Last Seen 70s/80s Movie

[ArcadeOfHorror]

Friday The 13th (1980).

I saw this recently with some other friends, and it was mildly scary! The acting was, of course, completely meh, and there was some cheesy scenes (i.e. the random body falling down as the person is running away from the killer), but in all it was an okay horror film! There were chilling and scary scenes, and a twist (which wasn't really a twist was it? everyone knew it was gonna happen). It was enjoyable and i am looking forward to seeing more of the Friday the 13th series.

[ChronoGrl]

Originally Posted by 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.

bwahahaha - Rue Morgue just crowned it WORST CINEMATIC ATROCITY TO WOUND YOUR RETINAS of 2010.


...


The Last Exorcism (2010)




This actually was pretty good... Well, about 2/3 was quite enjoyable... Solid acting, really good atmosphere... The actual plotline was a great, refreshing take of your usual demon-possession tale, so I really really liked that...

HOWEVER:

This is supposed to be a documentary-style film, yet the soundtrack does pick up during tense scenes, which ultimately distracts the anal retentive amongst us (where is that violin coming from - IT'S RIGHT BEHIND YOU!!

Also, the end is overly elaborate and ultimately unnecessary, leaving you with a bit of a let down.

In short, there are some good scares (though if you don't like the documentary-style, then definitely avoid it), but the end was a huge letdown for me (which I actually think a few people on this board have already sited.

I have a hard time giving it less then a 3/5, though, so here it is:

3/5.

[zwoti]

stag night

[psycho d]

Taxi Driver (1976). The majesty of the opening scene, where kaleidoscopic colors intermingle with the score's bipolar sounds, serve as a harbinger of the enigmatic Travis Bickle. Maybe Cybill Shephard's character described him best as a walking contradiction. His is a character that defies comprehension, a character that we want to root for but cannot even find a place to start.

The sense of loneliness and isolation emanates from each character, from the lowly cab driver to the campaign worker to the candidate she is promoting, a man literally separated from the people by way of the secret service. But Travis is further isolated through his awkward capacity in relating to other humans. Though he lives on this planet, his thoughts and dialog belong elsewhere. At the most mundane of moments he seems thoroughly lost in a thought, as if the contemplation of the door handle might just unlock the secrets of the universe. Ironically, it is the so-called scum of the earth, the hooker and the pimp, that exhibit the only sense of human connection as seen through a disturbingly gentle slow dance scene.

The story is a wonderfully slow descent into an unavoidable hell. But this is a contrived hell, complete with a physical training program, a fresh new hairdo, and apparently a contingency plan. This story is in no rush, but rather rallies in its attention to detail, highlighting the mundane repetitions of life. But when things do get heated up, time seems to take on a life of its own until boom! we are left on our own to sift through the madness.

Little more needs to be said of De Niro and crew. From the spectacular lead performance to the peripherals, every scene is replete with talent.

Martin Scorsese's brilliance is found in capturing the prosaic and transforming it into art. The first person narration, really a blather of irreverence, works to enhance the magic in the dull evidence of life. Working with an incredible script, Scorsese whips up a world of alienation and loneliness that cannot help but to drive those on the margins to crack. The distortion of speed and the disconnection of sound from "the event" serves to infuse the viewer with the madness of the moment. We can almost feel Travis' expression of hell through the disheveled artistry of camera and microphone.

In the end, the audience is not only left to fend for itself in regards to what has just occurred, that onscreen blasphemy of insanity, but we are likewise left in the dark, cold, outside world, where fantasy and reality refuse to cooperate and offer the audience some resolve, or should I say closure, as to what we are to think, for we too are left with a feeling of alienation. Merci.
d

[roshiq]

Originally Posted by Elvis_Christ

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...

Agree...after reading so much bad reviews, it really turned out pretty enjoyable indeed. Liked it too.

Originally Posted by ChronoGrl

The Last Exorcism (2010)



I have a hard time giving it less then a 3/5, though, so here it is:

3/5.

Sorry, I found it annoyingly dull.

Hyenas (2010)



WereHyenas!

>>: D

Vanishing on 7th Street (2010)



There was a Night Shyamalan feel all over it; even in few scenes it was like watching The Happening II: The Shadow Invaders! A pretty "dark" & disappointing effort from Brad Anderson.

>>: C-

[zwoti]

outbreak.
outcast

[vanlutz]

Originally Posted by psycho d

Taxi Driver (1976). The majesty of the opening scene, where kaleidoscopic colors intermingle with the score's bipolar sounds, serve as a harbinger of the enigmatic Travis Bickle. Maybe Cybill Shephard's character described him best as a walking contradiction. His is a character that defies comprehension, a character that we want to root for but cannot even find a place to start.

The sense of loneliness and isolation emanates from each character, from the lowly cab driver to the campaign worker to the candidate she is promoting, a man literally separated from the people by way of the secret service. But Travis is further isolated through his awkward capacity in relating to other humans. Though he lives on this planet, his thoughts and dialog belong elsewhere. At the most mundane of moments he seems thoroughly lost in a thought, as if the contemplation of the door handle might just unlock the secrets of the universe. Ironically, it is the so-called scum of the earth, the hooker and the pimp, that exhibit the only sense of human connection as seen through a disturbingly gentle slow dance scene.

The story is a wonderfully slow descent into an unavoidable hell. But this is a contrived hell, complete with a physical training program, a fresh new hairdo, and apparently a contingency plan. This story is in no rush, but rather rallies in its attention to detail, highlighting the mundane repetitions of life. But when things do get heated up, time seems to take on a life of its own until boom! we are left on our own to sift through the madness.

Little more needs to be said of De Niro and crew. From the spectacular lead performance to the peripherals, every scene is replete with talent.

Martin Scorsese's brilliance is found in capturing the prosaic and transforming it into art. The first person narration, really a blather of irreverence, works to enhance the magic in the dull evidence of life. Working with an incredible script, Scorsese whips up a world of alienation and loneliness that cannot help but to drive those on the margins to crack. The distortion of speed and the disconnection of sound from "the event" serves to infuse the viewer with the madness of the moment. We can almost feel Travis' expression of hell through the disheveled artistry of camera and microphone.

In the end, the audience is not only left to fend for itself in regards to what has just occurred, that onscreen blasphemy of insanity, but we are likewise left in the dark, cold, outside world, where fantasy and reality refuse to cooperate and offer the audience some resolve, or should I say closure, as to what we are to think, for we too are left with a feeling of alienation. Merci.
d

When this was in the theatres, I went every day and sat through it numerous times. Great flick. "Piece o' chicken"

[Angra]

"Klovn - the movie" 6-7/10

Klovn has invented a new genre in danish comedy. A genre best described as "embarrassing comedy", consisting of scenes after scenes that makes the audience either laugh or Cringe, or both at the same time, due to especially the main characters constantly wrong actions and cover-up lies. It's "Meet the parents"x10. Painful to watch.

But especially embarrassing for the lead actors involved. A brave bunch.

[ChronoGrl]

Originally Posted by roshiq

Sorry, I found it annoyingly dull.

My boyfriend felt the same way. :D

[psycho d]

The Possession of David O'Reilly (2010). This had so much potential that its let-down factor was like jumping from the roof of the DMV and surviving.
d