Last Seen 70s/80s Movie

[Sistinas666]

Originally Posted by roshiq

Chain Letter[/B] (2010)

Crap story with a terrible script.

>>: D+

Didn't we recently have a spammer who said that was the best horror movie ever? lol

[zwoti]

the sixth sense
unbreakable

[cheebacheeba]

The Wrestler.
First time viewing. Personally I think maybe the acclaim was heaped onto this one a bit thick, but hey, it was well rounded, entertaining with pretty solid performances throughout.

[psycho d]

Devil (2010). It's no coincidence that I always seem to be on the elevator when it is inhabited by a beautiful chick, but that is more due to stalking than the supernatural. This movie's titular antihero is ostensibly on holiday, and his hobbies, coupled with a love of coincidence, make for great horror fare. Devil is a simple story that offers nothing new to the genre, but who says that each and every movie to come out must contain some riveting new cinematic expanse?

The story, simple though it was, worked due to its tightly knit plot. Though we are given the pretense that this is to be a supernatural thriller, and the omniscient narrator has all but confirmed this, there is just enough room for doubt as to the origins of Devil's confined tragedies. And although the denouement should have been seen a mile away, it pops out onto the scene as a welcomed twist, paving the way to an ending that might have been epic.

The direction was splendid, coming from that guy that gave us Quarantine, a creepy little number that stole its puissance almost scene for scene from the Spanish original. Here he proves that his skills are not only derived through cinematic thievery. When darkness falls, he smartly let's our imaginations do the dirty work, and the result is genuinely frightening, even when there is not much effort in guessing who's next on the victim list.

The opening cinematography was fantastic, hinting that this flick is about to turn our world's upside down. Once the story got going, for all we knew, the camera was held by the Devil himself, nefariously pinpointing his shopping list of souls. For the remainder, the camera deftly captured each moment with aplomb, almost as if after having proved his skills, Mr. camera guy was simply keen on helping to reveal the story.

The score was used to really set the tone in the beginning, which left me worried that the remainder of this film would be a disheartening ballet of score scares. Thankfully this prediction fell flat, and though sound itself played a great role in getting the goosebumps to rise, the score simply did its job, sharing in the work without dominating it.

In sum this was a tight little thriller whose only bald spot was its ending. And even though this last impression seemed a lame and safe bet for the masses, such a detraction is not enough to gloss over this crafty flick written and luckily NOT directed by Shyamalan. Merci.
d

[swiss tony]

Shutter Island - An excellent movie although it did drag for about 15 minutes in the middle. Martin Scorsese really elevates himself to M Night Shymalan's smart arse levels with this. Typically brilliant acting by Leonardo DiCaprio, really tense atmosphere throughout and the sort of ending that really gets you thinking.

The Decent 2
entertaining, but the blood etc. looked really fake

[phantomstranger]

"High Plains Drifter" (1973)
-Clint Eastwood

Violent tale of revenge with Eastwood perfectly playing his trademark role of "The Mysterious stranger". Heavily influenced by the Sergio Leone/Spaghetti westerns of the time. A classic of it's kind and one of my all time favorite Eastwood movies.

[psycho d]

Who Can Kill a Child? (1976). Not the most charming title ever, if you don't like it then you can choose from the twenty or so other titles that occasionally adorn this classic 70s horror flick. The opening credits are similarly without charm, combining the silly giggles of playful children with horrifying footage of the carnage of war of whose obvious focus is on the children. Heart wrenching for sure, this beginning is both important to the story, for its foreboding imagery establishes a sort of motive, and also a warning for the viewer-the following may not be pretty.

The imagery of the story's onset betrays the the festive atmosphere that our protagonists are swimmingly engulfed in. Our love of fireworks, explosions of light and sound, belies the real meaning of these party favors, man's celebration of martial carnage in his drive for glory. And such worship is not to remain without just rewards. The story then moves to one of building questions. What is happening, why is this happening, oh good god how can this get any worse? The movie, as if listening, is more than happy to answer only this last question, with aplomb of course. It is only when the unthinkable is finally addressed that this relentless thriller finally comes to a close, but this grim ending only pricks the darker fathoms of our imaginations-how lovely.

The acting seemed a little cheesy at first, serving to lower my guard as if to administer even greater psychological damage when the sandpaper's grit finally grinds home. The use of little known actors was probably a monetary choice, but it worked wonders in that no expectations are available when the moment of truth arrives.

The direction is perfectly handled. This slow burner would not have worked had any sense of speed been applied to the plot. The impending sense that something is askew is adroitly executed, suitable to the greatest of horror flicks of whose honors list this must be included.

Collusion between director and cinematography must have been thick. From the DP that gave us Volver, the camera operates perfectly, with slowly drawn out pans that are brilliantly interrupted, psychologically discomfiting camera angles, a jittery camera that implies emotions of which words seem powerless, and my favorite, the scene of a character's slow demise as they are sucked below the surface of life using a shoulder as an ocean of death that is greedy for even more deadly summons.

Even the score was a hint left of right, not entirely unjustified, but suitable for distributing the slightest tweaks of a suddenly vulnerable spinal cord.

In the end, of all the macabre horrors just witnessed, of all the disturbing imagery that is lightly zapped into our psyches, most troubling of all is that we can no longer be thereabouts when an innocent's pinata is about to experience its climax. Merci.
D

[massacre man]

The Town and The Social Network... Again.

[Elvis_Christ]

2001 Maniacs: Field Of Screams

Utter shit. Enjoyed the first one and was looking forward to seeing Bill Mosely tear it up but fucking hell this was inept.

My Soul To Take

It starts out with a bang but never achieves the effectiveness of the opening. The killer just wasn't very effective or memorable and this flick is basically Scream without all the self reflexive cinema bullshit... there's a dash of Shocker in there too. I thought the characters were well crafted and likeable/similar in tone to the Elm St kids which I haven't struck in a modern era of this type for a long time. A flawed film but still enjoyable nonetheless. I think this will be a minor cult hit for the teenage market once it hits DVD (perhaps a gateway flick to those sick of Twilight) but those more well versed in horror have seen it all before. This has been universally trashed and a lot of the reviews have made me laugh with all the "How could the guy who made [insert classic title here] have made this" comments. Craven has always been patchy right from the get go so save your fallen master bullshit...