http://www.cult-labs.com/forums/blogs/ Cult Labs is the friendliest forum on the web for discussing the latest cult releases, particularly from Shameless Screen Entertainment and Arrow Video. en Thu, 20 Jun 2013 05:37:17 GMT vBulletin 60 http://www.cult-labs.com/forums/images/misc/rss.jpg http://www.cult-labs.com/forums/blogs/ http://www.cult-labs.com/forums/blogs/bringer-of-funerals/1230-spirits.html Mon, 10 Jun 2013 15:23:53 GMT I was walking home from my girlfriends house and when I got to a building called Cheshire homes I saw a spirit walk past the entrance. Every night I... I was walking home from my girlfriends house and when I got to a building called Cheshire homes I saw a spirit walk past the entrance. Every night I see the same spirit walking past the same entrance, it then vanishes in the same spot.

I know it seems out there but im curious and I've believed in ghosts since I can remember

So my question is why do ghosts do the same thing and vanish in the same spot? ]]> Bringer Of Funerals http://www.cult-labs.com/forums/blogs/bringer-of-funerals/1230-spirits.html http://www.cult-labs.com/forums/blogs/bringer-of-funerals/1229-ignorant-blood-letting.html Wed, 05 Jun 2013 17:52:30 GMT *I was stood at the bus station at Middlesbrough waiting to come home then an argument broke out. There was a 90 odd yr old man who was deaf ... I was stood at the bus station at Middlesbrough waiting to come home then an argument broke out.

There was a 90 odd yr old man who was deaf stood behind me and all of a sudden an ignorant woman pushed the old man out the way without saying excuse me or anything.

The old man then fell and cracked his head hard on the wall, blood was pouring everywhere.

The woman didn't say sorry or anything, she just got on her bus and left everyone else to clean up after her.

Someone rang an ambulance and security came and asked where the woman was. By then the bus she was on was pulling away.

I don't know what happened after that as my bus came ]]> Bringer Of Funerals http://www.cult-labs.com/forums/blogs/bringer-of-funerals/1229-ignorant-blood-letting.html http://www.cult-labs.com/forums/blogs/bringer-of-funerals/1228-salo-breaking-rules.html Mon, 27 May 2013 14:33:17 GMT This piece originally appeared in the Criterion Collection’s 2008 DVD edition of Saló. The year before he made Salò, or The 120 Days of Sodom,... This piece originally appeared in the Criterion Collection’s 2008 DVD edition of Saló.

The year before he made Salò, or The 120 Days of Sodom, Pasolini hinted at the scandalous contours his last film would assume. In the course of a 1974 debate, he declared that now, as never before, “artists must create, critics defend, and democratic people support . . . works so extreme that they become unacceptable even to the broadest minds of the new State.” In large part, of course, Pasolini’s demand for “extreme” works was fueled by his conviction that only such “unacceptable” art could resist being consumed by the hated world of neocapitalism that was fast destroying all he had known and loved. But it is also true that, long before he uttered these sentiments, he had written essays, made films, and taken stands that were deeply polemical if not always unacceptable. In short, decades before he became Italy’s most notorious public intellectual—famous for taking one unpopular or “heretical” stand after another—he had displayed the ever constant desire, as he said, to “break the rules.” There was never any doubt in his mind that, as he once declared, “the real Marxist must not be a good Marxist. His function is to put orthodoxy and codified certainties into crisis. His duty is to break the rules.”

In terms of his cinema, the cries of outrage that greeted many of his films, to say nothing of the frequent bans and censorship they encountered, revealed his talent for breaking the rules. Even his first feature, Accattone (1961)—which depicted the life and death of a young pimp living on the ragged outskirts of Rome—provoked right-wing disturbances and sharply divided critical opinion. While critics on the right were disturbed by the “amoral,” “decadent,” and “depraved” nature of Pasolini’s protagonist—as well, perhaps, as Pasolini’s evident attraction to the young men he portrayed—those on the left felt that the director’s poetic, death-haunted, fatalistic, and often Catholic-inflected vision subverted any Marxist impetus for social change or social justice. Toward the end of the 1960s, Teorema (1968)—a film in which a handsome, “divine” stranger sleeps with the four members of a bourgeois family (mother, father, son, and daughter)—seemed to deliberately court controversy. Not only did it conflate homosexuality and heterosexuality but, also, it shadowed both with the hint of incest, insofar as the stranger acts as a son in the family. Temporarily banned for obscenity and apparently deemed an “inadmissible” film by the pope himself, Teorema was denounced as a homosexual fantasy and a film on the difficulty of being a homosexual. In the course of the early 1970s, the films of the so-called “Trilogy of Life”—that is, The Decameron (1971), The Canterbury Tales (1972), and Arabian Nights (1974)—shocked the public with an explicit depiction of sexuality never before seen in mainstream Italian films.


Still, even those well acquainted with Pasolini’s taste for controversy could hardly have expected the extreme nature of Salò. Based on the Marquis de Sade’s most notorious book, The 120 Days of Sodom, Salò is not only Pasolini’s most “unacceptable” work but one of the most chilling films in the history of cinema. Just a few weeks after completing the film, moreover, on November 3, 1975, in an eerie echo of several scenes in his films, the director was found brutally murdered on the squalid outskirts of Rome. The scandalous nature of his death—the ostensible assailant was a young male prostitute, although many feel that his murder was an assassination orchestrated by people in power—heightened the scandal raised by the film. Alongside Salò lay grisly and unforgettable newspaper photographs of Pasolini’s bloody and disfigured corpse. The line between art and life seemed to dissolve.


The film’s producers had to fight a long and complicated battle with various boards of censorship, as well as the public prosecutors of several cities (including Rome and Milan), before the film could be officially shown in Italy. Suppressed by the censors before it could open—it was seized on November 12, 1975—it actually had its first public projection not in Italy but in Paris, on November 23. Early the next year, on January 11, 1976, it was briefly shown in Milan, before being blocked once again; on March 11, 1977, it was finally released in Rome for the first time, but with four sequences omitted. Three months later, a Milan court removed the ban against Salò. And on February 15, 1978, the four previously censored sequences were restored on the grounds that the film was a “work of art.” (Throughout this time, there were always renegade prints circulating among private political and arts groups.) In other countries, of course, the film faced similarly protracted censorship battles.


With Salò, Pasolini managed to shock and disturb—albeit for different reasons—both the popular audience and the most serious critics. Ordinary Italian viewers, who doubtless hoped for still another erotic film from the director of the trilogy, were brought up short by its graphic sadism and icy violence. When I finally saw Salò in my Roman neighborhood movie house, I remember hearing cries of “brutto” (ugly) from dismayed and disappointed viewers. While Pasolini’s earlier films had left much of their violence to our imagination, in Salò every horrible detail was cherished and prolonged: the camera lingers on the blood oozing from the victims’ mouths when forced to swallow food spiked with nails, and on the excrement smearing their lips when obliged to eat excrement. As far as Pasolini’s depiction of sexuality is concerned, even when, as in the films of the trilogy, he had declared his intention to portray Eros in a joyous light, he had allowed us to glimpse the dark underside of sexuality. And Salò, after all, was conceived as the mirror image, the infernal opposite of the trilogy; it was designed to show not the joy of sex but, rather, the commodification, the reification, of the human body in the unreal world created by neocapitalism.


As the years went by after his death, Pasolini was sometimes accused of rendering sadism erotic, in the manner, say, of other films set in the Fascist era (Liliana Cavani’s The Night Porter, 1974; or Lina Wertmüller’s Seven Beauties, 1975). “Like Cavani’s Night Porter,” wrote feminist critic Nancy Huston, “Pasolini’s film is an unfortunate attempt to reinject eroticism into genocide.” But the truth is, I think, that Pasolini attempted to remove every cloak, every veil, conferred upon sadomasochism by a tradition of romance or pornography. In Salò, sexuality is not titillating or exciting; it is graphic and brutal, calculated and cold. His libertines are neither Sade’s aristocrats nor Byron’s satanic heroes who defy society but meticulous, grotesque bureaucrats who are driven by frustration and impotence rather than desire. As for their nude and passive victims, they are no more than interchangeable and anonymous bodies. Similarly, the elegant villa where the libertines pursue their obsessive sexual games and combinations is less a house of pleasure than a death laager from which no escape is possible. Several critics did, in fact, perceive that Pasolini’s film was not about sex but, rather, “the death of sex.” Cesare Musatti and Henry Chapier called it a “funeral dirge” of eroticism; French philosopher Gilles Deleuze would later deem the film a “theorem of death.” But perhaps the mass public understood this best: while it flocked to The Night Porter and Seven Beauties, it shunned Salò.


If ordinary Italian viewers were repelled by the violence and the brutal, clinical cast of the sexual acts depicted in the film, Pasolini’s more serious critics were dismayed instead by the implicit political analogy at the heart of Salò. That is, by situating people and actions imagined by the Marquis de Sade in the Republic of Salò—the short-lived state set up by Mussolini in the Northern Italian town of Salò after his flight from Rome in 1943—Pasolini appeared to draw a parallel between the imaginary sadism of the libertines and the all-too-real phenomenon of Italian Fascism. As if anticipating reactions to this very charged comparison, before even completing the film Pasolini attempted to justify his decision to set Sade’s novel in the Fascist era. He insisted that he was not talking about, or not talking solely about, the abuses of Nazi-Fascist power but of all power—including what he called the “new Fascism” of contemporary neocapitalism. Defiantly calling Salò his “first film about the modern world,” at one point he insisted that his work was the oneiric “representation of what Marx called the commodification of man, the reduction of the body (through exploitation) to a thing. Therefore sex is still called upon in my film to play a horrible metaphorical role. Precisely the contrary of the trilogy.” His argument that the Fascism of Salò was merely symbolic did not convince several important cultural critics, however. The respected Italian novelist Italo Calvino doubtless spoke for many when he declared that “the idea of situating Sade’s novel in the times and places of the Nazi-Fascistic republic seems the worst possible one from all points of view. The horror of that past that is in the memory of so many who lived it cannot serve as background to a symbolic and imaginary horror constantly outside the [realm] of the probable.” Along somewhat more theoretical lines, French critic Roland Barthes declared that one cannot anchor the abstract notion of power (what he called “Fascism-substance”) in any concrete historical event such as Nazism-Fascism without distorting its nature.


Not all Italian critics, of course, were caught up in the political polemics and existential attacks that swirled around Salò. Still, it was in France—the country of Sade if not of Pasolini—that critics seemed most willing to treat Salò as an important work of art. Marcel Martin, for one, in July 1976 expressed his conviction that Salò was nothing less than the “greatest” and most “ambitious” of all of Pasolini’s films. It was, he said, “a film as glacial and opaque as marble, as pure and cutting as diamond.” Pointing to the radical nature of Salò, that same month, in Cahiers du cinéma, Serge Daney underscored Pasolini’s total refusal of all the strategies designed to signal a filmmaker’s “desire to seduce and corrupt” the viewer. The respect and admiration for Pasolini that echo through these remarks would be heard, years later, in a moving and important tribute to him by still another French critic and writer—Guy Scarpetta. Commenting on the many articles and books devoted to Pasolini on the thirtieth anniversary of the poet’s death, in a 2006 piece published in Le monde diplomatique, Scarpetta stressed the lasting importance and resonance of Pasolini’s “hereticism.” Pasolini’s role, declared Scarpetta, “was to subvert conceptions of the dominant world, to explore all that is not said by conventional representations, to uncover all that is repressed in the social and cultural consensus.” No work, certainly, better illustrates Pasolini’s challenge to conventional representations, to the social and cultural consensus, than does Salò.

Naomi Greene, professor emeritus of french and film studies at the University of California, Santa Barbara, is the author of The French New Wave: A New Look, Landscapes of Loss: The National Past in Postwar French Cinema, and Pier Paolo Pasolini: Cinema as Heresy, among other books.

This piece originally appeared in the Criterion Collection’s 2008 DVD edition of Saló. ]]> Bringer Of Funerals http://www.cult-labs.com/forums/blogs/bringer-of-funerals/1228-salo-breaking-rules.html http://www.cult-labs.com/forums/blogs/bringer-of-funerals/1227-warrior-review.html Sat, 25 May 2013 07:55:42 GMT Last night I watched Warrior which is an MMA (Mixed Martial Arts) film about two brothers played by Tom Hardy & Joel Edgerton that don't get along.

Tommy (Joel) is an ex marine that is haunted by his past of almost drowning and dying which has made him go off the rails. Brendan on the other hand is an ex MMA fighter who is now a teacher and also has the perfect family but he has a problem, he has no money coming in and could lose his house.

That is until they both hear about a huge MMA event called SPARTA which could turn both of their lives around.

Now let's be honest, if you've seen THE FIGHTER then you know what to expect, this is near enough the same story just with a different sport and I will admit it was a good film which starred lots of real MMA fighters and UFC stars (including WWE / TNA wrestling star KURT ANGLE which puts in a menacing performance).

It just wasn't what I expected, yes the fights are well filmed and it is like watching a UFC event in the fight scenes.

I just didn't warm to any of the characters and it was more drama then action (which can be a good thing) but this left me cold as you can see who the main fight is going to be against before it even gets there.

The film rushes to it's main event final and it seems that in the film everyone and their dog is really into MMA like a religion and their TV is stuck on the channel that is showing MMA, UFC, ESPN MMA News (anything to do with MMA).

It just seemed rushed to me like they had ran out of ideas so it was a quick let's get to the main event.

So i'll end it here by saying if you like MMA check this film out, otherwise your not missing much as their are films that tell this type of story better. ]]> Bringer Of Funerals http://www.cult-labs.com/forums/blogs/bringer-of-funerals/1227-warrior-review.html http://www.cult-labs.com/forums/blogs/bringer-of-funerals/1226-obsessions-most-haunted.html Fri, 24 May 2013 18:11:27 GMT http://www.youtube.com/watch?v=TVNAz_LK3FM Not many people will know that I am a ghost believer and when I heard about this show I was in my... http://www.youtube.com/watch?v=TVNAz_LK3FM

Not many people will know that I am a ghost believer and when I heard about this show I was in my element. What had happened was my friend had told me of this show where a medium and a crew of camera men would go into a haunted house / hotel or whatever it may be and spend the night.

So one night when it was going to be on my friend invited me round to watch an episode (I can't for the life of me remember which episode it was) but I can remember how I felt and the format was original.

The format was Yvonne Fielding would go around wherever the episode was set and go into the history and of what ghosts were where and what they would do. Then a Medium Derek Acorah would turn up and do his job of talking to the spirits through Sam his guide.

Then they would spend the night with night vision goggles and see what would happen (normally with the odd bang and lots of screaming). Which annoyed me as all we, the viewers could hear nothing but screams of Yvette etc.

At the end of the show they would have another Medium look at the footage and give his insight on what happened.

Naturally all you could see was orbs or dust specks. All the ghost action would happen off screen and they would expect us to believe what they had seen.

Well after that I wanted to see more (which I didn't until I bought the DVD box sets). My friend was scared as he lived in a flat on his own and I thought it was funny that he was scared.

I was recently healing from an operation so that made me have a lot of free time so I ordered the DVD sets from www.Amazon.co.uk all 14 of them and I watched them through 1 series after another.



I read a lot into it too and found out Derek had left through someone setting him up and they brought in a new medium. I have to admit it wasn't the same but I continued watching.

I still enjoy watching them even now it's ended and there was a whole slew of new mediums that took over but nobody will have the same impact Derek Acorah had on me.

Every now and again he does live shows and I would love to see him live at some point. ]]> Bringer Of Funerals http://www.cult-labs.com/forums/blogs/bringer-of-funerals/1226-obsessions-most-haunted.html http://www.cult-labs.com/forums/blogs/bringer-of-funerals/1225-letter-stealing.html Fri, 24 May 2013 09:09:32 GMT Last month I got a letter printed in Play Magazine (a PS3 Mag) about an idea for trophies.

Well in this month's edition somebody has nicked my letter, rewrote it slightly different but still kept my idea.

Even Play has noticed and said "Stu Vernon wrote that last month are you sure you haven't took his letter and re arranged it.

So even the magazine has noticed hence my idea couldn't have been that bad if people are taking it. I should have TM it. ]]> Bringer Of Funerals http://www.cult-labs.com/forums/blogs/bringer-of-funerals/1225-letter-stealing.html http://www.cult-labs.com/forums/blogs/bringer-of-funerals/1224-how-i-met-your-mother-mother-finally-revealed.html Thu, 23 May 2013 14:58:41 GMT When "How I Met Your Mother" fans learned that Season 9 would take place entirely over the course of Barney and Robin's wedding weekend, it left many wondering about the final season of the show.

Would fans get to see the relationship between Ted and the Mother, or will he just meet her in the very last episode? How can a season of 20-plus episodes span a three-day weekend? Would any unanswered plot points from previous seasons be forgotten?

At least one of those questions has now been answered thanks to Michael Ausiello of TVLine. In his Ask Ausiello column, a reader asked him if HIMYM fans would get to see the final two slaps of Marshall and Barney's Slap Bet in the ninth and final season, and Ausiello confirmed that the slaps would occur.

The Slap Bet, a favorite topic of fans, has been a long-running gag throughout the show that first appeared in Season 2 when Marshall and Barney made a bet about a secret that Robin was trying to hide from the group. Marshall won the bet and had five slaps with which to hit Barney for the rest of eternity.

Marshall used one slap right away and doled out three more of them during the next few seasons. In Season 7, he earned three more slaps and used two of them, which left him with the two he has headed into Season 9.

Fans also learned recently that Cristin Milioti, the actress who finally put a face to the Mother, would be a series regular in Season 9, the first time anyone but the principal five members of the cast received such status ]]> Bringer Of Funerals http://www.cult-labs.com/forums/blogs/bringer-of-funerals/1224-how-i-met-your-mother-mother-finally-revealed.html http://www.cult-labs.com/forums/blogs/bringer-of-funerals/1223-no-van-damme-timecop-remake.html Thu, 23 May 2013 14:47:43 GMT *It has been officially announced by Universal that there will be no Jean-Claude Van Damme in Timecop remake, the upcoming movie obviously inspired... It has been officially announced by Universal that there will be no Jean-Claude Van Damme in Timecop remake, the upcoming movie obviously inspired by the sci-fi flick released back in 1994.

Everyone knows that all the movies from the Belgian actor became some kind of a “cult”, so is it wise to plan a remake of Peter Hyams’ film without Jean? Maybe Universal needs to stop and think for a second to what happened to Sony and the near disastrous performance of Total Recall without Schwarzenegger.

Universal Pictures has begun development on a rebooted Timecop movie.

Marc Shmuger and Tom McNulty will produce the new film based on the Dark Horse Comics property, according to The Hollywood Reporter.

The 1994 film was considered a major success for star Jean-Claude Van Damme. It went on to spawn a short-lived television show and a straight-to-video sequel, Timecop 2: The Berlin Decision, in 2003.

The property is set in a future in which time travel is policed by the Time Enforcement Commission.

Officer Max Walker is known for his brutal efficiency, but he finds himself struggling to prevent a plot by a corrupt politician to forever change the future.

Universal is currently seeking writers for the project. Van Damme is not involved.
]]> Bringer Of Funerals http://www.cult-labs.com/forums/blogs/bringer-of-funerals/1223-no-van-damme-timecop-remake.html http://www.cult-labs.com/forums/blogs/bringer-of-funerals/1222-addicted-films-my-journey.html Thu, 23 May 2013 13:11:12 GMT Just now I have read Nosferatu's blog on how he became a film addict. Well that has made me want to write my blog on here about my journey.

Now I've never figured out where my film addiction comes from as my mam, dad or step dad don't watch many films and couldn't tell you who is who.

But my 1st foray into film and the addict came from one christmas when I was young. Mam was ironing and I sat watching TV - Father Christmas, Snowman etc when suddenly a little film starring a young Jennifer Connelly and singer David Bowie came on. As You have probably guessed by now it was Labryrinth and I was hooked to the TV as the fantasy and goblins took my mind to other places.

Then I went to my uncles who lives in Manchester and to keep me occupied as my mam and him and his wife chatted he put on the Dolph Lungdren film Masters Of The Universe and again I was hooked to the screen. I know the film has hate but at the time I thought it was brilliant.

After that the GHOSTBUSTERS craze took hold and they made 2 films which I watched and proper enjoyed. Little did I know that they would become classics. I would run round pretending to blast ghosts with my toy proton pack I had got for christmas. I also believe in ghosts so I was in my element.

Then the TMNT or Hero Turtles here took hold and the craze began. My uncle (who was married to my auntie at the time) had recorded the 1st Turtle film and I watched it and to be honest it didn't blow me away like the previous films did. I could take it or leave it. We then bought our 1st VHS recorder and funnily enough my mam bought be the Labyrinth VHS which I watched over and over which drove mother mad lol.

My dad then for christmas bought me a video player for my bedroom where every year my mam would buy me the newest Disney release - Aladdin, Basil The Great Mouse Deective etc. Where I would watch them in bed.

Now I suppose your wondering where the horror films come into play. Round about when the NES came out my grandad would babysit for me as mam went out to work in Woolworths. He had a small selection of videos - Childs Play 3, Predator, Terminator, Commando, Raw Deal, Cat's Eye etc etc.

One day when he was looking after me I asked what Cat's Eye was and he put it on which I liked because mother wouldn't let me watch horror. The image of a goblin steling the breath of a little girl sleeping and her throwing it in a fan to slice still is fresh in my memory. The week after he put on Child's Play 3 and I was hooked at all the gore. It was class. Then one night he put on Maniac Cop and I thought it was good.

The rest he had put on over time and Total Recall was the last one he put on for me to watch as someone had told my mam and she went mental with him. So when he stopped he put on Suburban Commando with Hulk Hogan in it.

Mam then bought me Drop Dead Fred and Mr Nanny and I watched them. I had a friend who's mam had taped Beetlejuice and she had asked my mam if I could watch it. She agreed as she knew I'd seen worse. When I turned 18 that was it I bought everything I could get my hands on

But what made me an addict was the release of DVD, My mam had bought me a dvd player which is the best dvd player i've had. And she had bought me 7 dvds for christmas and I became an ADDICT buying everything.

I was Global Video's best customer buying everything from Cannibal Holocaust, Zombie Flesh Eaters and other Vipco's through to soft skin films called Bare Witch Project, Sexy Scary Movie etc. Normally all in one go.

Yes as many others have claimed I also double to triple dip. I own 3 versions Of Zombie Flesh Eaters and the most ive dipped on is the Alien lot.

I own 4 versions of them. Please read my other blogs to do with Exorcist and Nosferatu etc on how I watched them ]]> Bringer Of Funerals http://www.cult-labs.com/forums/blogs/bringer-of-funerals/1222-addicted-films-my-journey.html http://www.cult-labs.com/forums/blogs/bringer-of-funerals/1221-bus-seat-sick.html Fri, 17 May 2013 11:16:18 GMT Yesterday when I was going to Redcar a little girl with her mother got on the bus and sat behind me. The girl was stood on the seat which I wouldn't allow, anyway the little girl smelt of sick and cough sweets.

The seats on the bus are arranged seat, devider, seat and I was sat on the 1 nearest the isle. Then all of a sudden the little girl spewed on the seat literally next to me nearest the window.

Luckily none splashed on me and I was getting off at the next stop anyway, but the mother didn't say sorry to me and looked at me as if it was my fault her daughter was sick.

Everyone I've spoke to said they would have had to move as the sick would have made them feel sick. ]]> Bringer Of Funerals http://www.cult-labs.com/forums/blogs/bringer-of-funerals/1221-bus-seat-sick.html http://www.cult-labs.com/forums/blogs/bringer-of-funerals/1220-drive-egging.html Wed, 15 May 2013 19:02:56 GMT Last night I was walking home from my girlfriends minding my own business when sudden I got an egg thrown at me by a passing car. Without thinking I... Last night I was walking home from my girlfriends minding my own business when sudden I got an egg thrown at me by a passing car. Without thinking I shouted for fuk sake then looked to the floor.

It didn't smash on it, it bounced off me and smashed on the floor. It hit with such impact Im surprised it didn't smash.

Turns out my girlfriend's bother got an egg thrown at him the night before but it smashed on his shoes.

They might throw an egg at the wrong person and get a brick thrown back at them. ]]> Bringer Of Funerals http://www.cult-labs.com/forums/blogs/bringer-of-funerals/1220-drive-egging.html http://www.cult-labs.com/forums/blogs/bringer-of-funerals/1219-im-dreading.html Mon, 13 May 2013 17:51:05 GMT It is with great worry I am writing this so please bare with me. Tomorrow I am going to the Dr's to see if I have cancer. I am dreading it as along with aids it's not a word you want to know you have.

I thought I would tell you this because I need somewhere to spew out my worries.

I have found blood in my number 2 and it'd been there a few days.

Hopefully it might be nothing but I am dreading it - if it is I don't know what to tell you.

Sorry this is short but im scared shitless but I want to ease my mind with going to find out ]]> Bringer Of Funerals http://www.cult-labs.com/forums/blogs/bringer-of-funerals/1219-im-dreading.html http://www.cult-labs.com/forums/blogs/bringer-of-funerals/1218-ray-harryhausen-r-i-p.html Wed, 08 May 2013 09:34:22 GMT *I can see this going into a rant but when you have read what I have to say you probably will agree with me. Yesterday we were all saddened by the... I can see this going into a rant but when you have read what I have to say you probably will agree with me.

Yesterday we were all saddened by the news of Ray Harryhousen dying. Well upon that news I told my mother, step father and girlfriend, well mam and Paul looked at me blankly then said "who?", I explained to them who he was and I still got a who?"

Later I told my girlfriend and was met with the same "who?". Well with that I went off on a rant and you may agree with what I said:

"Who, ****ing who..... Obviously nobody gives a **** about him because he was an SFX bloke and did great things yet nobody cares but if it was Angelina Jolie, Brad Pitt, Tom Cruise even David Beckham dying the whole world would ****ing come to a stand still, I ****ing give up trying to explain".

With that I stormed out the room with rage bubbling inside me. I have nobody to talk to about films and when I do try to tak about films to them I get a blank look ]]> Bringer Of Funerals http://www.cult-labs.com/forums/blogs/bringer-of-funerals/1218-ray-harryhausen-r-i-p.html http://www.cult-labs.com/forums/blogs/make-them-die-slowly/1217-four-years.html Wed, 01 May 2013 23:30:46 GMT F*ck me, I just noticed it's been 4 years to the day since I joined the forum. Even though I don't post as much as I used to, I can't break the habit of logging in every day to read the odd post here and there.

I've not the time to watch films at the moment as I do 2 karate classes a week and 2 Tai Chi classes. I'm too battered and bruised most nights to even pick up the remote let alone watch a film. ]]> Make Them Die Slowly http://www.cult-labs.com/forums/blogs/make-them-die-slowly/1217-four-years.html http://www.cult-labs.com/forums/blogs/bringer-of-funerals/1216-justin-bieber-says-hes-bigger-then-michael-jackson.html Tue, 30 Apr 2013 10:15:41 GMT There is something very wrong with Justin Bieber if he thinks he is bigger then Michael Jackson!! he needs a check up from the neck up! how dare he... There is something very wrong with Justin Bieber if he thinks he is bigger then Michael Jackson!! he needs a check up from the neck up! how dare he say that, there is no comparison. MJ was and still will be forever one of the worlds greatest entertainers! his music and messages will live on long after I'm dead even, JB is just a snotty nosed little untalented brat that will end up on a has-been's reality show in the future when something better comes along! MJ was hounded and murdered by the media ]]> Bringer Of Funerals http://www.cult-labs.com/forums/blogs/bringer-of-funerals/1216-justin-bieber-says-hes-bigger-then-michael-jackson.html