film watched in 2012

Top Ten Underrated Horror Movies (Part 10/10)

We have finally made it to the end

What could my top choice be?

There are so many great movies out there, but when I decided to make this list, I knew there was only one more that would fill my number one slot and throughout the process of making the list, that number one pick never changed.

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1. American Mary (2012)

Originally posted by spookshowbabydolll

Yes, my top choice also features the amazingly talented Katharine Isabelle.

I found this move either at the end of 2015 or just the beginning of 2016, but once I saw it, it bumped right up my list to favorite horror movies ever. Not just underrated, but IN GENERAL.

It stars Katharine Isabelle and is the revenge movie to end all revenge movies. It is wonderfully twisted and fucked up in all the right ways, like every horror movie should be.

Isabelle plays the role of a medical student, who is going through financial problems, but determined to succeed in her chosen profession.

Originally posted by petermolyneux

Desperate for money to pay her bills, she decides to seek work as a stripper, but because she is a medical student, she is instead offered $5000 to save a man’s life, after being beaten.

Needing the money, she does so, but is immediately struck with disgust returns home, in complete panic over the ordeal. 

She is offered quite a bit more money to perform a surgery, which would involve removing a girl’s nipples and labia, to appear more like a human doll. She offered $10,000 and an extra $2,000 to just show up.

Originally posted by panslabyrinth

Despite the way she felt at the strip club, she agrees and successfully performs the surgery.

Some time passes and during her residency, she is invited to a party, where she gets drugged and sexually assaulted at by her former teacher.

Originally posted by normvndy

Unable to cope with the attack, she drops out of medical school and goes back to the strip club, where she pays workers to bring her attacker to her.

Originally posted by a-dark-and-terrible-thing

She starts working at the strip club and starts working full time as a surgeon for consensual body modification, all while continuing to torture her attacker on the side.

Originally posted by horroredits

This movie takes a new spin on revenge story and as I have said before in my number two pick, Katharine Isabelle is hypnotic on the screen and when she is acting, your eyes stay on her and only her.

What I have explained is only part of the plot and I will not give the rest away, because the element of surprise needs to be there if you intend to watch this.

Originally posted by do-not-sit-next-to-dennis

It is written and directed by the Soska sisters who had a cameo in the film, shown above. 

I have never fallen in love with a horror movie so quickly before and I urge you all to give it a chance, because not a lot of people have heard of this movie and it is such a visual masterpiece.

Originally posted by horroraddict247

Originally posted by weytani

Originally posted by singfromthehair

I will say this though, the climax and ending happens a bit fast and because of that, it does end a little underwhelming, which is a shame, because everything else is just so flawless and absolutely chilling.

I repeat, absolutely chilling.

Watch the trailer and see for yourself. If you are as intrigued as I was, you will find a way to see this movie.


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Short film “We Strike Hard”. Exclusive from me!

Enjoy watching..

Okay I really don’t want to start discourse over BBC Les Mis before it’s even out but I will because this is bugging me. 

Davies shitting all over the 2012 film over it not being an “accurate” adaption of Hugo’s work- specifically because it’s a musical adaptation, really rubs me the wrong way.

The 2012 film was not trying to be a faithful adaptation of the brick- it was supposed to be a faithful adaptation of the stage show. The thing about interpreting a book into another medium is that no matter how true to the original source material you are, things are going to be left out or interpreted differently. That’s why so many novels brought to screen lose the a book’s original message or tone. Film and television are visual mediums- even with narration you wouldn’t be able to leave in every detail of Hugo’s work, and you shouldn’t want to, because even if you somehow managed to do that, it doesn’t mean your adaptation would be successful because it would not translate well to the screen. 

Furthermore, successfully adapting someones work means something different to everybody. I guarantee you that myself reading the brick would have taken away something completely different than somebody else. I may believe the 2012 film was a successful adaptation because it included themes from the book that I connected to personally. Another person may have hated it for this exact reason- the themes and characters they connected to were left on the cutting room floor.

There’s a certain sense of elitism in Davies’ words. That because the film was adapted as a musical it’s somehow can’t be as emotionally impacting as one that’s adapted straight from the brick. Even if Davies is not a fan of musical theatre as genre, he could have recognised that the film included pivotal and emotionally important themes and plot points from the brick.

I’m just saying that you don’t have to like a medium to appreciate it as an art form and recognise it’s successes. 

And saying straight off the bat that you’re adaption is going to be so much more powerful than an adaptation of one of Broadway’s longest running musical is a tall claim to make- especially when you haven’t even started writing the script yet.

Anyone who watches the 2012 Les Mis film and thinks that Enjolras is interested in anything but France and the Revolution clearly did not pay close enough attention. How they could think that he is attracted to anyone, let alone Eponine, who he only interacted with for about 5 seconds AFTER SHE DIED, is beyond me. I guess some people are just so dedicated to making sure everyone is straight and paired up that it doesn’t matter that what they ship makes zero sense.

wakeupontheprongssideofthebed  asked:

With plot twists, how do you avoid making readers feel "tricked"? I know "readers like to feel smart" (i.e by predicting what's going to happen), but I feel like if I foreshadow enough for readers to guess what'll happen, it ruins the surprise/twist

Well, as you say, it has a lot to do with foreshadowing. 

You’re right also, that a lot of readers (this is me!) like to predict what’s going to happen. A lot of times it can be disappointing, though, as ‘twist’ endings are either so clearly telegraphed that it feels a little farcical to actually get to the end and know that you’re supposed to be surprised by what’s happening, but you’d guessed it three chapters ago. Other times the twist feels more like it’s just been plucked out of the ether with little or nothing tethering it to the actual plot, which is just as annoying.

So what’s the happy middle ground?

The ‘twist’ should be something that is already built into the plot, but which is unexpected. I think that one of the better ways to do this is to construct your plot and its twist ending so that there is at least one other way that the reader might expect the story to end.

I’ll give you a good (in my opinion) example, and a bad example, and we can think about what makes them work or not work.

A good example of a twist is the Sherlock Holmes story A Scandal in Bohemia, at the end, while Holmes has nominally solved the case, the woman he’s been investigating (Irene Adler) has cottoned on to his scheme, and has taken her husband and her blackmail materials and run off to the continent, well out of reach of Holmes or his employer. 

This is a surprise, because most of the time we expect Holmes to get to the end of the story as the single triumphant figure, and also because most of the people he investigates don’t manage to match him on his home turf as well as at his own game.

This is built into the story, as we already have evidence that Irene is capable of some significant amount of trickery, given that she has already pulled a fast one on the king of a small nation, and has managed to evade every hired man he’s sent after her to try and get the blackmail materials back by force.

There are also several other endings that seem just as likely to the reader as the one that occurs the most likely being that we might think that Holmes would manage to sneak the blackmail materials out of her home and hand them over to the king. It is a little bit like sleight of hand, while the reader is waiting to see how Holmes is going to manage to do it, Irene is setting up her own victory in the background.

A bad example of a twist ending is a movie I watched very recently Red Lights (2012). The film follows along a couple of scientist-skeptics who investigate and debunk paranormal events, and whose main antagonist in the film is a famous mentalist who claims to be able to prove that he really does have paranormal abilities.

The film goes along a fairly standard track of them investigating this mentalist and managing one at a time to pick which tricks he’s using to make it seem like he has powers. Right at the end there is one thing which they seem to be unable to debunk, it comes right down to the wire as the results of the tests he’s undergone are going to be published and …

It turns out that one of the skeptics was really a real psychic all along! Oh yeah, and they figure out how the mentalist was doing that one trick just in time, too.

Now, I was with the movie up until about the halfway mark, but then it started to fall apart. They were laying in hints that there was something weird happening, but they were heavy-handed and could easily have been that the mentalist character was just using his wealth to hire people to harass the skeptics, or that he had real powers.

Having one of the skeptic characters have powers and having that be the big reveal felt cheap. It seemed unnecessary and it didn’t carry any weight when so much of the film had been focussed on the rivalry between the characters. As well, at the last minute, there was an attempt to give this character’s powers emotional weight, where it hadn’t been built or foreshadowed by the film so far. There were several other details about the character that were very sympathetic and interesting, but to have the ‘and I’m a real psychic’ suddenly given the top billing cheapened the rest of it.

I think when you’re crafting a twist ending, a good approach is to figure out what you want your ending to be, and then to think of two to four endings that are very reasonable outcomes for the story. As you write, you can work in evidence that will lead readers to assume one thing or another that will turn out to be wrong, alongside your foreshadowing for the actual twist.

I hope that helps!

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