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1 Attachment(s) So the question that needs answering is... If we were all big kids* which Silver Shamrock mask would you buy? The pumpkin, the skull or the witch? *Yes, i know. We'd all have at least one of them by now. Some would have all three, being the collectors we are. :skull: Anyway, choosing one, definitely the pumpkin for me. |
1 Attachment(s) Sinister. 2012. Crime novelist Ellison Oswalt moves to a new house with his family and finds a box of super 8 movie reels and begins to watch them and starts to research on murders that happened in 60s. Found footage film within another film, idea like this would never work for me but this one did, on the first watch I found it interesting that Ethan Hawke would be in a horror after his other work of drama, action and Sci-Fi but his performance was enjoyable as a novelist who seems to be hated by law enforcement after a book was released about corruption and cover up. Last night was a second viewing and more enjoyable and noticing more on the second viewing that I almost jumped out my seat. Yeah it is about a serial killer targeting families but also has a darker tone towards the supernatural element and can be distressing for some with the tone of murdered children, nice little chiller to watch in the dark. Attachment 242677 Up next Feast |
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2 Attachment(s) Last night was the first night i had all 14 t-light holders lit. No pumpkins of course or anything with batteries, too early. |
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I'd pick the witch mask personally :D but yes, I'd have all three realistically haha. :hailwitch: |
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In the mornings she may look like a witch and talks like Regan MacNeil, often ask her if she wants a coffee or exorcism :skull::skull: |
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Ooh! Reminds me i haven't watched Vengeance: The Demon this October yet. |
http://www.youtube.com/watch?v=CEfiNxMsI_0 It's a slasher movie with a alien instead of a psycho killer you could also say it's also a pre predator , predator movie as the alien is hunting. We have Jack Palance, Martin Landau, Cameron Michelle and a young David Caruso in a brief and early role. http://www.youtube.com/watch?v=A-tgsURVNrI A stone cold classic that's still as good today as when it first released. Nicholson gives a fantastic wide eyed and deranged performance . It's expertly directed by Kubrick with some truly chilling scenes. Duvalls snot infested whinging performance still boils my piss, was it Kubricks decision to make her as unlikable as possible? Now watching Doctor Sleep DC. |
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1 Attachment(s) 30 Days Of Unseen Horror Day 15 Attachment 242680 Two females friends head into the woods camping with their husbands following behind . On the freeway the husbands truck starts running low on water and they have to pull in for repairs. The mechanic tells them they need a new radiator which takes a few hours to fit making them late for their trip. Foolishly with night fall not far off the women head in to the forest alone to set up camp. One of the women is killed by a hermit living in a cave in the forest and unknow to the men they end up spending the night in the cave with the hermit to shelter from a storm. The film stars off well I loved the look and the acting was pretty decent with a couple of good kills right away I felt this was promising but things took a turn I didn't predict or enjoy. The ghosts of the hermits kids show up to help the the group survive their fathers lust for human flesh and the kids are annoying as hell of just their faces was enough to annoy me they tried something different with this slasher but it just didn't work for me. The kills even with a lot of camera cut away still feel brutal kill the killer really going for it but in the flash back where he is killing his wife's lover I did laugh first it's a knife then a saw them a sprong then there are some western bar fight breaking of chairs and finally a giant circle saw :skull: The best thing about The Forest is the forest itself the scenery is absolutely beautiful but apart from that there is nothing great about this one and not one I'll return to. Awesome poster tho. |
October 14th 1 Attachment(s) Creepshow 2 (1987) Again based on three short stories by Stephen King, Creepshow 2 might not be as good as it's 1982 predecessor but it certainly has it's moments. The first story Old Chief Wood'nhead is about the owners of a backwater general store (George Kennedy and Dorothy Lamour in her final film role) whose outer decor includes a cigar store Indian named "Old Chief Wood'nhead". When the couple are terrorised and murdered by three local youths the wooden figure exacts revenge in it's own way. It's not a bad story at all and it's lovely seeing Kennedy and especially Lamour - who was a genuine old time Hollywood star in the 1940's starring alongside Bob Hope and Bing Crosby in their hugely successful 'Road to...' movies - in what is essentially a comic book genre movie. Second story The Raft is comfortably my favourite. It concerns four young people who become stranded on a raft in the middle of a lake when some sort of creature resembling an oil slick decides on eating them for lunch. There's some lovely gooey special effects work from Tom Savini in this and despite the creature at times resembling a bin liner in the water it remains a reasonably gripping tale of terror. The final story The Hitch-hiker stars former Bond girl Lois Chiles as an adulterous businesswoman who accidentally kills a hitch-hiker late one night in a hit and run. However the hiker isn't quite dead (Or is he?) and soon appears in front of her car again. Despite this having the most memorable line in pretty much any horror anthology film "Thanks for the ride, lady!" The Hitch-Hiker is far too long at 35 mins for it's slender story. Chiles in what is basically a one woman performance manages to maintain interest but the actual premise is so slender it could have done with several minutes shaving off. Meanwhile the wrap around story done in animation about a boy named Billy reading the Creepshow comic whilst arsing about on his bike is just crap and a waste of time. Creepshow 2 isn't brilliant but definitely one i always want in my collection. Arrow's Blu-ray looks very nice and has some decent interviews with screenwriter George A. Romero and actor / FX artist Tom Savini among others. |
1 Attachment(s) Feast. 2005. A group of people in a bar become surrounded by creatures. This was the first time seeing this and it was awesome, right at the start we are introduced to the characters and their chances of survival, a bit of a Grindhouse moment there. But after the introductions we are basically thrown into the bloodbath and a continuous night of survival with some quirky one liners, decent acting, good cinematography and decent creature effects. Attachment 242682 Up next From A whisper To A Scream |
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Hell Night (1981) Two hot boys and two hot girls (one of whom is Linda Blair) are locked inside a house with a dark past for a Frat initiation. They are to spend the night and the next day will be welcomed into the Fraternity or Sorority, only the leaders want to play a few tricks on them first. Little do they know the remnants of that dark past are still lurking in the cellar and grounds of this creepy mansion. It has everything it needs to be a great horror film, the only thing it lacks is some decent pacing. Honestly there is a segment of around 30 minutes in the middle of this film when it is genuinely boring. The ending kind of rocks though, I'm here for that last 10 minutes. Plus one of the hot boys spends most of the film running around in his tiny white shorts and nothing else! (just looked up the director, almost all of his film history is gay porn so that explains that :lol: ) https://i0.wp.com/www.kindertrauma.c...pg?w=600&ssl=1 The bluray looks bloody ropey!! |
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The Blu looks better than the dvd. I remember checking when i watched it last October. |
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1 Attachment(s) From A Whisper To A Scream. 1987 A reporter goes to visit a relative of a woman that was recently executed in prison and he tells her four stories from his library. Any tale Vincent Price can say would be worth listening to and Susan Tyrell as the reporter looking into the past of the latest criminal executed. Price himself does have top billing but never seems to have enough screen time though which seems a bit of a waste, when he is on screen he never disappoints. The stories themselves are decent, a man looking after his ill sister wants to find love but can't due to his sister being very demanding. A crook manages to find the secret of eternal youth but has a price. A circus worker pays the price for finding love outside of the circus. A Civil War soldier finds a town dominated by children. The last one I kept thinking this is a bit like Children Of The Corn and didn't really enjoy it that much, every story like every anthology movie does come with a dark macabre twist that you may or not see coming. For a 80s film don't expect it to be a big budget. Attachment 242686 |
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A Bay of Blood A BAY OF BLOOD A wealthy old woman is found hanged, and her husband is missing. A real estate agent swoops in to buy up the lakeside property, but there is trouble. Somebody is murdering the neighbours, and everybody is a suspect. Mario Bava’s bloody entertaining affair is a precursor to the slasher genre. Unlike the (at the time popular) giallo which were brutally violent mystery films, A Bay of Blood dispenses with plot in favour of people being slaughtered in a gruesome manner by an unknown killer. But it’s not an empty-headed murderthon, for it sports as much humour and wry commentary as it does sharp objects to the skull. For starters, there’s the matter of capitalism. The murder is kicked off by greed, and it starts a domino effect that results in almost everybody dying. Capitalism consumes us all. Then there’s the bit where the fisherman and amateur entomologist discuss killing other creatures. While the fisherman says he kills other creatures to survive (an interesting parallel to the real killer’s motives), the entomologist acknowledges that his motives are not so noble, but he can’t help but be fascinated by his collection. It’s almost as if Bava is cheekily waggling a knowing index at his critics and audience, Speaking of which, despite it’s extremely low-budget, the special effects are effective, and still possess the power to repulse and shock. There’s a clear reason why this film has such a hold over the Friday the 13th series. When somebody gets a sickle to the face, you can feel it. Christopher Lee attended the premiere, and was reportedly ill upon seeing it. There is artistry in this film. Bava was one of the best filmmakers to use colour, and A Bay of Blood is no exception. Lots of orange sunsets against the blue lake. One of the more striking shots is a yellow car driving under a tree with yellow flowers. Does it mean anything? Nope. Does it need to? Nope. But I remember it vividly, and that’s what counts. SPOILER: |
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Give the man a small budget and watch him turn a script into a brilliant movie. |
Fear Street: 1994 FEAR STREET: 1994 The town of Shadyvale has experienced another mass murder. The killer, an unassuming teenage boy, is gunned down by police. However, many whisper of another killer. A witch executed in 1666 may be trying to claim revenge. This was f*cking dreadful. An abomination. Sure, it has some decent production values. Yes, the soundtrack has some nostalgic bits. But this is a shallow, fake, and disgustingly cynical exercise that speaks volumes about the level of contempt the filmmakers have for their audience. Fear Street: 1994 is NOT a throwback. It has no affection for the genre, or the era. Beyond the occasional flourish of art direction, there’s little to indicate that this is set in the 1990s. Fear Street: 1994 is NOT a deconstruction of the genre. Not only could it only wish to be as witty as Wes Craven’s 90s output (and I’m including Vampire in Brooklyn just so you know how bad this is), it also wishes it could be as creepy as Scream. This film lacks any form of suspense. The killer(s) just show up, chase, and disappear. Wash, rinse, and repeat. What Fear Street: 1994 is, is product. It’s designed by an algorithm. It throws in little bits here and there for the previews, just to push the nostalgia button for those didn’t live through the 90s, but only know of it through AVGN reviews. Nothing in this film feels like it was created by a conscious being. Everything seems to move at 1.5 speed. Nobody speaks like regular people, or even in 90s-style “radicalism!” No - they speak like the annoying scolds you find on Twitter. Just because the algorithm knows that stuff like will be copied and reposted on social media with captions “YASS KWEEN!!!” or “THIS [clapping emoji] RIGHT [clapping emoji] HERE [crying emoji]” It’s insulting to viewers, as it substitutes storytelling with clout-chasing. And it’s insulting to homosexuals as it reduces them to social media prompts. And it’s just boring. |
The Entity THE ENTITY A single mother, Carla Moran, is violently attacked and raped in her own home. And again and again. She is unable to report her attacker because it is invisible. Sidney J. Furie’s The Entity is based on a real-life case involving Doris Bither, who claimed to be have been sexually assaulted by a demon. While the real-life case has been blamed on delusions based on Bither’s history of sexual abuse and poverty, Furie’s film has the demon. And while that pushes it in danger of being tasteless, The Entity is surprisingly thoughtful about the way society handles abuse towards women. The film is defiantly unambiguous – Moran is being raped by a demon. But nobody believes her. All the people she reports it to are men, and they brush off her cries for help as delusional. They go for the quick, easy solution – checking her into a mental clinic. Even Moran’s family are dubious until they get attacked. It's a credit to Barbara Hershey’s performance that the film is quite as effective as it is. Hershey’s Moran is not fodder for the camera, but a living, breathing woman pleading for help that never comes, and possibly representing the fears and frustrations of many women who suffered under real monsters. The Entity is more alarming film post #MeToo. But if one were to just watch The Entity as a horror film, it is a damn scary one. Furie was a journeyman filmmaker, but he’s firing on all cylinders with this one. His camerawork (cinematography by Stephen H. Burum) is one that creates unease. He very slowly tracks in on his subject, before suddenly employing rapidly-edited Dutch angles and loud crashing sound effects when the terror hits. He throws the audience into a state of mass-confusion during the assault scenes. We want to help, but cannot. Where is this thing striking from. We do not know. My only main complaint is the climax. It goes into action film overdrive, and feels like something out of The Blob. But it does provide the film with a sad note. Even though the proof is undeniable, the doctor pretends to claim they saw nothing. They don’t deny it happens. They say they didn’t see it. For denying it would require an equal amount of proof as Moran had to provide. Acknowledging it would mean having to help this woman. Easier to say they saw nothing, and move on. That way they can fool their conscience. The final scene is brilliant. One of the most terrifying sounds you will ever hear. It is the voice of a million abusers, and will send a shiver down your spine. But this final moment is not one of pessimism, but one of hope. Moran walks past it defiantly. This thing will not control her. It will not define her. She is her own free woman, and she will live out her life no matter what. |
Outer Space OUTER SPACE If The Entity was an assault on Barbara Hershey’s character, then Peter Tscherkassky’s avant-garde short is an assault on the viewer. Outer Space is ten minutes of punishment, and I mean that in a good way. After Hershey enters the house, the film literally collapses into the “outer space.” Ghosting, distortions of Hershey’s screaming, film sprockets flickering across blinding white light, and audio hiss pulverise the audience into submission. Tscherassky destroys the fourth wall, and The Entity attacks us now. Definitely worth a view. WARNING: This could trigger epilepsy. |
Terrifier TERRIFIER Uh… Man in a clown costume kills people. That’s it. Well, the sequel is doing great business, and getting raves from the critics, so I decided to give the first one a go. I ignored it as I threw it alongside the other low-budget horror throwbacks from that time period. I was perhaps too hasty. Anyways, long story short – I rather enjoyed this. It is poorly acted by some. It is very, very slight on storytelling, never mind plot. And although it looks better than its $35,000 budget would suggest, you can tell that many shots were lit with only one key light. However, director Damian Leone possesses some true talent. He knows how to craft suspense. He knows how to appal without crossing into obscene (how one murder scene passed the BBFC uncut is beyond me). He can use the frame (no cramming everything into the middle) properly, and his use of colour is effective. But his most powerful weapon is David Howard Thornton’s performance as Art the Clown. Art is, well, terrifying. Silent like Jason and Michael, but as playful as Freddy, Art scared the hell out of me with his intense stare and yellow-toothed grin. One scene alone (the bit in the basement tunnel) freaked me right out. Terrifier is not a major leap forward for the genre, nor does it have anything beyond a scary new monster to offer. But if the new Halloween films have left you feeling unsatisfied, Terrifier may scratch that itch. Roll on the sequel (whenever it comes to Japan)! |
MAD GOD – I was just waiting for someone to invade the world of Wallace and Gromet, annihilate utterly the fabric of its wholesome whimsy, then incubate and mutate the slurry left behind until the point of emergence of its final form, a vast panorama of hell after the fashion of Ligotti, Bosch and Giger… and along comes ‘Mad God’! It’s by Hollywood stop motion effects guy Phil Tippet, and it took ages to complete. You can see why – there’s some painstaking, intricate stuff here, all of it grotty, grotty, grotty. It’s basically a long trawl through some underworld region Dante never spoke of, and follows a guy in a snorkel as he wanders around doing some stuff that probably has quasi-mystical overtones. Meanwhile, a lot of monsters devour, shit, and, in one instance, have a depressing wank in a filthy corner. The thing about it is that it sidesteps the tendency of very weird films to overwhelm to the point of boredom, and somehow manages to stay captivating and entertaining… if your idea of entertainment is watching a five minute rummage through someone’s stomach which culminates in the retrieval of a spine that wails like an infant. OK, well maybe I’ll just say that it’s never less than fascinating. And even though the grimy surrealism stretches endlessly, it’s not without humour – at one point some dude with massive clawed hands pops up, and he’s a dead ringer for Alex Cox… wait on, it IS Alex Cox! The only way you could top that is by substituting Peter Sallis. Phil Tippet is in his seventies so I’m impressed that he’s still got the mindset of a gore obsessed sixteen year old pothead. |
Was wondering what you would think about that one FT. Kudos as always!! |
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http://www.youtube.com/watch?v=CgoYrQLPfBU Watched the directors cut which adds more too the story and characters. Danny has never gotten over the events of the overlook and as an adult he has more of less become his father minus the insanity and murder. He also has stopped using the shining. While trying to get clean he is contacted by a young girl who also shares the gift and has come to the attention of the true knot a group who feed on the fear of those with the shining and other gifts. Danny joins up with her leading to a confrontation at the overlook. While not as good as the shining it's still highly enjoyable . The last third set in the overlook is probably my favourite by far of the film. The scene in the bar between Danny and Jack was powerful stuff. Pretty close too the book mains changes more with the cat, Danny is actually her uncle and he doesn't die at the end. So we could potential get a third book as they are more like Rose the Hat out there and probably things even worse. Now watching http://www.youtube.com/watch?v=pk2DKZoujdE |
Halloween Ends Let's digest this for a while but yeah day 16 :crazed: |
October 15th 1 Attachment(s) Seven Deaths in the Cats Eye (1973) When Corringa (Jane Birkin) returns to her family's ancestral home she is unaware the rooms will soon be filled with unspeakable evil and depraved desires, as someone is slaughtering the castles demented guests. Deaths that don't go unnoticed by one member of the household. Meeow. A mini masterpiece from Antonio Margheriti directing here as Anthony Dawson. The camera work is exquisite, often beginning shots from behind objects such as candelabras or wine glasses before gently approaching his main subjects. Framing his scenes in such a way as to keep the viewer interested even during times of lesser importance to the overall story. Very Bava-esq in fact. Seven Death's in the Cats Eye is part Giallo thriller and part Gothic horror film. An unknown killer murdering victims using a razor give the film a Giallo edge whilst the rest of the film takes a distinctly Gothic trip thanks to it's old castle setting beautifully decorated with grotesque gargoyles glaring from the walls, bat infested crypts, fog enshrouded graveyards, and memorable scenes of Jane Birkin clad only in her white negligee wandering the castle's corridors with only a candle for company. One of my favourite Italian Gothic horrors and a delight to see for the first time in HD via 88's Blu-ray which i managed to grab a copy of last week. |
October 15th 1 Attachment(s) Don't Let Them In (2020) The third year in a row for this film and it really stands up. Its a British low budgeter about a couple of social workers who on Halloween visit an old hotel to see their client recently released from prison on a charge of child murder. This takes it's time to set the scene but the acting and dialogue is excellent and the two leads both extremely engaging. I suppose those who want to bracket a movie will say it's Purge like but for me Ben Wheatley's Kill List is as much of a reference point in the way the plot twists and turns and basically morphs into a totally different movie about ritualistic Occult murder during the final twenty minutes. I thoroughly enjoyed this once more. As a movie from a first time director it's remarkably competent and has clearly become an October Horror Marathon favourite with me. |
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