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Ipickthiswhiterose

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  1. Colossal recency bias. Return of the King, Jurassic Park, the first Harry Potter and Lion King easily get onto this list. And that's just 90s onwards and thinking of only pre-release hype. And sorry to say this guys but the hype for NWH is much higher in North America than elsewhere. Most of us have Omicron dominating the news and here in the UK the hype for NWH is big, but not as big as for NTTD from literally two months ago.
  2. Thanks for doing these baumer. I'll have lots to say in time but am having an ultra busy couple of weeks at work. Glad to see Martyrs representation. I know it's divisive to a degree but I maintain it's one of the most important horror movies of the 2000s. Saw was well timed for me. I was 21 and having been a timid kid was heading towards being fully formed in my horror tastes. I knew it wasn't 100% for me, but it was one of the first in the cinema I really got my teeth into in terms of analysis and looking at techniques and structure, without being offput by the gore.
  3. Yeah, baumer definitely has some receipts there. Certainly 1994 and 1996 pre-Scream were down years for horror movies. But I recall Seven and Species as both pretty massive films, and earlier 90s still had the most critically acclaimed horror movie ever (even if I never fully understand why) in Silence of the Lambs. The subsequent years had FFC's Dracula and Candyman, both of which felt massive. Of course, this is all contextual and experiential and through the eyes of a mid-teen based on what the cool kids were watching. I think Scream's context provides opportunity t
  4. Any waxing lyrical over The Mothman Prophecies will always have my dear appreciation. The entire film is, as described, a relentless ride of unsettledness and it truly is my favourite Gere performance across an increasingly under appreciated career. We've talked about the Chapstick scene in the past and yes, nothing encapsulates paradigm shift like it - it's like the supernatural equivalent of the notorious Salma Hayek scene in Dusk Till Dawn, but without the foreknowledge and notoriety. And it's so horrifyingly intimate. Must settle down and rewatch Black Cat and Hitcher, I've see
  5. Enjoyable list to read through so far. I have still to this day never watched Exorcist 3 all the way through to my shame - of course I've seen the famous sequence many times but should really get round to viewing it as intended. Seven was a really *have you seen* film in my school. Perhaps to the point where I can't dissociate it from my teenage self when watching it. I would have viewed it for the first three or so times on coaches on my way to rugby matches, which isn't an ideal cinematic environment for a horror movie. Happy days. Zombi I actually have seen all the w
  6. I've lost track with these shitty Oz movies. So after His Majesty, the Scarecrow of Oz and both stage adaptations, they completely rebooted the Oz series with The Wizard of Oz with Dorothy Dwan, and then they've ditched that and have rebooted THAT EXACT STORY AGAIN with this Garland woman???? And people are supposed to CARE?
  7. Out of interest, since I'm getting notifications for this thread already, do you think that people who post trolly 1-star review of things before they've seen something get a dopamine hit from it? Like, is it satisfying? Do they cathartically slam their laptop's shut with a "Well, THAT'll show them!!!!"
  8. Get Out wasn’t on my list. It is a well acted film with interesting ideas that is really well executed for around 85% of it’s run time. Peele is a well loved figure for a reason and it is a great feat of marketing that he has become positioned as the figurehead of sociopolitical horror, and indeed that sociopolitical horror has become framed as something contemporary. Of course, I would point the fact that this has always been the case and the notion that sociopolitical horror is contemporary is exactly that…marketing. Some of the sequences such as the silent crying and the hypnosis are really
  9. Everything about Jaws is structured as a horror movie. - The initial score from the first moments tell you it’s a horror movie. Compare with the Spielbergian wonder and majesty of the score for nearly-a-horror-movie Jurassic Park. - The use of the unknown in the opening credits tell you it’s a horror movie. An unseen thing is closing in on an unseen target. - The first sequence that refuses to show the threat tell you it’s horror movie. An unseen and unseeable threat emanates from the darkness. Visible, and more importantly, audible suffering takes place. - The targe
  10. Suspiria was and is my number 2 horror film of all time, and until recently was my favourite. On first watch it captivated me. I watched it under optimum circumstances on my own at 11 at night at the age of 17 having never seen a giallo before, having decided I didn’t really enjoy slashers and found them unsatisfying, and didn’t know what I was in for. So it was perfect, each sequence is burned - the opening spectacle, the overnight stay all together, the razor wire chase, the dog scene, the atmosphere, the goblin soundtrack. It hit me over the head with a hammer of atmosphere that lasted year
  11. I think this is the issue with defining horror in terms of what is scary. Plenty of the scariest films aren't horror. Heck, I'd argue the three scarest films I've ever seen are Come and See, Threads and Hot Coffee: A war film, a speculative drama and a documentary. None horror or even close. Horror tends not to be defined in academic circles (not that they are the most important or anything, but it's where people try their most to be precise) in terms of generating fear, but in terms of a combination of what they include (tropes) and what they appeal to (ie. affective s
  12. Thank you. Alien was my number 6, Thing was my number 8, BWP was my number 41. So not far off at all, I really rate all of those films and think horror's history can't be written without any of them. I also accept your point about the event nature of BWP, absolutely correct. As someone who was in a workaholic bubble in the late 2000s and completely bypassed (didn't even notice) Avatar at the time I acknowledge that I don't and now probably will never understand what happened there and probably can't really evaluate that movie, or at the very least its popularity. I imagine the same
  13. Oh, by "another monotone, forboding, masculine and sensual performance that was significantly inferior but much more acclaimed and rewarded than Candyman" I'm not referring to Tony Todd.
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