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BankofMarquis (1832 KP) rated Promising Young Woman (2020) in Movies
Apr 10, 2021
Powerful
Emerald Fennell’s feature length motion picture Directing debut, PROMISING YOUNG WOMAN, is a difficult film to categorize. Is it a Dark Comedy? A RomCom? A family drama? A portrait of a character’s descent? A hard critique of sexism and sexual predators? A revenge fantasy?
The answer is - it is ALL of these and thanks to a wonderful script (by Fennell), strong Direction (again, by Ferrell) and a terrific, Oscar-worthy performance in the lead role (by Carey Mulligan) it is a very effective, very powerful film.
PROMISING YOUNG WOMAN tells the tale of Cassandra who we are introduced to at a bar, obviously drunk, getting picked up (and taken advantage of) by a “nice guy” at the bar. Once back at his place, it is clear that she is NOT drunk and she confronts the “nice guy”.
To say anything else would spoil this wonderful film.
At the center of this film is Carey Mulligan (deservedly) Oscar nominated turn as Cassandra. This is a tortured soul who is looking for some sort of catharsis from a previous trauma and seeks various ways to achieve this. You see an intelligence and sadness in Cassandra at every turn and Mulligan’s performance seemed rooted in reality and was, ultimately, an effective, chillingly and (yes) sad character brought to life. It is the type of performance that I will be rooting for in the Oscar race, it’s that good.
Most of the other characters in this film fleet in and out of Cassandra’s life but all are strong performances, seemingly willing to bring their “A” game to match Mulligan’s performance and the strong script. Kudos to Jennifer Coolidge, Alison Brie, Laverne Cox, Bo Burnham, Christopher Mintz-Plasse (yes, a McLovin’ sighting!), Alfred Molina, Moly Shannon, Connie Britton and, especially, the great Clancy Brown. They all enhanced the film with their performances, working off of Mulligan effectively.
But, credit to all of this must go to Writer/Director Emerald Fennell (probably best known for playing Camilla Parker Bowles in THE CROWN) who's script is smart and thought-provoking and who’s Direction is crisp and sure. She clearly had a certain type of film in her head - the type of film that does not easily lend itself to definition/classification and packs a powerful punch at it’s conclusion. Without spoiling anything, she “ups her game” at the end of this film and I sat in thoughtful silence as the end credits ran.
Fennell is up for the Oscar for both Best Director and Best Original Screenplay and I, for one, would vote for her Screenplay hands-down.
An intriguing film that is sticking with me a few days later…always a mark of quality.
Letter Grade: A
9 Stars (out of 10) and you can take that to the Bank(ofMarquis)
The answer is - it is ALL of these and thanks to a wonderful script (by Fennell), strong Direction (again, by Ferrell) and a terrific, Oscar-worthy performance in the lead role (by Carey Mulligan) it is a very effective, very powerful film.
PROMISING YOUNG WOMAN tells the tale of Cassandra who we are introduced to at a bar, obviously drunk, getting picked up (and taken advantage of) by a “nice guy” at the bar. Once back at his place, it is clear that she is NOT drunk and she confronts the “nice guy”.
To say anything else would spoil this wonderful film.
At the center of this film is Carey Mulligan (deservedly) Oscar nominated turn as Cassandra. This is a tortured soul who is looking for some sort of catharsis from a previous trauma and seeks various ways to achieve this. You see an intelligence and sadness in Cassandra at every turn and Mulligan’s performance seemed rooted in reality and was, ultimately, an effective, chillingly and (yes) sad character brought to life. It is the type of performance that I will be rooting for in the Oscar race, it’s that good.
Most of the other characters in this film fleet in and out of Cassandra’s life but all are strong performances, seemingly willing to bring their “A” game to match Mulligan’s performance and the strong script. Kudos to Jennifer Coolidge, Alison Brie, Laverne Cox, Bo Burnham, Christopher Mintz-Plasse (yes, a McLovin’ sighting!), Alfred Molina, Moly Shannon, Connie Britton and, especially, the great Clancy Brown. They all enhanced the film with their performances, working off of Mulligan effectively.
But, credit to all of this must go to Writer/Director Emerald Fennell (probably best known for playing Camilla Parker Bowles in THE CROWN) who's script is smart and thought-provoking and who’s Direction is crisp and sure. She clearly had a certain type of film in her head - the type of film that does not easily lend itself to definition/classification and packs a powerful punch at it’s conclusion. Without spoiling anything, she “ups her game” at the end of this film and I sat in thoughtful silence as the end credits ran.
Fennell is up for the Oscar for both Best Director and Best Original Screenplay and I, for one, would vote for her Screenplay hands-down.
An intriguing film that is sticking with me a few days later…always a mark of quality.
Letter Grade: A
9 Stars (out of 10) and you can take that to the Bank(ofMarquis)
Bo Burnham recommended Raw (2017) in Movies (curated)
BookInspector (124 KP) rated Gather the Daughters in Books
Sep 24, 2020
The first thing which attracted me to this book, was the cover; I think it’s absolutely stunning and incredibly mysterious. The second reason why I picked it up, was the blurb; cult on an island, I was absolutely intrigued with this, and it absolutely drawn me in once I started it.
This book absolutely hooked me with its diverse and complex characters. This novel is told by children, sharing different perspectives of the events happening in the book, and beautifully opening up their personalities and feelings. I loved how Melamed is giving insight into different lives, first of children, and then how it feels, once you are forced into adulthood. There is a great variety of characters to choose from, and everyone will be able to find their favourite. My favourite one was Janey, I absolutely loved her strength and her wish to do something, to change the lives of young girls. All the characters are carrying so much pain and sadness that it literary breaks your heart while reading the book. That’s why, if you are sensitive towards child abuse and incest, you might want to skip this one.
The plot of this book was incredibly well thought through and very amusing. Melamed’s experience with traumatised children was shining through in this novel. The whole narrative travels through seasons, starting in spring and finishing in spring again. Every season brought in different stories and different feelings. I really enjoyed the creative twists and turns in this novel, which made it more enticing and didn’t leave me bored. The topics discussed in this book are endless; every girl shared the issue they were facing, that’s why this book is really fascinating and intriguing. Even though this is a work of fiction, there are some of the described things still happening in this world. For example, child marriage and abusing children as soon as they hit puberty, is still a common practice in South Asia and Middle East, and is absolutely horrifying.
The writing style of this novel is gorgeous and I absolutely loved it. The chapters are decent length and didn’t make me bored while reading. The ending of the book rounded up everything really nicely, leaving me satisfied, but questioning at the same time. I think it is absolutely stunning debut of Melamed and I will be looking forward to read more of her books. So, to conclude, this is a very dark and sorrowful novel filled with complex family relations and children, who want to be children as long as they can. I do strongly recommend this book and I hope people find it as fascinating, as I did.
Was given this book by publisher for honest review.
This book absolutely hooked me with its diverse and complex characters. This novel is told by children, sharing different perspectives of the events happening in the book, and beautifully opening up their personalities and feelings. I loved how Melamed is giving insight into different lives, first of children, and then how it feels, once you are forced into adulthood. There is a great variety of characters to choose from, and everyone will be able to find their favourite. My favourite one was Janey, I absolutely loved her strength and her wish to do something, to change the lives of young girls. All the characters are carrying so much pain and sadness that it literary breaks your heart while reading the book. That’s why, if you are sensitive towards child abuse and incest, you might want to skip this one.
The plot of this book was incredibly well thought through and very amusing. Melamed’s experience with traumatised children was shining through in this novel. The whole narrative travels through seasons, starting in spring and finishing in spring again. Every season brought in different stories and different feelings. I really enjoyed the creative twists and turns in this novel, which made it more enticing and didn’t leave me bored. The topics discussed in this book are endless; every girl shared the issue they were facing, that’s why this book is really fascinating and intriguing. Even though this is a work of fiction, there are some of the described things still happening in this world. For example, child marriage and abusing children as soon as they hit puberty, is still a common practice in South Asia and Middle East, and is absolutely horrifying.
The writing style of this novel is gorgeous and I absolutely loved it. The chapters are decent length and didn’t make me bored while reading. The ending of the book rounded up everything really nicely, leaving me satisfied, but questioning at the same time. I think it is absolutely stunning debut of Melamed and I will be looking forward to read more of her books. So, to conclude, this is a very dark and sorrowful novel filled with complex family relations and children, who want to be children as long as they can. I do strongly recommend this book and I hope people find it as fascinating, as I did.
Was given this book by publisher for honest review.
Bong Mines Entertainment (15 KP) rated Same Old - Single by SHY Martin in Music
Jun 25, 2019
SHY Martin (Sara Hjellström) is a singer-songwriter raised in the small town of Lerdala, Sweden. Not too long ago, she released a lyric video for her “Same Old” single.
“My whole life changed after I moved. I lived the dream he’d always supported, and I got to see the world we’d both dreamt of. For a long time, I thought I wasn’t allowed to be hurt or miss him because I was the one who left. Today, I know that sometimes it’s just as hard to be the one who has to leave, if not harder.” – SHY Martin
‘Same Old’ tells an elegant tale which touches on a bittersweet personal story of SHY Martin.
Apparently, not too long ago, she moved away to music school, and in doing so, she had to break up with a supportive lost love.
‘Same Old’ contains a relatable storyline, ear-welcoming vocals, and lavish instrumentation scented with an electro-pop aroma.
Also, the Hampus Hjellström-directed audiovisual showcases moments from SHY Martin’s recent European tour.
‘Same Old’ follows the April release of SHY’s “Out of My Hands” single. Also, the likable tune follows in the success of her debut EP, entitled, “Overthinking”, which has amassed a collective 100M+ Spotify streams.
The impactful EP was driven by the singles “Forget To Forget”, “Good Together”, and “Just A Little Longer”.
Not too long ago, SHY established herself as a songwriter, which led to a co-write and feature vocals on Mike Perry’s “The Ocean” single.
SHY Martin recorded the vocals in one-take in her home wardrobe after a tonsil operation. She wrote the song with longtime Swedish songwriting partner, SHY Nodi, whom she has written several other songs with.
The track won Spotify Sweden’s Most Streamed Song of the Year with a groundbreaking 550M+ streams.
Since then, Martin’s songwriting catalog has gone on to generate 2.5 billion Spotify streams.
Her credits include “First Time” by Kygo ft. Ellie Goulding, “(Not) The One” by Bebe Rexha, “All We Know” by The Chainsmokers, “I Wanna Know” by NOTD (ft. Bea Miller), as well as songs for Jess Glynne, Astrid S, and ALMA, among others.
“I was never good at talking about my feelings so I wrote them down instead. When I felt sad, me and my mum wrote letters to each other about it. So expressing myself through songs came pretty naturally for me.” – SHY Martin
SHY Martin began writing songs and poetry in her youth as a means of self-expression. After winning a music contest at her school at age 17, she signed with EMI for a period though ultimately decided to go independent.
Recently, she just wrapped up her first European headline tour, which traversed 14 cities.
“My whole life changed after I moved. I lived the dream he’d always supported, and I got to see the world we’d both dreamt of. For a long time, I thought I wasn’t allowed to be hurt or miss him because I was the one who left. Today, I know that sometimes it’s just as hard to be the one who has to leave, if not harder.” – SHY Martin
‘Same Old’ tells an elegant tale which touches on a bittersweet personal story of SHY Martin.
Apparently, not too long ago, she moved away to music school, and in doing so, she had to break up with a supportive lost love.
‘Same Old’ contains a relatable storyline, ear-welcoming vocals, and lavish instrumentation scented with an electro-pop aroma.
Also, the Hampus Hjellström-directed audiovisual showcases moments from SHY Martin’s recent European tour.
‘Same Old’ follows the April release of SHY’s “Out of My Hands” single. Also, the likable tune follows in the success of her debut EP, entitled, “Overthinking”, which has amassed a collective 100M+ Spotify streams.
The impactful EP was driven by the singles “Forget To Forget”, “Good Together”, and “Just A Little Longer”.
Not too long ago, SHY established herself as a songwriter, which led to a co-write and feature vocals on Mike Perry’s “The Ocean” single.
SHY Martin recorded the vocals in one-take in her home wardrobe after a tonsil operation. She wrote the song with longtime Swedish songwriting partner, SHY Nodi, whom she has written several other songs with.
The track won Spotify Sweden’s Most Streamed Song of the Year with a groundbreaking 550M+ streams.
Since then, Martin’s songwriting catalog has gone on to generate 2.5 billion Spotify streams.
Her credits include “First Time” by Kygo ft. Ellie Goulding, “(Not) The One” by Bebe Rexha, “All We Know” by The Chainsmokers, “I Wanna Know” by NOTD (ft. Bea Miller), as well as songs for Jess Glynne, Astrid S, and ALMA, among others.
“I was never good at talking about my feelings so I wrote them down instead. When I felt sad, me and my mum wrote letters to each other about it. So expressing myself through songs came pretty naturally for me.” – SHY Martin
SHY Martin began writing songs and poetry in her youth as a means of self-expression. After winning a music contest at her school at age 17, she signed with EMI for a period though ultimately decided to go independent.
Recently, she just wrapped up her first European headline tour, which traversed 14 cities.
Bong Mines Entertainment (15 KP) rated Live From Studio Hotel Earth by Laura Jean Anderson in Music
Jun 25, 2019
Laura Jean Anderson is an LA-based singer-songwriter from Olympia, Washington. Not too long ago, she released an EP of live in-studio tracks, entitled, “Live From Studio Hotel Earth”.
The 6-track project contains songs from her debut EP, entitled, “Lonesome No More”, alongside a cover of The White Stripes’ “I’m Lonely (But I Ain’t That Lonely Yet)” single.
“I miss my mother, I miss being her one. As crazy as I was, I guess I wasn’t much fun. Sometimes, I miss her so much, want to hop on the next jet. I get lonely, but I ain’t that lonely yet.” – lyrics
‘I’m Lonely (But I Ain’t That Lonely Yet)’ tells a depressing tale of a young woman who is in need of human contact. Apparently, she doesn’t want to bother her loved ones, therefore, she doesn’t tell them that she misses them.
Later, she admits that sometimes she wants to give them a call, but doesn’t want to feel like a pest. Even though she feels regret for being desolate, she keeps on keeping on. What she really wants is to find a friend, someone who she can talk to one on one.
‘I’m Lonely (But I Ain’t That Lonely Yet)’ contains a gloomy storyline, ear-welcoming vocals, and guitar-driven instrumentation flavored with sentimental blues and folk elements.
“Making a record and having the vast possibilities of production and instrumentation is exciting, but there is something special about limitation. This live EP brings the songs back to how they were written. Back to those intimate moments of writing alone late at night with just me and my guitar. These songs are really personal to me. All about very vivid moments and stories of my life so being able to record them stripped-down and intimately was really emotional but beautiful. The day of the recording was really special for me. I’m a huge believer in the power of a community of people. So it was really special having my old friend Theo Karon record this in his new studio.” – Laura Jean Anderson
Laura Jean Anderson had a strict Mormon upbringing. During her teenage years, she used music as an outlet for rebellion and enhanced her vocal skill in church choirs.
After a bronchitis-ridden audition, she gained acceptance to California Institute of the Arts (CalArts), where she studied classical voice.
Since then, she has gained experience as a blue collared musician who built her career working odd jobs which involved painstaking hard labor.
Get acquainted with her music by streaming her “Live From Studio Hotel Earth” EP via Spotify.
Laura Jean Anderson recorded her “Live From Studio Hotel Earth” EP in one-take.
Also, this summer, she will embark on a tour as direct support with L.A. alt-rock outfit Grizfolk.
The 6-track project contains songs from her debut EP, entitled, “Lonesome No More”, alongside a cover of The White Stripes’ “I’m Lonely (But I Ain’t That Lonely Yet)” single.
“I miss my mother, I miss being her one. As crazy as I was, I guess I wasn’t much fun. Sometimes, I miss her so much, want to hop on the next jet. I get lonely, but I ain’t that lonely yet.” – lyrics
‘I’m Lonely (But I Ain’t That Lonely Yet)’ tells a depressing tale of a young woman who is in need of human contact. Apparently, she doesn’t want to bother her loved ones, therefore, she doesn’t tell them that she misses them.
Later, she admits that sometimes she wants to give them a call, but doesn’t want to feel like a pest. Even though she feels regret for being desolate, she keeps on keeping on. What she really wants is to find a friend, someone who she can talk to one on one.
‘I’m Lonely (But I Ain’t That Lonely Yet)’ contains a gloomy storyline, ear-welcoming vocals, and guitar-driven instrumentation flavored with sentimental blues and folk elements.
“Making a record and having the vast possibilities of production and instrumentation is exciting, but there is something special about limitation. This live EP brings the songs back to how they were written. Back to those intimate moments of writing alone late at night with just me and my guitar. These songs are really personal to me. All about very vivid moments and stories of my life so being able to record them stripped-down and intimately was really emotional but beautiful. The day of the recording was really special for me. I’m a huge believer in the power of a community of people. So it was really special having my old friend Theo Karon record this in his new studio.” – Laura Jean Anderson
Laura Jean Anderson had a strict Mormon upbringing. During her teenage years, she used music as an outlet for rebellion and enhanced her vocal skill in church choirs.
After a bronchitis-ridden audition, she gained acceptance to California Institute of the Arts (CalArts), where she studied classical voice.
Since then, she has gained experience as a blue collared musician who built her career working odd jobs which involved painstaking hard labor.
Get acquainted with her music by streaming her “Live From Studio Hotel Earth” EP via Spotify.
Laura Jean Anderson recorded her “Live From Studio Hotel Earth” EP in one-take.
Also, this summer, she will embark on a tour as direct support with L.A. alt-rock outfit Grizfolk.
Lee (2222 KP) rated The Rental (2020) in Movies
Sep 2, 2020
Business startup partners Charlie (Dan Stevens) and Mina (Sheila Vand) are celebrating the success of their company by looking at Airbnb rentals for a weekend getaway. As Mina casually rests on Charlie, looking over his shoulder at the amazing, but expensive house they’re thinking of renting, you get the impression they are a couple. That is, until Charlie’s brother Josh (Jeremy Allen White) walks in, and we learn that it is Josh and Mina who are together. And that the weekend trip is to include Charlie’s wife Michelle (Alison Brie).
Some obstacles to a perfect weekend arise before the foursome even make it to their rented house. Josh has decided to bring along his dog, Reggie, a violation of the homeowners no-pets rule, and Mina is concerned that the homeowner may be racist. She had tried to book the exact same house just an hour before Charlie did but was turned down, and she believes her Middle-Eastern name (her surname is Mohammadi) was the reason.
They arrive at the idyllic house, set out in the woods and right by the ocean, where they are greeted by the caretaker, and brother of the homeowner, Taylor (Toby Huss). He’s not exactly a welcoming barrel of laughs though – unhappy at the group for arriving an hour late and definitely giving off some racist vibes towards Mina which only add fuel to the concerns she’d raised in the car earlier.
With Taylor gone, the couples begin to settle into their weekend break with some music, drink and drugs. When Josh and Michelle decide to get an early night in preparation for a planned hike the next day, business partners Charlie and Mina decide to go and try out the hottub. And, well, I’m sure you can figure out how much of a mistake that turns out to be. To top it all off, somebody seems to be watching the group from afar…
The Rental is the directorial debut of actor Dave Franco. It’s a horror movie, but spends half of its 88 minute runtime with very little happening at all. If it wasn’t for the foreboding music, and the occasional hint at some sort of stalker, you’d think this was just a drama about two couples getting themselves into a whole heap of trouble in a strangers house.
When things do begin to shift, some potentially interesting twists and plot setups quickly fall by the wayside, as The Rental slips into being just a very generic slasher movie with nothing we haven’t seen before. I suddenly realised just how interesting that first half was in comparison and what a waste of a great cast it was.
Some obstacles to a perfect weekend arise before the foursome even make it to their rented house. Josh has decided to bring along his dog, Reggie, a violation of the homeowners no-pets rule, and Mina is concerned that the homeowner may be racist. She had tried to book the exact same house just an hour before Charlie did but was turned down, and she believes her Middle-Eastern name (her surname is Mohammadi) was the reason.
They arrive at the idyllic house, set out in the woods and right by the ocean, where they are greeted by the caretaker, and brother of the homeowner, Taylor (Toby Huss). He’s not exactly a welcoming barrel of laughs though – unhappy at the group for arriving an hour late and definitely giving off some racist vibes towards Mina which only add fuel to the concerns she’d raised in the car earlier.
With Taylor gone, the couples begin to settle into their weekend break with some music, drink and drugs. When Josh and Michelle decide to get an early night in preparation for a planned hike the next day, business partners Charlie and Mina decide to go and try out the hottub. And, well, I’m sure you can figure out how much of a mistake that turns out to be. To top it all off, somebody seems to be watching the group from afar…
The Rental is the directorial debut of actor Dave Franco. It’s a horror movie, but spends half of its 88 minute runtime with very little happening at all. If it wasn’t for the foreboding music, and the occasional hint at some sort of stalker, you’d think this was just a drama about two couples getting themselves into a whole heap of trouble in a strangers house.
When things do begin to shift, some potentially interesting twists and plot setups quickly fall by the wayside, as The Rental slips into being just a very generic slasher movie with nothing we haven’t seen before. I suddenly realised just how interesting that first half was in comparison and what a waste of a great cast it was.
Matthew Krueger (10051 KP) rated The Last House on the Left (1972) in Movies
Sep 3, 2020
To Avoid Fainting Keep Repeating...Its Only A Movie
The Last House on the Left- was wes's directoral debut and what a start. Its a disturbing, psychological, graphic, exploitation horror film.
The plot: Teenagers Mari (Sandra Cassel) and Phyllis (Lucy Grantham) head to the city for a concert, then afterward go looking for drugs. Instead, they find a gang of escaped convicts who subject them to a night of torture and rape. The gang then kills the girls in the woods, not realizing they're near Mari's house. When they pose as salesmen and are taken in by Mari's mother (Cynthia Carr) and father (Gaylord St. James), it doesn't take the parents long to figure out their identities and plot revenge.
Wes Craven, who had no money at the time, was put on the job of synchronizing dailies for Cunningham's re-shoot. He soon began editing the film with Cunningham. He soon began editing the film with Cunningham and they became good friends. Hallmark bought the film for $10,000, and it was considered a "hit"; this prompted Hallmark to persuade them to make another film with a bigger budget, and gave them $90,000 to shoot a horror film.
This script, written under the title Night of Vengeance, has never been released; only a brief glimpse is visible in the featurette Celluloid Crime of the Century (a 2003 documentary on the making of the film).
The majority of the cast of The Last House on the Left were inexperienced or first-time actors, with the exception of Richard Towers, Eleanor Shaw, and Sandra Peabody who were all soap opera regulars and had prior film roles.
The film underwent multiple title changes, with its investors initially titling it Sex Crime of the Century. However, after test screenings were completed, it was decided to change the title to Krug and Company; however, this title was found to have little draw during test screenings. A marketing specialist who was an acquaintance of Cunningham's proposed the title The Last House on the Left. Craven initially thought the title was "terrible."
Due to its graphic content, the film sparked protests from the public throughout the fall of 1972 who called for its removal from local theaters.
Promotional material capitalized on the film's graphic content and divisive reception, featuring the tagline: "To avoid fainting, keep repeating 'It's only a movie' ..." advertising campaign. Under the Last House... title, the film proved to be a hit.
Though the film passed with an R-rating by the Motion Picture Association of America, director Craven claimed that on several occasions, horrified audience members would demand that theater projectionists destroy the footage, sometimes stealing the film themselves.
It is a distubing film but it is a excellet film by a horror icon.
The plot: Teenagers Mari (Sandra Cassel) and Phyllis (Lucy Grantham) head to the city for a concert, then afterward go looking for drugs. Instead, they find a gang of escaped convicts who subject them to a night of torture and rape. The gang then kills the girls in the woods, not realizing they're near Mari's house. When they pose as salesmen and are taken in by Mari's mother (Cynthia Carr) and father (Gaylord St. James), it doesn't take the parents long to figure out their identities and plot revenge.
Wes Craven, who had no money at the time, was put on the job of synchronizing dailies for Cunningham's re-shoot. He soon began editing the film with Cunningham. He soon began editing the film with Cunningham and they became good friends. Hallmark bought the film for $10,000, and it was considered a "hit"; this prompted Hallmark to persuade them to make another film with a bigger budget, and gave them $90,000 to shoot a horror film.
This script, written under the title Night of Vengeance, has never been released; only a brief glimpse is visible in the featurette Celluloid Crime of the Century (a 2003 documentary on the making of the film).
The majority of the cast of The Last House on the Left were inexperienced or first-time actors, with the exception of Richard Towers, Eleanor Shaw, and Sandra Peabody who were all soap opera regulars and had prior film roles.
The film underwent multiple title changes, with its investors initially titling it Sex Crime of the Century. However, after test screenings were completed, it was decided to change the title to Krug and Company; however, this title was found to have little draw during test screenings. A marketing specialist who was an acquaintance of Cunningham's proposed the title The Last House on the Left. Craven initially thought the title was "terrible."
Due to its graphic content, the film sparked protests from the public throughout the fall of 1972 who called for its removal from local theaters.
Promotional material capitalized on the film's graphic content and divisive reception, featuring the tagline: "To avoid fainting, keep repeating 'It's only a movie' ..." advertising campaign. Under the Last House... title, the film proved to be a hit.
Though the film passed with an R-rating by the Motion Picture Association of America, director Craven claimed that on several occasions, horrified audience members would demand that theater projectionists destroy the footage, sometimes stealing the film themselves.
It is a distubing film but it is a excellet film by a horror icon.
Girls Are Coming Out Of The Woods
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The Spinner of Dreams
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Inventive, empathetic, and strange in all the best ways, The Spinner of Dreams draws from the...
