overlooked-movies

The term ‘movie magic’ typically refers to the technical brilliance of bringing dinosaurs to life onscreen or how Denzel Washington can make an entire theatre of men and women pregnant with a single knowing glance. But there’s a second type of movie magic that often goes overlooked: when movies are so good, we don’t notice when their characters’ plans’ make absolutely no sense.

All the great ones do this. In 'Return of the Jedi’, all of the main characters get captured attempting to break Han Solo out of Jabba’s palace, but it’s all good because that was seemingly their plan all along? Why wait to get captured when you can just drop in, lightsabers blazing, bust your dude out of the carbonite and smoke fools in an epic prison breakout? Seems like Luke wanted to fight the Rancor all along.

There’s a whole category of these where bad guys try to weaponize monsters. From the 'Alien’ series to 'Jurassic World’, it’s just a bad idea.

Christopher Nolan is a real magician when it comes to bad movie plans. 'The Dark Knight’, 'The Dark Knight Rises’, and 'The Prestige’ all have glaring examples of movie schemes that don’t hold up under an ounce of scrutiny.

THIS WEEK: Join Jack O'Brien, Michael Swaim, and David Christopher Bell as they discuss the failing of Nolan’s villains, why 'Westworld’ makes no sense, and how the dudes in 'Jaws’ had a bigger boat the whole damn time.

23 Convoluted Movie Schemes That Need A Second Look

Atlantis is such an underrated, overlooked Disney movie because people will legitimately shout, scream and yell endlessly how they don’t want a classically masculine, stereotypical hero, how they want someone sensitive, gentle, passionate, intelligent and nerdy instead, how they want a princess of color who is both badass and gorgeous and can hold her own in combat and be graceful while she kicks major ass, how they want amazing female villains next to male villains, how they want a large cast of characters from all forms of life, ethical diversity, national diversity, gender diversity, body diversity and age diversity, how they don’t want the same fairytale formula poured down their throats over and over again, how they want a fresher, more original setting and story-line with great humor and lines of dialogue, how they want this and that, the list goes on and on - until they actually get what they were whining about all the while. Then they’ll just ignore the shit out of said piece of work and collectively go back to the very formula they were trashing all these years and keep on moping how their demands aren’t being met by popular media. Bottom-line is: You’re all spoiled ass, ungrateful, childish bitches.

100 Overlooked/Underappreciated Horror Movie Gems by Max Molinaro

For the past five months I’ve been writing lists of 20 great horror films that I feel may have been overlooked. Here are those five lists assembled in to one place. Enjoy the scares.

Chances are if you are a giant horror fan you may have seen a pretty decent chunk of these, but a vast majority have likely not seen many of them. This is a list of under seen films or movies that aren’t talked about enough when discussing some of the greats…  

  • Possession – I can honestly say there is nothing else like Andrzej Żuławski’s Possession. Starring Sam Neill as Mark and Isabelle Adjani as Anna, Possession is first and foremost about a dissolving marriage. Anna is done with the relationship and Mark tries to salvage it, but revelation after revelation puts more and more strain on their hopes of living happily ever after. As the film progresses it becomes increasingly surreal and disturbing. Mark is livid and lashes out against just about everyone after Anna leaves him, clearly losing his grip. As bad as Mark is becoming, it is nowhere close to the horrors that Anna is facing. Blood drips her mouth and she frequently disappears into a mysterious apartment building. What she is doing in this apartment is something no one can predict and it is deeply troubling. Neill is amazing, but Adjani is the stand out performance in the film. It is an exceptionally physical performance and you can tell that Adjani is giving it her all. One scene where she has some kind of attack that causes her to flail around the ground is extraordinary and the ending of the sequence is truly disgusting. Possession is really an incredible film with many interpretations and some of the most unforgettable images ever put to on screen.

  • The Devils – There is nothing else like Ken Russell’s 1971 highly controversial film, The Devils. Starring Oliver Reed as Father Urbain Grandier, a lecherous, but respected 17th Century priest, who has great power in a small-fortified French town. He marries a young nun after they fall in love, but that drives a hunchback nun (who as loved Grandier and pictured having sex with him as he appears as Jesus Christ coming down from the cross in the film’s most infamous scene) off the deep end and accusing the priest of witchcraft and consorting with the devil. The Devils is insane and feels like a demented acid trip. Filled with amazing performances and unforgettable scenes, The Devils is one of the most interesting (certain people would say offensive) and greatest horror dramas ever made.

  • Martyrs – This is a rough one that’s may even be too much for some horror movie veterans, let alone folks new to the genre. Martyrs is a French directed by Pascal Laugier and stars Morjana Alaoui and Mylène Jampanoï. The film follows the two female leads as one seeks revenge for being kidnapped and tortured in her youth. She’s been psychologically damaged and has become ruthless in her pursuits. She is also racked with guilt about something she witness during her initial escape many years agao, which leads to some of the film’s most frightening sequences. It’s a brutal and in many way nihilistic as it is part of the New French Extremity movement, where you’ll find a smorgasbord of hyper violent cinema. If you can get past the darkness and the violence, you’ll see that there is more to the film than meets the eye and there are many ways to interpret its message.

  • Ginger Snaps - John Fawcett’s Canadian teen horror film follows Brigitte (Emily Perkins) and Ginger Fitzgerald (Katharine Isabelle), two sisters with a morbid fascination with death. One night they are attacked by what was originally thought to be a rabid dog and Ginger is bit. She soon begins acting strange (and I mean strange for the Fitzgerald sisters, because they already had a reputation) and slowly begins to change physically. It is clear that she is becoming a werewolf and she begins to turn on her sister, the only person she has ever cared for. Ginger Snaps is one of my personal favorite werewolf movies, second only to the classic John Landis film An American Werewolf in London. This tragic tale is sometimes darkly funny, but is ultimately a story about girls entering womanhood. It’s an intelligent take on puberty through the guise of a werewolf movie.

  • From Beyond – “Humans are such easy prey”. From the director of Re-Animator, Stuart Gordon, and many other people involved in that film, comes From Beyond, the best film to date to be directly based on a story by H.P. Lovecraft. The film stars Jeffrey Combs (the Re-Animator himself), Barbara Crampton, Ken Foree and Ted Sorel and is a gory body-horror film unlike anything you’ve seen before. When two scientists create a device that let’s them see through reality to a metaphysical world, they mistakenly open a door that risks unleashing horrible beasts on the rest of the world. Their experiment turns into a disgusting nightmare that would make Lovecraft himself proud as the film reminds you “The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far” (Lovecraft, The Call of Cthulhu).

  • Eyes Without a Face – This French pseudo-slasher film, released the same year as Psycho, remains just as shocking today as it did all those decades ago. Directed by Georges Franju and starring Pierre Brasseur and Alida Valli, the film follows a mad doctor as he kidnaps and murders women in order to remove their faces and transplant them on to his disfigured daughter. In many ways the film is as grotesquely beautiful as it is disturbing and continues to be highly influential across the globe.

 

  • Stake Land – Director Jim Mickle’s second feature is an ultra low budget that combines vampire and zombie apocalypse stories in some incredibly unique ways. Starring Nick Damici, Connor Paolo, Danielle Harris and Kelly McGillis, Stake Land follows survivors of a vampire apocalypse as they do everything in their power just to survive. Damici plays a bit of a badass vampire slayer, which Paolo is just learning the ropes. Both scary and sad, Stake Land is a character driven indie that is a must.

  • We Are What We Are – Jim Mickle’s follow-up film to Stake Land was even better and proved that Mickle is a  director to watch. A loose and superior remake of a 2010 Mexican of the same, We Are What We Are is a film about family suffering from the lose of the mother. The father (Bill Sage), an old fashioned man, now must lay the burdens formally helf by his wife on his two daughters (Ambyr Childers and Julia Garner) and those burdens are unlike that of any normal American family. Just like Stake Land is ultra low budget horror drama is depressing, but you can’t look away as this family begins to buckle under the weight of their own traditions. Michael Parks also stars and he is always a welcomed presence.

 

  • Trick ‘r Treat - I love Trick ‘r Treat so much. I now watch it every Halloween alongside John Carpenter’s classic Halloween. It’s that good. This horror anthology directed by Michael Dougherty and starring Dylan Baker, Brian Cox and Anna Paquin is one of the most purely fun horror films to come out in the past decade. Featuring several short stories that are intertwined both in the editing and with characters has just about everything you could ask for and perfectly captures the spirit of the holiday.

 

  • The Devil Rides Out – Though some effects and storytelling elements may be a tad dated for some, this little known Hammer Horror classic directed by Terence Fisher and starring Christopher Lee, Niké Arrighi, Charles Gray, Leon Greene, and Patrick Mower gets that all good horror films need to have a certain kind of atmosphere to be effective. This is classic battle of good versus evil and has Christopher Lee in a rare role of playing a hero instead of one of his many classic villainous roles.

 

  • Splinter – Another dirt cheap monster movie, Splinter is directed by Toby Wilkins and stars Shea Whigham (on of those “you’d know him if you saw him actors”), Jill Wagner, and Paulo Costanzo. Whigham plays an escaped convict who becomes stuck in a secluded gas station with a young couple when a strange virus turns its hosts into a horrid creature. Similar to Carpenter’s The Thing is some respects, Splinter is a tightly paced, claustrophobic, and creepy monster movie and I love it.

  • Kill List – Upcoming British director, Ben Wheatley, delivered a morbid look into the darkness of a man’s soul with his 2011 horror-thriller starring Neil Maskell, Michael Smiley, and MyAnna Buring. It follows two contract killers as one of them, a family man outside of work, becomes increasingly violent and spirals out of control. Like Martyrs, Kill List is a very dark film that can be interpreted in many different ways. The third act of the film is simply terrifying.

  • Pontypool – Possibly the most original take on the zombie film in the past couple of years, this Canadian horror film directed by Bruce McDonald and starring Stephen McHattie, Lisa Houle, and Georgina Reilly is really something special. Set almost entirely in a radio station where radio announcer, Grant Mazzy, tries to understand the chaos going on outside just by listening to the incoherent reports he is receiving from his colleagues and from the horrible sounds he is hearing. Is there a riot? Is it zombies? What is causing all this violence outside and with the crew of this small radio make it through the night alive? You’ll never guess what’s going to happen next in this highly intelligent horror film.

  • Wrong Turn 2: Dead End – The original Wrong Turn was a serivable slasher film about a couple of mutant hillbillies offing beautiful middle in the middle of the woods, both with this first sequel the franchise really stepped it up a notch and then a couple of notches after that. Directed by Joe Lynch, the film follows a group of people on a reality TV game show set in the wilderness, but of course the wood are home to a family of inbred mutant cannibals. This is a movie that’s for the gorehounds out there. Right from form the get-go the film pulls no punches and features grisly deaths throughout.

 

  • Santa Sangre – This might be the one that may be just too much for some casual filmgoers. Directed by one of cinema’s all time greats, Alejandro Jodorowsky, Santa Sangre is an abstract work of very surreal art. Though there is more a clear cut narrative that some of Jodorowsky’s other work like Holy Mountain (which I absolutely LOVE, but I can see why it might by an acquired taste), Santa Sangre cans still be described as very avant-garde. Starring Axel Jodorowsky, Adan Jodorowsky, Blanca Guerra, Guy Stockwell, and Thelma Tixou, Santa Sangre is not a film with a plot that I could succinctly describe. It is a film that to have to experience because it really is art and pure as art can come. Jodorowsky is really just a brilliant madman.

 

  • The Bay – This is a found footage horror film directed by Barry Levinson. Yeah, that Barry Levinson who directed Diner, The Natural, Rain Man, and Wag the Dog. The Bay is Levinson trying something outside his comfort zone and that is reason enough for one to give it a try, but it helps that it is a really well done film. Based on the horrifying real life parasite known as Cymothoa exigua, The Bay is a story about a fictional town being almost completely wiped out in the course of a day by the wretched little tongue eaters. Disgusting and genuinely creepy, The Bay is really successful little film from a director doing something outside his wheelhouse.

 

  • The Loved Ones - Directed by Sean Byrne and starring Xavier Samuel and Robin McLeavy, The Loved One is a violent Australian film that’s not for the faint of heart. A teen is kidnapped and tortured by a crazed young woman and her father as they hold a mock prom in their isolated home. Just when you think things can’t get any worse for Brent (Samuel) they of course get far more terrible. The relationship between the murderous duo is a fascinating one as you slowly learn more and more about them as the film goes one. You’ll never want to go to a school dance again after this.

 

  • City of the Living Dead – Directed by the “godfather of gore” Lucio Fulci, this Italian film is fun, gory, atmospheric, and stylish. It kicked off Fulci’s unofficial Gates of Hell trilogy, where the other two films will probably be included in later editions of this series of articles. It’s a bit silly at times, but it’s a fun zombie film that could only be made in the time and country that it was made. Some good Lovecraft references peppered in throughout as well are nice touch.

  • F (aka The Expelled) – I suspect that this is the least know film on this list and it’s a shame because this is a damn good British horror film. Directed by Johannes Roberts and starring David Schofield, the film follows a high school teacher, who is getting dumped on from almost every direction. His day only gets worse when he gets into a conflict with his daughter that might cost him his family and is job. Those problems soon take second fiddle to something even worse as Schofield begins to be tormented by several hooded kids. Eventually the faceless hoodlums become violent and begin murdering the few people who have remained at the school several hours into the night after the school day has ended. This is a dark, tightly paced, well directed and acted, film that I high recommend you seek out. Also features a really haunting and fantastic musical score.

  • Who Can Kill a Child? – This Spanish horror film directed by Narciso Ibáñez Serrador follows and English couple (played by Lewis Fiander and Prunella Ransome) on holiday. They arrive at their destination to find all the adults missing and the islands children stalking them. The kids turn violent and the couple must do whatever they can to survive. Adding to the peril, the wife is pregnant, which just makes their quest to survive all the more desperate. This is a harrowing film and you can imagine by the title and by the end you may have an answer to the question it asks.

 

  • Frozen – Let’s this out of the way first: I’m not talking about that wonderful Disney film, I’m talking about Hatchet director’s Frozen, so we should just let it go (wink). It’s just a coincidence that this is the third single location horror film on this list after Splinter and Pontypool, but is can be a wonderful challenge is low budget horror filmmaking sometimes and it pays off in spades in Frozen. The premise is simple as it is just a film about three characters played by Emma Bell, Shawn Ashmore, and Kevin Zegers as they are stuck on a ski lift after the ski lodge shuts down for the night. They’re only option is to find a way down or freeze to death over the next week while the resort is closed. Their escape is hindered by the cold, height, and a pack of wolves waiting for some tasty human meat to come down and that is where the horror lies. It’s a film that’ll have you asking, “what would I do in this situation?” and “how quick would I start to turn on my friends?”. This is a horror movie that relies on tension and sound design as opposed to gore and jump scares and shows Adam Green’s potential after doing the fun Hatchet films.

 

  • The Burning – This is just pure 80s. Everything about this movie is just so much of the time. This is a quintessential 80s slasher film, which was just a knock-off of Friday the 13th(which in turn was riding the coattails of Halloween). Directed by Tony Maylam and featuring some gory makeup effect by famed special effects makeup artist Tom Savini, The Burning is just a blast of a film, with a memorable villain named Cropsy. Fun fact: a young Jason Alexander’s very first feature film role.

  • The House of the Devil – The film that put Ti West on the map, The House of the devil is a brilliant throwback to low-budget 80s horror. Shot to look like it was done with grainy film stock used in the early 80s, the film gets the tone and look of the time perfectly. A college student takes a baby-sitting job, but finds out the job is more than she bargained for when the house’s owners turn out to be members of a satanic cult. It’s a slow burn that racks up the tension to a big climax. The film features the great character actor Tom Noonan who excels at playing both a kindly and creepy older gentleman. The House of the Devil is the first great film from one of horror’s best young minds.

 

  • Cheap Thrills – What would you do for five bucks? Ten? A hundred? Ten thousands? Would you say something that’ll get you slapped in the face? Would you vandalize a neighbor’s house? Cut of a finger? Those are the questions that the characters played by Pat Healy (The Innkeepers) and Ethan Embry (Can’t Hardly Wait) have to answer when they meet David Koechner (Anchorman) and his wife Sara Paxton (The Innkeepers) at a bar one night. The film is darkly funny and equally twisted. Pat Healy gives a layered performance as man that’s always gotten the short end of the stick and never done anything about it, but may finally step up under some insane circumstances. Cheap Thrills by E.L. Katz is a mean little piece of fascinating thrills that leaving you asking “what would I do?”.

 

  • The Werewolf – A stranger comes into town on a dark night, lost and confused. He runs afoul with an angry drunk and the wino winds up dead. It looks like an animal attack, but no one knows what kind of animal and where the stranger went of too. It sounds fairly generic, especially with such a simple title, but this 1956 B—movie is better than you’d think. Great makeup effects plus a 50s sci-fi twist on the classic werewolf myth and better character work than most genre films of the period, the film is a cheesy fun way to spend 79 minutes.

  • Monkey Shines – From master of horror George A. Romero, Monkey Shines Alan Mann played by Jason Beghe (Chicago Fire), who is rendered quadriplegic after a tragic accident. A friend of his, a scientist, gives Alan an unusually intelligent capuchin monkey to help him out. The monkey isn’t just unusually intelligent, but hyper intelligent due to medical experimentation. The monkey, Ella, quickly becomes attached to Alan and overly protective of him. Due to the experiments, they unknowingly become linked telepathically linked and Ella acts on the angry feelings that Alan never would act on in a million years. Alan eventually becomes a prisoner in his own home and is helpless due to his condition. His inability to move is a simple, yet highly effective way to create a ton of suspense throughout the film.

  • The Dentist – From director Brian Yuzna (Society) and producer Stuart Gordon (director of Re-Animator and From Beyond) The Dentist is about exactly what you think it is. Corbin Bernsen plays a dentist who is pushed too far by his cheating wife and stressed filled job. He takes matters into his own hands and begins torturing and murdering anyone that his the misfortune of finding themselves in his chair. You know how you get especially squeamish with little things like nails being pulled or stepping on tacks? This whole movie is little things like that involving teeth and the mouth. It’s gross and it’s under the skin like any of the best Yuzna/Gordon productions.

 

  • Lake Mungo – A 2008 Australian horror mockumentary tells the story of the drowning of the 16 year old Alice Palmer and how her parents and brother deal with the events after her death. The film is highly atmospheric and a great slow burn. There are elements of a mystery as to why Alice is appearing in home videos after her death and what she was actually like in life as opposed to the face she put on for her family. More creepy and intriguing than outright scary, Lake Mungo should be a film that sticks with you for a while. It is also pretty interesting if you’re a fan of Twin Peaks and you start seeing that the entire film plays out like an homage to the classic series.

 

  • The Tunnel – An Australian found-footage film that follows a small investigative news team looking to learn the truth behind a possible government cover-up regarding a recent water shortage. They enter the sewer system under Sydney, but soon they see an emaciated looking figure lurking in the shadows. They lose their sense of direction in the labyrinth and realize that something is stalking them. The Tunnel is pretty damn terrifying. It’s claustrophobic, tightly scripted, and tense from beginning to end.

 

  • Eden Lake – One of several British horror films on this list today is 2008’s Eden Lake. The film stars Kelly Reilly as Jenny and Michael Fassbender (one of this generation’s greatest actors) and Steve, a young couple on a romantic getaway at a remote lake. Everything seems perfect until they have a run-in with some punk teenagers. Steve confronts them, but then decides that him and Jenny should just move further down the beach. The confrontation eventually escalates and turns dangerous as the teens chase down the couple with deadly intent. More brutal and disturbing than the initial setup might suggest, Eden Lake is a relentless thriller.

 

  • In the Mouth of Madness – The last good film John Carpenter made before he lost his mojo, 1994’s In the Mouth of Madness feels a little bit Stephen King-like in a few parts and a lot like H.P. Lovecraft just about everywhere else. As the title might imply, the film is about the nature of insanity and has a bit of commentary on the nature of horror storytelling. Starring Sam Neill (second time he’s been mentioned on this list) as John Trent, a fraud investigator looking for a horror novelist’s, Sutter Cane, final transcript. Cane’s recent novel has been a massive success, but there have been reports that it has been driving some readers mad. Trent travels to the town that inspired Cane, but soon begins seeing horrible visions and the line between real and nightmares quickly becomes blurred.

 

  • Psycho II – Alfred Hitchcock’s Psycho is a classic, a masterpiece, and one of the most influential horror films ever made, so a sequel may seem like a crime against the art form. Surprisingly though, Richard Franklin’s 1983 Psycho II is not the horrid mess that many sequels to classics like The Exorcist II and Jaws 3 are. After 22 years in an institution, Norman Bates is released and returns to the infamous Bates Motel. He tries to lead a normal life and shed his “Mother” persona, but bodies begin to pile up and Norman starts to feel a little mad. Of course it’s not nearly as good as the original (despite what Quentin Tarantino thinks. He actually prefers the second one), but this sequel is an entertaining twist filled psychological thriller. Anthony Perkins returns to the role of Norman and he’s just always great.

 

  • Inside – From directors Julien Maury and Alexandre Bustillo, this 2007 French film is one of the most relentless and grisly horror films ever made. Weeks after being involved in near fatal car accident and losing her husband, a young pregnant woman, Sarah, answers the door the door to a strange woman late at night. The woman begins harassing Sarah and is quickly escalates. It becomes clear that this woman only wants one thing: Sarah’s baby… Sarah is brutalized and fights to survive as anyone else who enters her home as a potential savior meets a gruesome fate at the hands of the deadly home invader. Dark, bloody, and non-stop, Inside is one of France’s best modern horror films.

 

  • Dog Soldiers – More British horror from The Descent director Neil Marshall in the form of Dog Soldiers. Essentially it is a low-budget Predator with the alien hunter swapped out for a family of werewolves. While on a training exercise, a squad of British Army soldiers is left out in the middle of the woods and is forced to duke it out with the pack of monsters. Gory, fun, and really well directed, Dog Soldiers is a blast. Many of you reading this have also seen the director’s work in the Game of Thrones episodes “Blackwater” and “The Watchers on the Wall”

 

  • Excision – Starring 90210’s AnnaLynne McCord and directed by Richard Bates, Excision is a powerful and disturbing high school horror film. The film follows Pauline (McCord), a mentally disturbed high schooler, with hopes of becoming a surgeon. There are several expertly shot dream sequences, soaked in blood and featuring confrontations with Pauline and her ideal self. Outside the dream, Pauline is extremely creepy as she emotionally scars everyone around. She very flippantly decides that she wants to lose her virginity and propositions a guy that’s tormented her in school. They meet at motel and what happens is sure to gross a majority of viewers out. After that Pauline becomes more aggressive in her acts and eventually does something that no one will forget…

 

  • The Lovely Molly – I watched the film on Netflix on a whim a while back, not knowing anything about it at all. That was a good call on my part because Lovely Molly is a super creepy ultra low-budget horror film. It’s incredibly subtle in the ways it attempts to frighten you and you’ll be uneasy for more of the film than not. Just watch, knowing that if you’re paying attention, it will pay off. Directed by Eduardo Sánchez, the mastermind behind The Blair Witch Project.

 

  • Deadgirl – Do not watch this on a date. I repeat. Do not watch this on a date. It won’t go over well. Or maybe give it shot, you may have an interesting night depending on whom you’re with. This 2008 high school horror film is gross and miserable. One day two boys, high school seniors who can only ever hope of finding a girlfriend, discover a naked woman chained up in a basement. They soon learn that this strange mute girl is not just a tortured woman, but that she is in fact a zombie. This is where the film gets really heavy and after deciding that neither of them can do it, they convince a jock to rape the so-called “Deadgirl” and it’s all down hill from there. The only way I could accurately describe the film is pure melancholy.

 

  • The Tenant – The third film in Roman Polanski’s thematic “Apartment Trilogy” following Repulsion and Rosemary’s Baby, The Tenant is a paranoia fueled psychological horror film. Polanski himself plays a quiet, average man who moves in to an apartment after the previous tenant attempted to kill herself by jumping out the window. The landlord and the other renters begin to complain and chastise our protagonist for being too disruptive, when he is actually being anything but. The horror takes place in his mind as all these different outside forces start to come down on him and he begins to break. This one can only be described as mind-bending and features an unforgettable third act.

 

  • Berberian Sound Studio – British and psychological horror seem to be the unintentional theme of this edition with Peter Strickland’s Berberian Sound Studio starring Toby Jones. Jones plays a British foley artist, Gilderoy, who comes to Italy thinking he’s going to help with sound work on a film about horses. He arrives and soon learns that the film he is to work on is a giallo film. Gilderoy is new to horror films, so he is already out of his element being in this foreign country. Much like The Tenant’s protagonist, Gilderoy is an average and quiet man, who is needlessly thought of as greedy and rude by his Italian collaborators. All he asks is that he be reimbursed for his plane tickets, like he was told he would, but everyone gives him the runaround. From there Berberian Sound Studio becomes crazier and crazier as Gilderoy slowly becomes as insane and dark as the film he is working on.

 

  • Maniac – This 2012 remake of the 1980 film of the same name directed by Franck Khalfoun and stars The Lord of the Ring’s Elijah Wood as the film’s titular psycho. Shot almost entirely from the killer’s point-of-view, Wood’s character, Frank, is a shy and awkward man with a dark secret and even darker desires. His dimly lit home is filled with female mannequins. Frank murders women, scalps them (while most are still alive), then takes the top of their heads to place on his mannequins in order to give them personalities. Maniac’s violence is brutal, uncomfortable to watch more often than not, and horrifying to say the least. Wood is perfect as the awkward, yet menacing murderer, and by the end you may just feel like a maniac yourself.

  • The Children – Similar in premise to Who Can Kill a Child (which I mentioned in last month’s edition), The Children is yet another 2008 British horror gem about two families staying at a secluded home to celebrate the New Year. Everything seems normal at first, with some typical familial drama, but the young children begin to act very strange. They soon become sadistic and violent, which leads their parents to struggle with the fact that they either have to kill their own children or be brutally murdered by them.

  • The Fly II I’ve written extensively about The Fly II for some reason, which you can check out right here. To make it brief I’ll just say that Cronenberg’s 1986 remake of The Fly is just about perfect in my mind and one of my ten favorite horror films and while the sequel isn’t as good, it’s a fun ride and much better than one might expect. 

 

  • Ginger Snaps: Unleashed – Almost as amazing as the previously mentioned original, the sequel follows Emily Perkins as Brigitte Fitzgerald, Ginger’s sister, as she deals with the physical and mental toll that the events of the first film have taken on her. Just as impactful and raw in terms of pure emotions, this is a rare horror sequel that can hold its own with the best of them.

 

  • Braindead – Peter Jackson’s third feature and final outright splatter is arguably the goriest film ever made. On top of the insane over-the-top gore gags and gross out moments, it’s a wacky comedy, a dark familial drama, and a quirky romance. It’s an unforgettable film from on film’s greatest modern filmmakers. The film is more commonly known in America as Dead Alive.

 

  • The Prowler – Similar to The Burning in that is doesn’t really break new ground in the vast landscape of 80s teen slasher movies, but the film features some top notch makeup effects from the master Tom Savini. Not much more to say other than if you’re looking for a good slasher movie, The Prowler will satisfy.

 

  • The Stepfather – It’s soooooo good. Joseph Ruben, the director of Breaking Away and The Good Son, film from1987’s The Stepfather is such a fantastic work. Lost star Terry O'Quinn play’s the new stepfather to a young woman, who unbeknownst to the rest of the world, murdered his previous family and plans to continue his murderous cycle of entering and destroying families. O'Quinn’s performance is impeccable as the titular psychopath. The film was followed by two lackluster sequels and an awful remake in 2009.

 

  • Motel Hell – A pseudo parody of the horror films of the time when it was released in 1980, Motel Hell is a real cult classic. The unusual horror-comedy was ahead of its time in many ways and includes of the most bizarre images put to screen. The film’s killers, Vincent and Ida Smith, are an odd pair of farmers who capture innocent men and women and plant them in their garden, where they are fed until they are ready to be harvested and eaten. The sound of the heads sticking out of the ground will be embedded in your mind for a long time.

 

  • Humanoids From the Deep – Executive produced by the B-movie king himself, Roger Corman, 1980’s Humanoids From the Deep is an exploitive schlockfest about sea faring monsters with an urge to mate with attractive young human females. It sounds like it could be pretty offensive and it probably is, but the film is so much fun for that reason. Directed by Barbara Peeters, one of the few notable female filmmakers in the realm of 70s and 80s exploitation horrors, the film is the best of 50s B-monster movies mixed with the trashiness of the low budget 70s grunge horror.

 

  • A Tale of Two Sisters – A 2003 South Korean horror film from director Kim Jee-woon (director of I Saw the Devil) continues to prove that some of the scariest films come out of Asia. The film centers on a pair of sisters struggling with increasingly terrifying events surrounding them and their maniacal stepmother. The film is very creepy and unpredictable (unless you saw the crappy American remake, The Uninvited, in 2009)

 

  • The Hunger – A beautiful and haunting film from 1983 directed by Tony Scott and starring the great David Bowie and the now legendary Catherine Deneuve as a married couple of vampires living in New York. Susan Sarandon plays a doctor that Bowie needs help from when he begins to rapidly age, which leads to a chain of events that reveal that Deneuve has been hiding something deadly and Sarandon becomes entangled with this secret in some unexpected ways.

 

  • Alligator – This 1980 monster film directed by Cujo director Lewis Teague is fun satire of monster movie clichés that pokes a little fun at them, but at the same time uses them to great effect. With great effects work and an entertaining performance from Robert Forster, Alligator a real treat. The film also has the balls to kill children, something not normally seen in horror films like these.

 

  • Street Trash – Not a film for everyone, Street Trash is just as trashy as the title and poster would imply. Hobos melt in toilets and a severed penis is thrown around like a football in slow motion in James Muro’s 1987 cult classic. Appropriately disgusting while poking fun at homeless behaviors and all sorts of gross oddities on top of the super cheap production, Street Trash is a film that will turn off most, but it’s a corny good time.

 

  • Shutter – This 2004 Thai horror film by Banjong Pisanthanakun and Parkpoom Wongpoomis a twisty ghost mystery and is utterly horrifying. A photographer begins seeing strange shadows in his pictures and can’t escape en entity that is out to get him due to a mistake from his past. The film plays with your emotions as it becomes unclear who is the villain in the story, but it is always scary.

 

  • Trauma – Dario Argento, the Alfred Hitchcock of Italy and the master of giallo, delivered this creepy film in 1993 with his daughter Asia Argento starring. A killer stalks the streets and is decapitating staff members of a local hospital and Asia plays a women suffering from anorexia who is caught in the middle of it all and begins losing loved ones. The decapitations are graphic and the film shows the heads living on for a few seconds after the fact, which is an insanely creepy image. The film was one of the director’s last good films before the quality began to slip in the late 90s.

 

  • The Curse of the Werewolf – Surprisingly one of the only, if not the only, major werewolf works made by Hammer Films in their heyday. Directed by Terence Fisher and starring Oliver Reed as the cursed man, the film is a dark one that throws everything you know about the rules of werewolves out the window. After a lengthy setup where Reed’s character is the product of the rape of his mother by a tortured vagrant and the boy suffers from some unusual habits growing up, he grows into a seemingly normal man. One night he undergoes his full transformation and begins to kill. Bleak and high in emotions, The Curse of the Werewolf is on of Hammer’s best.

 

  • The Ghost of Frankenstein – Universal’s third Frankenstein film from 1942 isn’t nearly as talked about as the original two classics, but Island of Lost Souls director Erle C. Kenton delivered an exceptional film with Lon Chaney Jr. as the monster, Bela Lugosi as Ygor, and Cedric Hardwicke as Dr. Ludwig Frankenstein. Set years after the Bride of Frankenstein, the film see’s Frankenstein’s son return to his father’s home and finds that he blamed for the supposed cure of the Monster. The film was the last truly great serious take on the Frankenstein story for sometime and was also used heavily has a source of parody just as much as the first two in Mel Brooks’ Young Frankenstein (which shares the same general plot).

 

  • Afflicted – A Cronenbergian found footage film about two video bloggers traveling Europe. In France, one of them goes back to their room with a beautiful woman, but he is found alone and bleeding in bed when his friend busts in. In Italy he seems very ill and his symptoms becomes more and more extreme until he shows signs of superhuman abilities. When his hunger and aversion to sunlight become too much, it becomes very apparent what he is becoming. The film is able to pull off things using the found footage motif that do not seem possible to pull off in camera and on such a tight budget. The film is dramatic, exciting, scary, and one of 2014’s best. Read my full review here.

 

  • The Den – A creepy found footage film shot mostly on the desktop of a young grad student performing a social experiment on an Omegle-like website. While chatting with the usual online crowd she comes across what looks like a very real murder. She is slowly tormented with more and more frequency by unknown forces and seems to think that someone is out to get her and her loved ones. Creepy, memorable, and inventive, The Den is worth a look and a standout in an overcrowded subgenre.

 

  • Would You Rather – We’ve all played the game would you rather and in 2012’s film inspired by the game, things are taken to the next level and beyond. Starring Pitch Perfect’s Brittany Snow as a player in a sick game and horror movie icon Jeffrey Combs as the game master, Would You Rather sees a group of unsuspecting victims who wind up in a deadly version of the game. Increasingly brutal, set almost entirely in one room, and a film that successfully makes you ask “what would I do?”, Would You Rather is a surprisingly good little film. Combs is also wonderfully hammy.

 

  • Frontier(s) – The 2007 French horror film by Xavier Gens is almost on the level as Inside when it comes to horrific violence. A group of friends feels riots in Paris only to encounter a cannibalistic family, who proceeds to torture and torment the frightened group. Essentially a more violent French take on The Texas Chainsaw Massacre with some extra twists, Frontier(s) is one of the most extreme horror films of the 2000s.

 

  • Them – The 2006 French-Romanian horror film directed by David Moreau and Xavier Palud isn’t the graphically violent French horror film that I’ve mentioned while doing this project, but it might be the most terrifying. The plot it simple as it revolves around a couple be stalked and chased by hooded kids in and around their new home. Suspenseful and unrelenting, Them is truly thrilling.

 

  • The Girl Next Door – This 2007 film was directed by Gregory Wilson and based on a novel by Jack Ketchum. Like the best Ketchum stories, the film is dark and incredible ugly. The plot is simple, but the morality of it all is complex as it tells the story of a teenage girl who is trapped and tortured by her aunt as the neighborhood kids watch and don’t know how to deal with the morbid situation.

 

  • Offspring – Another dark tale from the mind of Jack Ketchum, Offspring is a 2009 film directed by Andrew van den Houten. The film follows a married couple who have to protect themselves and their family from a small savage clan of cannibals. Since the film is Ketchum story, thing are not that simple as some of the protagonists might be just as monstrous as the cannibals.

 

  • May – A modern cult classic, the 2002 film directed by Lucky McKee follows the lonely May as she slowly loses her grip on reality in her attempts to gain more friends. May is one of the most interesting and damaged characters from any horror from the last decade and the morose film ends with one of the creepiest images ever put to screen.

 

  • The Hills Run Red – A little known film, 2009’s The Hills Run Red by Dave Parker follows a group of teens as they search for a long lost horror film, which is supposed to be one of the best and most grisly slasher films ever made. Instead of the film, they find the real life killer that the film was possibly based on. The Babyface killer in the film should be and would’ve been a modern slasher icon had the film gotten a proper release, but it’s available and should be checked out by horror fans. The film also subtly draws connections to real life quest that all die hard horror fans go one to find smaller films and obscure gems that they’re only heard of in magazines, on reddit, or in podcasts. That quest is something that exists almost exclusively for the horror genre (there might be some that search for old sci-fi, foreign films, or pre-code Hollywood movies, but horror is the big genre for searchers).

 

  • The Exorcist III – It would probably be easy to write off The Exorcist III since the original ranks high up on the list of the greatest horror movies ever made and The Exorcist II: The Heretic is one of the worst films ever made, but III ignores the first sequel and is a real horror movie gem and has a pretty sizable cult following. Starring Oscar winning actor George C. Scott as the Lieutenant William F. Kinderman character from the original film (who was played by Lee J. Cobb in the original) as he investigates a string of religious themed murders near a psychiatric hospital where a mysterious patient claims to be a long dead serial killer. The film is directed by the writer of original two novels and screenwriter of the original film, William Peter Blatty, who shows great restraint as the film continually builds and is remarkably tense throughout.

 

  • Thale - Aleksander L. Nordaas’ 2012 Norwegian supernatural horror film is a super creepy tale (pun intended) about two men who find a speechless woman with a tail. There is a mystery here to the big picture going on and to how this woman ended up trapped in this basement, making the film a very compelling one. Outside of the dark basement where most the film is set lays something very creepy out in the woods.

 

  • Severance – A horror comedy that can be described as the British version of The Office meets Friday the 13th. A company team-building retreat, a group of co-workers end up being victims of a small group of psychopathic serial killers. The film’s general plot makes it sound like something we’ve all seen a hundred times before, but Severance stands above many modern slashers due to its dry and dark British wit.

 

  • Idle Hands - A 1999-horror comedy directed by Rodman Flender and starring Devon Sawa (Final Destination), Seth Green, Elden Henson, and a young Jessica Alba. Sawa plays a high schooler finds that his right hand is possessed after it kills his parents and his two best friends and he has to stop it before it can kill anyone else, including the next door neighbor girlfriend. The film is so over-the-top 90s in a way that will make it a very fun, albeit dumb, nostalgic experience for a lot of people of a certain age.

 

  • Maniac Cop 2 – Even better than the original, 1990’s horror sequel by Maniac and original Maniac Cop director William Lustig returns to continue the story of the vengeful undead Maniac Cop Officer Matthew Cordell, who continues to reek havoc on the dirty streets of New York. Die Hard’s Robert Davi as Detective Lieutenant Sean McKinney takes over the lead from Bruce Campbell as the man with the tall order of catching the unstoppable killer, who is even more bloodthirsty than he was in the original.

 

  • Stitches – If Asian horror movies are usually destined to be really friggin’ scary and Australian horror movies turn out to border on nihilism more often than not, then modern British horror movies have two options; being dark and depressing like Eden Lake and Don’t Look Now or darkly humorous like Severance and 2012’s horror comedy Stitches by Conor McMahon. The film follows a group of teens who were a partially at fault for the death of clown at a birthday party in their youth and his return to murder them years later. The film is filled with some really inventive kills and good liners and who doesn’t love a good grouchy killer clown?

 

  • The Relic – Set in Chicago, The Relic from 1997 by Timecop director Peter Hyams is simply a super solid B-monster movie. The film a little bit Alien and Aliens, a little Predator, some Jurassic Park, and pretty much any monster movie you can think of thrown into a pot to make a fun monster bash that is ultimately a super solid guilty pleasure. Penelope Ann Miller and Tom Sizemore star in the two lead roles.

 

  • The Faculty – This underrated 1998 Robert Rodriguez film was penned by Scream and I Know What You Did Last Summer screenwriter Kevin Williamson. With this film Williamson’s self aware hip high school horror film began to ware thin, but the film has just enough charm and wit to be fun time. The film was accused of ripping of many classics like Invasion Of The Body Snatchers but is really more of a loving homage. Beyond the fact that it is a purely entertaining 90s teen horror flick, the film has fantastic cast of young stars who mostly went on to have highly successful careers and are still thriving today (Josh Hartnett is currently killing it in Penny Dreadful).

 

  • Willow Creek – Bobcat Goldthwait doing a found footage horror movie sounds strange, given that his past work includes the phenomenal World’s Greatest Dad and the wonderfully dark God Bless America, but 2014’s Willow Creek is another winner from the comedian/director. It closely follows the Blair Witch formula, but the performances and the writing are very strong in this one and the film’s climax after a very extended take is insanely creepy.

 

  • Hour of the Wolf – Ingmar Bergman. The man is without a doubt one of the most legendary icons of world cinema and in 1968 he teamed with frequent collaborators Max von Sydow and Liv Ullmann to make one of the closest representations of a nightmare that film has ever seen. Like any Bergman classic, the film is ripe with heavy drama and complex emotional tensions throughout and on top of all that, Sydow’s descent into madness is a gorgeous work of surrealist terror.

 

  • The Beyond – Easliy one of Lucio Fulci’s most popular films, The Beyond is an insane cult classic with some spetacually gory kills. The film follows a woman who inherits a hotel in New Orleans, not knowing that it is one of the gates of Hell and that everyone who enters will meet a horrible fate. Zombies, eye gouging, dog attacks, spider attacks, and a 6-shooter with apparent unlimited ammo abound in this Kind of batshit and super nonsensical film, making The Beyond is prime example of low budget Italian horror of the 70s and 80s.

 

  • Snowtown – This one is a bummer. Based on the true of one of Australia’s most infamous serial killers, the film is filled with scenes of implied pedophilia, incestual rape, and eventually (obviously) murder. The tone is bleak, the performances are pretty stellar, and the tone will leave you feeling sick to your stomach, even if much is left to your imagination. The film was released in 2011 and was directed by Justin Kurzel.

  • Frankenstein’s Army – A World War II set found footage film. For Russian soldiers in the midst of war, you might ask yourself how they got a hold of such a nice camera that records sound and shoots colored film, but after a few minutes you’ll forget about it since the creature effects are nuts. A Nazi grandson of Victor Frankenstein is creating an army of reanimated corpses fused with deadly bladed weapons, leading to some of the most memorable movie monsters of the 2010s.

  • The Town the Dreaded Sundown (1976) – Released two years prior to John Carpenter’s Halloween, 1976’s The Town That Dreaded Sundown is a early slasher film that is not talked about nearly as much as it should. Loosely based on the true story of the Phantom Killer in the town of Texarkana, Texas in 1946. The silent masked killer is very much a prototype Jason Voorhees and true crime have of the film makes it really stand out from the huge number of slasher films that would inundate theaters throughout the following decade.

  • Citadel – 2012 Irish psychological horror film written and directed by Ciaran Foy about a widowed father suffering from agoraphobia, who has defend himself and his baby from a faceless gang of hooded people. The film is another bleak one that is a good companion piece to 2010’s The Expelled. Citadel is an incredibly tense and layer thriller, with an impeccable leading performance by Aneurin Barnard. For a director’s feature film debut the film in extraordinarily mature work that deserves more attention.

 

  • The Cottage – A British horror comedy from 2008 by director Paul Andrew Williams and stars Andy Serkis, Reece Shearsmith, Jennifer Ellison, and Steve O'Donnell. Serkis and Shearsmith play a couple of brothers/criminals, whose kidnapping goes south when a crazed killer attacks them and their hostage. The film is darkly funny and makes a good companion piece to Severance.

  • The Kindred – An ultra low budget monster movie from 1987, Stephen Carpenter and Jeffrey Obrow’s The Kindred is a super entertaining effects filled romp. When a medical researcher’s mother dies, he, his girlfriend, and his team go to her home to uncover the secrets of her research, only to find that she created something truly horrific. The characters in the film are all exceptionally likeable, which is odd for a film of this kind and there really is no accounting for why they are so easy to like. You don’t want them get killed off, which goes a long way to make the film an exciting ride. The film also features Oscar winning actor Rod Steiger in a supporting role.

  • The Dark Half – Directed by George A. Romero and based on a story by Stephen King, the film is similar and far better than Secret Window. It sees Timothy Hutton as a King-esque author, who “kills off” the pseudonym he has been using for most of his very successful career. Shortly after that decision, someone that looks just like the author begins killing people involved with the man and his publishing. Hutton is great and the movie is appropriately Stephen Kingy.

  • The Awakening – A 2011 British film directed by Nick Murphy and starring Rebecca Hall and Dominic West. Set in 1921, Hall plays a paranormal investigator who doesn’t believe in the supernatural and wishes to disprove claims of ghost. It is an interesting setup and different than the usual haunted house film and the plot goes on to be a surprisingly layered and complex one.

  • Q: The Winged Serpent – Directed by Larry Cohen, the director behind such classics like Black Caesar, The Stuff, and the It’s Alive trilogy, Q from 1982 with stars Michael Moriarty and David Carradine is B-movie gem. The effects may leave much to be desired for some, but the stop motion Quetzalcoatl monster is a fun throw back. On the surface the film is a fun monster movie, but Moriarty shines as a paranoid and smarmy crook.

 

  • The Town That Dreaded Sundown (2014) – Not a remake and not a traditional sequel, this 2014 slasher film is a strange hybrid of the two and that is a major reason why Alfonso Gomez-Rejon’s The Town That Dreaded Sundown is special. Set in modern day Texarkana, where the original film is screened every Halloween, the film finds the town rocked by copycat killer or maybe even the original Phantom. The film is produced and conceived by Ryan Murphy and pretty much everyone behind the camera is a crew member of American Horror Story, so many there are many stylistic similarities there. The film is very respectful to the original and seeing 1976 cult classic will only enhance your appreciation of the new film, though it is not essential. Some might not see passed its slasher movie trappings, but it’s an old school slasher film that they don’t make anymore, so fans longing for the good old days of masked killers hacking teens will have an excellent time with this one.

 

  • Mad Love – Directed by Karl Freund (who was the DP of Dracula) in 1935, Mad Love tells the story of doctor (played by the great Peter Lorre) in love and obsessed with a woman he can’t have and his devilish plans to eliminate the man in her life. The doctor performs surgery on the woman’s lover interest after his hands are mangled. He wakes from surgery and finds that he is an expert knife thrower. There are twists, high drama, and a suspenseful climax, which all add up to Mad Love being an under appreciated classic.

 

  • Curse of Chucky – Everyone has seen all the Child’s Play movies, but 2013 saw the release of the franchise’s first straight-to-DVD feature, so it may have slipped under some people’s radar. The goal of the film was to steer the series back to it’s darker roots after the previous films digressed into board comedy (although that doesn’t mean they were bad. Bride of Chucky is arguably still the best). The film successfully reinvigorates the franchise and makes Chucky threatening again. It is still fairly funny at times, but it the darkest film since the Child’s Play 2.

 

  • The Brood – A classic film from the great David Cronenberg, The Brood is film about marriage and divorce manifesting themselves as horror. The film has big ideas about the power of the human mind and psychological trauma. Samantha Eggar and Art Hindle are the two leads and Oliver Reed co-stars as psychotherapist in one of his many great horror movie roles. Released in 1979, the film is one of Cronenberg’s first major releases after several much smaller films like Shivers and Rabid and it is one of his most outwardly scary films. Many ideas and stylistic choices of The Brood can be found in Scanners and Videodrome.

 

  • FoundScott Schirmer directed this 2012 ultra-low budget film about a young boy who is obsessed with horror films and suspects that his older brother might just be a serial killer. Humorless in its execution and unrelenting in its depiction of violence, the film was banned from a release in Australia.

  • Opera – A relatively later Dario Argento film that certainly has one of the thinnest plots and some of the most nonsensical characterization from the director, but what it lacks in story, it makes up for in uncomfortable imagery and brutal violence. The lead character is forced to watch grizzly murders while needles are taped under her eyelids to keep them open, which a surprisingly nauseating image that could only come from the mind of the Italian master of horror.

 

  • Blood and Black Lace – Directed by the legendary Mario Bava, Blood and Black Lace is the father of all giallo films that came after. Every troupe that would become common in the genre can be found in this film and fans of later Bava works, Argento films, some Lucio Fulci films, and many more will see it’s influence everywhere.

 

  • Grabbers – A 2012 Irish monster comedy from director Jon Wright is a fun film in vein of Attack the Block. The general plot revolves around a small town being attacked by a large tentacled beast and they only way to for the townsfolk to protect themselves is to have as much alcohol in their blood. Needless to say, the whole town getting drunk leads to film to be funnier than the average monster movie and the high production values of such a small film really make it stand out.

  • Wake Wood – A modern Hammer Horror film from 2011 stars Aidan Gillen, Eva Birthistle, and Timothy Spall. The premise is vaguely reminiscent of Pet Semetery as a mourning mother and father use a pagan ritual to bring their daughter back from the dead. The performances are strong and the film is moody as Hell as it harkens back to some old school European horror with modern day horrors visuals.

 

  • The Poughkeepsie Tapes – Never officially released (but it’s coming at some point), this indie mockumentary is deeply unsettling. Directed by Quarantine and As Above, So Below director John Erick Dowdle, the film tells the story of a serial killer that kidnaps and tortures his victims in the small town of Poughkeepsie. The killer often films his deadly deeds and those offer many of the film’s more disconcerting sequences. The acting is a little hammy at times, but the film is very effective and will stay with you for some time.

 

  • Never Sleep Again: The Elm Street Legacy – An epic 4-hour documentary on the entire A Nightmare on Elm Street franchise that features cast and crew interviews from a majority of the key players from the legendary films. The stories found in the doc are incredibly engrossing, highly informative, and very honest. The origins of Freddy, the films’ impact on pop culture and film, and much more is explored at length and even the lesser film’s in the series are given their due. The commentary on Elm Street 2 is particularly hilarious at times.

 

  • The Last Will and Testament of Rosalind Leigh – The 2013 feature film debut of Rodrigo Gudiño follows a young man who returns home after the death of his mother. The film is one of grief, loneliness, and regret and is tightly scripted by Gudiño. The lead of the film begins seeing something in and around the house that frightens him to his core and it is an image that is utterly creepy (albeit a little to CGI-y later, but it still manages to work).

  • Bubba Ho-Tep – An elderly Elvis and an elderly black JFK versus a cowboy hat wearing mummy should be enough to sell anyone, but when Elvis is played by Bruce Campbell and the film is directed by Phantasm creator Don Coscarelli, then it really becomes a must see. Campbell is at career best as a depressed and forgotten Elvis, who needs a walker and has a growth on his “pecker”. He gets one last chance to do something good in his life when he learns that a mummy is loose in the old folks home and is sucking souls. It’s a wacky setup, but the film is surprisingly heartwarming and Campbell really gets to show his real acting chops.

 

  • The Sacrament – A slow burn and atmospheric found footage film that is loosely inspired by the real life Jonestown Massacre. The Sacrament is directed by the wonderful Ti West and stars You’re Next stars AJ Bowen, Joe Swanberg, Amy Seimetz, with Kentucker Audley and Gene Jones as the charismatic leader of the cult who a Vice news crew is documenting. The film builds and builds to a dark and disturbing climax, much like West’s previous outings The House of the Devil and The Innkeepers. Jones is stellar as the manipulative and intelligent as you can understand why many of his followers left their previous lives to join him on this secluded island colony.

 

  • You’re Next I’m well aware that most horror fans have probably seen You’re Next, but I’m going to cheat and point it on anyway since it wasn’t huge at that box office and I love it. It’s soooooo friggin’ good. It’s funny, gory, scary, thrilling, surprisingly, subversive, and everything you want in a horror film. Just watch it if you haven’t seen it.

“As much hate as Disney sequels get, Peter Pan 2: Return To Neverland is my favorite Disney movie. Jane is the character I most relate to, and I wish fandom wouldn’t overlook the movie. Her happy ending at the end of the movie feels really satisfying, we get to see Peter and Wendy interact as adults, and there’s no racist song in it. It’s just one of those movies I can put on and always come away from smiling.”

sidenote: the reason why it’s incredibly annoying when fanworks push characters of color into stereotypes or reduce them to tropes that they’re not canonically in is that fans of color have spent their whole lives seeing characters that look like them in those roles, often being completely ignored or conversely demonized by fandom, so when there’s actual good representation, and a million paths to take a character on and expand on their canon qualities, and instead they’re reduced and typified it’s disheartening and disappointing but also most often done by white fans who are both displaying their ignorance and lack of empathy for poc and invading what should normally be a fun space for fans of color to do so

a big example of this is Oscar Isaac in Star Wars playing Poe Dameron, an actor who’s previous big roles included a ex-con/gangbanger in Drive (an overlooked character in a movie that whitewashed its female lead) and has spoken at length about how he’s tired of stereotypes, …having his character in one of the biggest franchises of all time constantly reduced to Latino stereotypes by fandom

Never Give Up” as performed by Spongebob and Squidward

It’s a shame this song number is often overlooked because it’s post-movie, especially since it’s one of the most heartfelt scenes in Spongebob’s history. Makes sense, considering the episode was written by Aaron Springer (who has worked on Spongebob since season 1 and is responsible for “Band Geeks”) – it was his last episode before he left to write for Gravity Falls.

I was probably 19 when I first came to Hollywood. Eddie Murphy brought me out to do Beverly Hills Cop II and he had a deal at Paramount, so I remember going through the gates of the Paramount lot. He’s in a Rolls-Royce, and he’s not just a star, he’s the biggest star in the world. Don Simpson and Jerry Bruckheimer’s office was in the same building as Eddie’s office, and they would come to work every day with matching cars. Some days it would be the Porsches, and the next day it would be Ferraris. I was like the kid in A Bronx Tale. I got to just hang around when the biggest parts of show business were happening. I was only there a couple of weeks, but I remember every day Jeffrey Katzenberg would call Eddie Murphy — I don’t even know if Eddie was calling him back — but it was like, “Jeffrey Katzenberg called again.” “Janet Jackson just called.” “Michael Jackson called.” It was that crazy. I’ve still never seen anything like it. I had a small part in the movie, but my dream was bigger than that. I wanted to have a convertible Rolls-Royce with a fine girl driving down Melrose blasting Prince.

Now I’m not Murphy, but I’ve done fine. And I try to help young black guys coming up because those people took chances on me. Eddie didn’t have to put me in Beverly Hills Cop II. Keenen Wayans didn’t have to put me in I’m Gonna Git You Sucka. Arsenio didn’t have to let me on his show. I’d do the same for a young white guy, but here’s the difference: Someone’s going to help the white guy. Multiple people will. The people whom I’ve tried to help, I’m not sure anybody was going to help them.

And I have a decent batting average. I still remember people thinking I was crazy for hiring Wanda Sykes on my old HBO show. I recommended J.B. Smoove for Saturday Night Live, and I just helped Leslie Jones get on that show. She’s about as funny as a human being can be, but she didn’t go to Second City, she doesn’t do stand-up at The Cellar and she’s not in with Judd Apatow, so how the hell was she ever going to get through unless somebody like me says to Lorne Michaels, “Hey, look at this person”? I saw her at a comedy club four or five years ago, and I wrote her name down in my phone. I probably called four managers — the biggest managers in comedy — to manage her, and all of them said no. They didn’t get it. They didn’t get it until Lorne said yes a few years later, and then it was too late.

Some of these younger black guys just want me to see their act. Some come to me for advice. Hannibal Buress called the other day. They want to know about agents and managers and the business; this kind of deal and that kind of deal; dealing with the media and dealing with family; money crap and where they should live. It’s big brother shit, and they ask because there aren’t that many black people to turn to. Who do you hire? Where’s the big black PR agency? Where are the big black agents? Where’s the big black film producer? That’s why I’ve been all over Steve McQueen. I put a microchip in Steve’s pocket and track him like an Uber driver. Steve thinks we keep bumping into each other by accident. “Hey, Steve, my man!” I don’t care if I have to play a whip, I’m going to be in a Steve McQueen movie. But I digress.

It’s a white industry. Just as the NBA is a black industry. I’m not even saying it’s a bad thing. It just is. And the black people they do hire tend to be the same person. That person tends to be female and that person tends to be Ivy League. And there’s nothing wrong with that. As a matter of fact, that’s what I want for my daughters. But something tells me that the life my privileged daughters are leading right now might not make them the best candidates to run the black division of anything. And the person who runs the black division of a studio should probably have worked with black people at some point in their life. Clint Culpepper [a white studio chief who specializes in black movies] does a good job at Screen Gems because he’s the kind of guy who would actually go see Best Man Holiday. But how many black men have you met working in Hollywood? They don’t really hire black men. A black man with bass in his voice and maybe a little hint of facial hair? Not going to happen. It is what it is. I’m a guy who’s accepted it all.

We cut it out in Top Five, but there had been a scene where Kevin Hart, who plays my character’s agent, is in his office talking to me, and he finds out that “Zoolander” (Ben Stiller) is down the hall and he’s mad because none of the agents called him. He’s the only black agent at the agency, and there was a line in the movie like, “I’m the only black agent here. They never invite me to anything, and these people are liberals. This isn’t the Klan.”

But forget whether Hollywood is black enough. A better question is: Is Hollywood Mexican enough? You’re in L.A, you’ve got to try not to hire Mexicans. It’s the most liberal town in the world, and there’s a part of it that’s kind of racist — not racist like “F— you, nigger” racist, but just an acceptance that there’s a slave state in L.A. There’s this acceptance that Mexicans are going to take care of white people in L.A. that doesn’t exist anywhere else. I remember I was renting a house in Beverly Park while doing some movie, and you just see all of the Mexican people at 8 o'clock in the morning in a line driving into Beverly Park like it’s General Motors. It’s this weird town.

You’re telling me no Mexicans are qualified to do anything at a studio? Really? Nothing but mop up? What are the odds that that’s true? The odds are, because people are people, that there’s probably a Mexican David Geffen mopping up for somebody’s company right now. The odds are that there’s probably a Mexican who’s that smart who’s never going to be given a shot. And it’s not about being given a shot to greenlight a movie because nobody is going to give you that — you’ve got to take that. The shot is that a Mexican guy or a black guy is qualified to go and give his opinion about how loud the boings are in Dodgeball or whether it’s the right shit sound you hear when Jeff Daniels is on the toilet in Dumb and Dumber. It’s like, “We only let white people do that.” This is a system where only white people can chime in on that. There would be a little naivete to sitting around and going, “Oh, no black person has ever greenlighted a movie,” but those other jobs? You’re kidding me, right? They don’t even require education. When you’re on the lower levels, they’re just about taste, nothing else. And you don’t have to go to Harvard to have taste.

Fifteen years ago, I tried to create an equivalent to The Harvard Lampoon at Howard University, to give young black comedy writers the same opportunity that white comedy writers have. I wish we could’ve made it work. The reason it worked at Harvard and not at Howard is that the kids at Howard need money. It’s that simple. Kids at Harvard come from money — even the broke ones come from money. They can afford to work at a newspaper and make no money. The kids at Howard are like, “Dude, I love comedy, but I’ve got a f—ing tuition that I’ve got to pay for here.” But that was 15 years ago; it might be easier to do it now because of the Internet. I don’t know.

I really don’t think there’s any difference between what black audiences find funny and what white audiences find funny, but everyone likes to see themselves onscreen, so there are some instances where there’s a black audience laughing at something that a white audience wouldn’t laugh at because a black audience is really just happy to see itself. Things that would be problems in a world where there were a lot of black movies get overlooked. The same thing happened with those Sex and the City movies. You don’t really see that level of female movie that much, so women were like, “We’re only going to get this every whatever, so f— you, f— the reviews, we’re going, we like it.”

And you should at least be able to count on your people, and then it grows from there. If someone’s people don’t love them, that’s a problem. No one crosses over without a base. But if we’re going to just be honest and count dollars and seats and not look at skin color, Kevin Hart is the biggest comedian in the world. If Kevin Hart is playing 40,000 seats in a night and Jon Stewart is playing 3,000, the fact that Jon Stewart’s 3,000 are white means Kevin has to cross over? That makes no sense. If anybody needs to cross over, it’s the guy who’s selling 3,000 seats.

But here’s one thing I’ve noticed in the last five to seven years, and I didn’t think I’d live to see this day. There used to be black film and Eddie Murphy, and the two had nothing to do with each other. Literally nothing. And in the world of black film, everything was judged on a relative basis — almost the same curve that indie films get judged on. It was, “Hey, House Party made a lot of money relative to its budget,” or “Oh, we only paid $7 million for New Jack City and it made $50 million.” Now, not only are black movies making money, they’re expected to make money — and they’re expected to make money on the same scale as everything else.

I think they’ve been better in the last few years, too — a little more daring, a little funnier. But look, most movies suck. Absolutely suck. They just do. Most TV shows suck. Most books suck. If most things were good, I’d make $15 an hour. I don’t live the way I live because most things are even remotely good. But when you have a system where you probably only see three movies with African-American leads in them a year, they’re going to be judged more harshly, and you’re really rooting for them to be good a little more so than the 140 movies starring white people every year.

The best ones are made outside of the studio system because they’re not made with that many white people — maybe one or two, but not a whole system of white people. I couldn’t have made Top Five at a studio. First of all, no one’s going to make a movie with a premise so little and artsy: a star putting out a movie and getting interviewed by a woman from The New York Times. I would have had to have three two-hour meetings explaining that black people also read The New York Times. A studio would’ve made it like Malibu’s Most Wanted. And never in a million years would they have allowed a scene where the rich guy comes back to the projects and actually gets along with everybody. No way. In most black movies — and in most black TV shows and even in most black plays — anyone with money or an education is evil, even movies made by black directors. They have to be saved by the poor people. This goes back to Good Times and What’s Happening!!

Now, when it comes to casting, Hollywood pretty much decides to cast a black guy or they don’t. We’re never on the “short list.” We’re never “in the mix.” When there’s a hot part in town and the guys are reading for it, that’s just what happens. It was never like, “Is it going to be Ryan Gosling or Chiwetel Ejiofor for Fifty Shades of Grey?” And you know, black people f—, too. White women actually want to f— black guys, sometimes more than white guys. More women want to f— Tyrese than Jamie Dornan, and it’s not even close. It’s not a contest. Even Jamie would go, “OK, you got it.”

Or how about True Detective? I never heard anyone go, “Is it going to be Amy Adams or Gabrielle Union?” for that show. I didn’t hear one black girl’s name on those lists. Not one. Literally everyone in town was up for that part, unless you were black. And I haven’t read the script, but something tells me if Gabrielle Union were Colin Farrell’s wife, it wouldn’t change a thing. And there are almost no black women in film. You can go to whole movies and not see one black woman. They’ll throw a black guy a bone. OK, here’s a black guy. But is there a single black woman in Interstellar? Or Gone Girl? Birdman? The Purge? Neighbors? I’m not sure there are. I don’t remember them. I go to the movies almost every week, and I can go a month and not see a black woman having an actual speaking part in a movie. That’s the truth.

But there’s been progress. When I was on Saturday Night Live a few weeks ago, we did a sketch where I was Sasheer Zamata’s dad and she had an Internet show. Twenty years ago when I was on Saturday Night Live, anything with black people on the show had to deal with race, and that sketch we did didn’t have anything to do with race. That was the beauty: The sketch is funny because it’s funny, and that’s the progress. And there are black guys who are making it: Whatever Kevin Hart wants to do right now, he can do; I think Chiwetel is a really respected actor who is getting a lot of great shots just because he’s really good; if Steve McQueen wants to direct a Marvel movie, they would salivate to get him. Change just takes time. The Triborough Bridge has been the Robert F. Kennedy Bridge for almost 20 years now, but we still call it the Triborough Bridge. That’s how long it takes shit to change. We’re not going to be calling it the Robert F. Kennedy Bridge for another 10, 15 years. People will have to die for it actually to be the Robert F. Kennedy Bridge.

I don’t think the world expected things to change overnight because Obama got elected president. Of course it’s changed, though, it’s just changed with kids. And when you’re a kid, you’re not thinking of any of this shit. Black kids watch The Lord of the Rings and they want to be the Lord of the Rings. I remember when they were doing Starsky & Hutch, and my manager was like, “We might be able to get you the part of Huggy Bear,” which eventually went to Snoop Dogg. I was like: “Do you understand that when my brother and I watched Starsky & Hutch growing up, I would play Starsky and he would play Hutch? I don’t want to play f—ing Huggy Bear. This is not a historical drama. This is not Thomas Jefferson. It’s a movie based on a shitty TV show, it can be anybody. Who cares. If they want me to play Starsky or Hutch, or even the bad guy, I’m down. But Huggy Bear?”

I wouldn’t be here if I thought I couldn’t play those parts. I never limited myself. And that’s the beauty of Obama. It might be a generational thing, because the difference between Barack Obama and Jesse Jackson was that Jesse Jackson never actually ran for president. He ran to disrupt the presidency. If he actually ran for president, he probably could have been president. Jesse Jackson won a bunch of primaries in Southern states, but not for five seconds did he think he could be president, whereas Obama was like, “Yeah, I could be president,” and nobody stopped him. Literally, nobody stopped him.

—  Chris Rock’s superb essay on Hollywood’s race problem, from the Dec 12th issue of The Hollywood Reporter.

thechocoboexpress  asked:

AYYY I LOVE MEGAMIND I haven't watched it in a little while but it was fucking fantastic. "I love you!!!!" "And I love you too, random citizen!" (But srsly I think I'd start rooting for the whitewalkers if Ardyn was the Night King, for all his issues and spite he may just be the most rational person in Westeros. As opposed to brother-fuckers and murderous children with spears lmao.)

I haven’t watched it in a hot minute either, but OH MY GOD is it a gem. I love it. I swear some of these animated movies are overlooked so much by older audiences and they are MISSING. OUT.

… btw I’m so glad we’re Tumblr friends, it’s amazing how much shit overlaps in terms of interests.

Dude, you know, I’m kinda rooting for the whitewalkers anyway because Westeros obviously needs a hard reformatting, new BIOS and OS to fix everything that has gone completely apeshit in it. It needs a do-over. LOL

Movie suggestion

If you like Disney movies and enjoyed Beauty and the Beast, you should give Strange Magic a shot.

The animation is amazing in my opinion, there is not much there from a plot standpoint but it is a fun move to watch. There are lots of cool songs in it as well. They are covers of songs, but they are wonderfully done. It is a very overlooked Disney movie, so please give it a shot

Slamming my head repeatedly into the table after reading YET ANOTHER fanfic that portrays Steve as a Good Little Soldier™ who says things like “I don’t question orders.”

…Have you MET Steve Rogers?

The whole line about “Not a perfect soldier, but a good man” exists because Steve is a fucking TERRIBLE soldier. I mean, he’s a great fighter and a good leader, but he’s good at giving orders and shit at taking them. Steve disobeys commands, goes AWOL, and generally does the sort of shit anyone other than Captain America would get court-martialed for, because the MAN IS A LITTLE SHIT. He’s a stubborn asshole who has issues with authority. He’s not in the army for the structure or the discipline – he’s with the army so they can drop him off where there’s some fascists for him to beat up. 

Is he a better team player with more respect for folks than some of the other maverick characters? Absolutely. He looks downright obedient when you put him next to Tony Stark a lot of the time, but that’s because Steve isn’t a rebel for the sake of being a rebel. He’s not making a statement by being irreverent. But Steve does distinctly follow the Moral Compass of Steve above all else, including commands from his superiors if he finds them objectionable.

Some people will point to his willingness to go with SHIELD in the first Avengers movie and overlook their shadiness, but seriously, as soon as the idea of SHIELD making Tesseract weapons comes up, Steve goes and investigates personally. Because that is what Steve does. He goes and does this shit himself, and then he calls Fury out on what he finds. Later, he has zero problems teaming up with Natasha and Clint to steal a plane and disobey the WSC. Because Steve is no one’s fucking lapdog. 

Steve in Avengers has been out of the ice for about two weeks. SHIELD is all he’s had the chance to know – the only structure in his life being turned completely upside down and gutted. It’s also the legacy of his best friends, built by Howard and Peggy and Phillips and Dum Dum. It’s all he has left of them. And the fact he is still willing to put that aside when his moral duty demands it and fucking BURN IT ALL TO THE GROUND when he finds out it’s corrupt should dispel ANY of this fandom Steve-is-SHIELD’s-unquestioning-soldier bullshit. 

I mean seriously. How is this lazy-ass trope something I am STILL finding in fic? Can we please just kill the notion of mindless-soldier-drone Steve because that character does not and has never existed in mcu canon?

anonymous asked:

Hey I'm really sad, do you have any movies I should watch?

here are some suggestions for movies that are all pretty different but can always cheer me up, I hope that one of them sounds like something that could make you feel better!

what we do in the shadows fantastic funny and clever vampire mockumentary 

robot & frank often overlooked touching movie with a lot of charming moments, it’s a bit slow though 

airplane! good old 1980s comedy with leslie nielsen, it’s perfect

intouchables if you haven’t seen it already, it has so much heart and good vibes it’s one of those movies that leave you with a smile on your face

hot fuzz has rad moments combined with hilarious moments combined with action, if you want that with zombies, go for shaun of the dead

rain man great classic with a lot of serious but also heartwarming moments

the lego movie trust me, it’s great and SO MUCH FUN to watch

snatch really good fast paced crime movie with extremely witty dialogue and a rad vibe

guardians of the galaxy if you like marvel, science fiction, action, jokes and a movie that seems to have as much fun with itself as the viewers have watching it

dead snow 2 over the top gore, ridiculous, surprisingly good, funny, and incredibly entertaining if you’re into that sort of thing

the grand budapest hotel oozes charm and is fantastically put together

zoolander a over the top comedy about male models, enough said

the truman show it’s a drama but it always makes me feel good, jim carrey’s best role in my opinion, its incredibly good and one of my personal favorites

napoleon dynamite silly and weird but in the best way imaginable

10 Neglected 2016 Oscar Nominations That Aren’t So White

Oops… they did it again. Somehow, the Academy of Motion Picture Arts and Sciences managed to nominate all white performers for the second year in a row, inciting #OscarSoWhite to make its rounds again on social media. And this year, it’s actually super weird. Sure, last year brought controversy, but let’s remember that all the diversity eggs were mostly in one basket - Selma. But this year was a huge year for diversity in film, with a whole raft of selections of filmmakers and performers to honor. To prove it, here are 10 nominations that GENUINELY COULD HAVE HAPPENED, but didn’t for reasons unknown.

1. BEST PICTURE: Straight Outta Compton
While I found the second half to have its fair share of flaws, F. Gary Gray’s bold, epic take on the rise and fall of NWA should have found its way onto this year’s Best Picture list, especially given its critical acclaim and surprise box office success.

2. BEST DIRECTOR: Ryan Coogler, Creed
Creed was definitely the most pleasant surprise of the year, and young filmmaker Ryan Coogler has a track record now of 2 phenomenal films that have gone un-recognized by the Academy. He should be on the list for this one, as he managed to fashion a movie that had no reason to be as amazing as it was.

3. BEST ACTOR: Samuel L. Jackson, The Hateful Eight
With Major Marquis Warren, Jackson proves once more that he is the Robert DeNiro to Quentin Tarantino’s Scorsese. Aside from Jennifer Jason Leigh, he’s the best thing in the movie, making Tarantino’s pop-Shakespeare fly off the page, particularly in his epic monologue right before the intermission.

4. BEST ACTOR: Michael B. Jordan, Creed
While Stallone is dynamite in the movie, it’s weird that a white guy is being touted as its breakout star when Jordan has broken out twice and not yet received a nomination. His time will come, but if it didn’t for Fruitvale Station, it should have for this intensely physical, passionate performance.

5. BEST SUPPORTING ACTOR: Idris Elba, Beasts of No Nation
Of all these, THIS is the one that DEFINITELY should be on the list. Elba’s been turning in steady work for years now, but nowhere is that more evident than in his volcanic performance as the Commandant. Aside from Carol’s absent Best Picture nod, this is the biggest snub of the nominations, especially given he was nominated for SAG and the Golden Globes.

6. BEST SUPPORTING ACTOR: Benicio del Toro, Sicario
Sicario is, in my humble opinion, the most overlooked movie of 2015, and Benicio del Toro gives his best performance in years. The Supporting Actor field this year is packed, but his chilling portrayal as the vengeful Alejandro is truly haunting, and could’ve easily taken a spot.

7. BEST SUPPORTING ACTRESS: Mya Taylor, Tangerine
Transgender actress Mya Taylor is quietly brilliant in one of the year’s best films, balancing humor and pathos in a film that never resorts to stereotypes. This movie as a whole should’ve gotten more buzz than it did, and her gorgeous performance would have been the perfect way to honor it.

8. BEST ORIGINAL SCREENPLAY: Rick Famuyiwa, Dope
Dope felt like a revelation, like Spike Lee meets Quentin Tarantino, and the screenplay was one of the freshest things about it. With a wonderful, youthful vitality, it combined elements of a high school comedy, crime thriller, and coming-of-age tale to form a refreshingly original film.

9. BEST ADAPTED SCREENPLAY: Spike Lee & Kevin Willmott, Chi-Raq
This movie was a big old mess, but a glorious one nonetheless. Its modern update of Lysistrata has been greeted with controversy, but one cannot deny its powerful exploration of gun violence, or the ingenuity of its hip-hop verse, complete with Samuel L. Jackson as a Greek chorus.

10. BEST ORIGINAL SONG: “It’s My Turn Now,” Dope
You literally could fill this category with Pharrell’s original tunes from Dope.

So, there we have it. All this to say that when checking out this year’s nominated films, don’t forget to watch these great films and performances as well. It was a phenomenal year for diversity in films, even if a bunch of old white dudes won’t admit it.

THANK YOU FOR YOUR TIME.