Agreed

I think thats how we sort out the actresses from Buffy and Angel as to who is best. They are all decent actresses but our favourites are always the ones we fancy most. :lol:

You have fine taste sir!

The Slayer

Second viewing and I still don't think much of it, in fact take out a couple of the gory scenes and it plays like a lame TV movie.
(Pretty nice score mind, esp for this type of thing.)
I guess the slasher tag and hype around it, was always gonna hurt it for me.

she looks much older now, after watching American Reunion, she looked rough but maybe that was part of the character because she looks great in How I Met Your Mother.

Indeed she does, I'm watching it right now before I head off to Band Camp(well band practice, but you get the point :lol: )

Those "One time at Band Camp..." lines always crack me up. :lol:

Hot Fuzz

I watched that too last night, I forgot just how funny it was.

FATHER'S DAY - Gross out fun from Troma. I normally hate comedy horror, particularly when it's broad - that's why I (mostly) hate Troma. In this case I admit I did actually catch myself supressing the distant twinges of comedic enjoyment on a couple of occasions, and I just quite liked the attempts at 80s patiche and the weirdness of the last reel. Actually, pretty much all the gore (including the dad-rape scenes) was quite grim and filmed for the most part with a straight face. Often find myself amused by the kind of shit that gets passed at '18' these days (the harsh treatment of middle aged men here includes explicit cock ripping).
FEAST 2 - I liked this more than the quite good but imo over rated initial entry. Comedy horror again, but this one at least features a pervasively cynical tone and strives to tip its bad taste gags over into genuinely mean spirited territory at points. Not that that should be a recommendation necessarily.
THE SEVENTH CONTINENT - In direct contrast to the two previous, some mind mashingly serious alienation. An Austrian family withdraws from a bourgeois life of carefully observed but meaningless rituals, then sets about dismantling itself with the same joyless precision as it lived. At points, fragmented interactions with objects replace characters and the latter give way to a flux of body parts and material processes - but humanity in the throes of despair is never far away. Somehow all of this is summed up by a sequence showing suicide orchestrated to a MeatLoaf video. The car-wash scenes are also luminescent, arcane almost, like entering a cosmic void in the midst of abject banality. I think this was Haneke's first theatrical release, and imo it's one of his most interesting.