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365Flicks (235 KP) rated Pandorica (2016) in Movies
Nov 20, 2019
Now that Chris and I have handed back the reigns of Another Damn Wrestling Show to its original hosts Matt, Joe and the other one. I no longer have to watch 12 hours of Wrestling each week so I decided to tackle my backlog of Movie reviews that some awesome very kind people have been sending. Today was the turn of Pandorica, a movie that to be fair had me at the trailer because its tells you everything without giving anything away. Best type of Trailer really (Yes that was a pop at Terminator Genisys).
I had no real expectations going into Pandorica and I came out of it very pleasantly surprised by Tom Paton’s Genre busting Futuristic Dystopian , Sci-Fi horror, Suspense, Action Filled tale of what happens when Humanity is De-Volved into its most basic instincts. Well I did say Genre Busting. One of the best things about this movie is that you really cant put it in any bracket (no matter how hard you try for the purpose of reviewing).
Set somewhere in the future we meet a small group of Natives from the Varosha tribe. Tribe leader Nus (Luke D’Silva) has brought his three bravest and best to take part in a Violent trial to determine who should be leader of the Tribe when Nus expires. As is always the way, the three in question have very differing personalities. Eiren (Jade Hobday) is as deadly as she is determined and somewhat sexy (think Milla Jovovich in Resident Evil, Keira Knightley in King Arthur, Rhona Mitra in Doomsday). She is up against the wreckless headstrong bad ass Ares (Marc Zammit) who believes he is the only man fit enough to lead, rounding off the trio is Thade (Adam Bond) a very loyal confidant to the tribe but its all a bit over his head. Once the trial begins everything really turns to shit as the 3 discover a strange woman being chased by band of Vicious Lunatics in creepy masks. They must band to together to stay alive, all the while trying to prove they are the best candidate for leader, Winner is left standing at daybreak… Hopefully.
It is hard for me to believe that this is Tom Paton’s first full length feature film. He has a very clear idea of what he is doing with getting the best out of his strong leading cast, the Cinematography in this movie is gorgeous at times showing Paton is well aware of his on location surroundings and can direct his movie as such to show us this. Sometimes just the swooping shots over the top of the trees keep make you pause to admire. He has taken a number of Genres mashed them up and made a solid as hell flick that not only stands on its own but also serves as what could potentially be a great intro to a new series of flicks hat breath new life into some of these Genres, especially the Dystopian World End-y ones in the same vein as Neil Marshalls Doomsday.
I don’t want to keep raving on too much because you guys should really see this flick. It is available on all good streaming sites and video on demand services and I guarantee you will get a kick out of it, even if only for the Bitchin as hell soundtrack. I wont lie the music alone sucks you right in. I really enjoyed the movie and can easily see a sequel in fact if you do enjoy the movie, I recommend you stick around till the end of the credits (No Spoilers).
I had no real expectations going into Pandorica and I came out of it very pleasantly surprised by Tom Paton’s Genre busting Futuristic Dystopian , Sci-Fi horror, Suspense, Action Filled tale of what happens when Humanity is De-Volved into its most basic instincts. Well I did say Genre Busting. One of the best things about this movie is that you really cant put it in any bracket (no matter how hard you try for the purpose of reviewing).
Set somewhere in the future we meet a small group of Natives from the Varosha tribe. Tribe leader Nus (Luke D’Silva) has brought his three bravest and best to take part in a Violent trial to determine who should be leader of the Tribe when Nus expires. As is always the way, the three in question have very differing personalities. Eiren (Jade Hobday) is as deadly as she is determined and somewhat sexy (think Milla Jovovich in Resident Evil, Keira Knightley in King Arthur, Rhona Mitra in Doomsday). She is up against the wreckless headstrong bad ass Ares (Marc Zammit) who believes he is the only man fit enough to lead, rounding off the trio is Thade (Adam Bond) a very loyal confidant to the tribe but its all a bit over his head. Once the trial begins everything really turns to shit as the 3 discover a strange woman being chased by band of Vicious Lunatics in creepy masks. They must band to together to stay alive, all the while trying to prove they are the best candidate for leader, Winner is left standing at daybreak… Hopefully.
It is hard for me to believe that this is Tom Paton’s first full length feature film. He has a very clear idea of what he is doing with getting the best out of his strong leading cast, the Cinematography in this movie is gorgeous at times showing Paton is well aware of his on location surroundings and can direct his movie as such to show us this. Sometimes just the swooping shots over the top of the trees keep make you pause to admire. He has taken a number of Genres mashed them up and made a solid as hell flick that not only stands on its own but also serves as what could potentially be a great intro to a new series of flicks hat breath new life into some of these Genres, especially the Dystopian World End-y ones in the same vein as Neil Marshalls Doomsday.
I don’t want to keep raving on too much because you guys should really see this flick. It is available on all good streaming sites and video on demand services and I guarantee you will get a kick out of it, even if only for the Bitchin as hell soundtrack. I wont lie the music alone sucks you right in. I really enjoyed the movie and can easily see a sequel in fact if you do enjoy the movie, I recommend you stick around till the end of the credits (No Spoilers).
Bob Mann (459 KP) rated Babyteeth (2019) in Movies
Aug 25, 2020
I've had more fun at the orthodontist's
Now, before I start, I know I'm likely to be at odds with a lot of viewers on this one. Having had a glance at the IMDB ratings, I can see a lot of arthouse love for this Australian movie. But this really was not for me.
Eliza Scanlen plays Australian schoolgirl Milla, displaying typically rebellious symptoms of adolescence but hampered by a crippling medical issue. She meets a 23-year old drug addict, Moses (Toby Wallace), and the pair feel an immediate pull towards each other, much to the horror of her parents Henry (Ben Mendelsohn) and Anna (Essie Davis). The kids are dysfunctional (for different reasons); the parents are not much better. Adding to the drama is a strange violin teacher (Eugene Gilfedder) and a pregnant (MILF-to-be) next door neighbour (Emily Barclay). We follow the life and love of Milla as she struggles with her circumstances... and the last of her Babyteeth.
I can draw parallels here to the movie "Animals" from last year. Indeed to the Oscar-winner "Moonlight" from four year's ago. I could readily perceive it to be intelligent and artfully produced. But I'm afraid I felt zero empathy or pull from any of the characters. Given that, and the slow burn of writer Rita Kalnejais's screenplay, I found myself constantly looking at my watch for the last half-hour of the movie.
The movie's not without its merits though. Babyteeth has picked up a number of nominations, and as many wins, on the international film-festival circuit, mostly for the direction of Shannon Murphy. This is a first-time feature for TV-director Murphy (she directed two episodes from this year's series of "Killing Eve" for example). Awards have also gone to Toby Wallace for his portrayal of the slightly unhinged and unpredictable Moses. But for me, it was Eliza Scanlen's performance as Milla that appealed to me most and kept my attention. Other-worldly and slightly ethereal, she pulls off the role well. Scanlen was of course Beth March in the recent superb version of "Little Woman". (She's a young lady with great potential, but she needs to be careful not to get typecast as sickly waifs!)
Babyteeth was for me a curate's egg in the photography department. Cinematography was by Andrew Commis, and I found it both breathtaking and frustrating in almost equal measure. There's a scene towards the end of the movie with Milla's face half-lit in the moonlight that was reminiscent to me of the star-child in "2001: A Space Odyssey". Simply gorgeous. And scenes in a nightclub are both strangely and effectively shot. But - and art-house movies seem to mandate this approach - the movie is shot on handheld cameras. This makes a lot of the shots drift in and out of focus. Moreover - and most frustratingly for me - it makes the multitude of scene titles, employed in the telling, float ever-so-slightly against the backgrounds, with a generally nauseating effect.
I'll no doubt feel a right Charlie if Babyteeth gets into the Oscars nominations short-list. But for me, it just wasn't engaging enough to be entertaining. It's billed as a "Comedy Drama". While there were a few good comic lines, it rarely made me do more than smile. And as for the drama, I'm afraid tears were far from being spilled. It's in no way a "bad film": it just personally wasn't for me.
(For the full graphical review please check out One Mann's Movie on https://bob-the-movie-man.com/2020/08/25/babyteeth-you-might-have-more-fun-at-the-orthodontists/.)
Eliza Scanlen plays Australian schoolgirl Milla, displaying typically rebellious symptoms of adolescence but hampered by a crippling medical issue. She meets a 23-year old drug addict, Moses (Toby Wallace), and the pair feel an immediate pull towards each other, much to the horror of her parents Henry (Ben Mendelsohn) and Anna (Essie Davis). The kids are dysfunctional (for different reasons); the parents are not much better. Adding to the drama is a strange violin teacher (Eugene Gilfedder) and a pregnant (MILF-to-be) next door neighbour (Emily Barclay). We follow the life and love of Milla as she struggles with her circumstances... and the last of her Babyteeth.
I can draw parallels here to the movie "Animals" from last year. Indeed to the Oscar-winner "Moonlight" from four year's ago. I could readily perceive it to be intelligent and artfully produced. But I'm afraid I felt zero empathy or pull from any of the characters. Given that, and the slow burn of writer Rita Kalnejais's screenplay, I found myself constantly looking at my watch for the last half-hour of the movie.
The movie's not without its merits though. Babyteeth has picked up a number of nominations, and as many wins, on the international film-festival circuit, mostly for the direction of Shannon Murphy. This is a first-time feature for TV-director Murphy (she directed two episodes from this year's series of "Killing Eve" for example). Awards have also gone to Toby Wallace for his portrayal of the slightly unhinged and unpredictable Moses. But for me, it was Eliza Scanlen's performance as Milla that appealed to me most and kept my attention. Other-worldly and slightly ethereal, she pulls off the role well. Scanlen was of course Beth March in the recent superb version of "Little Woman". (She's a young lady with great potential, but she needs to be careful not to get typecast as sickly waifs!)
Babyteeth was for me a curate's egg in the photography department. Cinematography was by Andrew Commis, and I found it both breathtaking and frustrating in almost equal measure. There's a scene towards the end of the movie with Milla's face half-lit in the moonlight that was reminiscent to me of the star-child in "2001: A Space Odyssey". Simply gorgeous. And scenes in a nightclub are both strangely and effectively shot. But - and art-house movies seem to mandate this approach - the movie is shot on handheld cameras. This makes a lot of the shots drift in and out of focus. Moreover - and most frustratingly for me - it makes the multitude of scene titles, employed in the telling, float ever-so-slightly against the backgrounds, with a generally nauseating effect.
I'll no doubt feel a right Charlie if Babyteeth gets into the Oscars nominations short-list. But for me, it just wasn't engaging enough to be entertaining. It's billed as a "Comedy Drama". While there were a few good comic lines, it rarely made me do more than smile. And as for the drama, I'm afraid tears were far from being spilled. It's in no way a "bad film": it just personally wasn't for me.
(For the full graphical review please check out One Mann's Movie on https://bob-the-movie-man.com/2020/08/25/babyteeth-you-might-have-more-fun-at-the-orthodontists/.)
Scott Tostik (389 KP) rated 3 From Hell (2019) in Movies
Oct 21, 2019
Some things are better left alone.
Contains spoilers, click to show
I'm gonna go on record and say this first...
The movie business lost one of the greatest talents it had ever seen when Sid Haig passed away. I just wanted to say thank you to him for, not only the horror nemories, but for all the amazing characters he played over the past 60 years. Now, let the final curtain close on a phenomenal career.
Okay, now that thats over, lets review this shit show.
Rob fucking Zombie... Have I got a bone to pick with you.
Have you ever heard the saying "he went to the well too many times,"?
Such as the case woth this final installment of the Firefly films.
There was no chemisty between Bill Moseley and Richard Brake... Maybe a little... It flashed through here and there, but it never came to pass.
Sherri Moon Zombie floats along as a calmer more....medicated Baby. But she just doesnt seem to be in to it like she was previously.
Before people get on me about Zombie, I am a fan. I love his music, movies and artwork. I have always been oneof his biggest supporters. When he "destroyed" Halloween. I was there, sticking up for him until my ears bled. When people said Lords of Salem was a shitty art house movie... I was there... Holding my banner high saying "Everyone makes an art flick once in a while... Hell, Argento made a career of it. When 31 came a long... I painted my face white and punched myself til i bled out my nose and mouth... Metaphorically of course... Im not certifiable...
My point is I have stuck up for R0b Zombie for most of his directing and writing lifetime... But I can no longer do so.
This movie fell a part not too long after it started. From Otis walking the ramps of courthouses and jails spouting off lime Manson... Too Baby appearing to be more off her rocker than usual, reminding me of Aileen Wournos...
Seeing Captain Spaulding for the brief few minutes made the film worth it for me. Listening to Baby and Otis talk about him in the 2nd act nearly brought the waterfalls from the eyes... But i refrained.
Here we have a movie that could've been something special had it been made 10 years ago.
I am saddened not only by the passing of Mr. Haig, but that this movie was a let down... It had its moments of over the top gore and killer dialogue. And it has a scene that will forever be engrained in my brain. But I just can't give it apassing grade.
Never fear Mr. Zombie, I still have your back... Abd I always will. But this time I'm standing in front of you... Telling you, honestly, I didn't like it.
The movie business lost one of the greatest talents it had ever seen when Sid Haig passed away. I just wanted to say thank you to him for, not only the horror nemories, but for all the amazing characters he played over the past 60 years. Now, let the final curtain close on a phenomenal career.
Okay, now that thats over, lets review this shit show.
Rob fucking Zombie... Have I got a bone to pick with you.
Have you ever heard the saying "he went to the well too many times,"?
Such as the case woth this final installment of the Firefly films.
There was no chemisty between Bill Moseley and Richard Brake... Maybe a little... It flashed through here and there, but it never came to pass.
Sherri Moon Zombie floats along as a calmer more....medicated Baby. But she just doesnt seem to be in to it like she was previously.
Before people get on me about Zombie, I am a fan. I love his music, movies and artwork. I have always been oneof his biggest supporters. When he "destroyed" Halloween. I was there, sticking up for him until my ears bled. When people said Lords of Salem was a shitty art house movie... I was there... Holding my banner high saying "Everyone makes an art flick once in a while... Hell, Argento made a career of it. When 31 came a long... I painted my face white and punched myself til i bled out my nose and mouth... Metaphorically of course... Im not certifiable...
My point is I have stuck up for R0b Zombie for most of his directing and writing lifetime... But I can no longer do so.
This movie fell a part not too long after it started. From Otis walking the ramps of courthouses and jails spouting off lime Manson... Too Baby appearing to be more off her rocker than usual, reminding me of Aileen Wournos...
Seeing Captain Spaulding for the brief few minutes made the film worth it for me. Listening to Baby and Otis talk about him in the 2nd act nearly brought the waterfalls from the eyes... But i refrained.
Here we have a movie that could've been something special had it been made 10 years ago.
I am saddened not only by the passing of Mr. Haig, but that this movie was a let down... It had its moments of over the top gore and killer dialogue. And it has a scene that will forever be engrained in my brain. But I just can't give it apassing grade.
Never fear Mr. Zombie, I still have your back... Abd I always will. But this time I'm standing in front of you... Telling you, honestly, I didn't like it.
Gareth von Kallenbach (980 KP) rated Fright Night (2011) in Movies
Aug 7, 2019
Twenty-six years ago, “Fright Night” premiered in theaters and went on to become a fondly remembered title amongst horror fans. The movie cleverly combined horror and humor to create a fresh take on the vampire and teen horror genres which had started to grow stale. While the movie spawned a largely forgettable direct to video sequel, the original film has remained popular over the years. So, when I first heard that they were planning on remaking the film I was skeptical as I felt it would be very difficult to match the original film.
Boasting an impressive cast which includes Anton Yelchin, Colin Farrell, David Tennant, Christopher Mintz-Plasse, and Toni Collette, the remake does not try to reinvent the wheel, but instead takes the formula of the original and creates an entirely new entry into the saga.
For those unfamiliar with the series, Yelchin stars as Charlie Brewster, a young man who is trying to balance watching over his single mother, and his growing relationship with a girl way out of his league named Amy (Imogen Poots). He is also wrestling with becoming part of a cooler crowd at the cost of alienating his geeky former best friend, Ed, played by Christopher Mintz-Plasse.
Colin Farrell plays the handsome and suave new next door neighbor who easily charms Charlie’s mom, played by Toni Colette. Unbeknownst to his neighbors, the charming and charismatic Jerry, played by Colin Ferrell, is actually a vampire who’s come to their Las Vegas suburb to continue his nighttime hunts. Ed has become suspicious of the recent disappearances in their community and confides to Charlie that he’s had Jerry under surveillance and knows that he is a vampire.
Needless to say this does not sit well with Charlie, who distances himself further from Ed. But when Ed goes missing, Charlie decides to do some investigating of his own. Charlie turns to a local Vegas performance artist named Peter Vincent (David Tennant), whose vampire-themed show portrays him as an expert in fighting the undead. While at first skeptical over Charlie’s claims, a few devastating confrontations with Jerry and his minions forces Vincent to rethink his role. The two unlikely allies soon find themselves in a deadly race against time to defeat Jerry and save their loved ones before it’s too late.
The film cleverly combines horror and comedy and does a good job of providing some suspenseful moments in between the blood and gore, managing to squeeze in more than a few laughs along the way. While not overly scary, the visual effects work is solid and aside from the converted 3-D is a really enjoyable to watch. The film would’ve been much better had it been shot in 3-D or simply left as a 2-D film as the conversion really didn’t offer anything of value as is often the case in these lab converted efforts.
The cast works very well with one another and Farrell cheekily introduces a few new wrinkles to the vampire lore. I really enjoyed David Tennant’s performance and should they do a sequel I certainly hope that they bring him back. Anton Yelchin gives a reliable performance but I was surprised that Christopher Mintz-Plasse did not have a bigger role but he does have some memorable moments in the film. What really impressed me was that the film did not attempt to do a shot-by-shot remake of the original but instead took the premise of the original and offered a fresh take that easily could have been issued as the third chapter in the series rather than a reboot. While there were nods to the original, outside of the premise it was very much its own film.
The film is not going to set any high marks for new standards in horror nor is the plot fresh and original. It simply knows what its target audience and source material are and sets a course right down the middle without attempting to deviate too much one way or another. “Fright Night” just might be perfect for those looking for a dose of nostalgia and some highly suspenseful, fun entertainment.
Boasting an impressive cast which includes Anton Yelchin, Colin Farrell, David Tennant, Christopher Mintz-Plasse, and Toni Collette, the remake does not try to reinvent the wheel, but instead takes the formula of the original and creates an entirely new entry into the saga.
For those unfamiliar with the series, Yelchin stars as Charlie Brewster, a young man who is trying to balance watching over his single mother, and his growing relationship with a girl way out of his league named Amy (Imogen Poots). He is also wrestling with becoming part of a cooler crowd at the cost of alienating his geeky former best friend, Ed, played by Christopher Mintz-Plasse.
Colin Farrell plays the handsome and suave new next door neighbor who easily charms Charlie’s mom, played by Toni Colette. Unbeknownst to his neighbors, the charming and charismatic Jerry, played by Colin Ferrell, is actually a vampire who’s come to their Las Vegas suburb to continue his nighttime hunts. Ed has become suspicious of the recent disappearances in their community and confides to Charlie that he’s had Jerry under surveillance and knows that he is a vampire.
Needless to say this does not sit well with Charlie, who distances himself further from Ed. But when Ed goes missing, Charlie decides to do some investigating of his own. Charlie turns to a local Vegas performance artist named Peter Vincent (David Tennant), whose vampire-themed show portrays him as an expert in fighting the undead. While at first skeptical over Charlie’s claims, a few devastating confrontations with Jerry and his minions forces Vincent to rethink his role. The two unlikely allies soon find themselves in a deadly race against time to defeat Jerry and save their loved ones before it’s too late.
The film cleverly combines horror and comedy and does a good job of providing some suspenseful moments in between the blood and gore, managing to squeeze in more than a few laughs along the way. While not overly scary, the visual effects work is solid and aside from the converted 3-D is a really enjoyable to watch. The film would’ve been much better had it been shot in 3-D or simply left as a 2-D film as the conversion really didn’t offer anything of value as is often the case in these lab converted efforts.
The cast works very well with one another and Farrell cheekily introduces a few new wrinkles to the vampire lore. I really enjoyed David Tennant’s performance and should they do a sequel I certainly hope that they bring him back. Anton Yelchin gives a reliable performance but I was surprised that Christopher Mintz-Plasse did not have a bigger role but he does have some memorable moments in the film. What really impressed me was that the film did not attempt to do a shot-by-shot remake of the original but instead took the premise of the original and offered a fresh take that easily could have been issued as the third chapter in the series rather than a reboot. While there were nods to the original, outside of the premise it was very much its own film.
The film is not going to set any high marks for new standards in horror nor is the plot fresh and original. It simply knows what its target audience and source material are and sets a course right down the middle without attempting to deviate too much one way or another. “Fright Night” just might be perfect for those looking for a dose of nostalgia and some highly suspenseful, fun entertainment.
Connor Sheffield (293 KP) rated Evil Never Dies by Lesbian Bed Death in Music
Jul 24, 2017
New vocals are powerful (2 more)
Awesome Rock
More classic horror references\songs
New Vocals, same great Rock!
Sienna Venom is absolutely awesome as the new vocals for Lesbian Bed Death. I was introduced to this band at the time of Kittie Racchea being the vocalist and was saddened to hear she was departing from the band, but also couldn't wait to hear someone new take over and bring us the new era of LBD music. Myself, like many fans were not disappointed.
Sienna Venom is strong and sexy and that comes across in her vocals. Songs like Book of the Dead, Drag Me To Hell and Son of a Thousand Maniacs show her strong dominating attitude whilst songs like Evil Never Dies, and Make Your Wish, bring out the sexiness that comes with having a female as the lead vocalist. That's not to say that Male vocalist's can't sound sexy to certain audiences, but I am simply stating that this band has always been lead by female vocals and that those vocals have always shown strength, beauty and sexiness, and Sienna Venom is carrying on that tradition in her own new way.
Book of the Dead is a song about the Necronomicon from Evil Dead, and Son of a Thousand Maniacs, (Watch the music video) is inspired by and certainly has aspects of the Nightmare on Elm Street franchise. The horror movie connections have always been something I love about this band, and the lyrics are always brilliantly written and performed to a rocking beat, that'll easily get stuck on repeat in your head.
If you haven't listened to this album yet, then what are you waiting for? Watch the music video's above, and listen to the rest of the album. They're awesome and so is their music!
Sienna Venom is strong and sexy and that comes across in her vocals. Songs like Book of the Dead, Drag Me To Hell and Son of a Thousand Maniacs show her strong dominating attitude whilst songs like Evil Never Dies, and Make Your Wish, bring out the sexiness that comes with having a female as the lead vocalist. That's not to say that Male vocalist's can't sound sexy to certain audiences, but I am simply stating that this band has always been lead by female vocals and that those vocals have always shown strength, beauty and sexiness, and Sienna Venom is carrying on that tradition in her own new way.
Book of the Dead is a song about the Necronomicon from Evil Dead, and Son of a Thousand Maniacs, (Watch the music video) is inspired by and certainly has aspects of the Nightmare on Elm Street franchise. The horror movie connections have always been something I love about this band, and the lyrics are always brilliantly written and performed to a rocking beat, that'll easily get stuck on repeat in your head.
If you haven't listened to this album yet, then what are you waiting for? Watch the music video's above, and listen to the rest of the album. They're awesome and so is their music!
Teeny (11 KP) rated Hereditary (2018) in Movies
Jul 3, 2018
The trailer lies
Pay attention for this one folks. The prize is in the details.
I will try to avoid spoilers but I recommend going in having seen nothing except maybe the trailer.
This film is a mystery horror. It's not in your face, it's suggestive. Every shot is thought out and significant, I'm sure I missed a hundred things. The whole time I was nervously trying to understand all the little clues that seemed out of place. But still my theories were so wrong. It may be that no theory us fans come up with is wrong or right. Not knowing is better.
The mystery and horror is only half of Hereditary in my opinion. I felt empathy for Toni Collette's character more than I felt fear. If you don't think you could handle depictions of grief then you should skip this one. My stomach still feels tense. Toni deserves every award for her performance.
I imagine a few people might call out a couple of moments as goofy or amateurish, but I feel like I need those moments. At one point very near the end the whole cinema laughed and the tension in the whole room released, and we'd been scared for a long time by that point.
By far the most beautifully crafted element of this film was the sound editing. The perfectly timed score builds and releases, playing with your adrenal response.
I will watch this movie a hundred times and enjoy it each time. It will stay with me, and I'm going to spook my mother with it to pay her back for that time we watched the Blair witch when I was a teenager and she shrieked every time I went near a corner.
I will try to avoid spoilers but I recommend going in having seen nothing except maybe the trailer.
This film is a mystery horror. It's not in your face, it's suggestive. Every shot is thought out and significant, I'm sure I missed a hundred things. The whole time I was nervously trying to understand all the little clues that seemed out of place. But still my theories were so wrong. It may be that no theory us fans come up with is wrong or right. Not knowing is better.
The mystery and horror is only half of Hereditary in my opinion. I felt empathy for Toni Collette's character more than I felt fear. If you don't think you could handle depictions of grief then you should skip this one. My stomach still feels tense. Toni deserves every award for her performance.
I imagine a few people might call out a couple of moments as goofy or amateurish, but I feel like I need those moments. At one point very near the end the whole cinema laughed and the tension in the whole room released, and we'd been scared for a long time by that point.
By far the most beautifully crafted element of this film was the sound editing. The perfectly timed score builds and releases, playing with your adrenal response.
I will watch this movie a hundred times and enjoy it each time. It will stay with me, and I'm going to spook my mother with it to pay her back for that time we watched the Blair witch when I was a teenager and she shrieked every time I went near a corner.
Andy K (10821 KP) rated Overlord (2018) in Movies
Dec 1, 2019
Saving Private Ryan meets Resident Evil!
Had heard mixed reviews on this, but saw it for 4 bucks for Black Friday so I figured I couldn't lose!
Basically, to prevent the Allied forces being massacred on D-Day, US troops are ordered to detonate a Nazi communication tower. A small band of brothers actually makes it to the ground and finds a small French town equipped with a cute French girl and her brother. When a Nazi commander comes calling for more than an interrogation, the surviving troops must decide whether t reveal themselves to save her.
I actually really got into this movie and thought the action mixed with horror was pretty cool. Some of the fight/shootout sequences were cleverly done along with some of the secrets and experiments the Nazis are hiding deep within their stronghold. There are tough decisions and ultimate sacrifices to be made and the film threads the needle between genres successfully. I could see how if you were thinking this was going to be a full out horror film you would be disappointed; however, I had kind of heard a little about it ahead of time so my expectations were redirected.
The SFX held well throughout and didn't stick out as being bad or taking you out of the action. When some of the more extreme elements are revealed, I went along with it like I was watching my son play one of his weird FPS games. A lot of the film did feel like I was watching Call of Duty or something like that. Boy do I wish I could have those yeas of my life watching my son play that crap back!
Colossally entertaining!
Basically, to prevent the Allied forces being massacred on D-Day, US troops are ordered to detonate a Nazi communication tower. A small band of brothers actually makes it to the ground and finds a small French town equipped with a cute French girl and her brother. When a Nazi commander comes calling for more than an interrogation, the surviving troops must decide whether t reveal themselves to save her.
I actually really got into this movie and thought the action mixed with horror was pretty cool. Some of the fight/shootout sequences were cleverly done along with some of the secrets and experiments the Nazis are hiding deep within their stronghold. There are tough decisions and ultimate sacrifices to be made and the film threads the needle between genres successfully. I could see how if you were thinking this was going to be a full out horror film you would be disappointed; however, I had kind of heard a little about it ahead of time so my expectations were redirected.
The SFX held well throughout and didn't stick out as being bad or taking you out of the action. When some of the more extreme elements are revealed, I went along with it like I was watching my son play one of his weird FPS games. A lot of the film did feel like I was watching Call of Duty or something like that. Boy do I wish I could have those yeas of my life watching my son play that crap back!
Colossally entertaining!
LeftSideCut (3778 KP) rated The Babysitter (2017) in Movies
Dec 5, 2019 (Updated Jan 22, 2020)
On the surface, The Babysitter looks like a by the numbers comedy horror, but thanks in no small part to Samara Weaving, it's actually a bit more than that.
Samara Weaving plays Bee, the titular babysitter, who watches over (a not so convincing)12 year old Cole (Judah Lewis) when his parents head off on vacation.
After Cole has gone to bed, he secretly stays up to see what Bee gets up to after hours, and things take a bloody turn when it become apparent that Bee and her friends are part of a Satan worshipping murder cult.
It's a simple and silly premise, but it works pretty well in this instance.
The opening 20 minutes is all out silly comedy. The chemistry between the two leads is clearly strong and a huge highlight. It's obvious that the two of them were having a blast filming this.
When the Satan worshipping murder cult part comes into play, the gore comes thick and fast (there are some genuinely nasty moments), but it continues to be funny.
The Babysitter made me laugh quite a bit, with some ridiculous dialogue and self awareness, especially from Robbie Amell.
Director McG makes a lot of Scott Pilgrim-esque style choices, but never goes too overboard, making sure they land for the most part.
The rest of the characters are portrayed as cliché annoying millennial types, obviously written as characters that we want to die, but the joke wears thin pretty quickly, especially in the case of Bella Thorne's character.
The movie is also guilty of the often seen try-hard pop culture discussion sequences, which are a little cringey, but these kind of complaints are minimal.
With an 85 minute runtime, The Babysitter is a swift and fun horror comedy romp that has a decent lead. A solid 7/10.
Samara Weaving plays Bee, the titular babysitter, who watches over (a not so convincing)12 year old Cole (Judah Lewis) when his parents head off on vacation.
After Cole has gone to bed, he secretly stays up to see what Bee gets up to after hours, and things take a bloody turn when it become apparent that Bee and her friends are part of a Satan worshipping murder cult.
It's a simple and silly premise, but it works pretty well in this instance.
The opening 20 minutes is all out silly comedy. The chemistry between the two leads is clearly strong and a huge highlight. It's obvious that the two of them were having a blast filming this.
When the Satan worshipping murder cult part comes into play, the gore comes thick and fast (there are some genuinely nasty moments), but it continues to be funny.
The Babysitter made me laugh quite a bit, with some ridiculous dialogue and self awareness, especially from Robbie Amell.
Director McG makes a lot of Scott Pilgrim-esque style choices, but never goes too overboard, making sure they land for the most part.
The rest of the characters are portrayed as cliché annoying millennial types, obviously written as characters that we want to die, but the joke wears thin pretty quickly, especially in the case of Bella Thorne's character.
The movie is also guilty of the often seen try-hard pop culture discussion sequences, which are a little cringey, but these kind of complaints are minimal.
With an 85 minute runtime, The Babysitter is a swift and fun horror comedy romp that has a decent lead. A solid 7/10.
LeftSideCut (3778 KP) rated Doom: Annihilation (2019) in Movies
Feb 7, 2020
Doom Annihilation is not a good film, no sir, but it's honestly not as terrible as I expected it to be.
The main problem stems from the low budget - a low budget doesn't always mean a bad end product, but when that end product is a sci-fi horror based on a hyper violent video game, there are going to be issues.
The whole film has a plastic cheap look to it. It works to a certain degree - it does have a kind of Starship Troopers-esque aesthetic (a good thing), but the cheap looking weapons and re used sets are a glaring eyesore.
The monsters a very generic for the most part, but I do respect that the bulk of them are practical. The CGI that is used is mostly awful, with a few exceptions - the occasional exterior shots of the base are passable, and the ending sequence doesn't look too bad - but otherwise, it's used infrequently, and for good reason.
The actors involved all do the best with what they're given - lead Amy Manson is likable enough - but the poor character writing provides us with a group of cliché ridden Marines and scientists that feel like cannon fodder.
The only concrete connection to the Doom game series that I noticed was the character of Dr Betruger, but that's it. The fact that Bethesda and id Software stayed well away from this, and that the production team were not allowed to use anything from the 2016 Doom reboot onwards, shows that maybe this shouldn't have been a thing.
As a schlocky B-movie sci-fi horror, it's not completely terrible, but I can't help but feel it shouldn't have the Doom brand attached to it, and even a cheeky Wolfenstein reference won't change my mind on that.
The main problem stems from the low budget - a low budget doesn't always mean a bad end product, but when that end product is a sci-fi horror based on a hyper violent video game, there are going to be issues.
The whole film has a plastic cheap look to it. It works to a certain degree - it does have a kind of Starship Troopers-esque aesthetic (a good thing), but the cheap looking weapons and re used sets are a glaring eyesore.
The monsters a very generic for the most part, but I do respect that the bulk of them are practical. The CGI that is used is mostly awful, with a few exceptions - the occasional exterior shots of the base are passable, and the ending sequence doesn't look too bad - but otherwise, it's used infrequently, and for good reason.
The actors involved all do the best with what they're given - lead Amy Manson is likable enough - but the poor character writing provides us with a group of cliché ridden Marines and scientists that feel like cannon fodder.
The only concrete connection to the Doom game series that I noticed was the character of Dr Betruger, but that's it. The fact that Bethesda and id Software stayed well away from this, and that the production team were not allowed to use anything from the 2016 Doom reboot onwards, shows that maybe this shouldn't have been a thing.
As a schlocky B-movie sci-fi horror, it's not completely terrible, but I can't help but feel it shouldn't have the Doom brand attached to it, and even a cheeky Wolfenstein reference won't change my mind on that.
LeftSideCut (3778 KP) rated Crawl (2019) in Movies
Feb 16, 2020
Crawl is silly. Like a lot of these types of horrors, it's really silly.
In short, hurricane season hits Florida, and when Haley sets of to find her father, they both end up stuck in the crawlspace under his house, trapped in by large alligators, and rapidly rising flood water.
It's straightforward, no messing around, and gets right to the characters being in peril. For the most part, it's a neat little thriller, that actually has the odd moment in tension, paired with decent performances from Kaya Scodelario and Barry Pepper.
The relationship between their two characters carry the film pretty well, and the actors resolve to stay muddy and soaked throughout is admirable.
The CGI effects are pretty terrible. Nowhere near Sharknado levels of embarrassing, but the small budget of Crawl really shows it's ugly head when it comes to the alligators. When they're in water, it doesn't look so awful, but out of water, they look ripped from a PlayStation 3 cutscenes. This includes the first time we see one, which significantly reduces the impact it could have had, especially after it comes immediately after a pretty good jump scare.
In terms of horror, Crawl isn't scary. As mentioned above, it's more a jump scare type of deal, but they're actually quite effective, and just about reigned in enough to not overdo it. The scariest thing about the movie is mother nature, with all too real stormy conditions on display.
Crawl is mostly enjoyable, buts it's not as fun as The Meg for example (5/10) and not quite as good as The Shallows (6/10) so it sits nicely somewhere in between. Worth a watch if you enjoy a silly monster horror now and again.
In short, hurricane season hits Florida, and when Haley sets of to find her father, they both end up stuck in the crawlspace under his house, trapped in by large alligators, and rapidly rising flood water.
It's straightforward, no messing around, and gets right to the characters being in peril. For the most part, it's a neat little thriller, that actually has the odd moment in tension, paired with decent performances from Kaya Scodelario and Barry Pepper.
The relationship between their two characters carry the film pretty well, and the actors resolve to stay muddy and soaked throughout is admirable.
The CGI effects are pretty terrible. Nowhere near Sharknado levels of embarrassing, but the small budget of Crawl really shows it's ugly head when it comes to the alligators. When they're in water, it doesn't look so awful, but out of water, they look ripped from a PlayStation 3 cutscenes. This includes the first time we see one, which significantly reduces the impact it could have had, especially after it comes immediately after a pretty good jump scare.
In terms of horror, Crawl isn't scary. As mentioned above, it's more a jump scare type of deal, but they're actually quite effective, and just about reigned in enough to not overdo it. The scariest thing about the movie is mother nature, with all too real stormy conditions on display.
Crawl is mostly enjoyable, buts it's not as fun as The Meg for example (5/10) and not quite as good as The Shallows (6/10) so it sits nicely somewhere in between. Worth a watch if you enjoy a silly monster horror now and again.