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Post by Captain Spencer on Nov 29, 2021 5:18:33 GMT
![](https://m.media-amazon.com/images/M/MV5BMjI1MDU1NjYzOV5BMl5BanBnXkFtZTgwOTk3MjY2MDE@._V1_.jpg) Ms. 45 (1981) After a young mute woman is raped twice in one day, she goes all Charles Bronson by blowing away any male she deems to be an intimidating creep. Once again director Abel Ferrara delves into the seedy underbelly of New York City, which gives the atmosphere some gritty flavor. Generally it is a standard exploitation revenge film, but gets a big boost from Zoë Lund's effective performance plus a shocking grand finale that takes place at a Halloween party, which is a real knockout.
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Post by FridayOnElmStreet on Nov 29, 2021 21:27:31 GMT
6/10
Pretty good holiday slasher film.
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Post by FridayOnElmStreet on Nov 29, 2021 21:29:01 GMT
3/10
As dumb as it seems.
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Post by Captain Spencer on Nov 30, 2021 3:41:56 GMT
![](https://cdn.traileraddict.com/content/e1-entertainment/case_of_bloody_iris.jpg) The Case Of The Bloody Iris (1972) A fashion model is stalked by a serial killer who has been doing some of his murdering in the apartment complex the model is living in. Not bad giallo that benefits from stylish eroticism, great camera work, and a nice music score from Bruno Nicolai. The movie also has a tendency to drift into the bizarre, most notably a minor subplot involving a strange sex cult in which the model was once a member of. And it's always a pleasure to watch the lovely Edwige Fenech, a veteran of many giallo thrillers and she's a perfect fit for them.
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Post by Captain Spencer on Dec 1, 2021 3:33:39 GMT
![](https://balladeer.files.wordpress.com/2015/05/the-visitor-2.jpg) The Visitor (1979) An old man from another dimension arrives on earth to do battle with an evil entity known as Zateen, who has taken the form of a young girl. From a technical standpoint, there is marvelous cinematography, impressive effects, and some good stuntwork. Unfortunately, there are too many flaws with the script; the story gets too weird and confusing, and certain ideas never get fully developed and go astray. It all amounts to being a second-rate Omen rip off. Average at best.
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Post by gspdude on Dec 2, 2021 13:57:24 GMT
![](https://i.pinimg.com/originals/ec/4d/41/ec4d41cdc7c9158f81e8f6e7bca1dfb0.jpg) Curse of the Fly(1965) The 3rd generation of the Delambre family has not given up on teleportation. No fly this time, but several mutants. Nice B&W horror/SciFi retro. 6.5/10.
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Post by Nalkarj on Dec 4, 2021 3:43:35 GMT
Haunted, 1995, dir. Lewis Gilbert. theravenking has recommended this woefully forgotten English ghost story a few times, and I’m happy I finally saw it. It’s so very good, with fine performances and gorgeous shot compositions. I can’t find many examples of the shots online, but the cinematography—particularly the color—is luscious throughout. (Why are so many movies nowadays literally gray? Movie after movie looks like someone sucked all the color out of them in favor of usually-ugly-as-sin grayscale.) This is probably the best example I’ve seen, not including the related Ghostwatch, of a sub-subgenre I see often in English horror movies: the haunted house story with a professional debunker as protagonist, usually with the twist that the debunker is really the ghost. Other examples, with surprisingly minute variations, are The Awakening (2011), Ghost Stories (2017), and Malevolent (2018). Here the plot, while it has many similarities with those (one scene from this was practically copied verbatim in The Awakening), kept me more on my toes; I wasn’t 100% sure if the writers were doing that twist or something else. While I did figure out what was up, it didn’t come off as anticlimax. A young Kate Beckinsale—what can I say? She is so beautiful and charming here that you can’t help falling in love with her, as Aidan Quinn’s protagonist does almost immediately. Also, I have to say, those late ’20s fashions suit her perfectly. This picture depends on spookiness rather than scares, which may not be to every horror fan’s taste but certainly is to mine. Many shots here struck me as tributes to another cinematic ghost story, The Uninvited (1944): A wispy ghost Quinn sees running across the lawn, for example, closely resembles The Uninvited’s climactic Mary Meredith. If you like The Uninvited, you’ll like this. I could nitpick this (what about the fortune teller?), but I just enjoyed it enormously. It spoke to my inner romanticism, has some surprising uses of special effects, and shows off some memorable, spooky images and a stately, and well-conveyed, haunted house. Definitely recommended.
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mgmarshall
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@mgmarshall
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Post by mgmarshall on Dec 4, 2021 16:40:21 GMT
Jacob's Ladder(Taking a brief break from my Charles Bronson kick) Intensely unsettling, grotesque, hallucinatory- this is one that really gets under my skin every time I see it. It never lets up for even a moment, leaving you feeling just as trapped and terrified as Tim Robbins. No matter where Jacob goes or whom he turns to for help, his nightmare hallucinations (or are they?!) are right around the corner, bleeding through his reality and infecting every waking moment of his life. Is he dead? Is he in Hell? Is the government trying to kill him? Are the hallucinations the product of the mystery drug he was dosed with in 'Nam or are they a genuine demonic presence? I'm not telling- the less one knows about this movie going in, the better. Anchored by a phenomenal leading performance from Tim Robbins, maybe his best performance (yes, even better than Shawshank), and with strong supporting turns from Elizabeth Pena, Danny Aiello, Ving Rhames, Eriq La Salle, Pruitt Taylor Vince, and Jason Alexander. It feels real and immediate despite its surreal, hellish imagery. Far and away the best work of Adrian Lyne's career, and go figure he never made anything else remotely like it...
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mgmarshall
Junior Member
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Post by mgmarshall on Dec 5, 2021 0:24:05 GMT
Halloween KillsHey, they managed to stick Laurie Strode in a hospital room for a whole movie, again! Yeah, I went to the theater to see this, and I wasn't super impressed. Halloween '18 was by no means a masterpiece, but it knew the story it wanted to tell and had a sense of narrative drive to accomplish that. This one is just kinda all over the place. The whole "survivors of Michael Myers" thing is a pretty interesting idea that the movie almost completely wastes, with the exception of Anthony Michael Hall's remarkably intense performance as Tommy Doyle. (It is nice to see Charles Cyphers, Nancy Stephens and Kyle Richards all reprising their roles from the '78 original though, even if the movie does almost nothing with them) I also like the flashbacks to '78 quite a lot. Very well done, especially the Dr. Loomis stand in. I honestly thought it was CGI, but apparently it's an actor in prosthetic makeup, which is amazing because it is just dead on. Still having trouble finding a voice actor who can do a good Donald Pleasance impression, though. Overall, it has some creative ideas, and it's very far from the worst this franchise has to offer (Looking at you, Resurrection!); but the execution is really lacking on this one. Still, who knows? This is supposed to be a (completely unnecessary) trilogy. Maybe it'll work better as a middle chapter if they're going somewhere with this...
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Post by Captain Spencer on Dec 6, 2021 5:42:32 GMT
Duel (1971) A routine road trip becomes a fight for survival when a mild-mannered salesman is terrorized by a truck driver. Steven Spielberg's feature length debut is a well-crafted thriller that is unbearably intense at times, and is a perfect example of when something that is not shown can instill a better sense of fear than something that is shown. We never get to see the truck driver and his motive is unclear; this makes the situation even more terrifying. In fact all this ambiguity makes it seem that the truck itself has a will of its own and is totally in control of everything, rather than the driver, especially when one thinks how filthy and monstrous-looking the truck is. Dennis Weaver is perfectly cast as the salesman, and gives a believable performance that displays how a meek everyman must gradually become brave and is forced to use his wits when there's no other help available. One thing I could have done without is the character's occasional inner monologue, which is annoying. Duel became very influential in that it spawned many other "highway thrillers" that were yet to come, and could even be considered a sub-genre in itself. Movies such as The Hitcher, Breakdown, and Joy Ride definitely bear this mark.
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Post by Lebowskidoo 🦞 on Dec 7, 2021 14:42:38 GMT
The Blade trilogy: Blade (1998), Blade II (2002) and Blade: Trinity (2004). The first two are still amazing, the third one is still just alright. ![](https://image.tmdb.org/t/p/original/65tQjsvT2YZcepvbjPT6uQc6wBb.jpg) ![](http://bmoviebffs.com/wp-content/uploads/2014/10/Blade-II-2002-poster.jpg) ![](http://movieposters.2038.net/p/Blade-Trinity.jpg)
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Post by Nalkarj on Dec 8, 2021 4:19:21 GMT
Maybe not a horror, thriller, or suspense film per se, but certainly thriller-adjacent— The Quick and the Dead, dir. Sam Raimi, 1995. ![“](https://miro.medium.com/max/1200/1*WDEyWuD9ygHGuKWDWXy-Xw.jpeg) I knew before looking that this movie’s Wikipedia page would describe it as “a revisionist Western,” and so it does—but this isn’t a “revisionist western,” whatever that means, at all. I’m tempted to say it isn’t even a western, but western, like Christmas, is less a genre and more a setting. The best way to describe this flick is as an O. Henry story with cowboy hats. And it’s loads of fun. Raimi’s direction is, as usual, funny, kinetic, exciting, bizarre, campy, counterintuitive, and surprising. He is one of our few great still-living directorial talents, and he should do more projects like this instead of CGI monstrosities like that inexplicable Wizard of Oz thing. The script has some good lines but also some that have the insert-joke-here quality of an uncredited Joss Whedon. The performances are uniformly good, with Sharon Stone an effective distaff version of Clint Eastwood and Gene Hackman hilariously chewing the scenery as the villain. My major criticism is that the story seems rather small-scale, especially compared with the great westerns—but, then, what’s so bad about a small-scale story? Whatever. It’s still a blast to watch. Recommended.
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Post by theravenking on Dec 8, 2021 22:51:04 GMT
Maybe not a horror, thriller, or suspense film per se, but certainly thriller-adjacent— The Quick and the Dead, dir. Sam Raimi, 1995. ![“](https://miro.medium.com/max/1200/1*WDEyWuD9ygHGuKWDWXy-Xw.jpeg) I knew before looking that this movie’s Wikipedia page would describe it as “a revisionist Western,” and so it does—but this isn’t a “revisionist western,” whatever that means, at all. I’m tempted to say it isn’t even a western, but western, like Christmas, is less a genre and more a setting. The best way to describe this flick is as an O. Henry story with cowboy hats. And it’s loads of fun. Raimi’s direction is, as usual, funny, kinetic, exciting, bizarre, campy, counterintuitive, and surprising. He is one of our few great still-living directorial talents, and he should do more projects like this instead of CGI monstrosities like that inexplicable Wizard of Oz thing. The script has some good lines but also some that have the insert-joke-here quality of an uncredited Joss Whedon. The performances are uniformly good, with Sharon Stone an effective distaff version of Clint Eastwood and Gene Hackman hilariously chewing the scenery as the villain. My major criticism is that the story seems rather small-scale, especially compared with the great westerns—but, then, what’s so bad about a small-scale story? Whatever. It’s still a blast to watch. Recommended. I remember this used to be on cable TV all the time in the late 90s, early 2000s. I often caught it when flipping through the channels. I don't think I ever watched the entire thing from beginning to end, only bits and pieces of it. Maybe it's time that I did.
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Post by politicidal on Dec 9, 2021 1:43:30 GMT
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Post by gspdude on Dec 9, 2021 14:00:36 GMT
![](https://i.pinimg.com/474x/16/50/bf/1650bf14d6fec494efe0ebe172d093f1--jack-riley-horror-movies.jpg) Basement Jack(2009) Insane serial killer, plenty of kills, cute protagonist, one nude scene, short on logic(even by slasher standards). 3.5/10
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Post by Anonymous Andy on Dec 9, 2021 18:37:05 GMT
Duel (1971) A routine road trip becomes a fight for survival when a mild-mannered salesman is terrorized by a truck driver. Steven Spielberg's feature length debut is a well-crafted thriller that is unbearably intense at times, and is a perfect example of when something that is not shown can instill a better sense of fear than something that is shown. We never get to see the truck driver and his motive is unclear; this makes the situation even more terrifying. In fact all this ambiguity makes it seem that the truck itself has a will of its own and is totally in control of everything, rather than the driver, especially when one thinks how filthy and monstrous-looking the truck is. Dennis Weaver is perfectly cast as the salesman, and gives a believable performance that displays how a meek everyman must gradually become brave and is forced to use his wits when there's no other help available. One thing I could have done without is the character's occasional inner monologue, which is annoying. Duel became very influential in that it spawned many other "highway thrillers" that were yet to come, and could even be considered a sub-genre in itself. Movies such as The Hitcher, Breakdown, and Joy Ride definitely bear this mark. How have I never seen this poster before? Love it!
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Post by Anonymous Andy on Dec 9, 2021 18:37:55 GMT
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Post by Anonymous Andy on Dec 9, 2021 18:41:29 GMT
![](https://m.media-amazon.com/images/M/MV5BNTY3YjZmZGEtYTU2OC00ZWJhLWI5NGEtZDRkNDBhNmYwMjg4XkEyXkFqcGdeQXVyNzc5MjA3OA@@._V1_.jpg) (The Fifth Cord) Like all good gialli, this one improved greatly on a second viewing. Nero is scummy and unlikable as our lead, but you also feel for him and how pathetic he is. Very well directed with exquisite cinematography by the guy who also shot Apocalypse Now. Lots of eye candy on hand (it's mostly buildings and architecture, you perverts) as well as a sleepy Morricone score. The plot is secondary. 8/10
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Post by Captain Spencer on Dec 10, 2021 2:10:56 GMT
Duel (1971) A routine road trip becomes a fight for survival when a mild-mannered salesman is terrorized by a truck driver. Steven Spielberg's feature length debut is a well-crafted thriller that is unbearably intense at times, and is a perfect example of when something that is not shown can instill a better sense of fear than something that is shown. We never get to see the truck driver and his motive is unclear; this makes the situation even more terrifying. In fact all this ambiguity makes it seem that the truck itself has a will of its own and is totally in control of everything, rather than the driver, especially when one thinks how filthy and monstrous-looking the truck is. Dennis Weaver is perfectly cast as the salesman, and gives a believable performance that displays how a meek everyman must gradually become brave and is forced to use his wits when there's no other help available. One thing I could have done without is the character's occasional inner monologue, which is annoying. Duel became very influential in that it spawned many other "highway thrillers" that were yet to come, and could even be considered a sub-genre in itself. Movies such as The Hitcher, Breakdown, and Joy Ride definitely bear this mark. How have I never seen this poster before? Love it! Yeah I think it's pretty cool. Found it on Google Images.
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Post by lostinlimbo on Dec 10, 2021 3:02:52 GMT
![](https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcTV_70gX9PBFeHXrsdwWDYZybeOwcDYk-2vPA&usqp=CAU) Rogue (2007) Hadn’t seen this one since I saw it when it was released at cinemas. Decent nature run amok horror in-spite of the basic, and down-trodden set-up. Since it was going by the book, I just wish it didn’t play it as safe for certain shock moments. Especially coming from the director of ‘Wolf Creek’. Characters are predictably one-note, although Radha Mitchell is likeable enough. While the CGI croc isn’t the best, it does work better when we see less of it. By the end, it throws caution to the wind by going for an over-the-top spectacle. Entertaining, but the impact is more ridiculous than intense.
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