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The Blair Witch Project (1999)
I'm Glad I Never Get To See The Witch
I really like how this movie starts. Daniel Myrick and Eduardo Sanchez did a good job with the realization of characters. Then providing us this absence of horror, adding some "heyyahs" in there. The town folk all seem out of there minds, circus-like, and seem to all know important facts about the "The Blair Witch Project." One guys says that a lot of people say the woods are "all haunted," then takes it back and says there not. The part about the camera and how it works was a great add on. I like how they are all friends, too. I'm just picturing these students getting together and saying, "you guys want to go to the woods and make a really cool film." The way this film starts out really makes the film fun and interesting. I know I already said that, but it does. It has a very simple compositional-style and flow too. Everyone is lost in this film, unfortunately, and cannot be found. - Because they were lost before, and now they decided to make a documentary about a WITCH. Think of the joy of being in a really cool film, lol. Hell, I would have liked to do this project with them. And, I like how the light in this film bounces off things such as, the suns rays. Heather has a good voice for the main narrator of the project. Her take is, "I don't know" when asked if the witch exists. She is like the facilitator of a stupidity. The map adds a great conflict piece, a disappointment. I mean could this film be better? could it be set in a mental asylum? Myrick and Sanchez decide to add some good ideas in this film, like the rock piles, her puppy dog beanie, colors of the tent. You sense the discomfort of the actors. They should've brought some broccoli along. These people are film students, but did their teacher assign them to this group, or do these people randomly know each other? Do we actually get to see them light a fire? Just like we don't actually see what Heather sees. The film draws good comparisons to insanity vs. feeling fatigued in the woods, all while disorientation is setting in. Heather says that "movies are all she has left." So, we wonder what happened to her art before? We are not sure what is wrapped in the bundle wrapped with Josh's necklace. So the film end when Heather is knocked out by something we never get to see. We know that two cameras must have been recovered. Great found footage type film.
Black Christmas (1974)
Billy is that you? Hey, It's Psycho
That Guy Had One Creepy Sounding Voice Man
Excellent start to a Gothic horror plot. A man walks across the scene, but who is he? And why is he there? The narrative is convoluted at times like this. NKE could symbolize a culture counterfeit in American society. And the songs ... no Christmas spirit like this anymore, that's for sure. Hot damn! This is what I mean when I say "culture counterfeit." The first line we hear is "Hey, who left the goddamn front door open?" love @@@@ like this. This film is NOT trying to be a film, it's just happening and a camera seems to be rolling. Then the camera shifts. And I Love how we see the POV of the killer in this one. Bob Clark is right on the money. Though why are we informed about a 720 train into the city? We're never going to go there. And where is Mt. Holly, is that a city name where Barb want to go? Nobody clues us in on these details. Like why does Barb drink? Why does she compare her sex life with a turtle? What is she alluding to. I want to know these things. Anyhow, I love Jess's "Hello's" in this one. She must have of said hello a hundred times. I will be talking a lot about Jess and Barb as we go further. First, the sorority house. How is Barb comparing this to a convent? Clark gives us a good jump scare, and later comes up with some clever ideas. Old clothes and old jokes, that's what we get with this film, "old tradition vs modernity." We all like to drink during the holidays, but stringing lights on trees and caroling seem far fetched today. What this film reminds me to do is brush. Why else have a lady brushing her teeth shot? I ought to brush more, okay. So, anyhow, Jess dates a musician in this film. And I wonder why? How does this tie into the story plot? And doesn't Mr. Harris realize that college is about drinking and partying, at least more than 20 percent of it is. And 80 percent of it is writing papers. I think he falls into the later category. Clark has a good visual eye, I will say that, and he happens to be one of my favorite directors. The film focuses on abortion and premarital marriage a little, and I wonder about why the director adds this stuff in during a time of sharing and love. Peter really doesn't like his piano does he? Lol! Clark uses a lot of nice mid-range shots throughout the film, and gives some nice ones of the conservatory. Every scene is straight forward with no real intention to try to make money off of what the masses want, it's just Clark doing what he does best. Peter is fed up and wants out of the conservatory. "He is an artist, he is high strong." I'm reminded here of father Karras in The Exorcist when he says he is losing his faith. So the idea of this struggle is constant with Peter. He wants the baby, becomes desperate, and tries to force Jess into marriage. So that idea is there. And faith is never with any of these people as they continue along their path, they seem to have individual goals and reasoning. Jess wears a crucifix and wants an abortion, so what's the reasoning behind that? About the acting. John Saxon makes this film really hold together. And he looks so good on film, big fan. There are just too many other things that are inconsistent with the plot. I would like to know more about the sorority sisters, what their major is? I would have scripted a few things differently, sure. Though this is a graceful film. I just wanted more space. Where always in the same place with Clark. Some shots are the same. This film becomes hard to follow and doesn't flow well. I found myself lost towards the end. Still a very good film!
Gatto nero (1981)
This Cat Just Wants Some Nachos
The Black Cat (Lucio Fulci 1981)
This film is badass!! A cat on the prowl, seen from it's perspective, what could be better than that? And Jill Trevers is pretty cool, too. I like her character a lot. I liked her hair, she has very nice blonde hair. In the boat house, I kind of wonder why the air conditioner would be working in such an old boat house. They like to neck, I get that. Why Fulci chose to do it like this is beyond me. How does the air conditioner break anyways? There are a lot of jump cuts and stuff that are symbolic of old 70's slasher films. I mean this cool. With these type of movies. We see the group of teens wander into the woods. And the ones having sex are always the ones who get it. Fulci adds this into this film in a clever way. The screeching music in this film sometimes works and sometimes it doesn't. I'm not complaining or anything, I just think, for instance, when Prof. Robert Miles is running his field tests in the cemetery, this could've been better. It seems more like hallway music to me. Somebody walking down a hallway, or something like that, and maybe a jump scare here or there, yeah.... I wondered if The Black Cat had rabies.? Lot of questions left unanswered in this film. Like why does Fulci always use these angle shots of the eyes? And where is everyone? In 1981, there would be tourists still out and about, walking the street. Though I don't get what year it is in this film. Inspector Gorley is a trip though man. I thought he was drunk by how stupid his questions were. Aside from that there is a moment of clairvoyance when Jill is taking some pictures. And this element I like. Skipping ahead still, I'm not sure who was driving that boat, but that was a terrible docking. I would have liked a close up of the cockpit of the boat. Are there cans of Budweiser? Are they smoking? We hear the scream in the dock-house, but then Fulci jump cuts to Prof. Miles. Why now? He should leave the scream going longer. And show one of the people calming her. I understand that seeing what she saw in there would've been frightening, I mean I would've been shitting my pants too, but yeah. C'mon man!! A bunch of officers and gentleman, they are like, ugh, what do we do now? So, the cat broke the ventilator upon entering? Okay, I need more detail here. This quickly turns into a mystery novel. Another thing I don't understand. No smoke detectors, huh.... Did they not believe in fire detectors in this point in time. Some of the best filming ever, though, during the fire scene. Accolades to Fulci. And what this film lacked, despite it being suffering from clear editing mistakes, makes up for it in this one highly awesome take. Some of these scenes would've worked well in William Freidkin's (The Exorcist, 1973). Mainly, the bedroom scene from this film. I think I'd be more afraid if I cut and pasted the demon and added it into this film, just because it is a darker atmosphere. And the objects look raw and gritty. So I like that in a film. Like Prof. R. Miles would've made a great Dr. Brown from Back to the Future, but that is besides the point. I like how Jill is able to speak her mind in this film. And Inspector Gorley... I mean he had it coming. There is this element of surprise in Fulci's films. In this one he takes a Poe story and gives his own take on it. So he fills that element of surprise with this cool mind controlling bit. And it works. I wanted to know more about Jill. Why did she decide to get a dream job in art, and who pays her. Fulci never really mentions the company she works for. So, we don't know. The music in this film is almost identical to Toby Hooper's Salem's Lot. Especially towards the end. I'm wondering why Jill doesn't get rabies from the bats. Cool film!! Definitely a win win!!
Behind the Mask: The Rise of Leslie Vernon (2006)
A Heavy Anchor But A Heavier One Needed
The outfits in this film don't match a college documentary looking stereotype wardrobe. And, yes, I'm aware they made this on a shoestring budget, and they weren't thinking about that. For instance, the red trim of the windows, that makes my point look obvious. What were these actors and actresses told by the director, that's what I want to know. Where they told to scream and act nuts, or was some of that improv. Pointless subplots hang around every corner in a film like this, and this is no exception. For example, the batteries ... who cares? Why put dead batteries in the flashlights in the first place, and not just remove them completely? This is truly behind the scenes to the making of "Behind The Mask." I don't know a lot about this film, as far as where they filmed it, but it already makes me what to say, C' on dude, a farmhouse setting, really? It's been done a thousand times before. What were these guys thinking? We are going to make some cool art and turn it in for an A. Essentially, all it is is a tour of a horror set, at least, in the beginning, and then tips on what goes into, and how to make a horror slasher film. This holds back from an absence of horror, and we see the masked scythe welding lunatic a lot throughout the film, gracing us with his pleasures. Like a reoccurring nightmare ride, you can't get rid of Leslie Vernon. This film directed by Scott Glosserman has something for everybody. The idea is good, and the cast is fun to hangout with. And after a certain period the film takes a turn from an actual student project to the real deal. This creates the much needed tension, the spice to the food, if you will. A different mood surfaces in us, a suspension of disbelief is born, not only in viewers, but as well as in the people on screen. So there you have it. A film complete with melodrama, tension and suspense, perfectly placed, in some places by Glosserman, as if he was laying out objects for a still-life painting. Also, I should mention the custom design of Leslie Vernon worked, but had we not learned who he was and what his aim was, it would have been all the more macabre. Okay, I took that last bit from the Texas Chainsaw Massacre. I particularly enjoyed the effort of the crew. There references to Halloween, etc, that made the movie less serious, and gave good chuckle. This one was a little more hard core to handle though, opposed to Beetlejuice, or say A Werewolf in London, but I'm sure horror comedy fans would love it.
Beetlejuice (1988)
Wonderful! x3
A clever opening of a haunted house story. Tim Burton paints a daunting surreal picture. That being said, the house in this honeymoon/vacation get away is reflective of Alfred Hitchcock's, Psycho. Though Barbara played by (Geena Davis) tries to defend their house against interlopers, she and her charming husband never really know what to do. The film jumps around a lot too, but I won't delve into that. After a while, it finally sinks into the mud of our emotions. The whole film is about scaring people, I get that, but do we really need to laugh at others mistakes. This is not funny! I anticipate Burton films to be somewhat like this, taking someone like Edward Scissorhands and, making that a symbol of how, we in society are to laugh at someone's misfortune. No ... not buying into it. At least, this is the main premise to Beetlejuice. A film about a freakshow. Enough of the bad stuff though. (timeout!!) I will say the best part of this film for me was the set and design. It's fun to watch these people crack up; and, if this was Burton's idea, it's genius. The table scene is an absolute delight to see on screen, and it's scenes like these that can absolutely change a bad film to something meaningful to your day. Even if you go into this film depressed you are bound to laugh at some point. Once the funny emotions come out it's the point of no return, it's on. What I like, too, about this film is that there's an operatic tone, but sadly Burton doesn't do anything with it. It would have been good to see something like this flipped into a musical. All in all, a fun and fantastic film.
Army of Darkness (1992)
I Hope They Don't Make A Remake Of This Gem
As a fan of the first two films, which introduced me to Bruce Campbell. I can say this third installment is a worthy follow up. The pit scene and Sam Raimi's name, you can't go wrong. The artwork put into a film of this caliber is fantastic. The humor of the onlookers, the spirit, and everything seems to all be there. And you are cheering Ash on with the crowd as he is fighting like a gladiator. The book of the dead, the Necronomicon is the basis of the whole film. You destroy that book and Ash would never even be in this mess. He just wants his life back. Though this film is "S-Smart." And it is a win! A lot of points earned for the epic battle with the "deadites." If anyone has read the book the "Swan Song" by Robert R. McCammon, you know what I'm talking about. Though this is kind of like referencing the parking lot when everybody is butting heads, it does its own thing. I am for Raimi's artistic direction and all, but things spin out of control as far as is direction. This needed to be explained to me. How Ash managed to fix his car that dropped from the sky, and then had time to turn it into a battle rig, is beyond me. Some things like this make no sense. I understand this took a while to orchestrate, or at least it looks that way, but the deadites are already dead. Why on earth would they be needing wooden shield roll-aways? they are "bags of bones." Anyhow, I will say this is a very original work and Sheila is a hoot. There are parts that suggest an admiration for Brian de Palma's "Carrie, 1976" involving her. Sheila "got real ugly" when she copies Carrie White (Sissy Spacek) standing in front of Ashes car. This was really my only complaint. Raimi could of thought of something better for this shot, something more original. The only difference from Carrie using her powers is Ash abandons his vessel. So she just woke up one day and was a crazed strung-out possessed zombie? Oh well, still cool. Good resolve at the end by Raimi, bringing us back to the main objective of the whole film, the book. My final thought is the whole film could be in Ashes imagination as he is working. And then he wakes up in his bed, and realizes it's all a dream. The score was interesting and I think anyone who is a fan of Steven Spielberg's, Indiana Jones and the Last Crusade, or Tim Burton's, A Nightmare Before Christmas will appreciate this.
An American Werewolf in London (1981)
Whatever Happened to Jack?
A lovely start to a film. Taking us along down the river of no return with David and Jack. Expect a lot of jump cuts in this film. The dialogue is okay, but the message is unclear. Still, the film could be used as a metaphor for old yuppies giving bad advice like "go for a walk" when you express discontent. And for people that struggle with opening and closing doors and entering rooms, this could be a good entrances into a room practice. John Landis subscribes to a good deal of attention to detail in these opening scenes. It's like we are running with the bulls in Plamplona Spain. Would've liked it better if Landis gave us a more realistic howling sound then what we got; and, it would've been cool if he aimed the camera at the creature as it was howling, dripping saliva. The howl sounded too faint in a crucial role, introducing us to the monster. Lots of anxiety and stress put into the making of this film. But it pays off! Landis does an excellent job at keeping us on the edge of our seat. This is done in one way, by dissolves, especially, the one used for the nightmare scene. I will say that his talking friend, the dear dead friend whom gives insight on the supernatural. It's a rare beauty, gift, and blessing when you see the special effects crew decide to give a close up of their work like this. In this case, Tom Hester and the makeup effects crew, did a wonderful job. The visual hallucinations in this film are right on, too. This is confirmed mostly from his friend Jack, of course, whom David keeps seeing. How Jack was able to get all the other members of his "undead" club membership together for a meeting seems unrealistic. Skipping ahead though, redemption granted. This film could be a lesson in camera work. Mainly POV. The wide array of neat angle shots help, such as the ones in the rain whilst you hear loud thunder claps. These sound effects get you involved. Nice if you like surround sound. However, nothing is consistent, and there are cold spots where the film loses its energy drive and dies out. Fortunately, the film has a killer soundtrack. Yes! Wait for it... we get a killer song by Creedance Clearwater Revival, the song Bad Moon Rising. Get ready because the famous transformation scene is right around the bend. Be careful, you've been warned! This scene has awesome attention to detail as well, which is not easily viewed. The dude in the subway is so screwed! not to mention he looks like Michael Cera. Mayhem at its best during the action sequence of the snapping Werewolf scene while the orgy film is rolling. Some strike outs in this rocking film, sad to say. The overuse of London sirens, and some screen shots. This is a sad film, funny, and funny acting all rolled into one. Check this one out, this film Rocks!! Props!!
The Amityville Horror (1979)
The Voices Told Them To Butcher This Film With Music
The fly scene with the priest will never get old. Then never resolves to anything substantial. We find something is disturbing the priest enough that he pukes outside by his car. Everything seems find for George and the gang. They had to have been drinking TAB soda as they were fixing up the place. Haven't seen that soda in a while. Love how Stuart Rosenberg adds in the old stuff, too. Them old school wall pencil sharpeners in the kitchen and, rotary phone. There is something about this place that George likes since, he buys one of the old lamps that broke during the murder that took place there. The dialogue for starters in this film is family-like. And Kathy and George are a trip. George gets cold and says. "This house is supposed to be well- insulated." Where did this line come from? Why inform us of this now and not when the realtor was present. Skipping ahead to the love scene, it could be better. I like how he looks at her and says, "Kathy, I love you." This also builds feeling in both characters and we see them as humans and we feel for them. Great job! Rosenberg. This film carries us through a destructive tide of disorder at its best. That family dinner table fight. That car argument with someone. I think we have all been there and can relate. Rosenberg knows this and does a great job of bringing this out during the babysitter closet scene. The real incident of this took place in New York, resident address of 112 Ocean Avenue. This did not take place in Detroit. This kind of ruins the authenticity factor. Yep, that went right out the door. And, there was no car being possessed in the original story. The use of atmosphere makes this film enjoyable. Some houses are just creepy and this is one of them. Those old houses with those stairway basements are just nasty! Kathy would be much better off with Father Bolen. This film suggests that. That we never really see the good until it's too late and we are stuck in marriage. A lot of this film sucks you into nothing happening scenes that could very well be omitted. Things start to pick up towards the end of the film and Rosenberg I think is at his best. Lot of unnecessary effects that steal the suspense. I would have loved the run through action in this film a lot better without the musical score. In a film like this you want to hear the screams, be involved in the tension build up of what's going on with the characters, and not detached from them by this music. The main theme in the credit roll would have been better if Rosenberg utilized it during George's walkarounds of the boathouse.
5 Shells (2012)
Artistic But Fail
This review contains *SPOILERS*
A interesting take on being in the desert without any clue as to what your going to do. This film had breakdown after breakdown of scenes, and one of the worst jump cuts I've ever scene in cinema, which happens at about 14 minutes into this pointless film of a pair of sisters scouting the outback and making bad decisions. The first awesome clip comes at about the 45 minute mark. We see a really cool shot of a man blurred in the background as Maggy turns her head. Myers must of been feeling it that day because this is right on the money. And sadly, this awesome shot is negated by a close up of what we just saw when we see it was a man holding a weapon. So there goes the absence of any kind of horror. This film could've been cool. Though Frank seems to ruin it with his "I'm so manly attitude," and the characters all seem like they have done too many drugs to understand there surroundings. At times, they think they are in the "Wizard of Oz." The sound editing was a cry for help. It sounds like planes are flying overhead, or a military air strip is nearby. What was wrong with the older sister anyways, because the film's visual narrative never says. Nor, do we ever know what happened exactly to Stans family, other than the clues he tells us while driving, after he is abducted away from Frank. I liked the piano music and that seemed to the other thing that worked well as Maggies jealousy issues start to take hold of her. This happens when she sees Jasolyn kissing Stan. And, then more tired jump cuts that we never understand the reason for. I have an idea, let's all sit around and see who gets wasted first, just so the end of the film can be left an enigma. Some neat twists and turns at the end, but far too late. P.S. Myers shouldn't of off'd Frank so early on in this film because what it does for the viewer is shifts our focus all on Maggy, and maybe that is what he wanted.
The Alien Dead (1980)
One Serving Of Fast Zombies Please!!!
Spoiler alert: I describe what happens during a zombie attack by one of the female zombies.
Tom Corman is a journalist working for the local paper. He takes a story on the disappearance of Mrs. Griffith who gets swallowed by something in the swamp. The Griffiths are a pair seen hunting on a boat in the beginning of the film. I'm not sure why they are hunting at night with a flash light and not a strobe light since, this is way after 1931 when the strobe light was invented, and I'm sure they can afford something like this. I found this prologue to the film to be clever. Great beginning with music that is synonymous of an old twilight zone episode and the music just gets better as the film rolls. Referencing, perhaps, the kind of music Lucio Fulci uses a lot in his films. This film tries to indicate a zombie race of an alien life force in the opening scenes, but enters a dimension of idiocy instead. In one scene Tom is too dumb to pull his shoes from the guck they are in when he steps in the swamp. Why would he step in the swamp in his new shoes anyways? Something is eating up the gators in the swamp. Fred Ray adds some interesting twists N turns to this film. Again, this film I think tries to be like Fulci's Zombi in places such as, when Jimmy is cutting wood and the viewer sees the zombies walking out of the woods. It's cool here that we see what the zombie sees in some shots by Fred Ray. Sadly, the zombies appear to look more like a group of people in a cult. The sheriff's logic is that "sense there are mosquito's in the swamp, let's go shoot up the city." The film is playful at times, but why on earth is Miller going fishing when it looks like a storm is moving in? The dialogue in this film is silly. Like when Gordy and Miller are talking in the bait shop about the corpse. This seems like the two are taking an acting course and practicing their class project together. During the jump cuts Cambell just stands there. For example, when we see him looking at the beautiful woman skinny dipping. Fred Ray had a chance to make a few scenes awesome. But, there isn't any time left by the time he decides to make one couple, in one scene, when after their car breaks down, lunch-meat. This is so slow paced that you could have attended there funeral and returned and they still wouldn't be dead yet. In this man-eater scene we see the woman sucking on a detached hand. Though you don't see the zombies with a saw and the hand looks cleanly sawed through. The lady runs into the woods, and then the zombie is right there. You wonder how fast that zombie can run. I like the idea of a summary being explained within a film. Awesome job by Fred Ray here. Taking the story of Mrs. Hopkins, and describing the meteorite revival of the dead. Later, in the final scenes. When Miller lights the gun powder and throws it this would blow out before anything could be ignited. Then Miller is seen being tackled. However, the clip before shows zombies far away. Then we see him strung up like a pig. Possibly referencing The Texas Chainsaw Massacre, Tobe Hooper, 1974. It's incredible how these Alien zombies know how to do this that fast. Where did they get supplies Mr. Fred Ray? All in all a fun classic zombie movie that shouldn't be taken too seriously!