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Post by GuyOfOwnage on Aug 8, 2009 17:02:39 GMT -5
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Post by Rorschach on Aug 8, 2009 17:08:42 GMT -5
Heh....and I have a great idea for the first official discussion topic, too: Women in horror films! Now that they've been the ass-kickers for a goodly long while, and due to the fact that even the term "last-girl" has become a staple in the language....is it time for the roles to reverse once again?
I kinda think so, and myself, wouldn't mind seeing the "last guy" for a change.
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Post by GuyOfOwnage on Aug 8, 2009 17:12:43 GMT -5
That is an interesting thought, and I think it'd be a welcome change. The young, virginal female shouldn't always have to be the sole survivor. Why not the guy, or hell, ANY of the common stereotypes?
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"Magic" Mark Hurr
Bill S. Preston, Esq.
Here, have some chili dogs
Not related to Phantasmo
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Post by "Magic" Mark Hurr on Aug 8, 2009 17:15:52 GMT -5
^^^^^^^i've been waiting for that to happen.
Guy's have been jobbing left and right in horror films at the expense of the heroic woman. I'm not saying that the woman shouldn't survive but at least have guy save the day. Hell they should just reinvent some of the same old tired formulas to throw people off.
!!!!SPOILERS!!!! I just watched Orphan for the first time last week and I just shook my head at how the Dad was taken out in the end. Even though i liked a lot of elements in the film it still took the routine way out.!!!!!SPOILERS
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Post by Rorschach on Aug 8, 2009 17:19:07 GMT -5
That is an interesting thought, and I think it'd be a welcome change. The young, virginal female shouldn't always have to be the sole survivor. Why not the guy, or hell, ANY of the common stereotypes? And I was SOOOO rooting for the new FRIDAY THE 13TH film to do this, and leave Padalecki as the sole survivor. Ehh...they KINDA did, I guess, now that I think about it, if that wasn't a dream sequence. But like you said, it'd sure be nice if the virginal, pure as the driven snow girl wasn't automatically safe from the outset, and the slutty, horny cheerleader wasn't dead meat. That gets extremely predictable. And I'm not saying merely reverse it, where the cheerleader is safe because she has so much sex, and the virgin is killed because she's chaste. Instead, have the character that DOES have (and enjoys) sex, but isn't a slut survive. You know, the REAL, human-like character that ISN'T a total stereotype one way or another.
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Post by GuyOfOwnage on Aug 8, 2009 17:41:00 GMT -5
That is an interesting thought, and I think it'd be a welcome change. The young, virginal female shouldn't always have to be the sole survivor. Why not the guy, or hell, ANY of the common stereotypes? And I was SOOOO rooting for the new FRIDAY THE 13TH film to do this, and leave Padalecki as the sole survivor. Ehh...they KINDA did, I guess, now that I think about it, if that wasn't a dream sequence. But like you said, it'd sure be nice if the virginal, pure as the driven snow girl wasn't automatically safe from the outset, and the slutty, horny cheerleader wasn't dead meat. That gets extremely predictable. And I'm not saying merely reverse it, where the cheerleader is safe because she has so much sex, and the virgin is killed because she's chaste. Instead, have the character that DOES have (and enjoys) sex, but isn't a slut survive. You know, the REAL, human-like character that ISN'T a total stereotype one way or another. Slasher films rely so much on stereotypes that you'd be hard pressed to find more than a handful of "human" characters in the entire history of the subgenre, and even those characters weren't terribly complex. To place a multi-dimensional, "human" character within the confines of such a formulaic premise would not make things any less predictable. The audience would still be able to predict the character's fate because he or she would stand out from the group, much in the same manner that the virginal good girl stereotype does currently. If you really wanted to shake things up, you would have to do away with stereotypes altogether, and make each and every character feel "real" in a different way. This would be a total mindf*** for the typical slasher audience, as they'd be left unable to predict the outcome from the get-go. Just my 2 cents.
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Post by Rorschach on Aug 8, 2009 19:42:39 GMT -5
And I was SOOOO rooting for the new FRIDAY THE 13TH film to do this, and leave Padalecki as the sole survivor. Ehh...they KINDA did, I guess, now that I think about it, if that wasn't a dream sequence. But like you said, it'd sure be nice if the virginal, pure as the driven snow girl wasn't automatically safe from the outset, and the slutty, horny cheerleader wasn't dead meat. That gets extremely predictable. And I'm not saying merely reverse it, where the cheerleader is safe because she has so much sex, and the virgin is killed because she's chaste. Instead, have the character that DOES have (and enjoys) sex, but isn't a slut survive. You know, the REAL, human-like character that ISN'T a total stereotype one way or another. Slasher films rely so much on stereotypes that you'd be hard pressed to find more than a handful of "human" characters in the entire history of the subgenre, and even those characters weren't terribly complex. To place a multi-dimensional, "human" character within the confines of such a formulaic premise would not make things any less predictable. The audience would still be able to predict the character's fate because he or she would stand out from the group, much in the same manner that the virginal good girl stereotype does currently. If you really wanted to shake things up, you would have to do away with stereotypes altogether, and make each and every character feel "real" in a different way. This would be a total mindf*** for the typical slasher audience, as they'd be left unable to predict the outcome from the get-go. Just my 2 cents. THE SIGNAL did this pretty well, I think. And that's another thing...in order to get this to work, no one cast member can be ULTRA famous. You'd need a cast of unknowns, so that no one can say "Oh, so-and-so is in this...she's the "last girl" for sure!" Fame and name recognition can be just about as big of a flag as any of those stereotypes. I mean, it's either going one of two ways, with your big name star: Either he/she is the main hero, or they're going to get killed in the first five minutes for pure shock value, while the rest of the plot stays tired and formulaic. I think that's what I genuinely LOVE about the FEAST movies. As you're watching them, ANY character could die at ANY second, yet you don't necessarily feel like they're disposable either. They have quirks and personalities, and you care about them.
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Post by GuyOfOwnage on Aug 8, 2009 20:02:03 GMT -5
Slasher films rely so much on stereotypes that you'd be hard pressed to find more than a handful of "human" characters in the entire history of the subgenre, and even those characters weren't terribly complex. To place a multi-dimensional, "human" character within the confines of such a formulaic premise would not make things any less predictable. The audience would still be able to predict the character's fate because he or she would stand out from the group, much in the same manner that the virginal good girl stereotype does currently. If you really wanted to shake things up, you would have to do away with stereotypes altogether, and make each and every character feel "real" in a different way. This would be a total mindf*** for the typical slasher audience, as they'd be left unable to predict the outcome from the get-go. Just my 2 cents. THE SIGNAL did this pretty well, I think. And that's another thing...in order to get this to work, no one cast member can be ULTRA famous. You'd need a cast of unknowns, so that no one can say "Oh, so-and-so is in this...she's the "last girl" for sure!" Fame and name recognition can be just about as big of a flag as any of those stereotypes. I mean, it's either going one of two ways, with your big name star: Either he/she is the main hero, or they're going to get killed in the first five minutes for pure shock value, while the rest of the plot stays tired and formulaic. I think that's what I genuinely LOVE about the FEAST movies. As you're watching them, ANY character could die at ANY second, yet you don't necessarily feel like they're disposable either. They have quirks and personalities, and you care about them. I haven't seen The Signal or any of the Feast films - I'll have to give them a look. I'll agree that it works best with a cast of unknowns, although, if done right, I think it can still work with a big name star in the mix. Take Psycho, for instance. Janet Leigh's character is killed off about halfway through the film. The difference between this scenario and killing off the star in the first 10 minutes is simple - her character was given time to develop so that we, the audience, could identify with her. We're lured into a false sense of security and BAM! She's history. From there, we're left wondering where the hell this movie is headed. THAT is how you kill off a major star in a horror film. But because few can pull it off as flawlessly as Hitchcock, I think it's best to stick to a cast of unknowns to maintain that sense of uncertainty.
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Post by Rorschach on Aug 8, 2009 20:07:33 GMT -5
I think, another instance where this worked well was (and bear with me here) but DEEP BLUE SEA. Nobody, and I mean NOBODY saw what happened to Sam Jackson coming. He's Samuel L. Jackson! He can't possibly.....NAWWWW........they wouldn't......
But they DID. And even though he's not really given a lot of screen time per se....it worked.
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Post by GuyOfOwnage on Aug 8, 2009 20:13:46 GMT -5
I think, another instance where this worked well was (and bear with me here) but DEEP BLUE SEA. Nobody, and I mean NOBODY saw what happened to Sam Jackson coming. He's Samuel L. Jackson! He can't possibly.....NAWWWW........they wouldn't...... But they DID. And even though he's not really given a lot of screen time per se....it worked. I will admit, that is the one thing Deep Blue Sea did do right. That's one positive point amidst a (pardon the pun) sea of negativity, though. Yikes, what a disaster. I honestly can't think of any other films at the moment to successfully pull that off, though. I'm going to have to get back to you on this one.
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Lick Ness Monster
Dennis Stamp
From the eerie, eerie depths of Lake Okabena
Posts: 4,874
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Post by Lick Ness Monster on Aug 8, 2009 21:06:59 GMT -5
Alright, it's new thread time, once again... I know that everyone here is probably tired of hearing the story, but way back when I started the first horror thread it was called "TR's All-Purpose Horror Thread," and I had it pegged for a quick death when it struggled to gain posts in the early going. But then something funny happened...one horror fan found the thread, and then another, and then another, until it took on a life of its own. And it quickly became apparent that it wasn't, and never should have been, TR's thread at all - it belongs to all of us who keep it alive. So thank you, once again, for bringing the best series of threads on this entire board to its fourth sequel. And trust me, we are the best thread. I tried posting in the NBA threads for a while, but quickly grew tired of the constant school-yard namecalling. Having said that, it's Hall of Fame time. As per usual, there are certain names who, by and large, the WC horror faithful consider worthy of such an honor. So without further adieu... Previous inductees: Alfred Hitchcock Clive Barker Sam Neill Stephen King Tony Todd Thomas Harris Takako Fuji Dario Argento Goblin (the band) INDUCTION #10 “I get a lot of requests to autograph hands, gloves, butcher knives…cheerful things like that.” ROBERT ENGLUND Leading off this round of inductions is one of the greatest true friends of the horror genre – a classically trained actor who toiled for years in bit character parts before finally breaking through in one of the greatest horror franchises of all time, rising to prominence in American pop culture and spending the vast majority of his acting and creative chops in the great, grand genre that we call horror. Actor, director, and sometime screenwriter, Robert Englund is one of the rare horror veterans who is recognizable not only to hardcore horror fans, but to average moviegoers – after all, almost everyone has had the mythology of Freddy Krueger told to them at some point. Born in 1947, Englund studied acting at Michigan’s Meadow Brook Theatre in the late ‘60s and early ‘70s where he honed his natural talent for completely taking on the life of a character. This ability to completely get into the head of his character would catch the eye of various directors, who cast him in role after role in his early acting career, usually as a stereotypical dumb hick (because his accent was so spot-on). His first recognizable horror role is that of Buck in Tobe Hooper’s Eaten Alive. Englund has since gone on to work with Hooper twice more in Night Terrors and The Mangler. In the early ‘80s, Englund would first find fame as the lovable android on the TV miniseries V before landing the role that would make him an international star. While Wes Craven was originally looking for an older man to play Freddy Krueger, the razor-gloved dream killer in his upcoming Nightmare on Elm Street motion picture, he was so blown away by Englund’s presence that he reconsidered and eventually cast the (at the time) 37-year-old veteran character actor. The move proved to be a stroke of genius, as Englund brought an unbelievable charisma, ungodly presence of evil, and genuine menace to the role of Freddy, instantly making the character one of the great horror villains and launching a franchise. In 1987, Englund was nominated for his first Saturn award for best actor in a horror film for Nightmare on Elm Street 3: Dream Warriors, a film that he also wrote an unused treatment for. He would repeat the honor the following year for Nightmare on Elm Street 4: The Dream Master, and also make his directorial debut with 976-EVIL. Beginning with Nightmare on Elm Street 5, the iconic series would begin to see dwindling box office returns, with the character being laid to rest “officially” for the first time in 1991’s Freddy’s Dead: The Final Nightmare. Englund would, however, play the character two more times, and bring the character back to its dark roots in 1994’s Wes Craven’s New Nightmare and celebrate the character’s pop culture stalwart status in 2003’s massive hit Freddy vs. Jason, a film more than fifteen years in the making. Englund has always remained a familiar face in horror films over the years, with his other supporting roles including The Phantom of the Opera, Wishmaster, Strangeland, Urban Legend, 2001 Maniacs, and the recent film Hatchet with fellow horror luminaries Kane Hodder and Tony Todd. While Englund is a multi-faceted and amazingly talented actor, he will always be remembered for two things – bringing the outstanding character of Freddy Krueger to life in a way that no one else will perhaps ever be able to top, and becoming horror’s first true superstar since Peter Cushing and Christopher Lee boasted that status.
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Lick Ness Monster
Dennis Stamp
From the eerie, eerie depths of Lake Okabena
Posts: 4,874
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Post by Lick Ness Monster on Aug 8, 2009 21:10:42 GMT -5
INDUCTION #11 “"I don't think about the audience, I don't think about what makes them happy, because there's no way for me to know. The people who think like this are old-fashioned. They think of the audience as a mass, but in fact every person in the audience is different. So entertainment for everyone doesn't exist." TAKASHI MIIKE Takashi Miike is one of the most prolific, unforgettable, and downright controversial filmmakers not only in the realm of horror, but in film itself. When watching his films, viewers find themselves shocked beyond belief, sometimes even revolted by the depravity occurring onscreen…but at the same time unable to turn away due to the emotional weight that the violence carries, and the artistry with which the chaos is executed. Miike was born near Osaka, Japan, a fact that would become a heavy influence on his later film work (as many of his films focus on the seedy underbelly of Osaka society). A graduate of the Yokohama Vocational School of Broadcast and Film, Miike learned his trade from Japanese director Shohei Imamura, the founder and Dean of the institution. Already boasting several films on the market, Miike first gained the public attention with his 1995 film Shinjuku Triad Society, a violent, gritty crime epic that stood in stark contrast to the vast majority of other popular films in Japan at the time. The film would prove successful enough that Miike would eventually turn the film into a franchise of sorts, completing his “Black Society Trilogy” with Rainy Dog (1997) and Ley Lines (1999), beginning an incredibly busy period for Takashi as the 21st century neared. In addition to Ley Lines, 1999 would be a phenomenal year for Takashi. Inspired by a violent, perverse, and eerily emotional novel by Ryu Murakami, Miike chose to adapt Murakami’s book Audition as a film. The result would prove to be one of the very finest horror films of all time – one that is just as emotionally powerful as it is gut-wrenching in its final trimester, with fantastic performances by its leads Ryo Ishibashi and Eihi Shiina. Audition opened to outstanding acclaim from both critics and audiences alike, and is today viewed as a landmark in the horror genre. Later that year, a new violent crime epic called Dead or Alive would play at international film festivals and solidify Miike as the great, grand underground bad boy of Japanese cinema. The success has definitely not been short-lived for Miike, as he would grind out two Dead or Alive sequels before hitting paydirt once again with 2001’s Ichi the Killer. An undeniably stylish and ultraviolent film, Ichi the Killer is an invigorating movie experience. 2002 would see the release of Gozu, one of the most truly bizarre films of all time that would catch fire at the 2003 Cannes Film Festival and once again become a cult success in America. 2004 saw the release of One Missed Call, his return to the straight-up horror film, and the basis for the American film of the same name. In 2006, Miike was invited to take part in the “Masters of Horror” anthology series, and would direct “Imprint” – easily the most controversial and shockingly violent episode of the series. The episode itself would be banned from television, and has only been seen with DVD releases. The director of more than 70 film, video and television productions since his feature debut in 1991, Takashi Miike has churned out not only an ample but an extremely diverse and quality body of work that makes him an invaluable asset to the horror genre. In an era when so many horror fans themelves are jaded by the genre, Miike has shown the ability to repeatedly be able to shock his hardened audiences – and never for one second put out something that could be construed as boring.
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Lick Ness Monster
Dennis Stamp
From the eerie, eerie depths of Lake Okabena
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Post by Lick Ness Monster on Aug 8, 2009 21:13:44 GMT -5
And in a special induction penned by our own DSR... INDUCTION #12 "If a horror director has nightmares which torment him, he has to put them on screen." LUCIO FULCI Fulci has applied his skills as a director, screenwriter, and sometimes actor to a wide variety of film genres, but fans will probably always remember him as the Godfather of Gore. He is among the most famous Italian horror directors, and today he joins the Wrestlecrap Horror Hall of Fame. Fulci's directorial career began as early as 1959, and for a little over a decade, he made primarily comedies. In 1971, however, he wrote and directed the giallo Lizard in a Woman’s Skin. He would return to the gialli for 1972's Don’t Torture a Duckling, and again in 1977 for Seven Notes in Black. Following on from the success of George Romero's Dawn of the Dead (released in Italy as Zombi), Fulci created the classic Zombi 2. The film, loaded with exploitation trappings and copious amounts of gore, proved to be a bigger success than Romero's picture (in Italy, at least), and inspired the Italian film community to create a wave of films featuring maggot-ridden, gut-munching zombies. Many films were released in the early 80’s under the title Zombi 3 in an effort to cash in on Fulci's success. Fulci himself would return to zombies in this timeframe, writing and directing the films City of the Living Dead, The Beyond, and House by the Cemetery, each film taking on surrealist qualities, as a linear plot was foregone in favor of a nightmarish tone, and an emphasis on terrifying set pieces. These zombie films are perhaps Fulci's best known work. Quentin Tarantino himself cites Fulci (and, in particular, The Beyond) as a source of inspiration. Fulci's work in the early 80’s also includes The Black Cat, The New York Ripper, and Manhattan Baby. The latter half of the decade saw Fulci's health and energy deteriorate, but he still managed to crank out horror films, such as the supernatural revenge picture Aenigma, the bizarre horror/comedy Touch of Death, and finally his own version of Zombi 3, though Fulci left the production a little over halfway through and was replaced for the remainder of the film's production. 1990 saw the release of the semi-autobiographical A Cat in the Brain, starring Fulci himself as a horror film director who suffers horrendous nightmares (comprised of footage from Fulci's earlier works). A murderer kills people in much the same style as Fulci's films, in an effort to see the director blamed for the crimes. It is among Fulci's last visits to the director's chair. Fulci would pass on in March of 1996, but he lives on through his film catalogue. Notable DVD companies that cater to the grindhouse/underground horror market (Anchor Bay, Blue Underground, etc.) have released his films for new audiences to experience. And, in February of 2009, the documentary Paura – Lucio Fulci Remembered, Volume 1 was released. It is a collection of interviews with Fulci's filmmaking peers, as well as crewmembers and actors, recalling memories of the famed director. That's it for this round of inductions, guys...as for my own take on the "Women in horror films" discussion, I could actually go for more of a RETURN to the "virginal girl survives" motif. It seems as if a lot of directors now are so intent on NOT going with the tried-and-true approach to horror movie survivor rules that the opposite to that has, in essence, become the cliche. There are few likable horror heroines anymore, and I for one miss that. Having said that, I could also go for more "last guys," or hell, "last ANYONEs" (which isn't even a word ), provided that the characters are written well and you're emotionally invested in them.
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Post by GuyOfOwnage on Aug 8, 2009 21:16:13 GMT -5
A well-deserved induction for Robert Englund that was no doubt inspired by, at least in part, my anti-remake rants in the last thread ;D
Although I'm not a big fan of Miike's work, it's hard to argue against him having a spot in the Hall of Fame.
And Fulci...what can I really say? A shoe-in for our Hall from day 1. That quote at the beginning of the induction is something I wholeheartedly believe in as not only a horror fan, but a part-time horror writer as well.
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Lick Ness Monster
Dennis Stamp
From the eerie, eerie depths of Lake Okabena
Posts: 4,874
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Post by Lick Ness Monster on Aug 8, 2009 21:27:33 GMT -5
Guy - none of us disagree with you that Englund is absolute awesomeness, particularly in the role of Freddy Krueger. Everybody lavished praise on him in the last thread even while we were debating about whether or not there should be a new Freddy, and for good reason. As for Miike, I don't know if you yourself have seen the film, but pretty much everyone I've ever talked to about Audition loves it, and with how the last thread went, that was good enough for me. Then there was Fulci...since there was a pretty decent "Lucio Fulci is awesome" discussion in Thread #4, I was planning on inducting him, but the thought terrified me as I wasn't familiar with the man's work AT ALL (I've only seen one of his films, and that very recently). Like the proverbial cavalry, DSR stepped in to save the day on that one, so thank our resident Mod extraordinaire for that awesome induction. As for my own thoughts on this thread...you know, the last thread was the quickest to 30 pages for us yet, but as I said before, I thought it was a VERY negative thread, at least by our standards. We're still 5,000 miles away from anything in WWE current, but I'm hoping there can be more positivity here, particularly with the awesome movies coming up that Rorschach mentioned at the end of the last thread. And once again thanks for the awesome sig pic. Hope you don't mind me using it.
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Post by Rorschach on Aug 8, 2009 21:29:07 GMT -5
Those were beautiful write ups, and I have to say, the Fulci one actually has tears in my eyes right now.
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Lick Ness Monster
Dennis Stamp
From the eerie, eerie depths of Lake Okabena
Posts: 4,874
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Post by Lick Ness Monster on Aug 8, 2009 21:40:31 GMT -5
Those were beautiful write ups, and I have to say, the Fulci one actually has tears in my eyes right now. Thank you from DSR in advance for that one.
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Post by GuyOfOwnage on Aug 8, 2009 23:07:40 GMT -5
Guy - none of us disagree with you that Englund is absolute awesomeness, particularly in the role of Freddy Krueger. Everybody lavished praise on him in the last thread even while we were debating about whether or not there should be a new Freddy, and for good reason. As for Miike, I don't know if you yourself have seen the film, but pretty much everyone I've ever talked to about Audition loves it, and with how the last thread went, that was good enough for me. Then there was Fulci...since there was a pretty decent "Lucio Fulci is awesome" discussion in Thread #4, I was planning on inducting him, but the thought terrified me as I wasn't familiar with the man's work AT ALL (I've only seen one of his films, and that very recently). Like the proverbial cavalry, DSR stepped in to save the day on that one, so thank our resident Mod extraordinaire for that awesome induction. As for my own thoughts on this thread...you know, the last thread was the quickest to 30 pages for us yet, but as I said before, I thought it was a VERY negative thread, at least by our standards. We're still 5,000 miles away from anything in WWE current, but I'm hoping there can be more positivity here, particularly with the awesome movies coming up that Rorschach mentioned at the end of the last thread. And once again thanks for the awesome sig pic. Hope you don't mind me using it. On Englund: No worries...I have a pretty good understanding of why the overwhelming majority of folks in this thread are looking forward to the Nightmare remake, and that's fine. Englund's recent approval of Haley in the role boosted my confidence in the film ever so slightly, so as always, we'll see. On Miike: It took viewings of both Imprint and Ichi the Killer to kind of turn me off of his work. Imprint was admittedly a well-made film, but some of the subject matter hit too close to home on a personal level. There were parts of it that I did enjoy in spite of all that. The style of violence presented, especially in Ichi the Killer, just isn't my thing. It's not too violent or anything of that nature, it's just not really my thing, if that makes any sense. I'll see about getting my hands on Audition, though. Hats off to DSR for the stellar entry on Fulci ;D Believe it or not, the last thread was actually not our quickest to 30 pages. I decided earlier today to count how many days it took to fill up each thread, and here were the results: Part 1: 70 days Part 2: 44 days Part 3: 71 days Part 4: 46 days I'll address the negativity you referenced, because I know my NOES-related posts were the main source of it. The back-and-forth on the NOES remake was ultimately harmless, friendly debate, even with the undercurrent of negativity. Unlike the WWE Current section, our debates have always remained civil, and as long as they remain that way, I think all debate, whether it be positive or negative, should be welcome here. We're all adults here, so I don't think anyone is going to get their feelings hurt. Just my opinion on the subject. I'm actually kind of surprised you took that image as a sig. It was a quick 15 minute paste job that probably would've looked a lot better if I'd put more time and effort into it. I am flattered that you decided to use it, though
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Lick Ness Monster
Dennis Stamp
From the eerie, eerie depths of Lake Okabena
Posts: 4,874
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Post by Lick Ness Monster on Aug 8, 2009 23:52:28 GMT -5
On Miike: It took viewings of both Imprint and Ichi the Killer to kind of turn me off of his work. Imprint was admittedly a well-made film, but some of the subject matter hit too close to home on a personal level. There were parts of it that I did enjoy in spite of all that. The style of violence presented, especially in Ichi the Killer, just isn't my thing. It's not too violent or anything of that nature, it's just not really my thing, if that makes any sense. I'll see about getting my hands on Audition, though. I always worry if I overpraise a film (which is the mistake that I always make when I tell people about the ending of Sleepaway Camp), but I have literally never talked to a person who has seen Audition that didn't like it. Opinions are opinions, sure, but man...if this flick's emotional wallop doesn't knock you the hell out, you have no soul. Period. I can say with confidence that you owe it to yourself as a horror fan to see this movie. As for your comments on WWE current...man, I hear ya there. On the VERY rare occasions when I watch wrestling anymore and feel like posting on it, I generally follow the "post and run" philosophy. Just hit enter, leave, and never look at the thread again, because it seems that no matter what you say there you'll get ripped to shreds by somebody.
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Post by Rorschach on Aug 9, 2009 0:02:19 GMT -5
And see....for all his worship of Miike, what Eli Roth failed to do in his STRONGEST outing (CABIN FEVER), and also to a lesser extent, his weaker one (HOSTEL), was ever really connect on a deep, emotional level as Miike did in AUDITION.
Miike did in that film what Roth has tried at least three times to do, and failed: he started us out on a light hearted, almost 90's sex-comedy tone, and then turned it black as midnight with the deft hands of a master magician. Roth, on the other hand....it's just JARRING. One minute people are joking about poontang, and the next, they're having their toenails pulled off with pliers.
And you know, I don't hate Eli Roth....he means well, he really does. And he's just about as big of a horror mark as you're going to find in Hollywood. It's just that he's trying to do what Miike did, and he still hasn't quite perfected the recipe yet.
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