded when Evelyn shows up at the door, looking rather ripe and yet still insisting that their relationship isn’t over until she says it is. Minor entry in the zomcom genre is a fairly modest effort from director Joe Dante, one where the obviously miniscule budget keeps the storyline from really attaining the anarchic fizz of his more lavish Amblin productions from the 80’s (Gremlins, Innerspace). It’s all fairly amusing, cute, and has glimmers of wit, but the mediocre makeup and digital effects constrain ideas that should have been wilder, grosser and more inventive. Plus, some of the geek details just don’t ring true…one of the Final Straw moments in Max and Evelyn’s relationship is when she takes down his vintage movie posters and “ruins” them by folding them to fit into a drawer…and yet, who displays valuable collector’s items like this by just hanging them directly on a wall without putting them in frames first? Still, the movie is light fun for Dante fans, and it’s always nice to see that an ancient Dick Miller is still kicking.

-Corpse Bride (2005): :hole1: :hole1: :hole1: :hole1: :half:

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Another tale of a man accidentally wedded to a corpse while trying to connect with a living rival, Tim Burton’s delightful stop-motion animated feature is one of his most entertaining movies, with an impeccable voice cast (Helena Bonham Carter as the titular, perversely-attractive Emily, Emily Watson as Victoria, and Johnny Depp as Victor, caught between two potential loves), beautiful, maddeningly-designed animation, a lively Danny Elfman score and one of the most touching conclusions in any of his films.

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PostPosted: Mon Oct 16, 2017 7:53 am 
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-The Babysitter (2017): :hole1: :hole1: :half: :nohole: :nohole:

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Fitfully amusing horror/comedy about a meek 12-year-old named Cole (Judah Lewis), whose crazy-hot babysitter, Bee (Hugo Weaving’s niece, Samantha Weaving, who shares her uncle’s penetrating gaze and impressive eyebrows), is also legitimately crazy, and who needs his blood to finish off a Satanic ritual along with her gaggle of fellow cultists during an overnight sleepover. Directed by Charlie’s Angels “auteur” McG, The Babysitter (a Netflix original) has a smattering of decent gore gags and some stray laughs, but it’s also strained, overstylized and never as outrageous as it aspires to be, feeling padded even at a scant 85 minutes. There are far better choices you could make for a horror/comedy hybrid this Halloween season.

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PostPosted: Mon Oct 16, 2017 6:28 pm 
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Alien: Covenant

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PostPosted: Mon Oct 16, 2017 6:46 pm 
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-The House Of The Devil (2009): :hole1: :hole1: :hole1: :hole1: :half:

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Terrific, pitch-perfect throwback to early-80’s horror cinema about a young college student named Samantha (Jocelyn Donohue, an eerie ringer for a young Margot Kidder), who – driven by dire financial need to make her first month’s rent in her swank new apartment – accepts a babysitting gig at an ominously secluded house at the behest of an odd, hulking man (Tom Noonan), who admits that what he wants from her is not to watch a small child, but to act as caretaker for his infirm (and unseen) mother-in-law, asleep upstairs. Samantha is initially hesitant, but the money is very good, and she grudgingly accepts, only to find out her seemingly easy gig is going to go slowly awry, her wandering boredom gradually getting enveloped in a groundless yet undeniable sense of unease. Director, writer and editor Ti West never met a pause he couldn’t impregnate, and the first two thirds of his film is a slow-burn suspense piece that may turn out to be too slow for horror viewers looking for more visceral frights. But for those willing to let the film’s initially glacial pacing sink in, the film generates genuine suspense as it rolls along, and the film absolutely NAILS the precise look and feel of an early-80’s movie. Cinematographer Eliot Rocket shot the movie on vintage, gorgeously-grainy Fuji film stock, and West knows just how to fill the film with the kind of elegantly creeping, slow zooms and dolly moves that positively drip of the genre cinema of the early Reagan years (not to mention one bitchin’ dance scene set to a classic early-80’s pop hit). Not a film for those who require a certain quota of grue per minute, but The House Of The Devil is nevertheless a terrific thriller.

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PostPosted: Tue Oct 17, 2017 6:15 am 
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The Addams Family [1991]
:hole1: :hole1: :hole1: :nohole: :nohole:
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I forgot the whole scene of the children's play. Once the blood started spraying I was laughing very hard as it was just morbidly absurd and grotesquely funny as fuck.

And that's the whole point, right?

Very few dragging parts and most of it is at least mildly amusing to chuckle-worthy fun.

It stands up to time very well, too.

Overall I recommend it if it has been a while for you, too.

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PostPosted: Tue Oct 17, 2017 10:56 am 
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Man, I totally agree about The Addams Family. We watched that film a couple of years ago and I was really impressed with how well it stood up.

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PostPosted: Tue Oct 17, 2017 11:07 am 
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No screenshots because I have to rush this but our viewing for the weekend was:

Life (2016)
:hole1: :hole1: :hole1: :hole1: :nohole:

Really well done. This was a b-movie done on an a-movie budget. Solid effects, good story and the wife and I both enjoyed it a lot.

Twins of Evil (Hammer)
:hole1: :hole1: :hole1: :half: :nohole:

We watched this after seeing Monty's review. I hadn't seen it in a while and we were both in the mood for something light instead of what we'd originally planned on watching. Lot of cleavage, fangs and witch burnings. Can't go wrong there.

The Creature From The Black Lagoon (Anaglyph 3-D)
:hole1: :hole1: :hole1: :hole1: :hole1:

Watching this in 3D is so much fun! I wish I could see the Sony Blu-Ray version in 3D but I can't convince my wife that we need to buy a 3D television just so I can watch one film.

Tarantula!
:hole1: :hole1: :hole1: :hole1: :hole1:

It's still my absolute favorite of the big bug movies even though it's probably not the best example of the genre (that would go to Them!). There's just so many quotable lines from this film that fly around my house on a weekly basis that it gets 5 stars easily from me.

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PostPosted: Tue Oct 17, 2017 11:16 am 
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Cary, if you enjoy big bug movies (of course you do), keep an eye out for It Came From The Desert. Should be released before year's end:



Based on a 1989 computer game, which itself was based on Them!


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PostPosted: Tue Oct 17, 2017 11:35 am 
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Chris Knight wrote:
Cary, if you enjoy big bug movies (of course you do), keep an eye out for It Came From The Desert. Should be released before year's end....

Based on a 1989 computer game, which itself was based on Them!

That looks amazing!

The trailer looks very Fallout-inspired, too.

:thumbs:

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PostPosted: Tue Oct 17, 2017 12:30 pm 
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Underworld: Blood Wars

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PostPosted: Tue Oct 17, 2017 7:09 pm 
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Anyone for cake…?

-Happy Death Day (2017): :hole1: :hole1: :hole1: :half: :nohole:

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-Happy Birthday To Me (1981): :hole1: :hole1: :hole1: :hole1: :nohole:

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A pair of birthday treats. In Happy Death Day, a college student named Teresa (Jessica Rothe) is stalked through her campus by a killer disguised behind a cherubic plastic mask that evokes Baby Herman from Who Framed Roger Rabbit, but when the final knife thrust comes, instead of simply being the opening kill to set up a rash of murders to follow, Teresa wakes up to discover the same day rewinding itself to the beginning. Waking up in the same bed in the room of a classmate (Israel Broussard) after the previous night’s drunken bender, the same two students getting soaked by the sprinkler system going off, the same rolling blackout at precisely 9:00 PM…it’s all part of an endless loop, and as Samantha learns the particulars of the purgatory she’s in, she uses what information she gleans from the day to avoid the same grisly fate…but whatever she does, she always ends up dying in some other way by the time midnight rolls around, catapulting her back into the same bed, woken up by the same annoying cell phone ringtone. Yes, it’s yet another variation on Groundhog Day, but it’s also slick, clever and frequently funny, taking genre clichés and upending them in amusing ways. While I do with the film had more creative and bloodier kills (doing a slasher movie sendup with a PG-13 rating is like watching a network TV version of Game Of Thrones), it’s certainly good fun for horror fans left wanting after last month’s It…what else is there to see in theaters this Halloween season? Boo! A Madea Halloween 2? Another entry in the reprehensible Saw franchise?

As for Happy Birthday To Me, it’s one of the better entries in the early-80’s heyday of the slasher genre, with fun, gory kills, adequate performances (even the bad ones are amusingly bad), and surprisingly stylish direction by a legitimate filmmaker, veteran J. Lee Thompson (The Guns Of Navarone, Cape Fear), who – while clearly slumming – nevertheless treats the pulpy material with a slick, deft hand. It’s the film’s bonkers ending, however, that really makes it…it’s a “Zoinks!” away from a Scooby-Doo reveal, and while deeply stupid, nevertheless is irresistible fun.

-Burnt Offerings (1976): :hole1: :hole1: :hole1: :hole1: :nohole:

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Eerie supernatural outing about a couple (Oliver Reed, Karen Black) and their young son (Lee H. Montgomery) who agree to look over an atmospherically rotting mansion out in the boonies at the behest of an eccentric pair of siblings (Eileen Heckhart and Burgess Meredith), who only ask a pittance of a fee, provided they keep an eye on their elderly, never-seen mother in the top floor. Once the family settles in, however, things start getting spooky, as the very house itself seems to eat way into their minds and feelings and actions, like corrosive acid. Directed by Dark Shadows creator Dan Curtis, Burnt Offerings is my kind of haunted house movie, more concerned with dread-soaked mood and atmosphere than with the more obvious shocks a lesser film would contain. Good one!

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PostPosted: Wed Oct 18, 2017 5:55 am 
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Chris Knight wrote:
Cary, if you enjoy big bug movies (of course you do), keep an eye out for It Came From The Desert. Should be released before year's end:



Based on a 1989 computer game, which itself was based on Them!


Thanks for the heads up on this! That looks like something we'd love.

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PostPosted: Wed Oct 18, 2017 7:11 am 
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-Frankenweenie (2012): :hole1: :hole1: :hole1: :hole1: :half:

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Charming stop-motion expansion of Tim Burton's 1984 short is beautifully-animated, cleverly designed and filled with new twists on the material, including numerous other resurrected house pets (a bag of sea monkeys turns into a pack of nattering, Gremlin-esque pranksters, a turtle swells to Gamera-sized proportions and rampages through the suburban enclave of "New Holland"). Sweet, funny and thoroughly winning.

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PostPosted: Wed Oct 18, 2017 7:16 pm 
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-Phantasm (1979): :hole1: :hole1: :half: :nohole: :nohole:

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What the HELL did I just watch?! Stylish, moderately eerie, and a complete narrative mess, 1979’s Phantasm is a film that’s all-but-impossible to review. It’s like a David Lynch slasher movie, better as establishing an admittedly effective look and mood than in telling any sort of coherent story. The flying silver ball that drills into people’s foreheads is a nifty l’il visual, but otherwise, I’m at a loss, here.

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PostPosted: Thu Oct 19, 2017 8:20 am 
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Whoa! Is this the first time you've ever seen Phantasm?

The way the review is written, it seems like it may be but I thought I'd heard you say you'd seen these films before. I actually agree with you about the first one. It is a completely disjointed narrative, but I think that's part of what makes the movie endure. The whole thing gives you a feeling like you may just be looking in on someone's nightmare.

If you haven't seen Phantasm II, then I highly recommend that you see it while this one is still fresh in your head. It's my favorite of the franchise and it does actually pull the pieces of the first film into an overall narrative. You'll get the motivations behind what the Tall Man is doing, what the dwarf things are and why it's important to stop them. Plus, lots more of those killer silver balls.

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PostPosted: Thu Oct 19, 2017 9:28 am 
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I would love for Monty to review Holy Mountain one of these days...


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PostPosted: Thu Oct 19, 2017 1:17 pm 
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caryc wrote:
I actually agree with you about the first one. It is a completely disjointed narrative, but I think that's part of what makes the movie endure. The whole thing gives you a feeling like you may just be looking in on someone's nightmare.

Exactly this.

It is literally a Phantasm.

An illusion, dream, nightmare, and it is not supposed to give everything up.

You catch everything as an observer of something insane and disturbing.

Why?

Because it is crazy.

I do agree with Cary that you should watch the second one ASAP.

You're actually fortunate that you get such an immediate opportunity to watch the second one, because for me, I had to wait a decade to see the second one. And like I said, most people hated that the first one started off in bizarro world and just went balls deep on injecting your brain into insanity land.

The "en media res" of the first one is fairly epic, though.

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PostPosted: Thu Oct 19, 2017 4:11 pm 
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Pender wrote:
You're actually fortunate that you get such an immediate opportunity to watch the second one, because for me, I had to wait a decade to see the second one.


Yup! I remember being stationed in Japan when the second one came out. I was one of probably 30 people who went to see it when it finally came to the base theater. I walked out with 30 new friends.

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PostPosted: Thu Oct 19, 2017 6:38 pm 
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-Pulse (1988): :hole1: :half: :nohole: :nohole: :nohole:

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Deathly-dull thriller about a young boy (an Oliver & Company-era Joey Lawrence) who moves in with his Dad (Cliff De Young) and his new wife (Roxanne Hart), only to find out that the house is possessed by…electricity? Yes, the first horror thriller where the villain is faulty wiring. Pull the plug on this inept, narcolepsy-inducing mess.

-Cult Of Chucky (2017): :hole1: :hole1: :nohole: :nohole: :nohole:

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Still making these, huh? Pass.

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PostPosted: Fri Oct 20, 2017 12:13 am 
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Chris Knight wrote:
I would love for Monty to review Holy Mountain one of these days...

He hadn't come to fest yet when we showed El Topo, but yeah, either one would be a hoot.

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PostPosted: Fri Oct 20, 2017 12:42 pm 
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So this is happening near me and I'm trying to convince the wife that it's worth the money for us to go.

I know Monty's not a fan of Glass' soundtrack on the Dracula DVD's but I like them well enough. Would love to see this performed live.

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PostPosted: Fri Oct 20, 2017 1:23 pm 
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You have to go, have to.

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PostPosted: Fri Oct 20, 2017 4:33 pm 
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Ericubus wrote:
You have to go, have to.

^This. Very much this.

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PostPosted: Fri Oct 20, 2017 6:53 pm 
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-1922 (2017): :hole1: :hole1: :hole1: :hole1: :half:

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Mournful adaptation of the Stephen King novella (from his collection Full Dark, No Stars) features Thomas Jane as a farmer trapped in a loveless marriage to a money-obsessed wife (Molly Parker), who conspires with his teenage son (Dylan Schmid) to do away with her in order to prevent her from selling the valuable land the homestead lies upon and use it to move to the big city, only to find out – the long, hard way – that you reap what you sow. The last two months have been an embarrassment of riches for King fans, and 1922 follows hot on the heels of the big-screen blockbuster It and another recent Netflix original, Gerald’s Game, as another superior adaptation of the macabre master’s text (it’s almost enough to forgive the crushing botch of the adaptation of his Dark Tower books. Almost). It’s not a jump-out-of-your-skin shocker (despite a smattering of truly gruesome and shuddery images), but rather a tale of greed and regret and how the consequences of one’s actions can have horrible repercussions on you and those you value the most dearly. Jane is flat-out terrific in the lead role, and this film thankfully hews far closer on the Stephen King Quality Scale to the previous Jane King movie The Mist than it does to another Jane King movie, Dreamcatcher. Creepy, insidious and haunting, well worth a look.

-Dark Shadows (2012): :hole1: :hole1: :hole1: :hole1: :nohole:

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Dammit, I almost consider this bonkers adaptation of the 70’s Dan Curtis vampire soap opera a minor classic in the post-90’s filmography of Tim Burton. Like its small-screen predecessor, it’s silly, overstuffed and absurd, but holding it all together are Burton’s beautifully gloomy imagery and Johnny Depp’s wry central performance as the aristocratic vampire ancestor of the early-70’s Collins clan, Barnabas. With his impeccable timing and juicy, grandiloquent line delivery, he makes even the biggest groaners in Seth Grahame-Smith’s messy screenplay go down like a draught of fresh-from-the-vein plasma (“You may strategically place your wonderful lips upon my posterior and kiss it, repeatedly!”). Plus, the movie is gorgeous to look at and boasts a killer soundtrack (both the obligatory Danny Elfman score – one of the best from his recent years – and a groovy selection of classic 70’s tunes). And the spectacularly-alluring Eva Green makes for a terrifically cracked witchy villainess (and I mean “cracked” in a most literal sense). Frothy fun.

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