Okay, I had some time and watched The Ritual yesterday. It’s good! It has some interesting parallels to Descent (which I really liked). It’s tense and has some really good photography. Creature design/animation are good! Looks surprisingly high budget. It’s a sneaky good flick.
Surprised nobody’s mentioned Ghostwatch yet. It was a BBC drama special pretending to be an over-the-top investigatory TV show looking into a haunted house (but its really kind of about the gulf war if you can believe it). It’s legendary over here because of how the tabloids reacted to it the day after (extremely poorly) but it’s genuinely great. Special highlight includes Michael Parkinson nailing the role as an increasingly annoyed host.
Modern Horrors often feel very different than older horror titles. I guess the formula changed at some point. That said, there are a ton of great movies both new and old!
Newer Greats: Insidious 1 - 3, The Conjuring 1 & 2, Annabelle Creation, Crimson Peak, Saw, The VVitch, The Babadook, Don’t Breathe, Get Out, It, Split, Cabin in the Woods, The Mist
I love The Thing.
I love love love Ghostwatch. I haven’t seen it in years! I should watch it this Halloween.
Saw The Cloverfield Paradox. Not a horror movie but it tries so hard to be scary. I’m not sure if it’s even a movie. More a collection of ideas you’ve seen better executed in Alien, Event Horizon and erm… Pandorum… I guess. I’ll admit there is a cool idea you’ve seen a hundred times before involving parallel universes that kind of touches on these big existensial questions of the nature of good and bad happening across your life time, but getting there you have to go through several other haplessly lame ideas. This film needed a fire to break out in the script writer’s room.
I think it was written by one article (the guy who originally wrote The God Particle) but it feels as if many writers were involved, one wanted to do a bit about somebody exploding with worms (“ewwww!”), an other guy thought it would be cool to warp a lady into the machinery of a ship and have her spliced in with all the machinery and circuitry (“literally my worst nightmare!”). Another thought it would be funny to take away a guy’s arm but have him act completely normal to it (“Me arm!”). And to cap it all off… an appearance from the Cloverfield monster which was basically the film’s version of Porky Pig going “Shit, I don’t know. That’s all folks”. I was just left stunned how average it all was. Did somebody actually lift the lid of JJ Abrams mystery box? Is this what was in it the whole time? Turns out somebody played Half-Life back in the day and nicked the Resonance Cascade Scenario as something you could hang your vague shared universe upon.
Absolute rubbish, such a shame in so many ways.
- Cloverfield and 10 Cloverfield Lane were generally good movies, the latter was great even.
- Digital distribution means you can literally surprise release a movie out into the wild without a 6 month marketing campaign and 6 months of hype.
- There’s some really good actors involved throughout the film.
- This movie was originally a script called the God Particle. The fact that it was brought under the Cloverfield umbrella made me a little sad that his is the fate of original stories today.
God damn it.
Can’t help but agree that TCP was frustrating to watch because it never felt like it knew what it was. Here’s hoping the criticism it’s receiving will lead to some better curation the next time they decide to make a movie in this franchise. (And, oh, please don’t try to somehow retcon TCP into making sense, thanks)
Just saw The Straners: Prey at Night in theaters, and as someone who enjoyed the first one, other than the bad title and obligatory suspenseful ending scene, I thought it was good. Oh, and I absolutely loved that pool scene, especially the choice of song lol.
Anyone else get a chance to check it out?
Sorry in advance in any of these have been brought up already. But Something tells me they probably haven’t been.
Divisive to say the least. Very love it or hate it. Here’s an excerpt (no spoilers) from an article by someone who definitely got what I got out this very weird movie.
"On the surface, The Neon Demon is overt social commentary, rife with prose and metaphor about narcissism, beauty, and death. And even though it’s more aesthetically macabre than The Cremaster Cycle, The Neon Demon is ultimately aimed at the ways we breed crippling insecurity in not just the fashion industry, but our culture at large. Starting with the unfeasible standards that come from mixed messaging.
The mixed message in this case being both the deification and subjugation of young women. We want them sexually, yet they must be pure. We celebrate them, yet they can never express a desire to be celebrated. We want to be them, yet we revile them. This contradiction is so devastating as a societal expectation because it is subconsciously (and sometimes consciously) used to keep girls powerless. For if there is always some way they are doing something wrong, they are always destined to fail. There is no way to “win” either. And if they are constantly able to be criticized, then they are able to be controlled and subjugated. But Jesse actually embodies a new twist of that contradiction, for instead of the madonna and the whore motif, Refn uses imagery to portray Jesse as both Virgin Mary and… Jesus Christ. A choice that highlights a perhaps unprecedented flipside to the subjugation of mixed messaging, and that is:
Way less divisive, most people seem to enjoy it. Definitely a good, relatively new introduction to French cinema too.
Less divisive than The Neon Demon, but that’s probably just because it never got the level of spotlight TND did. It’s weird, really weird. Just watch it.