What Films Have You Seen Recently?

[Rik]

Originally Posted by Demdike@Cult Labs

Vittra (2012)



Vittra must be Swedish for Evil Dead because that's what this film is. A knock off of the Evil Dead remake that came out, er' a year later.



Basically if you like 2013's Evil Dead then i think you'll love this intense and gory rehash.

Sounds up my street, any disc recommendations Dem?

[Demdike@Cult Labs]

Originally Posted by Rik

Sounds up my street, any disc recommendations Dem?

https://www.amazon.co.uk/Wither-DVD-...eywords=wither

There is a non-UK bd available but why would you bother when this can be bought for under £2.

Several of it's poor reviews are from people who can't read subs.

[Rik]

Originally Posted by Demdike@Cult Labs

https://www.amazon.co.uk/Wither-DVD-...eywords=wither



There is a non-UK bd available but why would you bother when this can be bought for under £2.



Several of it's poor reviews are from people who can't read subs.

Cheers, ordered

[bleakshaun]

So on Saturday in London; me and my mates went to see Alien at Southbank.
I'm not going to go into the story much (almost) everyone here has probably seen it. Mining ship diverts to planet, crew investigate, John Hurt gets attacked by facehugger, alien bursts etc.
Out of the series I still think this is the best out of them all. The acting is great, there is genuine tension built throughout the second half. And watching on the big screen is a truly amazing experience 10/10

Sent from my MediaPad T1 8.0 Pro using Tapatalk

[Demoncrat]

Originally Posted by Frankie Teardrop

I think I've become a bit more cautious in my buying, too, so yeah that's possibly why fewer 'Flesh For The Beast's and 'Goat-man Murder's are turning up for me. There's a vast ocean of modern vid-cam trash on Amazon Prime, and that's where all the goods will be, but I can't be arsed to make any headway with it. MTDS looks into that kind of thing quite often still. I think that maybe, having done this for quite a while, I'm getting a bit tired and expect to be entertained without any effort. This has meant that my choices have become more mainstream in a way, which I'm not proud of.

Argh
We're all doomed then

[Demoncrat]

One Man Force (Dan Trevillion)

A film made by and for action perverts.
Shapiro Glickenhaus production.
Was on a 4dvd set from Hollywood (Tough Guys).
Trashy mayhem. The lead is a big lunk. Ronnie Cox shouts a lot. Charles Napier.
Need more??

[Demoncrat]

Originally Posted by Frankie Teardrop

ZOMBIE FLESH EATERS – Stuck in bed with a lousy cold, I turned to my pile of discs... it felt like the right time to get into ZFE, held by many to be a classic but a film that I consider to be a bit of a snoozefest. Yes, it's sacrament to some, but my memories are always of me twiddling my thumbs and waiting for someone to get poked in the eye. But something always draws me back in. Images, scenes. It has, near the start, one of my all time fave shots in the history of cinema, the one where the camera zooms in on some worms slithering across the keys of a piano whilst the soundtrack bursts into a throbbing synth pulse. Don't ask me why, but that has to be my most treasured Fulci moment. ZFE approaches a similar level of craziness at other points, too – the shark attack, the rise of the conquistadores. It may suffer from clunky pacing, but there's no doubting its atmosphere in places... images of the walking dead swaying through the windswept streets of Matul have a tendency to linger. As does Fulci's camera – that's what I like about him, he tends to get close to the violence and stays with it, even slows it down. In fact, he's always stepping out of narrative time and searching for something visual or a bit impressive to look at, whether this be the gradual disintegration of a zombie's fingers being crushed by a door, or an airport lounge. There are moments, such as the one when a bored-looking zombie stares sullenly at the floor as Fabio Frizzi's electronics spark up, which seem like the essence of dream, and you can almost sense a new world being born, or at least a new aesthetic.

DRACULA, PRISONER OF FRANKENSTEIN – It's kind of an homage to the old Universal classics of the thirties, a golden era of horror cinema when Frankenstein and Dracula pretty much ruled in their genteel way without having to resort to much blood or cleavage. Here, they've made a comeback in more sexed-up times (1972, to be exact), and who should be at the directorial reins? None other than Jess Franco, lord of delirious erotic overkill. Those expecting a load of throat biting and shagging will be a bit non-plussed, as this is kind of restrained for a Franco movie. It is, however, pretty f8cking weird. It's not entirely silent, but vast portions of it are without dialogue. And although it does in essence tell a story, it's much more about images – images of Howard Vernon climbing out of a coffin, images of a woman in a psychiatric clinic writhing around on the floor, images of some gypsies hanging out, images of a dude turning into a werewolf at the end just because he can. If shots of candles, bats, sinister looking windows and machines with flashing lights don't do it for you, look somewhere else. As a film, you just have to go with it – let it wash over you and go wherever it takes you. Don't fight it, or you'll lose it – big time. Especially, don't ask the question “why does this film seem to be about people going in and out of buildings and not saying anything whilst the wind blows constantly on the soundtrack?” Because there are no answers. Not as wham bam psychedelic as its cousin 'Erotic Rites of Frankenstein', but somehow madder despite being quieter.

FLESH EATER – Does this film reveal Bill Hinzman to be the hidden genius of NOTLD? Maybe not so much, but, in its frenzy of mid-eighties denim and excessive gore, it's paved a way to my heart for one. There are some late teens up in the woods, gathered there to drink beer and dance – they literally do that at one point, just break off from the story and have a bit of a shimmy to Rock FM. You wouldn't get that in a film these days. Anyway, maybe there's a black magic curse on the area or something, because somewhere along the way a walking corpse is disinterred – it's Bill himself, reprising his iconic role from NOTLD! I quite like that, no explanation given or anything, just THAT zombie – and he's back! Did they think the average viewer would get it? I'm not sure I do. Anyway, zombie contagion spreads throughout the region and pretty soon there's a mass panic yada yada. Except it all happens very quietly, in a case of budgetary concerns triumphing over narrative. I quite like what they do here, as the story just basically dissolves into a series of vignettes, mostly involving violent murder by zombies in local houses – beats rounding everyone up in a shopping mall if you don't have that kind of cash. It also gives the film a kind of suspended, unintended dream-like feel, one event following the next along the flimsiest safety rope of causality. The accidental atmosphere is compounded by the bleakish rural-city setting (if that makes sense), and the cheapo film stock, which gives it a feel harking back to more grindhouse times. A blatant, brutal cash-in, 'Flesh Eater' is great stuff and is really what trash cinema's all about.

Sir.
Salutations as always .....

[J Harker]

Originally Posted by Frankie Teardrop

ZOMBIE FLESH EATERS – Stuck in bed with a lousy cold, I turned to my pile of discs... it felt like the right time to get into ZFE, held by many to be a classic but a film that I consider to be a bit of a snoozefest. Yes, it's sacrament to some, but my memories are always of me twiddling my thumbs and waiting for someone to get poked in the eye. But something always draws me back in. Images, scenes. It has, near the start, one of my all time fave shots in the history of cinema, the one where the camera zooms in on some worms slithering across the keys of a piano whilst the soundtrack bursts into a throbbing synth pulse. Don't ask me why, but that has to be my most treasured Fulci moment. ZFE approaches a similar level of craziness at other points, too – the shark attack, the rise of the conquistadores. It may suffer from clunky pacing, but there's no doubting its atmosphere in places... images of the walking dead swaying through the windswept streets of Matul have a tendency to linger. As does Fulci's camera – that's what I like about him, he tends to get close to the violence and stays with it, even slows it down. In fact, he's always stepping out of narrative time and searching for something visual or a bit impressive to look at, whether this be the gradual disintegration of a zombie's fingers being crushed by a door, or an airport lounge. There are moments, such as the one when a bored-looking zombie stares sullenly at the floor as Fabio Frizzi's electronics spark up, which seem like the essence of dream, and you can almost sense a new world being born, or at least a new aesthetic.

DRACULA, PRISONER OF FRANKENSTEIN – It's kind of an homage to the old Universal classics of the thirties, a golden era of horror cinema when Frankenstein and Dracula pretty much ruled in their genteel way without having to resort to much blood or cleavage. Here, they've made a comeback in more sexed-up times (1972, to be exact), and who should be at the directorial reins? None other than Jess Franco, lord of delirious erotic overkill. Those expecting a load of throat biting and shagging will be a bit non-plussed, as this is kind of restrained for a Franco movie. It is, however, pretty f8cking weird. It's not entirely silent, but vast portions of it are without dialogue. And although it does in essence tell a story, it's much more about images – images of Howard Vernon climbing out of a coffin, images of a woman in a psychiatric clinic writhing around on the floor, images of some gypsies hanging out, images of a dude turning into a werewolf at the end just because he can. If shots of candles, bats, sinister looking windows and machines with flashing lights don't do it for you, look somewhere else. As a film, you just have to go with it – let it wash over you and go wherever it takes you. Don't fight it, or you'll lose it – big time. Especially, don't ask the question “why does this film seem to be about people going in and out of buildings and not saying anything whilst the wind blows constantly on the soundtrack?” Because there are no answers. Not as wham bam psychedelic as its cousin 'Erotic Rites of Frankenstein', but somehow madder despite being quieter.

FLESH EATER – Does this film reveal Bill Hinzman to be the hidden genius of NOTLD? Maybe not so much, but, in its frenzy of mid-eighties denim and excessive gore, it's paved a way to my heart for one. There are some late teens up in the woods, gathered there to drink beer and dance – they literally do that at one point, just break off from the story and have a bit of a shimmy to Rock FM. You wouldn't get that in a film these days. Anyway, maybe there's a black magic curse on the area or something, because somewhere along the way a walking corpse is disinterred – it's Bill himself, reprising his iconic role from NOTLD! I quite like that, no explanation given or anything, just THAT zombie – and he's back! Did they think the average viewer would get it? I'm not sure I do. Anyway, zombie contagion spreads throughout the region and pretty soon there's a mass panic yada yada. Except it all happens very quietly, in a case of budgetary concerns triumphing over narrative. I quite like what they do here, as the story just basically dissolves into a series of vignettes, mostly involving violent murder by zombies in local houses – beats rounding everyone up in a shopping mall if you don't have that kind of cash. It also gives the film a kind of suspended, unintended dream-like feel, one event following the next along the flimsiest safety rope of causality. The accidental atmosphere is compounded by the bleakish rural-city setting (if that makes sense), and the cheapo film stock, which gives it a feel harking back to more grindhouse times. A blatant, brutal cash-in, 'Flesh Eater' is great stuff and is really what trash cinema's all about.

All hail King Frankie. Class act as ever mate.

[Demoncrat]

April Fools Day (1986, Fred Walton)
Bloodless slasher. Oxymoron alert!!
So what is there else then?
The beginning of the end for this cycle? Is it a comment on the genre? One massive FU to gorehound diehards???
I don't know. I only work here.
Biff Tannen gets it btw




Next tis The Boston Strangler (1968, Richard Fleischer)

[SilverSurfer]

Originally Posted by bleakshaun

So on Saturday in London; me and my mates went to see Alien at Southbank.

Was this the Directors Cut or the Theatrical release?