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BOT: THE REVISITING -- now up, 1987! MINI-EXTENSION, deadline is tonight, June 25!

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34 minutes ago, Kalo said:

 

I really just started getting into horror films last year, and I really liked 90% of the ones I've seen, except Texas Chainsaw Massacre, I hated all the characters... and it was actually too messed up for me, after a while I was just turned off to it.

 

Halloween and Scream have been my favorites so far. and I didn't find either one to be terribly frightening.  and then Classic stuff like The Shining and Psycho which were incredible, but I'm not sure I would label them straight up horror. Green Room was also amazing. not really straight up horror either though. 

 

What is The Shining if not straight up horror?

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The line between horror and thriller is so blurry it may as well not exist. Saw some saying Get Out wasn't really a horror but that borrows so many horror tropes that I can't agree with that at all. 

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11 minutes ago, aabattery said:

The line between horror and thriller is so blurry it may as well not exist. Saw some saying Get Out wasn't really a horror but that borrows so many horror tropes that I can't agree with that at all. 

Just like some people say Split isn't horror :) 

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2 hours ago, Tele Came Back said:

 

Gotta hand it to a 40+ year old movie that's got a fraction of the gore in today's movies. :lol: 

 

How far did you get?

 

Oh I finished it, It was not easy though. 

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5 hours ago, Tele Came Back said:

 

EVIL DEAD II is far and away the best of that trilogy, IMO. It's the perfect combination of un-hinged comedy without restriction. ARMY OF DARKNESS comes off as a milder, PG-13 version of many of the same jokes (though it's enjoyable too).

 

What's impressive is that they followed up with a TV series decades later that keeps up both the laughs and the splatters from Evil Dead II. I did not expect Ash vs. Evil Dead to be so great.

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10 hours ago, DamienRoc said:

 

What's impressive is that they followed up with a TV series decades later that keeps up both the laughs and the splatters from Evil Dead II. I did not expect Ash vs. Evil Dead to be so great.

 

Couldn't agree more. 

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Spoiler

1. The Untouchables

2. Planes Trains and Automobiles 

3.  Predator

4.  Lethal Weapon

5. Robocop

6. Raising Arizona

7.  Full Metal Jacket

8.  No Way Out

9. Good Morning Vietnam

10. Some Kind of Wonderful 

11. Empire of the Sun

12. Fatal Attraction

13. The Last Emperor

14.  La Bamba

15.  Stakeout

16. Roxanne

17. Broadcast News

18. Wall Street

19. Spaceballs

20. The Running Man

21.  Overboard

22. The Lost Boys

23. The Princess Bride

24. The Monster Squad

25. Less Than Zero

 

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4 hours ago, DAR said:
  Reveal hidden contents

 

 

Some Kind of Wonderful made my list too.

Shame on you for have LTZ at 25. :(

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1 hour ago, PRESIDENT BKB said:

 

Less Than Zero literally makes you feel like shit after watching it, made you feel like you needed to take a shower and wash the filth and grime away..

 

It does.

 

The movie's lead is McCarthy who is supposed to be the liked point of view character (completely cleaned up and blanded from the book) but because of RDJ's performance the film becomes all about Julian and his downward spiral and it's brutal.  It's supposed to be a cautionary tale but since Julian's the only one we care about it's a tragedy.

 

Popmatters has a really good piece on it

 

http://www.popmatters.com/feature/less-than-zeros-julian-problem/

 

Quote

 

The ‘80s died a few years too early, its final throes reflected in the neon glow of a Beverly Hills swimming pool in 1987’s Less Than Zero. Cocaine-fueled despair, oversaturated sex in blues and purples, desolate teenagers dying in the dust—the film was the feel-bad movie of the decade, an open sore on the era’s facade of flawlessness. As the credits run, the sickness lingers with us, the rotting corpse of the decade captured and reflected in in the death of Less Than Zero’s beautiful, doomed junkie.

 

In tracing Julian’s downfall, Less Than Zero reflects the political shift toward social conservatism in an era defined by AIDS panic. His transgressive actions, appearance, and lifestyle are all meant to warn audiences, while at the other end of the moral spectrum, Clay and Blair are redeemed and rewarded for their heterosexual love and their quasi-born-again salvation from drugs and outré sex. Nevertheless, Downey’s Julian, unforgettable and iconic, transcends the film’s attempts to demonize him. Perhaps aided by Downey’s phenomenal screen presence and subsequent mythic personal struggles, Julian becomes the film’s dynamic center. Julian is the only thing we remember from the film, and the film’s intent—to demonize his lifestyle—is fundamentally subverted.

 

 

 

Edited by TalismanRing
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