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PostPosted: Mon Sep 04, 2017 8:28 pm 
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Welcome to the 2017 Halloween Movie Marathon Thread

As usual, this year we have a pretty big list and our schedules are jacked up enough that we won't watch them all unless we start in September. This weekend we got off to a great start.

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Dr. Jekyll and Mr. Hyde (1931)
:hole1: :hole1: :hole1: :hole1: :half:

Amazingly, I'd never seen this although I'd seen the stills in Famous Monsters many times. A little slow in places but overall an amazing film. There are some insanely cool effects here, including the opening POV shots done all in one take.

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Wolves (2014)
:hole1: :hole1: :hole1: :nohole: :nohole:

I saw this one at Fest last year and knew my wife and daughter would like it. The effects are fun but the story doesn't hold any surprises. Still, there just aren't that many new werewolf movies out there so we take what we can get.


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The Monster That Challenged The World (1957)
:hole1: :hole1: :hole1: :half: :nohole:

Another film I'd never seen, yet had seen stills from in Famous Monsters. This gets an additional half-hole for being fun to riff on. We watched it tonight with my in-laws and everyone was taking the piss out of it. If you're into giant bug/worm/mollusk movies and haven't seen it, it's worth your time.

Plus the setting is the Salton Sea which is a horror story unto itself. Cool to see some of the location shots from back before it became a meth-lab shithole.

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PostPosted: Tue Sep 05, 2017 5:04 am 
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The Frederic March version of Dr Jekyll and Mr Hyde is by far and away my favorite version. It's got better make up (and an Oscar winning performance from Frederic March), and doesn't sanitize the story as much as the Spencer Tracy version (Miriam is a prostitute, and not a show girl), showing it's pre-code roots. I really should see The Monster That Challenged the World again, haven't seen it since I saw it as a kid.

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PostPosted: Tue Sep 05, 2017 5:40 am 
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Kimfair brought over Dr. Jekyll & Mr. Hyde on the one time he visited my apartment shortly after I moved in, and I found it very impressive (and particularly pre-code seedy in spots). That was the first time I learned that the correct way to pronounce the name is JEE-kil, but the "improper" way to pronounce it has become so ingrained in pop culture that the way it's supposed to be pronounced now seems "wrong".

Anyways, I've been working on a draft of an opening skit for this year's horror festivities, and will probably publish it in this thread by the middle of next week. My first major pre-October horror "appetizer" will be the new version of It, which I'm holding off on seeing until my brother has a night free (we were both big fans of the 1990 miniseries back in the day, and still quote lines from it to each other). Anyways, look forward this this month all year, and will have plenty of new spooky Blu-Ray fuel to enjoy. :)

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PostPosted: Tue Sep 05, 2017 7:43 am 
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Yeah, I was actually blown away by the camera work. The transformation scenes were amazing and they come a full ten years before Universal does the transformations in The Wolf Man. I also enjoyed the pre-code side of things.

I've heard that this is still the definitive version of the story, however I've also heard a lot of praise for the Jack Palance TV movie "The Strange Case of Dr. Jekyll and Mr. Hyde". I may have to check that out eventually.

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PostPosted: Tue Sep 05, 2017 6:50 pm 
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caryc wrote:
Yeah, I was actually blown away by the camera work.


There's that marvelous opening POV shot you alluded to in your post where it's apparent they cut a hole in the wall when Frederic March is looking at himself in the "mirror", and it's like, dude, that's clever! It was almost like a proto-Brian De Palma shot.

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PostPosted: Thu Sep 07, 2017 7:33 pm 
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INT., VIDEO STORE

[The bell over the door dings as two young people, Johnny and Barbara, enter, both holding video tapes. It is a typical video store, with a returns counter right near the entrance and long, narrow aisles receding towards the back. There are posters on the wall, advertising the home release of recent big-screen movies, and cardboard displays advertising more movies. The shelves are fully stocked with NEW RELEASES and older movies separated into distinct GENRES. Johnny takes the tapes held by Barbara -- his sister -- places them on the returns counter, and dings the bell next to the cash register.]

JOHNNY: [calling out] Hello? Anyone back there?

BARBARA: Maybe the store is closed, Johnny.

JOHNNY: [glances back over shoulder] No, there's still twenty-five minutes until it closes. [calls out again, louder] Hello? We would like to return some movies!

BARBARA: Maybe they're out back, doing inventory or something. We could always come back...

JOHNNY: [cross] No, I don't want to get charged for another night's rental just because everyone decided to leave the counter unmanned. I mean, goodness, anyone could just walk in here, grab some money from the register and bolt, and no one would be the wiser! Who runs a business this way? [calls out even louder] WE WOULD LIKE TO RETURN SOME MOVIES, PLEASE!

BARBARA: [scolding] Johnny! Be polite!

JOHNNY: Forget this! [drops video tapes in an untidy heap on the returns counter] When someone comes back, they can deal with that. Meanwhile, let's see if there's anything else good to rent before we leave.

[Johnny leads the way towards the HORROR SECTION. Barbara follows behind, throwing a guilty glance behind her at the returns counter. Johnny begins perusing the available tapes, giving each cover and back information blurb a cursory glace before moving onto the next. Barbara follows a few paces behind, looking decidedly nervous.]

JOHNNY: [irritated] Look at all this crap! [places copy of NIGHT OF THE LVING DEAD back on the shelf] Either I've seen all of these, or I wouldn't want to! I can't remember the last time they had something decent to rent.

BARBARA: [nervous] Please, Johnny, I don't feel comfortable being back here with no one else.

JOHNNY: [turns to Barbara] Eh? I know the owner well. I used to work here, you know. [picks up copy of THE TEXAS CHAIN SAW MASACRE and starts reading the back of the box.]

BARBARA: I know that, I just think it's unwise to be in a store when there's no one who works there present.

[Johnny turns his attention back to the shelves, working his way down the row alphabetically. Barbara glances out the window into the parking lot, and notes with a twinge of alarm how the shadows have begin creeping out onto the pavement. She glances at her watch, and sees that it is now past closing time.]

BARBARA: It's past 7:00 PM, Johnny.

JOHNNY: [annoyed] Oh, please and kindly put a sock in it, I'm almost done.

BARBARA: [voice now sharper than she intended] PLEASE, Johnny!

[JOHNNY looks up, surprised. A knowing smirk begins to form across his face]

JOHNNY: Do you remember one time when we were small, we were out here, renting a movie? It was from right over there, I jumped out at you from behind the endcap display, and Grandpa got all excited, and he shook his fist at me and said, [thick accent] "Boy, you'll be damned to Hell!" (Laughs.) Remember that? Right over there. Boy, you used to really be scared here.

BARBARA: [agitated] Johnny!

JOHNNY: [surprised] You're still afraid!

BARBARA: Stop it, now! I mean it!

JOHNNY: [with a theatrical, "spooky" cadence] They're coming to *get* you, Barbara!

BARBARA: [annoyed] You're ignorant!

JOHNNY: ["spooky" cadence continues] Yes, they're *coming* for you!

[at the head of the aisle, an Employee appears. From a distance, we see him weaving slowly from side to side, actually knocking a few videotapes off the shelves at his sides]

JOHNNY: [grabs Barbara by the arm, and continues in "spooky" cadence] Look! Here comes one of them now! I'm getting out of here!

[Johnny turns and runs back down the aisle, leaving an embarrassed Barbara to deal with the Employee, who continues to advance down the aisle towards her. He continues to weave from one side of the aisle to the other, almost appearing to be inebriated, but in her state of distress and embarrassment, Barbara fails to notice. She walks down the aisle to greet the Employee halfway.]

BARBARA: Please forgive my brother, he--

[The Employee lunges out at Barbara, his fingers twisted into claws. Her head snaps up in shock and her eyes widen in fright as she finally looks into the Employee's eyes and sees nothing but an atavistic, blank HUNGER in them. She shrieks in surprise as the Employee grabs her by the upper arms and begins shaking her violently from side to side, their bodies collides with the shelves, and more video tapes go crashing to the floor, some of the plastic cases popping open and spilling the tapes inside across the carpet.]

BARBARA: JOHNNY! OH, GOD, *JOHNNY*!!!

[Johnny runs back around the far corner of the aisle and sees Barbara being accosted by the Employee. He swiftly runs down and attempts to pry his hands from his terrified sister's arms as they sway back and forth. More video tapes hit the floor]

BARBARA: JOHNNY, OH NO...!!!

[Johnny manages to free his sister from the Employee's grip, and the two men struggle violently, Barbara slumps to the floor in a daze, witnessing the events through a haze of disbelieving SHOCK. Johnny loses his glasses in the struggle, and suddenly falls to one knee. The Employee grabs his hair, and SMASHES his head into the side of a splintered plastic case. Johnny suddenly goes limp. Barbara reacts in terror as the Employee looks up at her, a vacant expression of mindless hunger in his eyes. He reaches out for her with his hands as she scuttles away. Barbara shrieks, manages to get to her feet, and bolts towards the entrance. She can hear the Employee behind her, giving lumbering pursuit, his feet knocking aside scattered video tapes.]

EXT. VIDEO STORE PARKING LOT

[Barbara yanks the front door open and runs screaming into the parking lot towards the automobile she and Johnny arrived in. She opens the door, leaps into the front seat, and slams it mere seconds before the Employee smashes his face into the glass. Barbara shrieks again and slams her hand down on the door locking mechanism as the Employee batters his hands clumsily on the glass. She reaches out towards the steering wheel.]

CLOSEUP ON DASHBOARD

[Barbara's hand reaches for the key, but we see that they are not in the ignition.]

INT. CAR

[Barbara emits a groan of frustration, then a yelp of surprise as the Employee suddenly starting hitting the car window with one of the empty plastic video containers. After three or four solid strikes, the safety glass SHATTERS, allowing the Employee to reach in towards Barbara, who cowers against the far door, whimpering.]

BARBARA: No, get AWAY...!!!

[Suddenly, there's a loud WHAP against the glass window Barbara is pressed against, and she throws a terrified glance over her shoulder...only to discover Johnny standing there, bloodied and disheveled and with a sick grin on his face.]

JOHNNY: [laughing] Oh man, we got you good, Barbara...!

[with the arrival of Johnny, the Employee suddenly ceases his attempts to enter the car, stands up, and begins to laugh as well. The two men stand there, laughing heartily, as a suddenly furious Barbara unlocks the door, exits the car, and shoves Johnny back violently. Johnny stumbles back several paces, falls to the pavement, and sits there in the growing twilight gloom, still laughing. The employee goes over to him and holds out a hand to help him up, also emitting peals of laughter.]

BARBARA: [seething] That WASN'T FUNNY, Johnny!

JOHNNY: [still chuckling] C'mon, sis, it's all in good fun! We even rigged up the window with sugar glass, so it couldn't possibly cut you.

BARBARA: God, I hate Halloween...

[Barbara walks over to the now-standing Johnny, yanks the keys from his coat pocket, gets back in the car's driver's side seat, starts the engine, and peels out of the parking lot, leaving behind a scattering of sugar glass fragments, a cloud of stinking exhaust, and two long stripes of burned rubber. Johnny and the Employee, still laughing, walk back into the store]

VIDEO STORE INT.

JOHNNY: That was awesome, thanks a lot!

EMPLOYEE: Don't mention it. It's Halloween, and everybody's entitled to a good scare, right?

JOHNNY: You said it.

EMPLOYEE: Hey, you mind if I use this bit in that screenplay I've been kicking around?

JOHNNY: Be my guest. [looks at watch] Jeez, it *is* getting late. I need to get home before Barbara changes the locks on me.

EMPLOYEE: [laughs] Perhaps you should. Don't worry, I'll take care of your returns.

JOHNNY: Thanks. See you tomorrow?

EMPLOYEE: Sure.

[Johnny leaves. The Employee locks the door behind him and turns to begin the arduous task or neatening the scattered tapes and shelves before his boss finds out. As he turns around, we cut to a closeup of a nametag reading "GEORGE"]


~~~~~~~~~~~~~~~

This year's Halloween Horror Marathon is dedicated to the memories of the legendary filmmakers George A. Romero and Tobe Hooper. Thanks for all the frights, gents.

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PostPosted: Fri Sep 08, 2017 8:48 am 
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Nice! Well done, Monty!

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PostPosted: Fri Sep 08, 2017 6:52 pm 
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Whuh-HA, whuh-HA, whuh-HA...!!!

-It (2017): :hole1: :hole1: :hole1: :hole1: :nohole:

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Strong, very scary new version of Stephen King’s classic story takes many liberties with the original text (aside from upping the timeline to the late 1980’s which -- with the exception of swapping A Nightmare On Elm Street 5 for I Was A Teenage Werewolf on the local movie theater marquee – doesn’t really alter the overall narrative in any meaningful way), and yet manages to fashion it into a new shape that manages to satisfy as a stand-alone story despite only covering half of King’s sprawling brick of a novel. The key here is in the excellent young cast, who immediately gel into an ensemble that plays off each other beautifully (with Stranger Things’ Finn Wolfhard a particular standout as a very funny Ritchie “Trashmouth” Tozier)…you feel for each and every one of these kids. And how’s Bill Skarsgard’s take on the clown prince of terror, Pennywise? He’s very, very good, although one wishes he were given a few more juicy monologues to chew on the same way that Tim Curry was in the 1990 miniseries. While nearly three decades’ worth of special effects advances and the freedom of an R rating gives Pennywise his teeth back (literally), the new film does lean a bit too much on the standard tropes of modern-day horror cinema. More creeping menace would have been appreciated, instead of the obligatory screeching jump scares that seem grafted onto this. The movie is also beautifully shot and elegantly scored by Benjamin Wallfisch. I just hope the adult cast selected for Part Two can live up to the excellent adolescent ensemble assembled for this film, and that Pennywise’s final form is less gravely disappointing than the miniseries was. Beep-Beep!

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PostPosted: Mon Sep 11, 2017 2:04 pm 
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31 - A Rob Zombie Film

:hole1: :hole1: :nohole: :nohole: :nohole:

I'd already heard this was a dog before I saw it but I'm a Rob Zombie fan. If this were Zombie's first film then maybe (and that's a big maybe) I could give it a little more love but honestly, it's a rehash of ideas played out in House of 1,000 Corpses only minus the kickass last 10 minutes of that film. A bunch of people are kidnapped and held for goons to hunt them down, all for the amusement of Malcolm MacDowell and two others. It's certainly not an unwatchable film and it's not a horrible film. It's just easily Zombie's laziest film and after Lords of Salem, I was really hoping he was heading somewhere interesting again.

We also watched the movie Southbound but I fell asleep in the first 10 minutes so we'll have to watch that again and report later.

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PostPosted: Mon Sep 11, 2017 6:39 pm 
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I fucking DESPISED 31.

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PostPosted: Tue Sep 12, 2017 7:34 am 
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I can see how you might. Like I said, I'm a fan so I'm probably more forgiving than others. In perspective, it was no worse than a million other direct to video horror movies out there but honestly it just doesn't need to exist at all. If you're Zombie and you've got some financial backing (even though it's not much) you can do so much more with it than he even attempted to do on this one.

Also, Downhuman and I discussed this at Fest. I know he likes casting his wife as a lead but he really, really needs to stop that. It wasn't that she did a terrible job, it's that she just plays the same character in every film. With the possible exception of Lords of Salem, I always tend to see her as the same character in every movie. He needs someone to bring a fresh take to his lead character.

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PostPosted: Tue Sep 12, 2017 10:14 am 
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I just have little use for horror movies which consist of NOTHING but characters swearing incessantly and being horrendously butchered for 90 minutes. Zombie's movies are all like this. No atmosphere, no tension, just dank, grimy unpleasantness that gets old after the first fifteen minutes. The only thing he's done to date I authentically liked was his Werewolf Women Of The S.S. trailer from Grindhouse, and that was only two minutes long (ditto for Eli Roth's Thanksgiving). Who the hell was I supposed to root for in 31? I honestly thought the characters in the damn van were going to the villains, as they were so relentlessly foul and unlikable, but no, they're the protagonists, and we have to watch them put through a meat grinder for the next hour and change. It's be like Jamie Lee Curtis in Halloween being a bitch who swears, drinks, screws around and abuses the kids she's suppose to be babysitting...why would you care if she lived or died? It's the same reason I hated each and every one of the Friday The 13th movies...there's not a sympathetic character in the lot of those.

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PostPosted: Tue Sep 12, 2017 1:20 pm 
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-Creature From The Black Lagoon (1954): :hole1: :hole1: :hole1: :hole1: :half:

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The last of the "classic" Universal Monster movies, Creature remains one of the best, a highly-entertaining romp with one of the most iconic monster designs of all time, genuine tension (sparked along by a soundtrack -- written, in part, by Henry Mancini -- that, with its shrill bursts of declarative dissonance, pretty much defines "50's monster movie music"), solid performances and the considerable eye-candy appeal of the outrageously gorgeous Julia Adams, the Jennifer Connelly of the 50's. Shame that a full-blown remake of this has never come to light after all this time, aside from the Gill-Man's supporting role in 1987's The Monster Squad...I'd love to see a respectful modern-day take on this, as long as they stick with the tried & true "man in suit" approach to the effects.

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PostPosted: Tue Sep 12, 2017 2:43 pm 
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Monterey Jack wrote:
Zombie's movies are all like this. No atmosphere, no tension, just dank, grimy unpleasantness that gets old after the first fifteen minutes.


Not true about Lords of Salem. That's become my favorite film of his. There's a ton of atmosphere, good tension and the grimy unpleasantness is only in a few places that are justified.

Downhuman can back me up on this. It's not a great movie but it's got a ton of promise.

Like I said, that film made me think he was going to be heading in some interesting directions, but he followed it up with 31.

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PostPosted: Tue Sep 12, 2017 2:46 pm 
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Monterey Jack wrote:
I'd love to see a respectful modern-day take on this, as long as they stick with the tried & true "man in suit" approach to the effects.


Have you ever seen the leaked synopsis/partial-script for the remake that was teased in the late 90's? Tom Cruise was attached to it if I remember right. I'm so glad that didn't get remade. It was a horrendous script that involved the Gill-Man being the protector of the Tree of Life in the Garden of Eden or some stupid shit like that.

Also, did you see this year's The Mummy? If so, you may have seen the Gill-Man's hand in a container in Dr. Jeykll's lab. I believe their intention is to remake it if they can get this Dark Universe thing off the ground.

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PostPosted: Tue Sep 12, 2017 6:39 pm 
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Considering how bad The Mummy was, the "Dark Universe" franchise is likely to explode on the runway. And you KNOW, if they did Creature today, it'd be all-CGI bullshit (unless Del Toro directed).

Shame that John Carpenter didn't get a crack at Creature back in the 80's (I believe he was attached at some point, with Rick Baker set to do the makeup f/x).

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PostPosted: Wed Sep 13, 2017 6:01 am 
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I agree. I think that Del Toro's new one The Shape of Water will be as close as we're ever going to get to seeing him direct a remake. If it's as good as the buzz surrounding it, then I'll be happy.

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PostPosted: Wed Sep 13, 2017 8:35 am 
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-Wait Until Dark (1967): :hole1: :hole1: :hole1: :hole1: :nohole:

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Superior suspense piece about a young woman (Audrey Hepburn) – recently blinded in an accident – who finds herself terrorized in her apartment by a trio of ne’er-do-wells (Jack Weston, Richard Crenna, and a young Alan Arkin in a memorable early role) who are out to find a narcotics-stuffed doll her husband (Efrem Zimbalist, Jr.) brought home from the airport. Based on a stage play by Frederick Knott (whose work was also the basis for Hitchcock’s Dial “M” For Murder), and effectively directed by early James Bond veteran Terence Young, Wait Until Dark is a well-plotted psychological chess game for the majority of its running time, as the three criminals pose as kindly associates of Hepburn’s husband and/or authority figures as they attempt to suss out the doll’s location, but in the sensational climax, it turns into outright horror, as Arkin – at this stage in his career evoking the looks and sleek charisma of a young Andy Garcia – and Hepburn face off in her now nearly pitch-black apartment. It’s a real Bruised Forearm corker, with Henry Mancini’s queasy, disorienting score adding immeasurably to the palpable tension.

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PostPosted: Wed Sep 13, 2017 9:06 am 
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caryc wrote:
I agree. I think that Del Toro's new one The Shape of Water will be as close as we're ever going to get to seeing him direct a remake. If it's as good as the buzz surrounding it, then I'll be happy.


Dying to see that, although I'm a hardcore Del Toro fanboy who tends to love most of his work anyways (still think Crimson Peak was criminally underrated). Abe Sapien from the Hellboy movies was definitely Del Toro's loving tip of the hat to the Gill-Man.

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PostPosted: Fri Sep 15, 2017 7:00 pm 
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-mother! (2017): :hole1: :hole1: :hole1: :half: :nohole:

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I can't really review mother! properly until I've had a chance to chew on it a while (and watch it again), but I doubt any major movie released this year is going to incite as much Multiplex Rage as this. It's undeniably a Darren Aronofsky film, which is a prospect that will either fill you with fevered anticipation or sheer dread, but I wouldn't have it any other way...he's one of our great, truly unique filmmakers, and I'll gladly sit through something like this than a hundred CHIPS any day of the week. Haunting, perverse, shocking, and baffling, mother! is a psychological torture chamber that recalls the young Roman Polanski, and yet it's as far from the "safe", Jack-in-the-box boo machines like It as you can possibly get. If you're an Aronofsky fan, certainly go and make up your own mind, but if you just want a jump-scare machine, stay as far away as possible.

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PostPosted: Sun Sep 17, 2017 5:35 pm 
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It's been a horror filled weekend here!

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It

:hole1: :hole1: :hole1: :hole1: :nohole:

Just really goddamn good. Truth be told, I'm not very optimistic about the sequel with the adult cast, but they really got everything right about Chapter 1. I'm only docking it the one star because I felt Pennywise could have had more dialogue for sure. Also, I've read that some of the deleted scenes were flashbacks that had to do with his origins. I'm really hoping those end up on the DVD.

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THEM!

:hole1: :hole1: :hole1: :hole1: :nohole:

Arguably the best of the giant bug movies, this one does a great job of building tension before the creatures are actually revealed. This little girl does a great job of acting like she's in shock for the first third of the film. We always wonder whether they drugged the shit out of her.


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The Mummy

:hole1: :hole1: :hole1: :half: :nohole:

Easily my favorite of all of the Hammer Mummy films and all but the original of the Universal Mummy films. Christopher Lee does an excellent job here. The only reason I dock it the holes I do is because it's got some weird structural problems that always start to lose me. The flashbacks to how Kharis becomes the destructive machine he is just go on a little too long. Still it's damn good.


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Lifeforce

:hole1: :hole1: :hole1: :nohole: :nohole:

I'd never seen this one and I'd heard so many good things about it. Maybe it was overhyped a bit but I really had trouble giving a shit about any of the characters. The girl was super hot though, so there's that.

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PostPosted: Sun Sep 17, 2017 6:55 pm 
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Like most Cannon films, if you didn't watch it back then, you will wonder why anyone gave a shit. Lifeforce has some awful writing, but it has some great scenes scattered throughout.

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PostPosted: Sun Sep 17, 2017 7:21 pm 
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Lifeforce has great visual effects, Henry Mancini's awesome score and top-notch nudity, but it's a fucking MESS that proves how little Tobe Hooper (R.I.P) really had to do with the creative success of Poltergeist. On an unintentional comedy level, though, it's a riot.

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PostPosted: Tue Sep 19, 2017 7:23 pm 
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-Without Warning (1980): :hole1: :hole1: :nohole: :nohole: :nohole:

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Awfully tepid sci-fi/horror flick about your usual pack of horny teenagers (including a young David Caruso), who head into the woods for some clandestine nookie, only to be assaulted by flying discs that resemble rubbery sand dollars with teeth. Yep, it’s a game-hunting alien (portrayed by Kevin [Peter] Hall, who go on to play another alien big game hunter in Predator), and a pair of grizzled/addled locals (Jack Palance and the late, great Martin Landau, clearly slumming for a much-needed paycheck) are the only chance anyone has. Aside from some solid photography by Dean Cundey (killing time in-between John Carpenter movies), this is slow, dull, and poorly-acted, and the final alien design – when it’s finally revealed in the film’s last 10 minutes – doesn’t look much better than something you’d see in a 60’s episode of The Outer Limits.

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PostPosted: Wed Sep 20, 2017 7:52 am 
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Despite your 2-hole rating, I'd kind of like to see this. I've never heard of it and it sounds like a good laugh.

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PostPosted: Wed Sep 20, 2017 9:31 am 
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You can see it for free on YouTube, in 1080p, even. Don't waste money buying the Scream Factory Blu, it's totally a one-and-done viewing experience.

Seriously, Without Warning is on Blu-Ray, but The Abyss and True Lies are not. :flip:

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PostPosted: Wed Sep 20, 2017 9:58 am 
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For those that care about these things, there is a GREAT podcast I've been listening to called Monster Party. It's four guys who are super-geeks when it comes to horror/sci-fi and each episode centers on a new topic. For instance, one might be werewolf movies or another may be overrated/underrated movies. They all have a few drinks beforehand and they all work in the entertainment industry so things get loose, funny and a lot of times they have some insights into things you don't hear elsewhere.

I bring this up because they did an episode last year called Horror Obscura and in it, they listed out movies they thought were fantastic but were often overlooked. They came up with some great suggestions that I've checked out over the last year, even including some TV Movie of the Week suggestions. If you like horror movies, I highly, highly recommend that episode.

One of their suggestions was West of Zanzibar (a Lon Chaney Sr. movie). I've seen it now and also seen the "talkie" remake. Both are fantastic.

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PostPosted: Wed Sep 20, 2017 10:21 am 
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Monterey Jack wrote:
The Abyss and True Lies are not. :flip:

Sure, but you can find HD copies of both of those movies, and they look just fine (in fact, if Cameron treats The Abyss like any of his other pre-Avatar movies released on Blu-Ray, then the existing HD transfer will remain superior).

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PostPosted: Wed Sep 20, 2017 10:30 am 
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If it's not on a pressed Blu-Ray disc, I'm not buying it. Take FIVE MINUTES out of your goddamn day and approve some Blu-Ray transfers, Cameron. :mad:

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PostPosted: Thu Sep 21, 2017 5:43 am 
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caryc wrote:

One of their suggestions was West of Zanzibar (a Lon Chaney Sr. movie). I've seen it now and also seen the "talkie" remake. Both are fantastic.


The Chaney version is phenomenal. It's been on my long fest list for years.

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PostPosted: Thu Sep 21, 2017 5:58 am 
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Kimfair wrote:
caryc wrote:

One of their suggestions was West of Zanzibar (a Lon Chaney Sr. movie). I've seen it now and also seen the "talkie" remake. Both are fantastic.


The Chaney version is phenomenal. It's been on my long fest list for years.


And such dark subject matter. It's really a fucked up plot when you really consider what's happening.

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PostPosted: Thu Sep 21, 2017 10:40 am 
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caryc wrote:


And such dark subject matter. It's really a fucked up plot when you really consider what's happening.


So many of those pre-code movies had really dark themes. The differences between the March and Tracy versions of Jekyll and Hyde are very indicative of that.

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PostPosted: Thu Sep 21, 2017 11:09 am 
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For those that are interested, the new Monster Party podcast dropped yesterday and it's all about The Creature from the Black Lagoon. They discuss the origins of the first movie and then visit the sequels as well as some talk about the merchandise and toys related to it. If you're a big Creature fan, there aren't many surprises here but still fun to hear.

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PostPosted: Thu Sep 21, 2017 11:12 am 
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caryc wrote:
For those that are interested, the new Monster Party podcast dropped yesterday and it's all about The Creature from the Black Lagoon. They discuss the origins of the first movie and then visit the sequels as well as some talk about the merchandise and toys related to it. If you're a big Creature fan, there aren't many surprises here but still fun to hear.



This reminds me, I have a picture I took at the Cryptozoology Museum that I took for you. I'll try to remember to email it to you today.

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PostPosted: Fri Sep 22, 2017 7:16 pm 
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“You’d never know what you were capable of if you didn’t have to look at yourself in the mirror afterwards.”



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-The Invisible Man (1933): :hole1: :hole1: :hole1: :hole1: :half:

-Hollow Man (2000): :hole1: :hole1: :hole1: :half: :nohole:

Is there another theoretical sci-fi/fantasy ability that taps into the most disturbing depths of the human psyche more than invisibility? From naughty adolescent fantasies about hanging around in the girls’ locker room to a more frank abuse of said power, the idea of not being seen has been one that has fascinated writers and filmmakers for over a hundred years, beginning with H.G. Wells’ celebrated 1897 novel The Invisible Man. Wells’ book was first adapted to the big screen by Frankenstein director James Whale in 1933, and remains the one truly exceptional movie to deal with the subject of invisibility. With Claude Rains’ memorably mad protagonist and still-remarkable visual effects by John P. Fulton, The Invisible Man remains one of the best of the initial wave of Universal Horror films of the 30’s and 40’s. Many other films have attempted what the 1933 film has in the decades since, to varying degrees of success, but even as the technology to realize the vision of a human form rendered naked to the eye has grown more spectacular, the moral implications of those effects have never been explored to a satisfactory degree. Paul Verhoeven’s bombastic 2000 update Hollow Man remains a prime example. The film’s squirmy, Oscar-nominated F/X are top-of-the-line, and for the first two thirds, Verhoeven and screenwriter Andrew W. Marlowe have remixed the usual Mad Scientist tropes into a potent cocktail of B-Movie thrills that hint at a truly exceptional movie simmering below the surface. But, in a depressingly routine climax, all of the morally despicable acts conducted by Kevin Bacon’s protagonist are stripped away in a generic, high-tech slasher movie finale, and one where Bacon’s baddie doesn’t even NEED to be invisible for long stretches. The movie is nothing less than watchable, and mad prankster Verhoeven, as usual, tickles our inner voyeur with scenes that push father than most filmmakers would consider tasteful (including a sexual assault on Bacon’s comely neighbor – played by Rhona Mitra – that I could have done without), and yet compared to his earlier sci-fi classics like Robocop and Total Recall, Hollow Man comes across as a wasted opportunity.

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