Post by hitchcockthelegend on Nov 1, 2019 15:43:52 GMT
I originally saw this as "Creepers" years ago. I was not ready then for Dario Argento's crazy vision, and just thought it was okay, although a bit far out there. I did wonder why it seemed to disappear, but then I realized it was now known as "Phenomena" instead. Now, my film tastes have been expanded over the years and I was more than ready for this experience again.
Seemed like Room with a twinge of horror. Starts strong but grows weaker as it progresses. Still, it held my attention because I was already invested in the story.
Suspiria (1977)
I originally saw this so long ago, and my tastes have changed so much since that I just knew I was more than ready for a rewatch.
This is the Argento we love, not that guy that gave us Dracula 3D! This movie is perfectly designed to throw you off centre and disturb you on all levels.
The score sounds like a combination of someone banging on a baking pan with a choir of Gremlins singing "lah lah lah" over it. It seems both silly and sinister at the same time.
The story at times seems like more of a back-drop to the Argento movie making tricks that never stop (that I love!) but it's easy enough to follow. Witches at a ballet school are up to no good, and it's fantastic.
At times I was reminded of The Shining, all the camera angles focused on the school itself, and the vibrant colors within. All that black and red together, and long shots of the lobby etc....did ole Kubrick see this movie? Hmmm...
Oh, and this movie also has maggots...maggots falling from the ceiling. Argento loves his maggots! You have been warned!
Zombieland (2009)
"My mama always told me someday I'd be good at somethin'. Who'da guessed that somethin' would be zombie killin'?"
Has it really been an entire decade since this came out? This movie still seems as fresh as a Twinkie at the start of the zombie apocalypse, never takes itself too seriously and always has another snarky one-liner to drop.
The zombies are the fast and furious variety, and they are thoroughly disgusting and serve the movie well. The cast are perfect, and this remains Bill Murray's finest work within the zombie genre.
That clown zombie is sure to cause bad dreams for people with phobias everywhere!
This movie made me realize I have to stockpile junk food for the zombie apocalypse, Hostess Fruit Pies over Twinkies any day though.
Zombieland: Double Tap (2019)
"It was so sad when the Zombie Akropolis struck..."
Nearly as much fun as the first movie, and what more can you ask than that? I laughed and enjoyed the updated zombie mutations, I like to think I'd be more of a T-800, but the truth is probably I'm more of a Homer...
Zoey Deutch as Madison is adorable, just like her mom, Lea Thompson.
Bill Murray's second zombie movie appearance of 2019, and this is definitely head and shoulders (and intestines) above The Dead Never Die!
The Wolfman (2010)
Dripping in dread and gothic atmosphere, this is a solid updating of the classic story.
It's very well done, but also seems like so many other similar movies. It has a few viceral shocks but seems a bit slow at times. Del Toro never seems that tortured as Talbot, I expected more, but he's still not bad. The rest of the cast are all very good, especially Blunt, although she doesn't have much to do until near the end. Danny Elfman's score is just perfect. Love those wolf howls!
I love your reasoned comments on it, so many horror fans went into it and were distraught not to get the monster chiller they expected. Taking that expectation away and it's a very good gothic take on the Lupine legend - especially in the extended version. My review >
Extended Cut: Proving in fact that The Wolfman is no monstrosity.
The Wolfman is directed by Joe Johnston and adapted to screenplay by Andrew Kevin Walker and David Self from Curt Siodmak's original 1941 screenplay. It stars Benicio del Toro, Anthony Hopkins, Emily Blunt and Hugo Weaving. Music is scored by Danny Elfman and Shelly Johnson is the cinematographer. Plot is set in 1891 and finds Toro as Lawrence Talbot, who upon learning of his brother's grizzly murder, returns to his estranged father's estate in Blackmoor to investigate. Upon arriving he forms an instant bond with his dead sibling's fiancée, Gwen (Blunt), but soon Lawrence finds himself mired in a world of lycanthropy and family secrets.
It had a much publicised troubled production, with a director switch, numerous release date changes and enforced cuts to the running time, sitting atop of this particular iceberg. With that it mind, film is arguably better than it had any right to be. What is now readily available is an extended cut of the film where some 17 minutes of footage have been put back into the story. Footage cut originally to foolishly speed up the moment when the first transformation from man to wolfman arrives. Is the extended cut a far better movie than the trimmed theatrical version? The answer is resounding yes it is. It still contains flaws, but now the narrative is stronger and crucially by waiting much longer for the first "big change scene", tension and anticipation now exist where previously it didn't.
In spite of some modern day advancements for this 21st Century wolfman-excessive speed for the wolf, creature smack down finale-Johnston's movie is very faithful and respectful of the 1941 original. Which is perhaps not surprising since the weight of Universal is backing this remake of one of their original classic monsters from the 30's and 40's. But it's nice to see that a remake keeps the things that made the original so beloved. Gothic texture is rich, none more so than with the mist/smog shrouded village, while the tortured sadness that permeated Lon Chaney's take on Larry Talbot back in 1941, is perfectly essayed by del Toro this time around. While the creature design itself cleaves close to the original, with Rick Baker and Dave Elsey picking up the Academy Award for Best Makeup for their excellent efforts. Fans of shred and gore are also well served here, with Johnston (The Rocketeer/Jumanji) showing a keen eye for action construction. An attack at a Gypsy camp and a bloody rampage through a bus are the stand outs, while an asylum sequence is also not to be sniffed at. Chuck in the murder mystery element, and the intriguing father and son axis, and it's a film that has more to it than merely being a CGI popcorn piece. Even Elfman's score fits neatly into the period setting.
Problem wise it comes down to Blunt and Weaving being under used, and Hopkins veering dangerously close to over hamming the omelette, yet all remain strong in characterisations. Toro, though, is not, as some have suggested, miscast. Already lupine like before transformation, he plays it perfectly troubled and brooding like. Talbot has inner demons and unanswered questions in his past, a past he has tried to shred but finds he now must confront those demons. The onset of lycanthropy serving, one feels, as a metaphor for his personal torment finally being unleashed. Toro nails it with an excellent, subdued, portrayal; though choice of hair style leaves much to be desired. Worth a mention as well is Shelly Johnson's photography, where nice atmospheric visuals complement the tone and period flavour of the piece.
More homage than outright horror, but with a little something for everyone interested in Horror/Gothic/Mystery type movies, The Wolfman in extended form is an enjoyable enough experience. 7/10
Your positive thoughts on the latest Annabelle pic gives me hope, but I'm dubious enough to just wait until it shows on cable or somebody lends me the DVD/Blu-ray!. I revisited both The Conjuring and Insidious for the challenge and both hold up as true scary movies, unfortunately they also show just how poor the subsequent sequels and spin-offs have proven to be.
Loved Zombieland and look forward with relish to Double Tap.
You don't want to see my thoughts on Suspiria, they have put me on a fatwa list by Argento nutters!
Phenomena >
Phenomena, doo-doo doo-doo-doo.
Arriving at a Swiss Academy for girls, Jennifer Corvino (Jennifer Connelly) gets embroiled in the workings of a serial killer. Her friends the insects and Professor John McGregor (Donald Pleasence) are on hand to help if possible.
Directed and co-written by horror legend Dario Argento, Phenomena is a mixed bag. Ignoring the butchered American version, which was titled Creepers, the full uncut version is still messy. Argento the director is doing good work here, which explains why the film has a sturdy reputation. His eye for striking imagery and horror scene staging is evident here for sure, but Argento the writer (along with Franco Ferrini) fails to string a decent enough narrative together. Pace is all over the place, the dialogue often boorish, while wasting Donald Pleasence is a crime against horror film making. Still, there's enough good Argento at work here to keep Phenomena above average, even if it's more for the eyes than the brain. 6/10