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PostPosted: Sat Jun 04, 2011 12:55 pm 
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Here's what I watched this week:

The Living Daylights (1987) - I didnג€™t expect to get back to watching James Bond films so soon, but noticed the 2 in my Netflix queue were expiring this week.
Now I am starting the Timothy Dalton era as 007. I really wasnג€™t impressed with this film and to me, Dalton just didnג€™t seem like Bond. I had no problem accepting Roger Moore as the super agent when he took over, but Dalton just didnג€™t convince me. According to IMDB, the script for this film was written with Moore in mind, so maybe the next one will fit Daltonג€™s character.

Licence to Kill (1989) - I didnג€™t realize this, but this was Timothy Daltonג€™s final appearance as James Bond. This film was better than the previous, but I still had a hard time buying Dalton as 007.
I hope Netflix adds the remaining Bond films. Iג€™ve seen this many, I might as well continue with the rest.

Dances with Wolves (1990) - I can finally add this to my ג€œOscar winners watchedג€ list.
I didnג€™t know that Kevin Costner also directed this. I thought that was impressive.
Overall, I was pretty bored with this 3 hour film. Perhaps if there was a scene involving a baseball I wouldג€™ve liked it more.

Fong juk aka Exiled (2006) - Iג€™ve seen a few other Johnnie To films, so I was somewhat familiar with him. This one was decent, but not as good as the others Iג€™d seen.
The gunfights were fun, but the CGI blood splatter looked more like a mist.

The Wrong Man (1956) - A Hitchcock film that really didnג€™t feel like a Hitchcock film.
Henry Fonda stars in this true story about a man who resembles a man wanted for a string of holdups. He is arrested and spends time in jail. Meanwhile, his wife doesnג€™t know what to believe and suffers a mental breakdown.
I liked it.

Gozu (2003) - Iג€™ve seen a bunch of Takashi Miike films and liked them all, but I hated this one...until the final 10 minutes and then it turned me around.
This was a bizarre film, featuring characters such as an old woman who constantly lactates and a man who can only get sexually aroused when a ladle is inserted into his ass.
The final moments are something that will forever be ingrained in your mind.

[b]La b

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PostPosted: Mon Jun 06, 2011 5:15 am 
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Bloody Mama (1970)
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Roger Corman directing this deeply dark piece of hicksploitation loosely based on Kate Barker and her criminal brood during the Great Depression. It's an obvious b-movie cashing in on the popularity of Bonnie & Clyde at the time, it's a far darker film however, deeply unpleasant at times. Shelly Winters plays the lead in this film, her neurotic, incestuous and psychotic performance as the dominating mother, robbing and killing her way as a viable option to escape white trash poverty and status is the film's central focus. The supporting cast includes a young Robert De Niro as Lloyd Barker, a junkie son resorting to drugs to escape from his miserable existence and Bruce Dern as the bi-sexual associate of the Barker clan. Perhaps the best performance for me however was Don Stroud who absolutely killed it as Herman, the eldest of the Barker boys, the most violent of the lot but it's the more verbal scenes particularly his conversational scenario with his rich hostage played by Don Hingle which make him a true scene stealer. What struck me about this movie more than anything was how savagely disturbing it could get, in particular the casual treatment of incest, with Ma Barker having sex with her sons whenever she felt the urge. Thankfully those scenes were mostly referred to and not graphic but still unpleasant nonetheless. There are scenes that provide comedic light relief particularly the old ladies used as human shields during a getaway and near-by spectators enjoying a picnic while watching a bloody siege style shoot-out, but the general tone of the film was still very bleak right up until the end credits. You get what you would expect from this movie, hicks being cast in a negative light but the film's biggest surprise for me was just how sympathetic some of the Barker boys were capable of being when taking under consideration how fucked-up their mother had raised them. Personally, I enjoyed the similarly themed Big Bad Mama slightly more, largely because Angie Dickinson getting her slutty freak on was cinematic gold for me. They're both guilty pleasures in the grand scheme of things but Bloody Mama had a level of depth and sympathy to it that I never would have expected in one of Corman's exploitation films.


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13 assasins - unfucking believably good. if you said this was the best action oriented samurai movie since Katsu's last Zatoichi movie (cause this is def better than the Kitano remake) i wouldn't argue. Beyond samurai movies, this is just one of the best action movies from any subgenre on recent memory

Highlander - been ages since i've seen this, couldn't resist a 2$ bargain bin cop. Strong contender for the 'it's unbelievable how many things they got incredibly right AND incredibly wrong in one movie' crown currently held by Lynch's Dune. For example this has some of the worst dialogue and acting in any movie ever, Connery's parts included. On the other hand the whole 'modern 80s fantasy shot like a music video' style really works, better than it has any right to actually. Seems like a good candidate for a trendy revival some time in the near future

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I think it was on my Razorback DVD extras where Frightfest organizer and film critic stated that Highlander director Russell Mulcahy was the guy who first introduced the fast edit to action movies. I'm struggling to believe any of that.


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PostPosted: Mon Jun 06, 2011 4:30 pm 
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they do use some quick cuts during the sword fights, but likely more to mask the ineptitude of the performers than as a stylistic choice. the movie is nowhere near greengrass levels of fast edit and and shaky cam.

the earliest intance of action being filmed in this way that i can think of is in Fukusaku's yakuza movies, where he basically just sends a cameraman into the middle of the melee to get knocked down and pushed around with the fray, and then they edit what they get from that - it was done to give the fights a more chaotic feel i think

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PostPosted: Mon Jun 06, 2011 4:39 pm 
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Oops forgot to mention the critics's name Alan Jones. I knew he was talking complete boulderdash.


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PostPosted: Tue Jun 07, 2011 8:25 pm 
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Biutiful. 7.
Too much of a downer to recommend to most, and it's subtitled, but I loved it. Lots of layers and Bardem is painful.


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PostPosted: Tue Jun 07, 2011 10:12 pm 
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drizzle wrote:
13 assasins - unfucking believably good. if you said this was the best action oriented samurai movie since Katsu's last Zatoichi movie (cause this is def better than the Kitano remake) i wouldn't argue. Beyond samurai movies, this is just one of the best action movies from any subgenre on recent memory


FUCK YEAH!


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Image -- had never heard of this doc 'til lew alcindor was plugging it on R&F the other week. had never heard of this team 'til watching this doc. really good/enlightening watch, couple missteps in the carmello anthony talking head state the obvious bits ('we complain about playing games back to back. they were playing eight games a week!' ughh. bodhisattNAH). treat the nba like the wwf, pandas are scarce, let's all just shoot into the darkness. on the real, the intro w/ bill russell talking shit on jordan/magic/kareem was seriously gold ('give me three games to figure him out'). peace to jerry west, ever the consummate west virginian

127 Hours - gotta say this was way better than Buried, since it seems those two should be compared. Read the P thread on this and would agree w/ Andvil that the odd (enya/dido?) musical choices were way out of place (plus, how did Phish's Sleeping Monkey not run over the credits? Franco sings it pretty early on, then that's alluded to later on.) loved this though, flew by
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PostPosted: Thu Jun 09, 2011 3:15 am 
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Buried was a hilarious film


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but what if that snake was only a snake skin full of snake shit and van wilder had to drain that snake skin full of snake shit of it's snake juices and then drink that snake juice from it's own snake skin? THE RISE OF Oh well what if it was a garden snake then he could have just bristled that snake down to the gristle and leave the cob well enough alone it wasn't going to hurt anyone anyways

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PostPosted: Thu Jun 09, 2011 4:04 am 
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Pretty obvious Van Wilder was more of a threat to himself than that snake.

Satan's Blood (1977)
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Spanish satanic cult themed movie blessed with some euro-sleaze. You get exactly what you expect, in terms of style it's very much in Pete Walker's post sexploitation body of work. Genuinely effective atmospherics that keep you watching during the film's occasional dip in pacing. Enjoyable film, the twist ending was pretty great even though it made fuck all sense.


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I enjoyed Satan's Blood as well but it's true that it makes little sense at times.

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Slice (2010) - Good Thai-thriller mostly a succes due to how outrageous the plottwist is. It's slightly inspired by the giallo genre visually, but it's more or less an old school srl-killer movie with a bit of gore an Asian insanity. It's about someone in a red raincoat who kills sex-tourists and the like.

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Bloody Reunion (2006) - Couild have been a really cool slasher but the Saw-ish torture-bullshit is utilized rather than some suspenseful and cool kills. I guess drinking razors while boiling water is poured down your throat is nasty and even creative, but it's silly to me. The story and premise was actually really good though, a crippled teacher is united with former students and repressed memories and opinions surface. The twists at the end is utterly idiotic and along with the torture this drags the whole thing down a bit.

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PostPosted: Thu Jun 09, 2011 3:14 pm 
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Here's what I watched this week:

Grizzly (1976) - Surely, this was made to capitalize on the success of Jaws. I guess they felt that if Jaws scared people from swimming in the ocean, Grizzly would scare people from camping in the mountains.
All Grizzly did for me was make me laugh at some of the kills and at the absurdity of everything. The acting was abysmal as well.

Le salaire de la peur aka Wages of Fear (1953) - French film that takes place in Central America.
An American oil company has an accident where several employees are killed and injured. Employment positions open where several people in this poor area are seeking work. The job is very dangerous. Four drivers are needed to transport large shipments of nitroglycerin. The trucks are not exactly up to safety standards and the roads and terrain arenג€™t the easiest either.
This was pretty good and had some tense moments.

[b]G

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PostPosted: Fri Jun 10, 2011 6:42 am 
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^^^ You should watch Alligator for a magnificent Jaw rip-off movie that delivers the goods.

Harry Brown (2009)
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Michael Caine keeps this movie rolling as a senior citizen vigilante in what's essentially a paranoid ridden critique on urban decay. Much like Eden Lake, it's a right wing look at savage youth behavior and their detachment from any form of morality. At it's core, it's an exploitation movie, clueless and naive cops losing the battle against amoral ASBO youths. The film is designed to get under the skin for anyone over the age of twenty-five and make you throw a brick at the next hoodie you see. The canvas of inner-city London is portrayed in various shades of depressingly lifeless grays, it's bleakness is the complete polar opposite of Richard Curtis' take of the idyllic bourgeois city. It's a film that caters to Daily Mail readers angry and frustrated with an apathetic society, and for Caine to be the figure head of what we've lost with-in us. Decent but an obviously over-exaggerated film, it's bleakness doesn't make want to come to it anytime soon.


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PostPosted: Fri Jun 10, 2011 8:45 am 
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Spartan wrote:
^^^ You should watch Alligator for a magnificent Jaw rip-off movie that delivers the goods.


I saw it when I was a kid, but I don't remember too much about it now.

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The Experiment (2010) - What happens when you give a guy power? He suddenly turns in to evil itself. This is a juvenile pop-psychology thriller with empty left-slanted pocketphilosophy you would hear in a high school cantina. No wonder it was D2V. It tries to say things about the nature of authority and humanity and fails miserably, so miserably that it's damn near offensive. Moving beyond the condescending and misanthropic propaganda it's rather dumb and implausible alltogether. That would be tolerable if the movie didn't take itself so seriously, seeing angsty Brody dream of his romantic interest and going to India was painful, so was Whittaker's poorly written monologues which he tries to deliver the best he can - to his credit, or how about the guard who resorts to gaysex because he hasn't been able to wank for 48 hours, or the dramatic background-music everytime some little non-issue is happening on the screen. Apparently it's a remake of a German movie, it has to be better than this muck. The best part of the movie was seeing Adrien Brody being pissed on, that'll teach him to finish his supper.

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Tetsuo the Iron Man (1989) - Whoa. WTF?!

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PostPosted: Mon Jun 13, 2011 6:08 am 
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Pretty silly French crime thriller. Was expecting Une Prophet levels of awesomeness after reading Philip French's review (http://www.guardian.co.uk/film/2011/jun ... aye-review) but was presented with RocknRolla levels instead. 5/10.


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It's much less ambitious than Un Prophete but really fun on it's own terms, at least I think so.

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(sweet poster)

Blow Out (1981) - De Palma's more sober thriller I think. Glad I got to see it, John T does very well and it helps you to get involved with the story. The Argento style is still there, there's even the J&B bottle, and while it's valid to bring up Hitchcock I don't think you can mention his thrillers without bringing up Argento too (but that's slightly circular). Lithgow is really good in roles like this which is funny to me given how much I see him as a comedy-actor, maybe that's just me though. I really enjoyed the intro, it sort of pokes fun at his own critical reception perhaps.

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PostPosted: Mon Jun 13, 2011 7:59 am 
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Malibu Express (1985)
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This is what I would expect to find inside the ark of the covenant.

Hard Ticket To Hawaii (1987)
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12:59 Restate my assumptions.
1. Sidaris is the language of awesomeness
2. Everything around us can be represented and understood through titties.
3. If you graph the awesomeness through any system, a killer snake infected with diseased cancerous rats will emerge.
Therefore, there are cassette tapes inside sandwiches.


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Hanna - (7/10) - It was a lot different than I thought it was going to be. Pretty cool little action flick though. Worth checking out.


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Spartan wrote:
Michael Caine keeps this movie rolling as a senior citizen vigilante in what's essentially a paranoid ridden critique on urban decay. Much like Eden Lake, it's a right wing look at savage youth behavior and their detachment from any form of morality. At it's core, it's an exploitation movie, clueless and naive cops losing the battle against amoral ASBO youths. The film is designed to get under the skin for anyone over the age of twenty-five and make you throw a brick at the next hoodie you see. The canvas of inner-city London is portrayed in various shades of depressingly lifeless grays, it's bleakness is the complete polar opposite of Richard Curtis' take of the idyllic bourgeois city. It's a film that caters to Daily Mail readers angry and frustrated with an apathetic society, and for Caine to be the figure head of what we've lost with-in us. Decent but an obviously over-exaggerated film, it's bleakness doesn't make want to come to it anytime soon.


Well said.


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PostPosted: Wed Jun 15, 2011 5:32 pm 
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Tightrope (1984)
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One of Clint Eastwood's undeservedly forgotten movies imo, it's an incredibly dark and sleazy film about a flawed cop desperately trying to maintain sanity in his dual life, that of being a loving father to his two young daughters (the eldest played by his real life daughter Alison) and his vice for buxom prostitutes, all this while the city of New Orleans is being terrorised by a psycho-sexual killer. This crime thriller bares the tropes of a classic slasher movie, which includes Eastwood even being toyed with in "final girl" fashion by the masked assailant. There are some elements that don't work within the context of the movie like the minimal red-herrings and unsubstantial investment into the killer's identity nor his motives, however what you do get is Eastwood delivering a stellar and refined performance. He's flawed, uncertain and even vulnerable at times but still maintains much of that alpha dog swagger that you would expect from the legend. Dirt Dirt delivers some genuinely seedy lines that you would genuinely laugh at if it was anyone else. Despite a few faults, this is still a riveting movie and much like Clint's other films geared towards darker subject matter such as The Beguiled , High Plains Drifter and Play Misty For Me, it's oddly one of his most esoteric.

Girl Slaves Of Morgana Le Fay (1971)
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Difficult to really critique this film, on one hand it shares all the hallmarks of what I adore from a lavish Hammer production during that era - beautifully shot, gorgeous lesbians and great use of gothic locations and on the other it's cursed with this tediously dull pace that masks it's simplistic plot and unremarkable twist ending. Much like Franco's Virgin Amongst The Living Dead it maintains this ethereal vibe about it but it's nowhere near as engrossing nor is the atmosphere as captivating. Described as one of the most erotic horror films, this is anything but - certainly some cool T&A caressing but there's no real horror atmosphere which I crave. It's a lovely looking slice of European erotica, minus the trashy orgy sequence, you could pass this off as pretty artsy. An OK film and one that's probably worth revisiting when stoned, but it's nowhere near the level of Vampyres or Hammer's Karnstein movies which I adore to death.


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Again I've been lazy and neglecting this thread. Some of what I've watched lately:

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Frozen (Adam Green, 2010) ג€“ As an avid skier/snowboarder I knew I had to check this out, especially after reading the favorable reviewsג€¦.this is definitely better than it really has a right to be. The story is about 3 friends who end up getting stuck in a storm overnight on a chair lift and have to make a choiceג€¦either stay and likely freeze to death, try to jump or try to climb across the cables to the nearest pole. You have to ignore some ski resort semantics (i.e. ski patrol always skis under every lift to make sure it is completely clear prior to shutting it down) as well as basic knowledge that any skier worth a shit would know, like if you are going to jump you leave your skis/ board on your feet and try to land moving downhill. As long as you can look past a few real-world inconsistencies made for benefit of the plot you get a pretty intense horror movie. A lot of that has to do with some really great performances by two of the leads, their emotions are very real and appropriate for the way they come to grips with their situation. There also are some really surprising physical horrors that had me turning away from the screen at times. Definitely recommended, reminded me of Open Water & The Descent at times.


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The Green Slime (Kinji Fukasaku, 1968) ג€“ Scientists on earth discover a very large asteroid on a collision course with earth and decide to send a team of their best astronauts to land on the asteroid and blow it up (sound familiar?). The team succeeds on saving the planet but while on the asteroid they unknowingly become contaminated with a green slime. Once back on the space station, the slime grows into creatures that wreak havoc on the crew and threaten to end life as we know it. This is corny 60ג€™s B-movie sci-fi at its finest, the fact that it was made by the Japanese with American actors only increases the goofiness factor, but its pretty entertaining if youג€™re into this sort of thing.


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The Prisoner of Shark Island (John Ford, 1936) ג€“ John Fordג€™s classic about the true story of Dr. Samuel Mudd, who treated John Wilkes Bootheג€™s broken leg in the middle of the night, ignorant to the fact that he had assassinated President Lincoln just hours earlier. Mudd was then sentenced to life in prison for treason and sent to an island prison off the southern coast of Florida. His only chance of survival thought to be escape; he eventually wins his release when an epidemic of yellow fever hits the prison and Mudd saves the lives of its inhabitants. Really awesome movie, Ford never gets overly sentimental or judgemental and itג€™s a very American film despite the critical view of the country it has at points.

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The Crazies (Breck Eisner, 2010)
Still haven't seen the Romero original but this was a decent thriller. A plane with chemical weapons crashlands in a remote town and pollutes the drinking water, turning all exposed into violent killers. Nothing too exciting here and the ending is a little cheesy and Resident Evil-ish but Olyphant holds shit down and overall worth watching.

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Alien Vs. Ninja (Seiji Chiba, 2010) - This is absolutely ridiculous over-the-top slapstick action-horror but you can't really expect anything else from these movies that Sushi Typhoon puts out. Obviously made on a shoe-string budget, the movie is about exactly what the title says it is. It's a shame that the director didn't have more money to put into this (I believe it was made for 100K or something insanely small) because there are a lot of good ideas at play here; you really have to be able to appreciate men in rubber alien suits and CGI blood to really enjoy this. I varied from hating it to loving it and back again every ten minutes. The pacing is way off but I kept getting pulled in by the humor and OTT violence. To give an idea of what you're getting into, the aliens put baby aliens into the mouths of captured/dead ninjas and the babies take over the ninjas zombie style, the baby aliens look like pink squeaky stress dolls.


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Tokyo Story (Yasujiro Ozu, 1953) - Shockingly my first Ozu, always knew I had to get around to watching his shit but I don't regularly seek out slow-burning family dramas and the like. This is one of his most-regarded though and really really excellent. An elderly couple from the countryside makes the long trip to Tokyo to visit their estranged children, only to find that they are a nuisance and their children don't make the time to spend with them. Only when their mother falls ill do things come into perspective. Worthy of its reputation.

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The Beast Must Die (Paul Annett, 1974) ג€“ Almost more of a tongue-in-cheek horror version of Clue? than a horror movie. A wealthy black man and hunter extraordinaire invites a group of strangers to his remote mansion and keeps them there against their will. Due to strange deaths that surround each of their recent paths, he is convinced that one of them is a werewolf which to him is the ultimate prey. A decent time but I was pretty disappointed that the werewolf was just a real-life dogג€¦part of the fun of werewolf movies is seeing the creature design and how they handle the morph scene. The reveal makes fuck-all sense too but I still enjoyed it.

Still a bunch more to write up. Might do it later or tomorrow.


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PostPosted: Thu Jun 16, 2011 1:28 am 
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/\ word to "Frozen" it was pretty enjoyable. "better than it has any right to be" about sums it up.


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is sonny chiba in green slime or am i confusing that one with some other cheesy 60s scifi?

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PostPosted: Thu Jun 16, 2011 1:05 pm 
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Nah GS has an all-American cast no Chiba. Not sure what movie you're thinking of. Terror Beneath The Sea, maybe?


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PostPosted: Thu Jun 16, 2011 1:06 pm 
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YES that's the one good call

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The Midnight Meat Train: Good slasher flick. Definetly enjoyed the 2nd death scene the most. Can someone explain what those things the butcher was cutting off himself?


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PostPosted: Thu Jun 16, 2011 2:16 pm 
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Been quite a while since I watched it. I think Mahogany was dying if I remember rightly and they were supposed to be cancerous tumours.

I might watch it again tonight to jog my memory.

Edit: according to the audio commentary it's a Cronenberg homage and vaguely refers to Mahogany's association with the you know who's. Barker wouldnt give a big explanation though and is kind of secretive about a more detailed meaning.


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