this looks so much fun to film

The Emoji fucking Movie

Well I saw it. I wish I could say it was everything I expected it to be but it was worse. To summarize everything in one fluent and well-arranged thesis is too daunting a task because there’s simply too much to say about this blaspheme and so little time to properly convey it all. so here’s the main points on everything you need to know about this film

-i thought the Wreck It Ralph comparisons were bad enough but we find out Jailbreak was formerly a princess emoji but she rejected her status in favor of something more spunky and rebellious like holy shit they’re just unabashed in ripping off the beats of a superior movie.
-Sony hates millenials despite the fact that this movie was tailor-made to pander to them in the worst ways possible. Case in point, at one point the main human contemplates texting his crush and his frind tells him to only use emojis before saying in the most dude-bro way “words aren’t COOL”  at one point the teacher is talking about hieroglyphs and has to liken them to “the original emojis” because the students don’t want to learn any other way! they’re too obsessed with their phones! they have no attention spans! get it? GET IT?
-ADDING ONTO THAT! what is the message of this film? it doesn’t have one! there’s a scene where we see the main human deleted an email of lyrics/poetry he wrote for his crush but he deleted it because as his friends say WORDS AREN’T COOL. and you think “oh. the message will be that teens need to actually talk to each other more and express their feelings whatever” but oh no no no this is THE EMOJI MOVIE we’re talking about and the climax of the film is resolved by Gene (the main emoji) using his multiple faces to make the first emoji composed of multiple feelings back to back and gets sent to the crush who says “wow! I loved your emoji! it’s so nice to see a guy who’s willing to express his feelings” WHAT THE HELL? SO YOU’RE GOING TO MAKE FUN OF YOUTH FOR USING EMOJIS BUT ULTIMATELY EMOJIS SAVE THE DAY?
-ALSO THE HUMAN IS A FUCKING NERD WHO DECIDES TO TAKE HIS PHONE TO THE TECH STORE TO DELETE EVERYTHING JUST BECAUSE ONE EMOJI DOESN’T WORK
-There’s a stupid subplot about Gene’s meh parents having a falling out but it’s okay because they reconcile inside Instagram by hijacking a romantic photo and using the right filter
-TJ Miller touted the film as having a feminist positive message and let me tell you this is what it is. In Candy Crush, Gene finished one of Jailbreak’s sentences when she has an idea and out of nowhere Jailbreak yells “MEN ARE ALWAYS GETTING CREDIT FOR WOMEN’S IDEAS AND I’M SICK OF IT!” it comes immediately and ends abruptly. Gene doesn’t respond to it and Jailbreak doesn’t build onto that. the subject ends there. 10 minutes later Jailbreak says out of nowhere that in the early days emoji women only had the choice to be “princesses or brides” but that in the cloud she can be whatever she wants to be. again, this is never brought further or built upon. it feels so tacked on and barely even surface level like fuck they patted themselves on the back for this progressive-ass movie
-speaking of progressive, an internet troll calls the Just Dance lady a g***y. so yeah, add a slur usage to the list of offenses
-they go to Dropbox? Becuase kids love using Dropbox????
-Gene creates a new dance. The Emoji Bop. yes there is a dance party ending. 
-Someone tells Poop that he’s going soft. Patrick Stewart had to say the following line. “Not too soft, I hope” 
-Jailbreak in her princess form whistles and summons a twitter bird
-they go into youtube which has viral videos that are in live action and it’s super disorienting
-because this is a Sony movie, everyone uses Sony smart phones
-the 15 year old human has one of those fake-out apps that looks like a dictionary to his parents but it’s meant to hide like porn and illegal downloads so yeah fun for the whole family 
-if there’s one and I mean ONE good thing about the film it’s short. like barely 70 minutes. and yet that still feels like too long

The Emoji Movie is what you get when you have too much money. and nothing else. wait for a camrip online before watching it ironically. please please do not give this money. please. please. please please pleaskd qn

Sentence Prompts

“Are you even listening to me?”

“Where are your pants?”

“I laugh because I hurt inside.”

“Please refrain from shooting her, we need her for later.”

“You look like an open autopsy.”

“That’s french for ‘go away’.“

“You know, I would help, but making fun of you is so much more satisfying.”

“No, you silly goose, it’s magic!”

“Put me down!”

“How much did someone pay you to wear that?!”

“What did you just do?!”

“Stop filming me, moron!”

“It was all me, by the way.”

“Look at this, ACTION ROLL! They’ll never see it coming!”

“You know ‘give me a warning’ means let me know BEFORE they come in here!”

“I’d say I’m sorry, but I’m not.”

“I may have mildly panicked…”

“Ooo, that must’ve hurt!”

“I am very, very bad under pressure!”

“Shut up, it’s fine, just chill, we’re fine, I’m fine, everything is cool, everything is good! We’re chill, nothing is happening and I am not freaking out, not at all, we’re FINE.””

“Now, not to be forward, but I love you.”

“I’m 72 different flavors of done with you.”

“Hey, on the ground there it says you’re a gullible shit.”

“It’s do or die, most likely die.”

“No it’s ‘Protect and Serve’ not ‘Get Rekt and Swerve’.”

“You make me smile.”

“Liam Neeson would do it.”

“Jail can’t stop me.”

“It’s four o'clock, don’t you think you should fuck off?”

“I remain confused.”

“As the wise Scooby Doo said; “Ruh Roh”.”

“I don’t know about you guys, but I feel fabulous.”

“Can someone shoot him?”

“Well this isn’t at all like High School Musical.“ 

“Quick, blend in!”

“At the moment, it seemed like a good plan, obviously it was not.”

“Well obviously nothing is going on here!”

“Can I help you?”

“Don’t be intimidated by my bloody and battered figure.”

“Is your name Bob? You look like a Bob.”

“KILL ME! KILL ME IN THE EYES!”

“Well that was unsettling.”

“Don’t judge me, but I may have murdered someone.”

“Why is there a picture of Steve Buscemi in your bathroom?!”

“My budget is 5 dollars, what are your recommendations?”

2

#tfw bastilledan looks straight at u for a millisecond 

9

“In an old house in Paris that was covered with vines

Lived twelve little girls in two straight lines

In rain or shine

They left the house at half past nine

The smallest one was Madeline.”

-Ludwig Bemelmans, Madeline, 1939

I would like to share a sampling of the graduation project that I had so much fun illustrating! It’s an old series, but one of my childhood favorites. There has been a TV series and a live action film, but never a modern-ish animated feature, and it was a bit of a passion project to imagine what it would look like, down to the character designs and the actual scenes.

Also, I might have some good news to announce soon… keeping my fingers crossed in the meantime! ♪

Why the Linda Cho Snub Stings

And here we go, folks: as promised, my first in a series of critical posts regarding Broadway, culture, and my opinion on the state of theatre today.

Let me preface this post with a clear disclaimer: I am a major fan of Anastasia and have been since the Don Bluth movie came out in 1997. I also understand why Santo Loquasto was selected by the American Theatre Wing as this year’s Tony winner for costume design; I congratulate him heartily, because he is a master of the craft.

But with that out of the way, I disagree with the American Theatre Wing on this award and truly believe that the award should have gone to Linda Cho for her work on Anastasia. I think this honestly was the most upsetting snub for me last night. In some ways, this gets to the heart of another post I made. From an aesthetic standpoint, Linda Cho’s costumes were more visually impressive, more memorable, and more original than those for Hello, Dolly! I’m not alleging any animus in the ATW’s decision, to be clear; it goes more to the somewhat staid, static vision of theatre possessed by the eligible voters.

Now, part of the reason I find the HD costumes uninspiring is because thanks to HD being a revival, there is a kind of need to look to the past productions for inspiration, since the director and producers were not trying to go for some kind of completely original setting (which is fine, for the record!). 

But to my mind, the Best Costume Design category is designed to reward originality and accomplishment, not just improvements on a theme. The costumes that Linda Cho designed for Anastasia manage to have a kind of timeless elegance that grabs the eye and forces you to notice not only the actors, but the costumes themselves. 

Anya’s (Christy Altomare) red and blue gowns from Act II have stuck in my head since the very first stills were released to Playbill ages and ages ago. For visual pops, you cannot beat these (all photos are either from Playbill or other publicly available sources, and are not my property):

Both of these gowns exude a classic elegance that is unrivaled on Broadway today, paying homage to the source material (the high society of the Roaring 20s in Paris, as well as the Russian designs included on the red gown) while still looking fresh. 

The lines on the blue gown in particular are exquisite, and give Christy Altomare (who is not a tall woman) the appearance of added height without it being obvious that is what it’s designed to do.

The costumes for the Romanovs are also elegant, sophisticated, and memorable (I lack a proper still for this that I can attribute to Playbill or Broadway World or Broadway Box and thus the still is drawn from Pinterest; if you are the original photographer, please message me and I will edit this post to credit you). 

For those familiar with the show, you know the ones I mean: the ghostly pearlescent white of Nicholas, Alexandra, and the others slain at the start of the musical. The costumes are graceful, and a good match to many images of the real Romanovs in the era in which the prologue is set. But as with Anya’s gowns…truly, there is a level beyond the simple. I called them “ghostly” for a reason: you can’t look at them without having a terrible sense that these people (innocent for the purposes of the musical) are about to be slain. Linda Cho made funeral shrouds out of ballgowns–and that is a metaphor that works on a huge number of levels.

But you know where Linda Cho really gets me? The costumes for Lily (Caroline O’Connor), Vlad (John Bolton), and Dimitry (Derek Klena). Let’s take each in turn, with just one example per.

This is a Playbill still from the Broadway performance of (I believe) either “Land of Yesterday” or “The Countess and the Common Man”. One of my fellow fanastasias ( @nikolaevna-romanova​ or @anyasdimitry​ perhaps?) can confirm which scene/number.

I’ll focus on Lily for the moment. That gold dress is clearly designed to pop. Lily is a fun, flirty, outrageous character, like her spiritual predecessor in the 1997 film as voiced by the divine Bernadette Peters. Caroline O’Connor brings a downright saucy quality to the character that this gown is designed to highlight. The character is a fallen aristocrat who acts as press secretary/majordomo to the Dowager Empress. She’s supposed to look wealthy–but a kind of shabby wealthy, like someone down on their luck. 

So let’s take a closer look at this Linda Cho masterpiece (via Broadway Box):

The pattern and the cut of the dress are simple–much simpler than would have been worn by the nouveaux-riches of post-war Paris, but still quite elegant and stylish, especially when accented with the lace gloves. But it’s a far cry from the style that Countess Malevsky-Malevitch would have been used to in her old life in imperial St. Petersburg. She’s had to make reductions–but damn if she’s not going to make them work. Linda Cho really captures that perfectly. This dress looks, in addition to being beautiful, like it might have come from a very high end store, but wasn’t custom-made as would have been expected of someone with massive resources. While presenting a memorable dress, Linda Cho stuck to the history: Lily is down on her old circumstances (as the Romanov family was post-Revolution) but she will still Look The Part.

Next, I look at how Linda Cho costumed Vlad Popov, the would-be Count and titular Common Man of the previous number. This still is courtesy of Getty.fr and numerous other news orgs, and is from the Broadway opening night:

It looks pretty fancy, right? It is! But if you look at it closely and in the context of the play, it’s in the same category as Lily’s gold dress. The fabrics are clearly fine, but it’s not a custom tailoring, even though this comes after he is restored to some measure of glory. Linda Cho replicates a rich French brocade for the vest and matches it to the morning coat perfectly (more technically, I believe it’s a stroller, though the term is anachronistic for the year the musical is set). But there’s a reminder to the common-man status in the design of the trousers: leaving them striped, subtly, the way Linda Cho did is a subtle signal that Vlad is not born to wealth–no aristocrat would have styled themselves that way. But he mixes the two styles in a subtle nod to what he is (a commoner) and what he pretends to be (a Count).

Finally, there’s the costuming for Dimitry. Playbill ran this still before opening night, and it’s a perfect one to showcase why Linda Cho was such a genius with her choices:

We know from the musical that Dima is a poor con artist, really not much more than a gutter rat as it were and his costuming matches. The fabrics he wears are rough-hewn and cheap-looking (by intention) because he would never have been able to afford anything else unless he aggressively bartered. As a good man in early Communist Russia, he wouldn’t have had the resources to style himself any better–we get the sense Vlad can only because he had the clothes beforehand. Dimitry is all commoner, all working class, all rough (the same with Anya’s Act I wardrobe).

Now, it’s easy to make a costume look cheap–but Linda Cho does more than that. She makes it look cared for. After all, Dimitry has no resources to replace a winter coat if it’s torn, and so we see that while worn, it’s clearly cared for. His shoulder bag, if a bit out of place in the era, is the same: the leather is time-worn and it’s clearly a possession he has had most of his life. That’s not an easy look to master, and to execute it so flawlessly requires real skill.

Here’s my bottom line. The costumes that Linda Cho designed were bold and innovative, and perfectly matched to the heart and soul of the characters who wore them. They took some risks in the way in which they used colors and fabrics, and they blended some modern sensibilities with the design elements and fabrics of the era the musical is set in. That is the kind of thinking that I feel the American Theatre Wing had a chance to reward with the Tony in 2017, and it’s why I feel disappointed by the snubbing of Linda Cho. Her costumes weren’t groundbreaking, but they were unique, they were original, and above all, they felt like they improved the overall quality of the show for their presence.

I doubt Linda Cho will ever read this, but if she does: you own the Tony in my mind, and I cannot wait to see what you come up with for the next show lucky enough to hire you to design their costumes.

anonymous asked:

SHOULD I WATCH GUARDIANS OF THE GALAXY

okay listen. 

listen. 

idk if u have seen the first film. 

and u need to watch the first film to understand the second, which is, arguably, the better story of the two.

now, the first film. it’s. its a film, okay. its a movie. its ur typical bad guy is gonna destroy the world protagonists enter in STAGE LEFT & whilst they have a couple bumps at first they TEAM TOGETHER and SAVE THE WORLD bc they are Good Folks despite their questionably legal professions!

great!

like, it’s a decent film. it’s funny, it’s action packed, there’s a lot of heart to the characters. it SETS THE STAGE real well.

but the thing is it leaves u feeling kind of “eh whatever” UNLESS U FOLLOW IT UP WITH THE SECOND MOVIE.

film 1 is genuinely very good for worldbuilding and character setup, and, imo, not that great if you’re looking for a film with powerful emotional heart and a strong narrative message. like dont get me wrong, it’s good. it’s fun, it’s entertaining, and u get some warm fuzzies at the end. it’s originality is decent, considering the inherent originality of the setting of the film, but in terms of “wow, that was so creative, i never saw that coming” content … it’s average. like, “wow, that movie changed my life, i’ve got so much to think about now”, it’s …. okay. like it’s good, but it’s not genius, u know? it ain’t art.

vol.2, on the other hand? KNOCKS THAT STUFF OUT OF THE BALL PARK.

this film is ART.

u got character-centric storytelling. u got powerful narrative metaphors w strong and Good life messages. u got excellent character relationship growth, u got genius in the creativity department, u got originality, u got unique and complex villains, u got some TOP NOTCH JOKES, u got bammin’ slammin’ action sequences, u got GORGEOUS visuals, u got the most incredibly incorporation of song into story that i have EVER SEEN.

and. AND. on top of that, it takes so many of the vague attempts at subversion of Generic Superhero Tropes in film one and REALLY GOES TO TOWN WITH THEM, in that it is one big Think Outside The Box. the whole story subverts, deconstructs, and rebuilds some of the most problematic trends in superhero – or in fact, most generic action-y – storytelling.

PLUS, on top of all that, it explicitly shows characters on screen engaging in some really healthy behaviours. it has three separate female characters with three separate independent arcs, none of whom are sexualized. it allows male characters to be emotional and vulnerable and it delves into complicated heavy issues like breaking the cycle of abuse, or the many insidious layers and effects of toxic masculinity.

the entire story is about deconstructing and subverting toxic masculinity. and it is told so well.

and, on top of all of that Excellent Content, u literally, my friend, feel as though u are immersed in a particularly colourful gotg comic book for 2 and a half hours of your life.

WHAT an icon, tbh 

and so u see, anon, guardians vol.2 takes all the excellent premise content that vol.1 set up – rag tag gang of criminal losers accidentally become a family and save the world bc they’re Good people – and really expands on that beautifully. it takes the universe its built for itself and it tells a genuinely Good and complex and emotional story within that universe, about the characters that it’s set up for itself. 

and it is, truly, in every sense of the word, an ensemble superhero film. every character has their own individual arc, which are simultaneously independent of each other but also strongly interrelated bc the whole point of the story is that they’re a family whom loves each other. EVERYONE has an arc. and they’re all satisfying. they’re all important. they’re all powerful, even if they’re humorous or cute or kind of ridiculous at times.

and then, u know what happens, anon? u know what u get when u have a whole film, a whole 2 hours, that explores its characters in such depth?

u get a whole new perspective on vol.1, on that first, mostly decent generic-ish superhero film, and then u have the TIME OF YOUR LIFE re-watching the first one. bc u are invested in these characters now! u know where they’re going! how much they’re gonna love each other! how much they’ve dealt with in their lives! u have so much emotional context. so that first movie? it becomes important. it becomes relevant and poignant, when juxtaposed to the narrative of the second one, to the arcs in the second one.

truly? truly? what a way to write a story. what a WAY. i wanna do that someday.

so.

SO.

u should., ,,,, imho … in my humblest onion ….. Please Watch Guardians of the Galaxy. bc if u havent seen the first one, u cant understand the second one, and personally, i think that guardians of the galaxy volume 2 is genuinely one of the most important films that marvel studios has produced to date.

9

“I say this about everything: when I was on ‘Neighbours,’ I said, ‘These are the best years of my life!’ When I was filming 'The Wolf Of Wall Street,’ I said, 'These are the best months of my life!’ I always think I’m having the best time ever, and that I’ll never have so much fun again.” | Margot Robbie

Squip Squad's Prom Night

More squip squad headcanons because why not here’s the squad at prom ✨

-Michael asks Jeremy in the nerdiest way possible by getting him dozens of flowers and singing him an 80′s love song

-he’d do it in private tho bc he wants the moment to be shared with just the two of them 

-Jake wants to prove to everyone that he’s brave enough to ask Rich to prom rather than the other way around

-the squad teases him like “you’re always so nervous to ask Rich out on dates you’re never gonna do it” so it becomes his mission to ask Rich first

-the boy is sO NERVOUS LIKE “RICH YOU’RE A REALLY COOL GUY CAN YOU COME WITH ME TO PROM OR WHATEVER” and he shoves Rich’s favorite chocolates in his face before burying his face in his jacket

-of course he says yes and jumps on his boyfriend to cover him in kisses

-Brooke asks Chloe by stopping by her house with an arrangement of her favorite flowers and favorite frozen yogurt flavor (of course) and has Jenna film Chloe’s reaction

-Chloe would actually start crying and tells Jenna to stop filming bc she can’t stop herself from crying over how much she loves Brooke

-Christine doesn’t really want to go with anyone special, but she notices Jenna doesn’t have a ticket and looks really sad (mostly bc Jenna feels really insecure about hanging out w everyone and thinking that no one wants her there) so she runs over excited and is like “hey Jenna!! I noticed you didn’t buy a ticket to prom yet!! Wanna go with me and the squad?? It’ll be super fun I promise! We can hang out together!!” and Jenna’s just kinda like ???? “whatever sure” 

-at prom, Jeremy arrives in a bow tie while Michael wears a worn down jacket from the 90′s and a tie and he drives them there in his car

-Rich, Jake, Brooke, and Chloe arrive together in Brooke’s mom’s car

-Christine wants to give Jenna the best night ever since she was feeling so down and insecure about going that she rents the two of them their own limo

-after a while at prom, Jeremy starts to get nervous with all the people and both Jeremy and Michael get bored anyways so they leave a few hours early

-they go home, get in their pjs and get stoned together while happily falling asleep in each other’s arms

-back at prom, everyone’s dancing super hard, but Christine notices Jenna off by herself on her phone looking very uncomfortable

-Christine goes to ask what’s wrong, but Jenna doesn’t feel like talking about it, so Christine decides to cheer her up by suggesting they pull pranks on everyone on prom

-they’re little harmless pranks like putting a fake bug in someone’s cup, or tapping someone’s shoulder and quickly running away but they cheer Jenna up and she ends up having an amazing time anyways

-Rich notices what they’re doing and decides he wants in, but takes it way too far by doing insane pranks (pulling down people’s pants, telling people their car was set on fire, etc)

-the entire time he’s pulling his pranks, Christine and Jenna are just like “RICH OH MY GOD N O”

-Rich is the one kid who ends up spiking the punch bowl

-Brooke and Chloe eventually get bored of dancing as well and end up hiding in the storage closet kissing and just talking to each other the rest of the night

-Rich and Jake have the most fun dancing the entire night, but about an hour before prom is over, Rich gets caught pantsing someone and gets kicked out, so everyone decides to leave early because of him

If someone drew any of these scenarios I would literally cry of happiness 

youtube

Character Design is an important part of any movie, but few use it to map out character design as well as Howl’s Moving Castle

Closed Captions available.

Full Transcript below

Keep reading

12 Dumb Anti Su Critical Arguments (Part 1)

You know what’s been annoying about the SU Fanbase lately? The whole SU Critical vs SU Stans discourse that’s been going on lately. Which side am I on? Well if you’ve been following my blog you would know that I’m on the SU Critical side. Yes, sometimes Su Critical can be nitpicky, they can be rude too, and I don’t agree with everything they say. I’m still on their side though because people are allowed to critique things, critiques can help artists, and the show is not as good as it use to be. I feel like I’m always the one to stand up for criticism so I’m going to do that again. Here are 12 dumb arguments (in no particular order) that are almost always said to SU critical people. If you think I’m using a straw man here, I’m not. Su critical people can attest that yes, people really do make these arguments. If any of you receive these arguments, just link the Stan to this article. I’ll admit that I might get a little mean, but I believe it’s justified. These arguments are dumb and even a little toxic. 

12. Stay out of the Tags!!!: 

Originally posted by geekylaugifs

This one starts off the list because it isn’t an argument; it’s just an annoying statement. Why should we? Our post is related to the show just the same as yours. Is it because you’re a crybaby that can’t handle somebody having a somewhat negative opinion on the show? How will you react if you have a friend that doesn’t like a film as much as you do? Are you going to bitch at them too? People are allowed to have a different opinion than yours. Saying people can’t critique a show because you like it is so conceited. The thing is, SU Critical people do stay out of the tags. They only tag their stuff as SU Critical and I noticed that they’ve been calling the show by different names like Steven University or Stephen Galaxy. I use to think they did this to be funny, but I recently realized that they do this so they can stay out of regular SU tags (Tumblr puts something in the tags if the word is mentioned in the post, even if you didn’t tag it as such). Anti Su Critcal people aren’t as cordial, they post so much SU Critical hate in the SU Critical tags. 

11. Personally Insulting the Critics:

Originally posted by sapphirerose818

This is a fallacy called Ad Hominen. It’s a fallacy because it’s not a real argument; it’s just petty. You could tell an SU Critic that they have no life, so they decide to get a full time job, a loving spouse, and 2 kids. They do all that stuff, but Steven Universe will still be flawed. Their argument still stands. 

10. Just Sit Back and Enjoy It: 

Originally posted by sapphirerose818

This argument is used so much, not just against su critical, but film analysis people in general. People, stories are complex, especially in a visual medium. Some people like looking deeper into the complexities because those are interesting. Analyzing it is enjoyable to us, so we’re not trying to ruin your fun, but you sure as hell are ruining my fun.  As for criticism, the quality of art is felt first and thought of second. Analyzing a quality of a story is analyzing our reactions to a story. When we find a film boring, we think about what the film did (or didn’t) do in order to bore us. If we find a film exciting we think about why the film excited us. So really, we can’t just sit back and enjoy a story, when we didn’t enjoy the story.  There seems to be this misconception that film analysis people are pickier, but we’re really not. From my experience film analysis people actually like a wider variety of movies and shows. The difference is that we’re better at explaining our opinions. Non-film analysis people say that they didn’t like a film because it was stupid and boring. Film analysis people explain why they found the film to be stupid and boring.

9.  Redesigns Aren’t Criticisms: 

Really? People redesign characters because they don’t like how the character is designed and they find faults in it. Think of it this way. There’s an artist who draws a character and shows it to her friend. Her friend says that it’s not horrible, but there’s something off about the design. The friend is also an artist so she decides to redraw the character herself with a few changes. The friend asks the first artists if she likes the changes, and she does and decides to incorporate them into the design. See, would you say that’s not criticism? No! It totally is criticism. 

8. They’re Aliens! They Don’t Have Race: 

Originally posted by suqilite

Um, race coding exists. There are always non-human characters that appear human, but are meant to resemble different races. Sometimes this can be offensively (like the race coding in Phantom Menace), but it can also be done well. It’s pretty clear that characters like Garnet and Bismuth are coded black. Their hair, overall appearance and voice actors imply that the characters are supposed to resemble black people, so it’s perfectly legitimate to take issue with how the characters are handled within a race context. Also, some of you people (and by some of you people, I mean some of you white people) might not know this, but there is dark skin prejudice even within ethnic communities. I learned about this because I did a report on Bell Hooks in college and watched a documentary about the problems dark skin black women have to go through, and they seem to not be treated as well by society as much as lighter skin women within the same race. I mention this because even if you want to say that they’re aliens, they do enforce darker skin stigma by having character have darker skin when they’re suppose to be evil, but have lighter skin when they are suppose to be good. They did this twice with Lapis and Blue Diamond (though I don’t think they are intentionally trying to reinforce a stigma against dark skin people). What I’m saying is that bringing up race when talking about aliens is totally legitimate. 

7. You’re not an Animator so you can’t Critique: 

Originally posted by suqilite

I’m not an actor, but I can tell you that this right here is shit.  

You don’t need to be in the field or work in order to be able to tell if somebody is doing a good job. People might not have practical experience in animation, but they might have seen a lot of animation. They have eyes and can tell what is pleasing to look at. They know that artwork is supposed to be appealing to look at (if it’s suppose to be) and they can tell when there are errors made in animation. Saying that you have to be an animator in order to criticize animation is pretentious nonsense.

To Be continued… 

10

Here it is!! My collaboration with LetThereBeDoodles! <3 This is something we have been working on for the last couple of weeks and it has been so much fun working together and I am so happy with what we created. We both hope that you enjoy these manips and the story that goes with them!(^-^)

We both wanted to do something new so we decided to create our own adaptation a la Disney! >:D We looked at several stories from around the world and got hooked by the story of Yuki-Onna, a mythical spirit from Japan. This is a character that has been re-imagend several times in film/TV before, so we had to take some artistic liberties in order for it to feel new and unique.

Even though this story is not historically accurate in the sense that it’s not based on real life events or people, we still did our absolute best to thoroughly research the era, culture and legends. But bare in mind that this adaptation was made by two non-Japanese creators, so errors in accuracy may be present. If this had been a real, original film project then we would naturally have hired film makers from a Japanese background to help us in it’s production. :3

DISCLAIMER: We do not own the movies which were used to created theses images. We only take credit for editing and the story.
Movies used: Brother Bear II, Fantasia 2000, Grave of the Fireflies, Lilo & Stitch, Millennium Actress, Mulan I-II, Peter Pan II, Pocahontas I-II, Princess Mononoke, Wolf Children

Story Summary:

WINTERTIDE: The tale of Yuki Onna

(developed by TheNamlessDoll and Lettherebedoodles, written by Lettherebedoodles.)

Every Winter when the snow starts to fall, the people of Japan huddle inside their homes with their families, away from the frigid white wasteland beyond the door.

Every Winter she watches them through the frosted glass, her pale skin barely distinguished from the snow around her, her eyes glinting from behind waves of long ebony hair. It is her job to see that the snow falls, that the winter comes and resets the world, preparing for the new beginning… However, human’s don’t seem to like the cold. They dread her return, and shun her when she arrives. They fear her… she is alone.

Yuki-Onna, the snow woman.

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Purity Ring (Grayson)

You scrolled through your phone aimlessly as Ethan and Grayson, your boyfriend, filmed what would’ve been their fifth video that day. They had a strict schedule since they had promised the fans they would be posting twice a week. Grayson was currently laughing his usual loud laugh at something Ethan was doing, knocking his concentration away from the video — this was the usual. The amount of things they had to cut out just for a seven to ten minute video would probably shock most or maybe it wouldn’t to anyone who knew them well. 

They were currently in the midst of ‘Q&A’ video and you were hoping they hadn’t included anything pertaining to your relationship with Grayson.  People had speculated that you were dating, especially when pictures leaked of the two of you on a dinner date the week prior but you had managed to keep it low-key and avoid all questions until you felt ready to let the world know.

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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.

Overhearing a confession

Hi! First, I wanted to thank everyone who takes the time to read my One Shots. It makes me so happy! :) 

This is a One Shot about Harry being your best friend and falling asleep on top of you. Unfortunately, that’s the exact time your friend decides to talk about how obvious it is that you have feelings for each other. 

Picture is not mine, I found it in the depths of Tumblr. 

It would be accurate to say that Harry was exhausted. Filming a movie taking place during world war 2 had really began to take it’s tool on his strength - physically as well as mentally. When him and the band had first started to think about taking a break, he hadn’t imagined feeling more emotionally drained than when he was touring. But then again, becoming an actor had been more something than he’d stumbled upon and not something he had planned.

When it was announced that filming wouldn’t be continued for two weeks, Harry was quick to decide that going home would do him good. He bought a plane ticket and the same evening he was back in my tiny apartment in England. I had been very surprised at his sudden appearance, given that I hadn’t heard from him for a few days and when I did, he had always claimed that he couldn’t wait to go back to America. But instead of his sunny porch in LA, he stood on my doorstep in ever rainy London. After ushering him in, Harry apologized profoundly for interrupting my quiet night in with my friend Mary, but unaware to him, seeing him had been all that was missing to make me happy.

“It’s fine, Harry,” I’d assured, stopping his ramble with one finger raised, “Perfectly fine, actually. I’m always happy to have you here, you know that.”

What he couldn’t have known was that when my eyes had found his, my heart had speed up and beat so fast I’d feared it’d jump straight out my chest and to his feet. Self-consciousness crept up on me and I wished I would’ve worn something more flattering than thin leggings and a white t-shirt adorning my torso. I wasn’t even wearing a proper bra but a simple black bralette I’d gotten for £7. Luckily Mary was quick to step in and invited Harry to join the two of us for a glass of wine on the couch.

As soon as I’d settled down comfortably, Harry moved closer and lay down beside me to rest his head in my lap. His face was nestled against my stomach and my body tensed upon feeling his warm breath against my thinly clothed skin. My friend’s raised eyebrows didn’t go unnoticed by me, but I couldn’t be bothered. It wasn’t unusual for Harry and me to cuddle and to be genuinely more comfortable with each other than other friends were, but normally no one else was around to whom it could’ve looked odd.
Harry didn’t care about that though. All he cared about was how at ease he felt since he had entered my apartment. He sighed in content when I carefully laid a blanked over him and his arms around my waist squeezed me gently after I loosely placed my own arm over his shoulders. Harry didn’t engage much in the conversation Mary and I carried and after feeling the rhythm of his warm breath slow, I knew he had fallen asleep.

Me and Mary still sat with each other, talking quietly. At some point I subconsciously began stroking my fingers through Harry’s smooth hair. It still felt strange to touch the soft strands and have them end so close to where they began, but I loved it either way, long or short. My hand gently caressed his cheek every now and again and I smiled upon remembering how nervous he had been when he had first revealed the newly short haircut. There hadn’t been any reason though. Harry was effortlessly beautiful. He always was, as well as was so warm, soft, gentle and kind. Mary knew of my feelings for Harry and smiled when she noticed my hesitant touches to his face.

“You do know that he fancies you, right?” she asked. “At least as much as you do him.”

I looked up at her with a small smile and shook my head. “Don’t make fun of me, Mary.”

“I’m being serious,” she assured, “He looks at you and his face lights up. When he has news, you’re the first person he calls. Filming is interrupted, yet he doesn’t go to his family or to his home in LA. He comes to you. Those are pretty obvious signs, honey.”

I quickly shushed her when her voice rose slightly. “Why does the time you find fit to have this conversation when he’s right here?”

She rolled her eyes. “Relax, he’s asleep. You’re just trying to escape this conversation, as you always do.”

I shook my head and focused my attention back on Harry. His forehead was wrinkled and I gently smoothed it with my thumb. His pink lips were slightly open and I admired how his long eyelashes rested on his soft cheeks. He looked vulnerable and innocent. My heart swelled at the sight and I could practically feel myself fall even more in love with him. All I wanted was to cuddle him and shield him form any harm.

“You love him,” Mary continued in a cooing voice.

“Pst!” I scolded and shot her a glare. “He’s right here, for crying out loud! Are you trying to ruin my friendship with him?”

She threw her arms up and sighed dramatically.

“I’m sitting here, observing two people completely unaware of how smitten the other person is with them and you expect me to just keep my mouth shut?”

“What I expect is that you don’t take the piss out of my feelings for him. Feelings I’m sure he doesn’t return,” I muttered harshly and focused my gaze back on his flushed cheeks. “He told me about some model from Spain he was thinking about going out with,” I admitted quietly. “He wants someone he can sleep with for a while and go on crazy adventures with, without her getting her hopes up. And that’s not me. He just has to look at me from across a room and my hopes shoot up into the sky.”

Mary giggled and shook her head. “You would sleep with him, though.”

“Shut up.”

“I think you don’t quite realize how he sees you,” she continued in a more serious manner. “Maybe you should just tell him and see how it goes. It could be worth it.”

My hair shielded my vision when I shook my head and I quickly pushed it back. Harry’s grip around me had slightly tightened and I shifted to adjust myself.

“No way I’d risk loosing him with a weak attempt at getting him to want me, Mary. I’d rather be stuck by his side as a friend than not be with him at all.”

“Well,” she took a long sip of her wine glass, “the fact remains that his head is in your lap and nobody else’s.”

I giggled and urged my heart to stop jumping so badly. With his face pressed against me I feared the sound could wake him from his slumber.

While we quietly conversed some more, my fingers found their way back into Harry’s hair, from there to his neck and from there to his shoulder. His peaceful expression brought me joy and set me at ease. Harry released a long sigh and cuddled closer to me. He even moved his legs up to completely rest in a fetus position.

“I’m gonna get going,” Mary decided as she got up and I moved to do the same, but she quickly stopped me. “Don’t. Stay like that. It’d make a lovely picture. One that you could send everyone as a christmas card when you celebrate as a couple for the first time.”

“Text me when you get home safe,” I asked her quietly, ignoring her comment and she nodded. She waved one more time before she left the room and shortly after I could hear the front door shut.
I sighed in content and focused my vision back on Harry. With him cuddling me like that I could almost pretend that he loved me. That he was mine and had returned to me because his heart had ached from our separation as much as mine had. My fingers were in the middle of drawing a pattern against his temple when Harry suddenly pursed his lips and blew out air. I shrieked at the tickling feeling and tried to move away, but his arms held me still and he continued his playful torture, only stopping to laugh.

“Harry,” I cried and pushed at his head. “Please stop!”

He didn’t move away though and I felt like a bucket of ice water had been dropped over my head when I felt his lips press against my tummy in a kiss. Or maybe it was steaming hot water.

“I thought you were asleep,” I stuttered and he moved into a sitting position next to me. My lap felt cold and empty already.

“I wasn’t really,” he shrugged, a smile gracing his lips. “Just enjoying a snuggle and hearing the newest gossip.”

My rapidly jumping heart jumped straight down to the very pit of my stomach while all the blood shot up to my cheeks. Harry still looked at me with a confident and wide smile, his eyes sparkling and my brain went through every possible scenario of how I could possibly talk my way out of this. He couldn’t have heard what Mary and I had discussed, right?

“Did you get some rest?” I asked and he frowned. “Are you hungry?”

I moved to get up but was stopped by his hands reaching forward and clasping my wrists.

“Where do you think you’re going, love?”

“To fetch you something to eat,” I answered and freed my wrists from his hold.

“I don’t want anything to eat. Come here.”

He sat up straighter and opened his arms. Though part of me wanted to leave the room and hide from his suspicious gaze, I had never been able to resist him. My still burning face was buried where his neck met his shoulder and I inhaled his familiar scent. Harry sighed and wrapped both arms around me, pulling me up so I was sitting in his lap.

“You have no idea how much I missed you, Y/N,” he whispered against the shell of my ear before pressing several kisses to my cheek. “I hate being away from you.”

Not as much as I hate being away from you, I thought, but decided to only answer by pressing myself closer to him. Harry moved his hands down and cupped my thighs before wrapping both of them around his waist. A harsh breath escaped my lips at this sudden closeness and when I felt him press more kisses to the skin of my shoulder, moving up to my neck. I shuddered. He knew. He was always cuddly and affectionate, but he might as well have kissed me on the lips and taken me to bed. He acted as if he was about to.

“Stop it,” I muttered and pressed my hands against his chest.

“What’s wrong?”

He stayed sat but his eyes followed me when I stood up in front of him and I cleared my throat.

“What is it that you were just doing?” I asked, my voice quivering. “You heard me and Mary’s conversation, didn’t you?”

Harry swallowed hard, but continued to smile, not looking guilty at all. “Yes, I did.”

I didn’t give my stomach time to knot itself and continued to speak. “And now you think that just because I have feelings for you, I’m going to share your bed?”

“What?” Harry seemed surprised at my sudden accusation. “No, of course I don’t think that.”

“You were practically kissing me!” I almost shouted.

Harry reached up to smoothen his messed up hair and got to his feet too, the smile had been replaced with a serious frown on his face.

“Y/N,” he spoke, reaching for my hands, “You don’t have to be scared, okay?”

His green eyes stared into mine and the grip on my hands tightened in a gentle squeeze. The black cross on his knuckles stood out against the pale skin.  "I love you.“

I shook my head in denial. If I allowed myself to believe him now, it’d hurt more later when he was done with me. I had watched him parade his lovers around one too many times and wasn’t willing to suffer the same end as they had. Always pushed away and to the side by him.

"Don’t say that.”

“Oh, I’m going to say it many more times, because it’s true.”

He reached up and gently caressed my cheek. “I love you and I know that you don’t believe that I mean it and that you think I’m just looking for something easy and meaningless, but I’m not.”

“You said you were,” I protested. Wasn’t that the reason why I had laid awake so many nights, thinking about what girl he was with for that night? Because he had said that he wanted to have an easy and no strings attached kind of relationship with someone who didn’t even understand his mind or care for his heart?

“Only because I was certain that I could never have you,” he swore. “When you are all I ever wanted.”

My breath hitched in my throat when he moved closer, both hands resting against my jaw and neck now. His lips looked impossibly soft and inviting and I had to bite my own in order to restrain myself from kissing them. He seemed to feel the undeniable pull between us, too, because his breath was uneven.

“Please,” he muttered, “Please let me.”

A nod from me was all he needed to lean forward and close the distance between us. His lips pressed against my mouth, feeling every curve. He moved them slowly but in a way it felt like he wanted to mesmerize every detail about my mouth. My breathing got irregular and I wrapped my arms around his neck, holding him down and closer to me. A low moan escaped his throat and my entire body froze, but his roaming warm hands eased my tense muscles and soon I melted into him. One hand fisted his hair, the other moved to hold him by his cheek. When I felt him smile and pulling away, my head instantly followed in search for another kiss. The laugh died in his throat when I pressed another needy kiss to his full lips, one that he returned willingly. His hands gripped my hips and he squeezed the bare skin there. When I did finally allow him to break the kiss his face had transformed into an even bigger smile than the one that had graced his features earlier.

“Does that mean you’ll go out with me sometime?” he asked, his voice husky.

My brain still had it’s doubts, but my heart couldn’t be more confident. This man in front of me, this insanely handsome and good person had owned my heart for longer than I cared to think about. He was my best friend and though I didn’t know how we would transform our friendship into a relationship yet, after kissing him all those doubts seemed to have been thrown right out the window.

“I’ll think about it,” I giggled and cuddled myself closer against his chest. He rolled his eyes with a playful huff before connection our lips once more. After kissing some more he moved his head and pressed several pecks down my neck and to my shoulder. 

“I want you to be my boyfriend,” I confessed before I could stop myself. I felt his lips stretch into a smile and my heart squeezed in relief. He squeezed me tightly and nodded. 

“That sounds like something I’d like very much.” 

Thank you so much for reading! I hope you like it and as always, feedback and requests are always very welcome. :) 

b99 high school musical headcanons

i was talking to @jokeperatla abt our love of hsm and welp.. this happened and we’re not sorry and also thanks mads for helping with this!!

-jake loves high school musical and sings along to all the songs when they come on shuffle and amy loves him so much she just rolls her eyes and smiles as he belts out the lyrics to everyday, winking and pointing and smiling at her the entire time (not to mention singing gabriella’s parts in a horrible falsetto because amy refuses to participate)

-jake and charles sing along to high school musical songs all the time on stakeouts. Charles is always gabriella because, “I cant match troy’s voice like you can jake, your voice is smooth and velvety just like zac efrons!” Jake would never tell him, but Charles does a pretty good Gabriella

-gina learned the dances to work this out and we’re all in this together when she was younger and she taught them to jake and once when they’re hanging out at gina’s place getting drunk she puts hsm on and they dance and its So Bad but they have so much fun it doesn’t matter.

-one day when holt and terry are at one police plaza, the squad is hanging around and talking and high school musical gets brought up. “Quality films,” Rosa says, and everyone turns to look at her in surprise. “What? The songs are catchy and the dances are good. Whatever,” she says before returning to sharpening her knife.

-They also agree that Jake is Troy, Amy is Gabriella, Gina is Sharpay, Charles is Zeke, Terry is Chad, Holt is Mrs. Darbus, and Rosa is Ryan

-Scully and Hitchcock ask what high school musical is and Gina banishes them to the balcony and locks the door behind them.

-Jake tells Amy that if she ever breaks up with him, she has to sing the entirety of Gotta Go My Own Way from hsm2 (she rolls her eyes and tells him she’d never break up with him and he actually kinda explodes on the inside at that)

-One day Jake’s humming bet on it and terry overhears and is like “i love those movies!” this surprises everyone, and they just look at him before terry is like, “what? terry is cool! he knows pop culture!!” 

-One time at shaws when the whole squad gets drunk, jake and gina teach terry the we’re all in this together dance, and the whole squad joins in, besides scully and hitchcock, who are asleep at a booth in the corner, and holt, who refused to participate. Everyone is shocked when rosa joins in, but in a drunken state she admits she knows all of the dances and loved the movies when she was younger (another tidbit from her dark past)

-Holt detests it. “It’s not a musical, nor does it depict an accurate portrayal of actual american high schools. How are they dancing so synchronized with little to no practice? It’s unrealistic.” Jake just sings the lyrics louder and louder until Holt’s criticisms are drowned out and he stops talking altogether 

-Despite all of holts criticism, Jake stumbles upon him humming “I don’t dance” under his breath one day and he declares (a la the kwazy kupcakes debacle) “I will listen to poorly written songs from false "musicals” (said exactly like darbus) if I want to!“ 

-at jake and amy’s wedding, jake asks the dj to play breaking free and they do, and jake starts singing into the microphone that the dj gave him and amy rolls her eyes before walking up and taking the microphone and singing gabriella’s part (albeit kinda poorly, but jake is so in love with her, it’s the best sound he’s ever heard) and they finish the duet, smiling and laughing while everyone at their wedding smiles and cheers over what dorks they are

Boss - Yoongi l 05

genre : Mafia!AU, smut, angst
warnings : this chapter contains explicit description of physical abuse, insults, drug abuse, sort of mental abuse too + everything related to the mafia alternate universe. Be aware before reading.
words : 5,1k

masterlist
01 l 02 l 03 l 04 l 05


A light buzz echoed in your ears, bugging your hearing sense in an annoying and painful manner. Your eyes fluttered open slowly, your pupil hurting from the –way too much- white and bright lightening of the room. It took a few dozens of seconds for your vision to adapt, your eyelids heavy over your eyes, struggling to open. You –with difficulty- became aware of your surroundings, your physical senses awakening at a snail’s pace, hardly. In the first place, you felt numb. You couldn’t feel neither your legs, or your arms, or any part of your body at all. All you could possibly do was feeling the weight of your head, hanging forwards, nearly boneless on top of your neck.

Once your eyes were fully ready to function, you tried to take a look of the space around you but the hard pain in the back of your scalp refrained you to do so. It felt like needles were being thrown on your skin, deeply crossing their way to your bones; and you’d almost cry from the feeling. In a calculated motion, you threw your head backwards, now letting it hang on the edge of what seemed like the edge of a chair. You could only detect an appearance of what seemed to be a ceiling, high, old, and dirty.

You tried to move your hands to rub your eyes, but you couldn’t achieve it. Your eyebrows frowned when your felt hard and wet roped tightly wrapped around your wrists, woefully sunk in your skin. Your groaned from the pain, trying to free your hands was far away from being a good idea since the ropes were digging into your skin, probably rasping it and making it bleed. A tear weakly ran down your cheek when the realisation of your situation -and your latest memories- hit you like a truck. You’ve been kidnapped, surely beaten up, and you were going to suffer.

You flexed your thighs, putting out feelers, to sense if your legs were also tied. You could sort of move your upper-legs, but your ankles were knocked together, a rope fixing it to one foot of the chair you were forced to seat on. Your breath was heavy and hastened as you felt your throat tighten, your eyes watering from the oppressive pressure sitting heavily on your body. Yet, a loud slam of a door startled you, making your rapidly sit straight on the chair, your body hurting in the process from the sudden movements. You turned your head to side, trying to have a proper view of the loud sound’s source.

You gulped, the tears –which until now stilled in the corner of your eyes- started to fall down your chin, soaking your puffy face. You saw the man of your nightmares walking up to you with confident steps, the sound of his footsteps loudly resonating in the silence of the room. Once he was at a decent distance, you noticed how devilish his smirk was and how his face was contorted into sadistic pleasure traits, you were going to suffer.

“My, my, doll. Why are you crying?”, he asked, locking your chin between his thumb and his index finger harshly, forcing your gaze to meet his. Bringing his face closer to yours, the feeling of fear growing in your stomach couldn’t help but intensify, devouring slowly you from the inside. Yet, even if it was burning your tongue to answer some insolent words, you didn’t reply, keeping your lips pursed into a straight line; even if you knew that your boldness was discretised by the pearls of salty water flowing along your face.

“I’m asking you a question, doll”, he hissed, his jaw clenching, forcing you to look straight into his eyes. However, when you heard the door crack open, your gaze drifted to it slowly, weakly. You saw, standing by the door, your bodyguard, your fucking bodyguard, a distinct smile plastered on his face, making you want to puke. You gulped loudly ; and if eyes could kill, he would surely be dead.

Your eyes widened when you noticed the loud noise of a slap echoing in the room, taking your time to realize that Jae-Duk had just smack your cheek, hard and without pity. Your damaged skin started to tickle in pain where he hit you, increasing the throughput of your tears. Your eyes were locked with the floor, head averted to the side under the violence of the blow, and you couldn’t help but sob, catching your lips between your teeth suffocate the sounds of your weak self.

You couldn’t move. You couldn’t do anything, and you didn’t have the force to even lift your head to stare at the fuckers that stood arrogantly before you. You barely felt your body, flimsy and feeble, lacking of energy –which made you wonder how long you had been unconscious, but it wasn’t your main problem right now. You knew that there was a possibility to end up in this situation, you’ve always known it. But living it was another story, and all you could now possibly do was pray for Yoongi, pray that he’d find you before they’d get rid of your body, before they’d leave you for dead.

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anonymous asked:

I love your art so much! Especially the facial expressions! Do you have any tips on how to really exaggerate the expressions? You do it so well!

thank you! the best thing i can tell you is to get weird, get loose, and get silly! i swear i went through like 20 different versions of steve trevor’s mouth before setting on one that was goofy but still looked like him to me, relatively speaking. i just experimented with the placement, length, and shape of the mouth and got a lot of fun results.

one of the best ways to study exaggerated expression is pausing during animated films/shows and doing quick sketches of the faces. classic disney and looney tunes would be good places to start! plus shows like the last airbender and voltron, which have TONS of great expressions like these:

i did this exercise recently while watching the road to el dorado– i just made a ton of screenshots whenever i saw a face that i liked, then went through them all and did a handful of studies like these:

it was a good exercise for both facial expression and studying a character’s design and features from multiple angles!

squash & stretch is good to study and practice, too, i think that’s the biggest element to push if you’re going for exaggeration. This is one of my favorite tutorials on the subject so ill direct you there rather than try to explain it myself, since it includes some pretty great examples.

but yeah, in conclusion: experiment as much as you can, collect tons of references, and dont get too caught up in small details– just focus on the emotion you’re trying to convey :) best of luck!!