Dedicated Horror Nerd Thread

Health insurance rip off lying FDA big bankers buying
Fake computer crashes dining
Cloning while they're multiplying
Fashion shoots with Beck and Hanson
Courtney Love, and Marilyn Manson
You're all fakes
Run to your mansions
Come around
We'll kick your ass in

Postby aububs » Tue Jun 18, 2019 9:02 am

seriously tho are there any 70s/80s horror movies that should be outright avoided because i really don't think that there are
no buddy not really
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Postby aububs » Tue Jun 18, 2019 9:03 am

that's a good toop for the DHN thread
no buddy not really
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Postby smelts » Sun Jun 23, 2019 3:09 am

Spring horror watchlist, now that we're officially into Summer

1. Spookies
2. Body Parts
3. It’s Alive
4.Feeders
5. C.H.U.D.
6. April Fool’s Day
7. Get Out
8. The Beyond
9. Tales From The Crypt
10. Dr. Terror’s House Of Horrors
11. Alucarda
12. Galaxy Of Horrors
13. Witchfinder General
14. Super Dark Times
15. The Texas Chainsaw Massacre 2
16. House On Haunted Hill
17. Demons
18. Twitch Of The Death Nerve (Bay Of Blood)
19. Godzilla
20. Tourist Trap
21. The Vault Of Horror
22. Godzilla Raids Again
23. World War Z
24. Leatherface: The Texas Chainsaw Massacre III
25. Spring
26. Us
27. House Of The Long Shadows
28. The Wicker Man
29. Monster Squad
30. Demons 2
31. Deep Red

Pretty damn good Spring all things considered
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Postby antoine » Mon Jul 01, 2019 5:03 pm

Did this really need a remake

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Postby theta » Mon Jul 01, 2019 5:48 pm

nothing needs a remake
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Postby Canadian Todd (for Canadians) » Mon Jul 01, 2019 5:53 pm

It legit doesn’t do anything that made the original good. Like, what? The original was so low-key influential. P much jacob’s ladder runs through to the closer music video (and rabbit in your headlights vid/sample), informs se7en and is a huge influence on Team Silence when making silent hill 1 and 2 and the yamaoka ost.

Adrienne Lynne’s whole erotic thriller/neo noir look and feel always had this undercurrent of darkness - not in a sexy, brooding way, but in the way it was framed and shot always had a wet, earthy, disquieting quality and it gets channeled into straight horror with JL. It’s all about the disturbing body dysmorphia coupled with sexual dysfunction like the way the party scene shifts gradually into scary unreality but then you’re fucking there and there’s low, Dutch angles and fog machines and the girlfriend getting fucked by a demon appendage. And the double take of the morphed penis tail in the subway. And Lynne always has gel on the lense to give this soft, kinda hazy effect so that you’re never really sure of anything - the reality and nightmare. You never feel stable in this movie. It’s one of the last scummy New York movies too - big, old flats and pre-gentrified subways already carrying a real world menace that becomes the foundation from which hallucinations and surreal horror are built. Weird ass alleyways and shit. It’s basically this movie, light sleeper, and Abel Ferrara’s first few 90s flicks (kings of New York, bad lieutenant) and then it’s all done. New York is done for this shit. And there’s this vulnerability and instability that Robbins does that Michael fucking ealy (as hot as he is) can never do. You also have the fucking alley that becomes the hell operating room with the art installation editing to make heads vibrate and body horror that occurs just at the periphery of the shot. That was p much the next decade in horror - at least in the way it looked.

And this trailer is all hurt locker hyper editing flash backs to the war and bullshit ghosts standing on a clean ass subway and MY BROTHER’S BLEEDING. Jacob’s Ladder was such a confluence of amazing shit and tone and Danny aielo and Tim Robbins and Matt craven’s cameo as twitchy exposition dump scientist/deep throat and lynne’s Lighting and taking late 80s erotic thriller to its natural horror endpoint. It’s everything. What even is this?
Last edited by Canadian Todd (for Canadians) on Mon Jul 01, 2019 9:25 pm, edited 1 time in total.
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Postby odilon redon » Mon Jul 01, 2019 6:03 pm

hell yeah todd
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Postby antoine » Mon Jul 01, 2019 6:15 pm

Canadian Todd (for Canadians) wrote:It legit doesn’t do anything that made the original good. Like, what? The original was so low-key influential. P much jacob’s ladder runs through to the closer music video (and rabbit in your headlights vid/sample), informs se7en and is a huge influence on Team Silence when making silent hill 1 and 2 and the yamaoka ost.

Adrienne Lynne’s whole erotic thriller/neo noir look and feel always had this undercurrent of darkness - not in a sexy, brooding way, but in the way it was framed and shot always had a wet, earthy, disquieting quality and it gets channeled into straight horror with JL. It’s all about the disturbing body dysmorphia coupled with sexual dysfunction like the way the party scene shifts gradually into scary unreality but then you’re fucking there and there’s low, Dutch angles and fog machines and the girlfriend getting fucked by a demon appendage. And the double take of the morphed penis tail in the subway. And Lynne always has gel on the lense to give this soft, kinda hazy effect so that you’re never really sure of anything - the reality and nightmare. You never feel stable in this movie. It’s one of the last scummy New York movies too - big, old flats and pre-gentrified subways already carrying a real world menace that becomes the foundation from which hallucinations and surreal horror are built. Weird ass alleyways and shit. It’s basically this movie and Abel Ferrara’s first few 90s flicks (kings of New York, bad lieutenant) and then it’s all done. New York is done for this shit. And there’s this vulnerability and instability that Robbins does that Michael fucking ealy (as hot as he is) can never do. You also have the fucking alley that becomes the hell operating room with the art installation editing to make heads vibrate and body horror that occurs just at the periphery of the shot. That was p much the next decade in horror - at least in the way it looked.

And this trailer is all hurt locker hyper editing flash backs to the war and bullshit ghosts standing on a clean ass subway and MY BROTHER’S BLEEDING. Jacob’s Ladder was such a confluence of amazing shit and tone and Danny aielo and Tim Robbins and Matt craven’s cameo as twitchy exposition dump scientist/deep throat and lynne’s Lighting and taking late 80s erotic thriller to its natural horror endpoint. It’s everything. What even is this?


Yeah. Even the "respectable" remakes like "Pet Semetary" or "It" or whatever have this...sheen to them that fundamentally alters what makes the originals memorable and unique to their eras. If it's impossible for modern films to go back to the grittier styles of the 70's, 80's, and 90's (which seems to be the case) just make something new that speaks to the hypersmooth, hyperreal filmmaking of today. Shit like "Under the Skin" or "You Were Never Really Here" do that successfully while keeping the influences of past eras of genre filmmaking there. The remake thing is such a fool's errand but I guess the industry is just really low on ideas.
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Postby theta » Mon Jul 01, 2019 6:17 pm

most of these remakes are of pretty formulaic shit anyway... like just use the formula and make something new
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Postby marble » Mon Jul 01, 2019 6:34 pm

in love with that canadian todd post
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Postby drudge » Mon Jul 01, 2019 7:40 pm

good post antoine. i agree something feels off about the new IT and even to an extent stranger things. they feel like shiny remakes of eras we're not used to seeing clearly. it's how you can date a photograph to a decade just based on the image quality. fuji film stock of the 70s vs disposable cameras of the 90s vs 2010s phone cameras for example. it can be done right (for example dazed and confused looks spot on for the era it's set in) but it seems rare.

thought this was a good reflection on the topic

perhaps at some point i was an energy vampire
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Postby futurist » Fri Jul 12, 2019 4:17 pm

3 From Hell trailer drops on monday
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Postby neck » Fri Jul 12, 2019 5:07 pm

i'm mildly excited for 3 from hell, but i still haven't watched 31.
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Postby futurist » Fri Jul 12, 2019 5:09 pm

as much as i stick up for zombie's films i say fucking skip it. trash.
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Postby neck » Fri Jul 12, 2019 5:34 pm

i already bought it, so that's not what i want to hear. haha

ah well
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Postby Canadian Todd (for Canadians) » Fri Jul 12, 2019 5:57 pm

devil's rejects is low-key one of the best u.s. movies of the aughts.

the kid half of halloween remake was good but once he's an adult, it's p lame.

i have mixed feelings about lords of salem but the upshot is that zombie cast a fair amount of rad genre actresses who get aged out of hollywood, and it's one of the movies where a woman chooses satan as liberation/a force of earthiness/matriarchy. but it's also kinda ponderous and sherry moon is the lead and not anchored by bill mosley or william forsythe.

back third of halloween 2 is fun.

i haven't seen house of 1,000 corpses since it was released. didn't see 31. devil's rejects and that first half of halloween are p high notes.
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Postby futurist » Fri Jul 12, 2019 6:05 pm

31 is such a good concept and such a fun set, but the characters are the worst of the worst when it comes to zombie's meathead misogyny.

i think house of 1000 corpses is the raddest of them all. it's aesthetically pleasing and just an overall mind numbing good time.
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Postby jalapeño ranch » Fri Jul 12, 2019 6:08 pm

I dislike pretty much every Rob Zombie movie other than Devil’s Rejects is okay minus the Freebird garbage and I don’t mind the first 20 minutes of H2. Hard pass on the rest.

I hate every single character in his movies, which can be fine if done right (a la House on the Edge of the Park) but it just seems catered to test my patience and I always lose.
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Postby antoine » Fri Jul 12, 2019 6:09 pm

Rob Zombie tries too hard
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Postby futurist » Fri Jul 12, 2019 6:13 pm

hollywood should ditch tarantino and give those budgets to zombie.
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Postby jalapeño ranch » Fri Jul 12, 2019 6:17 pm

I’m not sure a higher budget would do much for him.
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Postby antoine » Fri Jul 12, 2019 6:22 pm

Also he kind of fetishizes the lower class, "white trash" thing in a way that feels almost exploitative. The family in the Halloween remake were caricatures. I dunno, something about a Hollywood director mining a distasteful portrayal of working class people kinda rubs me the wrong way. But at least he is depicting them at all which most big movies don't. Kinda murky moral ground I guess.
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Postby futurist » Fri Jul 12, 2019 6:23 pm

jalapeño ranch wrote:I’m not sure a higher budget would do much for him.


but it'd do a lot for me.
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Postby jalapeño ranch » Fri Jul 12, 2019 6:25 pm

When the fuck is the new Fabrice Du Welz movie coming out? Feel like it’s been in production for four years.
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Postby Canadian Todd (for Canadians) » Fri Jul 12, 2019 6:43 pm

antoine wrote:Also he kind of fetishizes the lower class, "white trash" thing in a way that feels almost exploitative. The family in the Halloween remake were caricatures. I dunno, something about a Hollywood director mining a distasteful portrayal of working class people kinda rubs me the wrong way. But at least he is depicting them at all which most big movies don't. Kinda murky moral ground I guess.


I...think this is right. he's also coming from and informed by a long line of exploitation cinema in which poor whites are often antagonists and menaces on the fringes of society - a looming threat that exists to destabilize the lives of middle class families (and many of which are non-traditional or malformed versions of het normative monogamous family units like the isolated, backwater sawyer family in TCM who are casualties of the oil crisis and hte displacements of slaughter house/factory workers and conspicuously lacking in a feminine presence [hence leatherface taking on that gender performance] or Krug's clan in last house on the left or the hills have eyes etc.).

henry portait of a serial killer is the movie zombie is really reworking in halloween remake. that's what his interest is in. poor, white, liminal drifters. but he definitely drizzles it with this sort of white trash sleaze and I think that comes from his influences. not that it "validates" or makes it okay. just that it is in line with his interests.
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Postby jalapeño ranch » Fri Jul 12, 2019 7:46 pm

Looks like I lucked into the last seat for tonight's Crawl screening followed by a Q&A by Aja and Raimi at the Arclight tonight.
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Postby Canadian Todd (for Canadians) » Fri Jul 12, 2019 9:30 pm

Does anyone have the evil dead remake and would they be willing to drop that in the Dropbox? Kinda been thinking about that one lately.
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Postby jalapeño ranch » Sun Jul 14, 2019 2:17 am



Oh wow, this movie is so ridiculous and entertaining.
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Postby jalapeño ranch » Sun Jul 14, 2019 2:43 am

I'm in dire need of some actual good horror recommendations to push me through a lull in my attempt to hit 365 movies this year. I'm insanely ahead of schedule (currently at 268 movies) but I just started then stopped about a dozen different movies because they were just too terrible to continue. Maybe I should give myself a brief hiatus.

Here's what I've watched so far listed roughly in order of favorite to least favorite.

https://letterboxd.com/brettmpeter/list/horror-films-watched-in-2019-im-a-masochist/
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Postby aububs » Sun Jul 14, 2019 3:49 am

jalapeño ranch wrote:

Oh wow, this movie is so ridiculous and entertaining.


blood rage is great. have to admit, when i watched it a few years ago, i kept getting confused between todd and terry and wasn't 100% sure what happened at the end. it was cool tho. enjoyed it a lot. i liked how even tho todd had the blood rage and was killing everyone he was actually a pretty fun lovin' and right-on guy
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