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Ipickthiswhiterose

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Everything posted by Ipickthiswhiterose

  1. 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.
  2. 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
  3. 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
  4. 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
  5. 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?
  6. 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!!!!"
  7. 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
  8. 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
  9. 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
  10. 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
  11. 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
  12. 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.
  13. Let me wax lyrical about what Pontypool does with the zombie genre. I think the most 2 interesting aspects of Zombie-ism are firstly the notion of contagion, and secondly the nature and mechanisms of dehumanisations. What Pontypool does so wonderfully is come up, in a crowded genre, with meaningful and original means of both contagion and dehumanisation - reframing what our humanity is made up of and riffing on it in a contained environment almost like a laboratory. It is flawlessly acted and the setting of a radio station is a perfect one for any horror film due to the important of sound desi
  14. Captain Marvel is currently the most fundamentally different of the Marvel films IMO. - The structure of the movie consists almost entirely of a bunch of duologues. - The amnesia plot line means our relationship to the protagonist is totally different from any other movie. - The resolution is the protagonist choosing *not* to have a big showdown with the villain. - The film is existential in nature and deals with matters of self-actualisation and who a person is, in contrast with the rest of the canon that is largely classical storytelling with mild social commentary
  15. Right….lots of the things. Us is beautifully shot in places, features a phenomenal central performance, plus good support performances and the first hour in general is pretty strong. On the other I am in the quarters that says the film completely falls to pieces in the second half and the movie is kind of broken as a result. Between the two Peele films plus the tightly controlled Candyman remake thats a firm 3/3 for films that have increasingly messy endings and I think having burned so bright he’s one, maybe two, incoherent endings away from the M Night treatment post-Lady in the
  16. The Suspiria remake is a goshdarn masterpiece IMO and I nearly put it quite a bit higher, only keeping it lower for recency adjustment. One I could write a whole essay on but it would be indulgent. Explores gender and speculative fiction in a wildly original way. With several moments of high tension, and one particularly nightmarish sequence. Another thing I could probably write an essay on is my intense distaste for "Bram Stoker's" Dracula. I can certainly understand that there is plenty for folks to enjoy about it - the costumes, the design and the early sequence in Transylvania
  17. Both Aster films, Body Snatchers and Raw were all on my list so really pleased to see them do well. Neither Godzilla nor Cabin in the Woods were in my classification of horror, but I like Godzilla and love CITW so glad to see them in the list also. Dawn of the Dead isn't my bag really but I recognise its quality. Zombies aren't my thing in general, even less than slashers. Night, Shaun, Pontypool and I Walked with a Zombie are about as far as I get before finding it all bit samey. I'm not even keen on 28 Days Later, which is fairly sacrilegious as a Brit horror guy.
  18. Lots of enjoyable movies in this batch. Great to see some classics make the list, even if it's contained to the very famous titles. Not seen The Wolf Man since I was teen so will have to hunt it down. Signs is a great single-watch movie. Saw it in cinemas at the time and it felt like an event. But it is a single-watch movie for me and not a plot to dwell on too long. Malignant....ha. Don't know what to say really. It was a good time, and while hardly the wildest of horror movies in and of itself it was certainly an amusing Kaufmanesque trick to play on mainstream audien
  19. The first time I watched The Birds I picked up on it straight away. I didn't know the real life story, it just stood out to me immediately that the only reason the entire movie was a framing device for an old man to perv on a young woman. It's why I find it so confusing that it still gets good repute, the birds element is just - from my perspective - totally tacked on and Hitchcock isn't interested in them. I can understand separating the artist from the art, but in this case the art IS the artist. Watching it feels like looking at a 2 hour upskirt shot.
  20. Delighted to see Peeping Tom, Mouth of Madness, Devil's Backbone and Prince of Darkness make it onto the list. Not films I would have expected to see but absolutely deserving - and as far as I'm concerned in the case of Peeping Tom, essential. Reappraisal of the apocalypse trilogy as a whole has been a long time coming, one day it'll happen with Ghosts of Mars too. The Omen falling in notoriety is a pattern I've noticed in academic circles as well. Might be due to the increase in status of Rosemary's Baby potentially. It was a bit hit with significant cultural impact at the time an
  21. These are really good examples (Us and King Kong) of critics pulling punches. I'd add It:Chapter Two and Scary Stories to Tell in the Dark got bizarrely generous reviews for the horror genre - It Chapter Two because of the first, and SSTTITD due to nostalgia for the books. But I think that other dynamics can happen as well that lead to different forms of slight groupthink in the other direction. Horror's the obvious one, which is why the outliers above are so distinct. From the late 90s to late 00s horror films couldn't buy a good review for love nor money unless it was a pre-exist
  22. The Others and The Invisible Man I both enjoy a lot. Excellent leading performances in both movies and tension managed effectively. Still find it humorous that classic Brit physical comic Eric Sykes managed to be in a huge box office triumph just before he passed on. The Host isn't really for me, don't know why, I just found it duller than it makes any sense to be. Yes Little Shop!!!!! Just goes up and up in my estimation over the years. Perfect stage to screen adaptation which is so difficult with any musical. It is so hard to appraise since the quality of the second
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