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JT (287 KP) rated Session 9 (2001) in Movies
Mar 10, 2020
Looking back I’ve written a number of horror film reviews which, probably highlights what my favourite genre is? I’ve not been into torture porn or serious amounts of gore. I don’t mind it in small doses, but I prefer films that get under your skin – case in point, Session 9.
In order to satisfy the millennials the majority of horror films today get their thrills from cheap jump scares. But real terror comes from the things that we can relate to. Things that go ‘bump‘ in the night or the sense that we are being watched. This for me, is real terror. Directed by Brad Anderson, Session 9 embodies all of that to perfection.
Despite being made in 2001 and with a low return at the box office, it has been able to creep out audiences years later.
An asbestos cleaning crew are set the task of clearing the abandoned Danvers State Hospital, a job that needs to be done within a week. Company owner Gordon (Peter Mullan) has put a lot of pressure on his team, consisting of Mike (Stephen Gevedon), Phil (David Caruso), Hank (Josh Lucas), and Jeff (Brendan Sexton III), to meet the deadline and collect a bonus. It’s pressure that starts to spill over right from the off.
The hospital is creepy as hell and even in the daylight the crew are plunged into darkness, which doesn’t sit well with Jeff who has a serious case of nyctophobia. They also have to deal with in-fighting amongst the group. On top of the tight deadline Gordon is struggling with the stress of raising a newborn child and arguments with his wife have not helped matters and slowly he becomes dissociated from the group. Meanwhile Mike stumbles across some tapes (nine of them) which are session interviews with a former patient called Mary Hobbes who has multiple personalities, that over the course of each session start to come out.
Phil (David Caruso) & Jeff (Brendan Sexton III) investigate the depths of the hospital
Like Stanley Kubrick’s The Shining – the location starts to take hold of each of the men, sending them spiraling into a world of personal madness. A number of subplots become interconnected the longer the film goes on and the pacing, while slow for some horror fans, is brilliantly orchestrated for those with patience. Despite being made in 2001 and with a low return at the box office, it has been able to creep out audiences years later.
What makes the film even more terrifying is the setting. The film was shot in the actual Danvers State Hospital so it needed little doing to it in terms of effects. The hospital was said to be the birth place of the prefrontal lobotomy (something which is referenced in the film), and part of me thinks that the fear on the actors faces as they walk the halls was in fact genuine terror. If that is the case then it only adds to the horror.
Session 9 will stay with you long after the credits. It doesn’t rely on heavy gore or CGI and builds tension with what you think you can see and at times – what you can’t.
In order to satisfy the millennials the majority of horror films today get their thrills from cheap jump scares. But real terror comes from the things that we can relate to. Things that go ‘bump‘ in the night or the sense that we are being watched. This for me, is real terror. Directed by Brad Anderson, Session 9 embodies all of that to perfection.
Despite being made in 2001 and with a low return at the box office, it has been able to creep out audiences years later.
An asbestos cleaning crew are set the task of clearing the abandoned Danvers State Hospital, a job that needs to be done within a week. Company owner Gordon (Peter Mullan) has put a lot of pressure on his team, consisting of Mike (Stephen Gevedon), Phil (David Caruso), Hank (Josh Lucas), and Jeff (Brendan Sexton III), to meet the deadline and collect a bonus. It’s pressure that starts to spill over right from the off.
The hospital is creepy as hell and even in the daylight the crew are plunged into darkness, which doesn’t sit well with Jeff who has a serious case of nyctophobia. They also have to deal with in-fighting amongst the group. On top of the tight deadline Gordon is struggling with the stress of raising a newborn child and arguments with his wife have not helped matters and slowly he becomes dissociated from the group. Meanwhile Mike stumbles across some tapes (nine of them) which are session interviews with a former patient called Mary Hobbes who has multiple personalities, that over the course of each session start to come out.
Phil (David Caruso) & Jeff (Brendan Sexton III) investigate the depths of the hospital
Like Stanley Kubrick’s The Shining – the location starts to take hold of each of the men, sending them spiraling into a world of personal madness. A number of subplots become interconnected the longer the film goes on and the pacing, while slow for some horror fans, is brilliantly orchestrated for those with patience. Despite being made in 2001 and with a low return at the box office, it has been able to creep out audiences years later.
What makes the film even more terrifying is the setting. The film was shot in the actual Danvers State Hospital so it needed little doing to it in terms of effects. The hospital was said to be the birth place of the prefrontal lobotomy (something which is referenced in the film), and part of me thinks that the fear on the actors faces as they walk the halls was in fact genuine terror. If that is the case then it only adds to the horror.
Session 9 will stay with you long after the credits. It doesn’t rely on heavy gore or CGI and builds tension with what you think you can see and at times – what you can’t.
Movie Metropolis (309 KP) rated Halloween (2018) in Movies
Jun 10, 2019
A True successor to the original
Halloween 1978 and little-known director John Carpenter terrifies thousands of impressionable horror fans with the introduction of ‘The Shape’. Jamie Lee Curtis becomes the new ‘scream queen’ and all is well in the world of the slasher genre.
Fast-forward to 2009 and Rob Zombie directs the sequel to his reasonably successful remake of Halloween, but it was poorly received by critics and audiences alike. Why? Well Zombie’s grungy, rock-anthem vibe didn’t really sit too well with Michael Myers and the result was a distasteful and messy outing that set the franchise back nearly 10 years.
Of course, in between 1978 and 2009, the series was ripped apart, put back together again until it was a shadow of its former self. Anyone remember Busta Rhymes doing a vague impression of a karate master in Halloween: Resurrection? Best forget about that.
Nevertheless, director David Gordon Green, a lifetime fan of Carpenter’s iconic original is in the chair to helm a direct sequel to the 1978 classic. That’s right, it forgoes every single film apart from the first. But is it a worthy sequel to one of the greatest horror films of all time?
It’s been 40 years since Laurie Strode survived a vicious attack from crazed killer Michael Myers on Halloween night. Locked up in an institution, Myers manages to escape when his bus transfer goes horribly wrong. Laurie now faces a terrifying showdown when the masked madman returns to Haddonfield. But this time, she’s ready for him.
Having Jamie Lee Curtis and John Carpenter back for this instalment is already a coup for Gordon Green. Clearly, they thought enough of the material that he and co-writer Danny McBride had produced to give one more shot at crafting a properly deserved sequel. And it works very well, so well in fact that we have, barring the original, the best Halloween movie to date.
Jamie Lee Curtis is absolutely fabulous as a world-weary Laurie Strode. Traumatised by the events of 40 years ago, she holds herself up in a cabin on the outskirts of Haddonfield, flanked by floodlights and CCTV cameras. The script does a very good job at showing how massive events can destroy an individual’s life and Curtis’ understated performance is a highlight here.
Judy Greer gets a nicely fleshed out role as Karen, Laurie’s daughter. She’s an incredibly talented actress and it’s a world away from the one-dimensional characters she’s been given to play in blockbusters like Jurassic World. The great thing about this film is that each of the main characters feels real. There’s no cheap sex scenes, the kills are well-placed and the dialogue is superbly written – you actually believe these are real people, rather than characters in a movie.
While the body count is high, Halloween doesn’t rely on the murders to progress the story forward. This is very much Laurie’s film as opposed to Michael’s and it works very well. There’s some nice juxtaposition as shots that would have involved Michael in the original, choose to put Laurie front and centre here. Halloween features some tasteful references to the original as well as its less-well received sequels. They’re not immediately obvious for those not too familiar with the series, but die-hards will enjoy seeing those homages pop up every now and then.
Halloween is a resounding success. It takes what audiences loved about the original and updates them in a sequel that, while not being wholly original, respects what came before it
The film starts relatively slowly with a not quite successful side-plot involving two investigative journalists, but once Michael Myers gets his mask back, the film rarely lets up until the end. Populated by enough kills and scares to keep the audience happy, this is a Halloween movie that doesn’t rely too much on jump scares. There’s a few, but they’re nicely filmed which helps lift them above the mundane.
To look at, this is a film that is head and shoulders above anything else in the genre. Gordon Green uses incredibly fluid camera techniques that almost mimic those of the original. In one extended sequence, Myers moves in and out of shot as the camera follows him from house to house, selecting his next victim. With no cuts in between, it’s a stunning scene to watch and very effective.
Thankfully, the writing duo has decided to pass on giving Michael anything resembling a back story. The embodiment of ‘pure evil’ as Samuel Loomis once put it, Myers needn’t have any motives – and that’s what makes him so terrifying. In fact, his first kill here reaffirms his evil characteristics and it’s clear that David Gordon Green and Danny McBride were aiming for this take on the character.
Then there’s the score. John Carpenter has returned to craft new music for this instalment and it is by far the best score in the series, possibly even better than the original. That haunting Halloween theme tune is back, but upgraded with guitar riffs and electronic percussion. It’s a fabulous update that works perfectly with the modern characters and an older Michael.
While it’s true that the film isn’t out-and-out scary, the finale is exquisite as Laurie and Michael come face-to-face once again. Only the abrupt ending and forgetting of some key characters lets it down. After all, what’s the point in caring about a character and never learning of their fate?
Overall, Halloween is a resounding success. It takes what audiences loved about the original and updates them in a sequel that, while not being wholly original, respects what came before it. While this is sure to make bucket loads at the box-office, it feels like it was crafted with care by a writing team and director that absolutely adores the series. It’s a must watch.
https://moviemetropolis.net/2018/10/20/halloween-2018-review-a-true-successor-to-the-original/
Fast-forward to 2009 and Rob Zombie directs the sequel to his reasonably successful remake of Halloween, but it was poorly received by critics and audiences alike. Why? Well Zombie’s grungy, rock-anthem vibe didn’t really sit too well with Michael Myers and the result was a distasteful and messy outing that set the franchise back nearly 10 years.
Of course, in between 1978 and 2009, the series was ripped apart, put back together again until it was a shadow of its former self. Anyone remember Busta Rhymes doing a vague impression of a karate master in Halloween: Resurrection? Best forget about that.
Nevertheless, director David Gordon Green, a lifetime fan of Carpenter’s iconic original is in the chair to helm a direct sequel to the 1978 classic. That’s right, it forgoes every single film apart from the first. But is it a worthy sequel to one of the greatest horror films of all time?
It’s been 40 years since Laurie Strode survived a vicious attack from crazed killer Michael Myers on Halloween night. Locked up in an institution, Myers manages to escape when his bus transfer goes horribly wrong. Laurie now faces a terrifying showdown when the masked madman returns to Haddonfield. But this time, she’s ready for him.
Having Jamie Lee Curtis and John Carpenter back for this instalment is already a coup for Gordon Green. Clearly, they thought enough of the material that he and co-writer Danny McBride had produced to give one more shot at crafting a properly deserved sequel. And it works very well, so well in fact that we have, barring the original, the best Halloween movie to date.
Jamie Lee Curtis is absolutely fabulous as a world-weary Laurie Strode. Traumatised by the events of 40 years ago, she holds herself up in a cabin on the outskirts of Haddonfield, flanked by floodlights and CCTV cameras. The script does a very good job at showing how massive events can destroy an individual’s life and Curtis’ understated performance is a highlight here.
Judy Greer gets a nicely fleshed out role as Karen, Laurie’s daughter. She’s an incredibly talented actress and it’s a world away from the one-dimensional characters she’s been given to play in blockbusters like Jurassic World. The great thing about this film is that each of the main characters feels real. There’s no cheap sex scenes, the kills are well-placed and the dialogue is superbly written – you actually believe these are real people, rather than characters in a movie.
While the body count is high, Halloween doesn’t rely on the murders to progress the story forward. This is very much Laurie’s film as opposed to Michael’s and it works very well. There’s some nice juxtaposition as shots that would have involved Michael in the original, choose to put Laurie front and centre here. Halloween features some tasteful references to the original as well as its less-well received sequels. They’re not immediately obvious for those not too familiar with the series, but die-hards will enjoy seeing those homages pop up every now and then.
Halloween is a resounding success. It takes what audiences loved about the original and updates them in a sequel that, while not being wholly original, respects what came before it
The film starts relatively slowly with a not quite successful side-plot involving two investigative journalists, but once Michael Myers gets his mask back, the film rarely lets up until the end. Populated by enough kills and scares to keep the audience happy, this is a Halloween movie that doesn’t rely too much on jump scares. There’s a few, but they’re nicely filmed which helps lift them above the mundane.
To look at, this is a film that is head and shoulders above anything else in the genre. Gordon Green uses incredibly fluid camera techniques that almost mimic those of the original. In one extended sequence, Myers moves in and out of shot as the camera follows him from house to house, selecting his next victim. With no cuts in between, it’s a stunning scene to watch and very effective.
Thankfully, the writing duo has decided to pass on giving Michael anything resembling a back story. The embodiment of ‘pure evil’ as Samuel Loomis once put it, Myers needn’t have any motives – and that’s what makes him so terrifying. In fact, his first kill here reaffirms his evil characteristics and it’s clear that David Gordon Green and Danny McBride were aiming for this take on the character.
Then there’s the score. John Carpenter has returned to craft new music for this instalment and it is by far the best score in the series, possibly even better than the original. That haunting Halloween theme tune is back, but upgraded with guitar riffs and electronic percussion. It’s a fabulous update that works perfectly with the modern characters and an older Michael.
While it’s true that the film isn’t out-and-out scary, the finale is exquisite as Laurie and Michael come face-to-face once again. Only the abrupt ending and forgetting of some key characters lets it down. After all, what’s the point in caring about a character and never learning of their fate?
Overall, Halloween is a resounding success. It takes what audiences loved about the original and updates them in a sequel that, while not being wholly original, respects what came before it. While this is sure to make bucket loads at the box-office, it feels like it was crafted with care by a writing team and director that absolutely adores the series. It’s a must watch.
https://moviemetropolis.net/2018/10/20/halloween-2018-review-a-true-successor-to-the-original/
Joe Goodhart (27 KP) rated Justice League International, Vol. 1 in Books
Nov 30, 2020
I am a 50 year old comic reader. In this life, you should pick one hobby, stick with it, and make it your own. It's hard to do that when you have been reading "the funny pages" for pretty much most of your life. However, I am adapting, learning to leave the current Marvel and DC reboots and events be, as I am not the market they are aimed at. Instead, I have been content to re-read the old TPBs digitally, remembering what kept me interested in the comics.
I started re-reading JLI, as it was, and still is, one of my best memories of the late 80s-early 90s. The series was always sure to inspire me to laugh out loud, while reading what sort of crap Blue Beetle and Booster Gold would get themselves into. My strongest memories are of when then-unknown Adam Hughes took over the art, replacing Kevin Maguire. But, talking of that takes away from this particular Volume, where the magic, as it were, was to begin.
Let's jump into the art, since we were talking about that just a moment ago. Here, it is reminiscent of the 80s. Bright colors, fun attitude, new costumes. All of that was here, drawn perfectly by Kevin Maguire, with inks by Terry Austin (for issue 1) and Al Gordon thereafter. Everything about the series' art was a testament to the new direction the team was going, and it definitely worked!
The writing was okay. I remember the series as being funnier, but the first volume was necessary, as it was needed for the setting up, introducing the members and what their dynamic would be. The stories are not required reading, as I am just starting the third volume, and I feel you could skip this volume. Most notable, this was the first time we see Batman layout that misogynist of a GL, Guy Gardner. That alone is worth the price of admission indeed!
Look, there is nothing wrong with this Volume, other than the inside material overall was good, but not as great as I wanted to remember. Sure, the team was written in a fun way (something missing in the books today), but overall, I wanted to get to the bigger "Bwa-hahaha" that lay ahead.
So, final conclusion? It's up to you. I would say "Sure, give it a shot". There's a helluva lot worse graphic novels/TPBs you could be spending your hard earned cash on!
I started re-reading JLI, as it was, and still is, one of my best memories of the late 80s-early 90s. The series was always sure to inspire me to laugh out loud, while reading what sort of crap Blue Beetle and Booster Gold would get themselves into. My strongest memories are of when then-unknown Adam Hughes took over the art, replacing Kevin Maguire. But, talking of that takes away from this particular Volume, where the magic, as it were, was to begin.
Let's jump into the art, since we were talking about that just a moment ago. Here, it is reminiscent of the 80s. Bright colors, fun attitude, new costumes. All of that was here, drawn perfectly by Kevin Maguire, with inks by Terry Austin (for issue 1) and Al Gordon thereafter. Everything about the series' art was a testament to the new direction the team was going, and it definitely worked!
The writing was okay. I remember the series as being funnier, but the first volume was necessary, as it was needed for the setting up, introducing the members and what their dynamic would be. The stories are not required reading, as I am just starting the third volume, and I feel you could skip this volume. Most notable, this was the first time we see Batman layout that misogynist of a GL, Guy Gardner. That alone is worth the price of admission indeed!
Look, there is nothing wrong with this Volume, other than the inside material overall was good, but not as great as I wanted to remember. Sure, the team was written in a fun way (something missing in the books today), but overall, I wanted to get to the bigger "Bwa-hahaha" that lay ahead.
So, final conclusion? It's up to you. I would say "Sure, give it a shot". There's a helluva lot worse graphic novels/TPBs you could be spending your hard earned cash on!