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To be fair, the design is the weak point this time as it looks a tad silly, but I'm sold on the rest of the imagery in this film. There's a reason they are called graphic novels after all ... I have actually read some of the books for once and it reminds me of them. Some may disagree. Their review will be different. Sober btw
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Again??
Ahem. The pandering may annoy, but by Cthulhu it's gory min
__________________ [SIGPIC][/SIGPIC] [B] "... the days ahead will be filled with struggle ... and coated in marzipan ... "[/B] |
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Deep Impact. A TV journalist inadvertently stumbles onto the biggest story in history - a meteor headed for Earth that could destroy all life. Robert Duvall heads an all star cast in this late 90s flick that is more melodrama than action or even your typical disaster movie. It's well made and acted, but a bit too long, with the second hour dragging on a tad.
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Hell Fest. A horror-themed travelling sideshow at a local amusement park seems like a fun night out for a group of young college friends - until a masked maniac chooses the same night to make the park his own personal hunting ground. This 2018 B movie slasher horror is... actually way better than I was honestly expecting. An unusual and atmospheric setting, stylish direction and admittedly generic but well-acted and likeable characters make for a thoroughly entertaining modern throwback to classic slasher fare. Fun. |
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This is what I've been up to since we last met - THE SENDER – Psychic with a dark past spooks out a psych ward in this well-made offering from the early eighties. Despite its vintage, it has more in common with something like ‘Sole Survivor’, another slow-burn -with-dark-visions flick, than anything splattery from around the time. The dark stuff is all in the build-up and the atmosphere, carried by good performances. SATAN’S SLAVE – NJ Warren’s first go at horror sees a woman trapped in Satanist Michael Gough’s mansion. It’s stiff Brit goth sliding over into slimier, more exploitative territory – the mist laden, crumbling vistas are spiced up with nudity and gore, like that gratuitous eye stabbing at the end (or the awful scissor bit at the start if you’re into the ‘international cut’.) very good, slightly straighter than his other, more eccentric ‘hits’. LORDS OF CHAOS – Power games turn deadly on Norway’s black metal scene when long haired guitar screecher Euronymous locks horns with creepy newcomer Varg. Churches burn as a result, as per all that notoriety on the news from the early nineties. I seem to remember the book being different. ‘Lords of Chaos’ is fairly entertaining, but tonally the clash between wry black comedy and something more visceral and bleak doesn’t really work. US – From the director of ‘Get Out’. ‘Us’ is solid as a horror flick, but a bit clunky in its ‘message’, which feels simultaneously heavy handed and vague. Basically, it’s about mainstream America coming face to face with its supressed ‘other’, an unrepresented socioeconomic underclass metaphorised here in the form of doppelgangers who originate from a funhouse in Miami. Also couldn’t quite dig the transition from tense home invasion tropes to the clumsy surrealism nearer the end. But, a recommended watch in that it entertains and provokes, and we need more social commentary coming from this direction but done better. THE HOLE IN THE GROUND – Good slow burn horror set out in the sticks somewhere in Ireland, where a wood conceals a vast and mysterious pit. A woman in search of a new start in an isolated cottage finds that her son is acting all weird after a trip to said forest… who is this child? He seems like an imposter. Paranoia and dread beckon, as per. I liked THITG, maybe it needed a bit more edge to sustain it in parts, but the thing with hole and it’s ‘secret’ almost seemed a little Lovecraftian in a way, which was impressive. SLEEPAWAY CAMP 3 – Me and comedy horror, well, I’ve said it on countless occasions, we just don’t get along really. So why is it that I always end up saying something like “despite hating comedy horror, I really loved this”? Which, boringly, is the case here. Sorry. Anyway, SC3, OK, maybe I didn’t quite ‘love’ it, but I found it a thoroughly entertaining piece of feel-good trash which seemed to effortlessly summon the kind of vibe of gleeful malevolence that so often eluded many of its ilk. The set-up is the same as before before before ie Pam Springsteen is back on the camp, this time stalking disadvantaged city kids there as part of some kind of rehab program, and blah blah blah, it’s just a load of murders and one-liners, obvs. Yet, garbage it may be, but its delivery is one of style, panache and deft precision. One sore point – all the gore binned by the MPAA back in the day remains unrestorable, presumably. IN FABRIC – Peter Strickland continues to make pretty ace films, and ‘In Fabric’ is quite the oddest proposition of his so far. It’s about a dress from a seventies / eighties seeming Brit department store (the film’s timeframe is blurry) that conceals a supernatural malevolence within its silky scarlet folds. We follow the grim travails of two of its owners as they deal with all the bad stuff the dress brings in its wake. In keeping with Strickland’s other stuff, ‘In Fabric’ evades genre at the same time as it plays with horror imagery and tropes; in this case, he’s come up with a real head-scratch, a kind of missing link between old school British sit-com and the decadent pop-surrealism of peak Euro-horror. It’s a total delight, the kind of baffling weirdness that we desperately need more of and is severely recommended. |
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