thriller thoughts

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Well, these two panels make me believe that JinMom assasinating her son wouldn’t be as simple as we may assume. Take a notice that she seems to pity him - she probably understands that this is not his fault that he participates in his father’s murders. He is too little to comprehend it.

She may think that if she were more careful about choosing her husband and cared better after her child, Jin wouldn’t be involved in this bloody shit. The milk is spilled and she knows she can’t just go back in time.

She perhaps tried to kill Jin in order to protect his mentality beacuse growing up he would understand all those bad things he was doing. She wanted to save him from becoming ruthless murderer. It was all she was able to do for him - beacuse it was too late. Too late to fix anything.

Illicit pt1.

YoonSeok.
↳Hitman!AU
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Summary: Two hitmen meet by coincidence in a bar and become close, none of them know about the other until they need to hunt each other down.
Word Count: 4,9K
Genre: Angst, action, thriller, smut
WARNINGS: Alcohol use, blood, death mentions

A/N: So first time ever writing actual smut??? I’m scared.


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So like @ everyone who is disgusted with killing stalking fans, do you also hate everyone who enjoyed Hannibal or even American Horror Story? What about bates motel bc that shit is also fucked up… lol everyone is so fragile and victimized

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books in 2017  44?girls made of snow and glass

“There are worse things in the world to be than delicate. If you’re delicate, it means no has tried to break you.“

someone: have you ever heard of michael jack-

louis, bursting onto the scene: michael joseph jackson was the lyricist/composer, coproducer and performer for the track titled “billie jean” debuting on january 3, 1983 and was released on the thriller album. “billie jean” features lyrics such as, “the kid is not my son.” the single won numerous awards, including two grammy awards and an american music award.

charlie’s list of 2016 book recs

here are some of the fave books i’ve read in 2016 

  • aristotle and dante discover the secrets of the universe by benjamin alire sáenz - this book destroyed every inch of me and then rebuilt me into something better. it’s beautiful, a story of sexuality and culture and self wrapped into the narrative of aristotle mendoza, a mexican teenager who just wants answers for a lot of things in his life. (also the audiobook is narrated by lin-manuel miranda)
  • six of crows and crooked kingdom by leigh bardugo - this is a completed duology that will have you mad there isn’t gonna be a 10 book series about these characters. prepare yourself for the 6 new children you’re gonna adopt by reading these. it’s a mid-fantasy series set in a fantastical world and all our protagonists are criminals but like, with hearts mostly of gold. 
  • the serpent king by jeff zentner - this book will stick with you after reading it. it’s a boy stuck in a town and a situation that he’s accepted he’ll never get out of as he sees his only friends preparing for a life outside of it and the realities of life that come with it. it has an ultimately postitive ending, but don’t go in expecting a hallmark rise to happiness
  • simon vs the homosapiens agenda by becky albertalli - imagine the fluffiest but cutest but not like cavity-enducing sweet ya book you ever read - this is that book but with a gay lead character. it literally made me smile throughout reading the entire thing and it’s just so cute 
  • if i was your girl by meredith russo - this book got a lot of attention because it was a popular ya novel that was about a trans woman written by a trans woman and honestly, it was just so good i read it in one sitting
  • the lunar chronicles (cinder, scarlett, cress and winter) by marissa meyer  - these books are…so damn good. they’re long and the series is complete but they’re so good. expect to adopt 8 new children. it’s a mix of a high tech/high fantasy ya epic adventure that’s kind of loosely based on fairytales for each lead female character.
  • dumplin’ by julie murphy - i have some…issues with this book as a whole, the climax was kind of lost on me and some of the comments the character make are a little iffy - but it’s one of the first ya novels i’ve read memorably with such a nice narrative that includes body positivity 
  • everything everything by nicola yoon - this book is a nice quick read with a wonderful lead and a good story, it gets a little predictable but if you’re looking for a fun way to kill a couple hours, this is it 
  • eligible by curtis sittenfeld - pride and prejudice but set in cincinnati ohio, liz(zie) bennet is a 40 something who goes home to visit and meets (dr.) darcy - it’s a nice twist on the original story, darcy eats religiously at skyline chili and they have hate sex, i lived for this 
  • before i fall by luaren oliver - this is an oldie but a goodie. the movie is coming out in march, go emotionally hurt yourself with this one 
  • the woman in cabin 10 by ruth ware - if you like gone girl and the girl on the train, this book is it’s half-cousin separated by marriage. it’s a decent thriller though so i thought i’d give it a shout out 
  • rebel belle by rachel hawkins - this book by itself is super cute, very typcial supernatural romance-y ya novel, a nice hate-to-love romance, but the rest of the series kind of falls off, but the first book was fun af

and in total i read like 71 books this year and these are just some of them. a few that i really enjoyed i don’t feel comfortable publicly recommending due to their content and possible warnings and such, but here are some carryalls that i really enjoyed and i hope ya’ll enjoy and let’s talk about them if you ever feel like 

Pennywise's right eye

Why is his eye broke, like he’s always looking to the right With that eye. He’s pure like scaring kids and shite while I’m here watching the movie wondering what’s so good about what’s to the right of him, honestly though you could potentially just knock his eye back into place with a little flick in one of the los(v)ers wee fingers and it to all be over. MAYBE THATS WHY HE WANTS TO EAT KIDS ALL THE TIME, CAUSE THE LAST KID HE CONSUMED TURNED HIS EYE LIKE THAT. HE WOULDN’T BE SO ANGRY ALL THE TIME IF HIS EYE GOT FIXED AND THIS WHOLE KILLIN KIDS FOR A GOOD MEAL WOULD ALL BE OVER!

Bill: “hollup fam, ima l-l-l-let you eat and sh-sh-shite but let me just f-f-fix your squinty eye m-m-mate….”
Pennywise: “thanks Billy boi, ima let you live”

And then Pennywise goes back into his hibernation hole and stays there till his lights wear out

Halloween 2017 movie marathon: The Cat and the Canary (dir. Paul Leni, 1927)

“You must have been lonely these twenty years, Mammy Pleasant.”

“I don’t need the living ones.”

Driven to near-madness and physical decline by his greedy relatives, eccentric millionaire Cyrus West dies in his gothic mansion—however, he orders that his will not be read for another twenty years. Two decades come and go, and a quirky collection of West’s living relatives gather at the mansion to find out who gets the money. The lucky heir is the sweet-natured Annabelle West (Laura La Plante), but before she can claim her inheritance, she must be examined by a doctor who will certify whether or not she is sane. If so, she gets the money, family diamonds, and Cyrus’s creepy but big mansion. If not, she gets an extended stay at an asylum and the money goes to a mysterious runner-up heir, whose identity is sealed away in another envelope. Annabelle is decidedly the sanest of the lot of her bizarre relations, which include her nerdy and stammering cousin Paul (Creighton Hale), snobby and suspicious Aunt Susan (Flora Finch), (Forrest Stanley), the suave but mysterious Doctor (Arthur Edmund Carewe), and the chic but catty (Gertrude Astor), but as the night wears on, her nerves are subjected to unexplained disappearances, murders, and being stalked through the night by what could either be a ghost or an escaped madman from the local mental hospital. Whether the origins of these occurrences are supernatural or crime-related, it becomes clear someone wants to drive Annabelle insane and take her fortune, but who could it be?

Horror didn’t become a cinematic staple in the United States until the enormous success of Tod Browning’s Dracula in 1931; however, there were a few key Hollywood films during the silent era which paved the way for the terrors to come. The Phantom of the Opera is the most celebrated of them as it teems with suspense and gothic set design– and that’s not mentioning Lon Chaney’s iconic monster make-up which left patrons screaming in the aisles. The Cat and the Canary is the second-most influential pre-Dracula American horror picture. While not as embedded in the popular culture as Phantom, it was one of the biggest hits of its day and remains a favorite of silent film aficionados. The cast sports a host of character actors familiar to lovers of 1910s and 1920s Hollywood cinema, and the visuals—oh Lord, the visuals are the true star, pure gothic expressionism mixed with innovative camerawork that should strike down the idea that all movies were “filmed stage plays” before Citizen Kane.

As you can likely see from the plot summary above, the storyline of The Cat and the Canary will likely appear familiar, even creaky, to contemporary viewers. It’s a classic old dark house mystery, with a bevy of strange characters trapped in a menacing setting, freaking out as things go bump in the night. This film and its 1922 stage play source material are often classified as dark comedy, as there is quite a bit of comic relief throughout due to how weird the characters are and how they react to the mayhem around them. However, the horror elements are strong enough to make this more than your standard drawing room murder-mystery: director Paul Leni and cinematographer Gilbert Warrenton create an uneasy atmosphere from the first scenes where we learn about the death of Cyrus West, how he was driven to his grave by his cruel, avarice-ridden relatives. In a symbolic sequence, we see Cyrus in his pajamas dwarfed by large, double-exposed images of cats baring their fangs and swiping at him with large, clawed paws. It sounds corny when I describe it, but the effect it has when you actually watch it is chilling and effective.

After this prologue, we’re treated to a first-person POV tracking shot through the gloomy corridors of the mansion, curtains flapping about in the wind as the camera glides about in the ghostliest manner before we arrive at the safe where the will lies hidden. As you watch this movie, the one motif which resonates throughout is the image of hands. Hands grasping at jewelry or throats, hands tentatively outstretched, hands breaking through locks and windows—even the paws of the giant, expressionistic cats are part of this visual thread. These images help establish the menace of the situation as well as emphasize the greed that motivates so many of these characters. It’s a little bit of a shame that the plot is so basic in comparison to the elaborate cinematography and expressionistic visual symbolism. It isn’t a bad story by any means and there are several suspenseful moments to be found, one just wishes for a bit more meat or a more interesting protagonist to follow.

Even if the visuals and atmosphere are what make the movie for the most part, The Cat and the Canary is nevertheless a fun and spooky romp, featuring good comic performances from its cast. Laura La Plante was Universal’s most popular female star throughout most of the 1920s, though she is mostly forgotten today; this film remains her most remembered role, if only because the image of the clawed hands grasping at her throat as she sleeps is so iconic. As Annabelle, she isn’t given too much to do other than be bewildered and frightened, though her cool blonde style gives her the feel of a Hitchcock heroine in some scenes. Her thin characterization likely stems from the fact that Annabelle is the de facto everywoman character, the one spot of normalcy among these eccentrics. Even so, one wishes she was allowed to be at least a little bit more unique—though it would be hard to compete with the other actors in this movie. If you’re a silent movie nerd like me, then this movie is a practical who’s-who when it comes to character actors. Creighton Hale, a heart-throb of the 1910s who played Prince Charming in the 1916 Snow White which inspired a fifteen-year-old Walt Disney, plays the nerdy love interest Paul. George Siegmann, most known for his villain parts, is a creepy asylum employee who hopes to get someone in a straightjacket before the night is up. Annabelle’s fashionable flapper cousin Cecily is played by Hal Roach regular Gertrude Astor. My choice for best performance goes to Martha Mattox as the dour housemaid, ironically called “Mammy Pleasant” by the other characters. The only inhabitant of the manor for the past twenty years, she is enamored by her late master and spends much of the time almost savoring the discomfort of the frightened guests. The characters are all broad types rather than fully fleshed out beings, but such an approach fits the material.

The Cat and the Canary was not only a big box office hit, but also a huge influence for later filmmakers, most famously James Whale. Whale’s 1932 horror-comedy The Old Dark House replicates the look of this movie down to the eerie image of curtains billowing in a shadowy hallway. Later on, even Jean Cocteau seems to have mined Leni’s film for visual inspiration in his moody 1946 adaptation of Beauty and the Beast. Just watch that scene where Belle levitates down a corridor with billowing curtains and tell me you don’t get flashbacks to The Cat and the Canary! However, it is Whale’s The Old Dark House to which this film is often compared. To watch the two of them back-to-back could be an interesting experience: the humor in Whale’s film is much quirkier, the inhabitants of the eponymous house far more sinister, and the guests possess more depth on the whole, from Charles Laughton’s bitter widower to Gloria Stuart’s vain yet disillusioned socialite. Still, without Leni’s film, that movie might not be the masterpiece of horror-comedy we know and love now. Whale took the lessons he learned from Leni and pushed them further into weird territory. Yet even so, the camera movements and overlapping imagery in this film are sophisticated, in their own way superior to the later movie. Dammit, both are great—let’s leave it at that!

While the general concept may be dated, The Cat and the Canary is still an impressive film. It’s a lot of fun and the granddaddy of horror-comedy classics to follow, from The Old Dark House to the Evil Dead films. If you wonder why people thought sound films were a fad in the late 1920s, then the dazzling cinematography of even genre pictures like this should give you a good idea as to why.

“You hear a creature creepin’ up behind
You’re outta time

‘Cause this is thriller
Thriller at night
There ain’t no second chance
Against the thing with the inky eyes, girl…”

—–

I was watching squigglydigg´s “Bendy and the Ink Machine” stream yesterday and even if I missed seeing her play chapter 1, chapter 2 was still amazing. Well… today I listened to MJ´s “Thriller” and I immediately thought of the stream. So I just had to do this. xD

I named the file “Bendy & Co. waiting for the player respawn” btw

Thoughts on Midnight Lace (1960)

I just watched the 1960 suspense-thriller Midnight Lace tonight. Doris Day plays an American newlywed who’s receiving threatening phone calls from a stalker. Told at first to dismiss these calls as nasty practical jokes, she finds herself being observed and stalked outside the home. Unfortunately, her family and new British husband view her fright as a ploy for attention—perhaps even a sign of insanity. In many ways, the plot resembles Gaslight, another Hitchcockian movie about a newlywed driven to near-madness (and if you ask “WHICH GASLIGHT” I mean the American remake from 1944).

I’m in a unique position in regard to Doris Day’s performance because I have only ever seen her in her atypical roles: this and the hard-boiled gangster-influenced musical Love Me or Leave Me. I have a general idea of her usual screen image (a “professional virgin” if you will), but have never seen any of her rom-coms or other musicals. However, she was very good in this as the tormented lead. The character is in a hard place because even before the stalker business, she is alone in many ways: she’s an American in the UK and she’s a wife whose husband is almost never home. There are some moments in which she gets a bit too over-the-top with the cry-screaming, but given the obscene phone calls and the fact that no one believes her, I don’t consider that a major flaw by any means. You feel sorry for her and at times, she’s heartbreaking to watch.

I do think the script could have been tighter in a few places, but for the most part, this is a very entertaining movie with some great creepy moments and a few great plot twists. And man, it is gorgeous to look at—I love the rich and vaired color palette. The juxtaposition between the warm color and the chiaroscuro lighting of the later scenes are striking, especially in the creepy climactic scene.

You were waiting on the Platform

Summary: Yoongi is a famous author and Taehyung is his biggest fan

A/N:  thanks to @askwolftan and the anon who came up with this! I got inspired! I’ve now proof read this and edited out all the errors I missed in my excitement!

Yoongi pulls his jacket a little tighter against the sudden cold wind that is blowing down the platform and checks his watch again. His train isn’t due to arrive for another ten minutes and he’s already regretting not bringing a warmer coat.

The boy sitting next to him has a thick scarf wound round his neck and a beanie pulled down low to cover his ears, only small tufts of orange hair poking out the sides. He’s feeling envious. He’s totally absorbed in his book, his face the perfect picture of concentration, tongue sticking out the side of his mouth, brows furrowed, focusing intently on the page.

The cover has been removed, leaving no clue as to its identity but as he turns the page he catches sight of the title printed at the top. Oh, it’s one of his.

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Halloween 2017 movie marathon: Midnight Ride (dir. Bob Bralver, 1990)

“Cut the crap, doc– I’m still killing people!”

Russian immigrant Laura (Savina Gersak) takes off in the middle of the night to leave her workaholic cop husband Lawson (Michael Dudikoff), much to his chagrin. She plans on bunking with a friend until she can come to a final decision as to what to do about her miserable marriage, but unwisely picks up a seemingly innocuous hitch-hiker. His name is Justin McKay (Mark Hamill) and it turns out he’s recently escaped from a mental hospital where he was being treated for his erratic behavior and homicidal urges. Enamored with Laura because she reminds him of his dead sister, he kidnaps her and plans on taking her to his shrink Dr. Hardy (Robert Mitchum—yes THAT Robert Mitchum) so she can be “made better” via frying her brains out with electroshock equipment. However, Lawson is in pursuit of them all the while, intent on getting his wife back. Knife murders, car chases, bad dialogue, synthesizer music, and explosions ensue.

Why isn’t Midnight Ride a cult movie? I always ask myself this question when I watch this 1990 masterpiece of action-horror schlock. Goodness knows it has everything a so-bad-it’s-good cult classic should possess: over-the-top action scenes, cheesy but quotable dialogue, mostly terrible acting, and none other than Mark Hamill at his Mark Hammi-est playing a gleefully homicidal slasher villain on the lookout for love. How can you read that sentence and remain able to resist seeing this movie? HOW?

Midnight Ride can be viewed either as a genre-mash-up or as suffering from an identity crisis. Several action scenes are peppered throughout the movie, particularly car chases since the primary setting is the night road. Some might question my classification of Midnight Ride as a horror film, considering how enamored it is with action set-pieces, but there are tons of classic slasher elements at play here: the stalking, the murder sprees, the fact that no matter how many mortal blows you deal him Justin just won’t freaking die! To be fair, the horror scenes are far less scary than anything you could find in a darker Disney film like Pinocchio because they are so ineptly handled, but hell, you can tell the filmmakers were trying to frighten the audience. Take for example that glorious moment Justin kills a woman with a fake eye and steals said fake eye to give to Laura as a present. This should be pretty grisly, but all the murders are kept offscreen. And that is a trend here. For a slasher movie, we sure don’t get that much blood or gore or much explicit nastiness at all.

Don’t get me wrong: a movie does not need to have eye-gouging or much onscreen violence in order to be frightening: The Night of the Hunter never shows anyone being murdered onscreen, yet it is one of the scariest movies I have ever seen! The same could be said of several of the movies I’m reviewing this month, which often suggest the nastiness of their killings without showing much outright. But the thing is, in a slasher film, you expect a bit more, well, slashing. Or at the very least for the murders to appear like they were nasty or horrifying. But the thing is, a lot of the suspense should come from us fearing for Laura’s life, which might have happened were she likable and not a dim-witted non-entity with all the charisma of that plastic eyeball Justin pilfers. The only scary scene in the movie doesn’t involve Laura at all, but a young woman who hitches a ride with Laura and Justin after Justin defends her from an abusive boyfriend. When they drop her off at her house, Justin follows her inside, toys around with her, and then kills her in what is truly an uncomfortable scene. In the ten minutes or less this minor character is onscreen, we feel more sympathy for her and sorrier to see her get knifed than we ever feel for Laura. I imagine this has a lot to do with this scene perhaps feeling more realistic and less comic-book-ish than much of the other horror and action set pieces in the movie. Hamill is also truly frightening here, lending a disturbing sexual touch to the murder; after he flicks open his knife, Justin seems overcome with an agitated ecstasy.

Let’s be real, this movie is the Mark Hamill Show as the other characters are mostly morons, especially Laura and Dr. Hardy. At least Lawson has some enjoyably cheese-ball lines, like when he reprimands a trash-talking trucker by shouting, “Look man, I’m tired, I’m pissed, and I’m ready to kill!” in the most gloriously hammtastic manner. Dudikoff was a B-movie icon of the 1980s; however, I haven’t seen the American Ninja movies or other projects he was involved with, so I cannot comment if this is one of his better moments as a thespian. As it is, he makes the character more charming than he probably deserves. Lawson is ostensibly the hero of the piece, but he comes off as slightly less creepy than Justin. At the beginning of the movie, his wife is unhappy and begs him to leave her alone, at least to give her time to cool down, but nope! Lawson cares not a bit about her boundaries and appears insensitive as hell. Then again, if he wasn’t following her around, I guess no one would have saved Laura from certain death. Hooray?

Needless to say, Dudikoff and Hamill are Olivier and DeNiro compared to everyone else in the cast list. Poor Laura can’t seem to make a rational decision to save her life (literally); her demeanor is that of a total ditz. Her dialogue recitation straddles this strange gap between flat and laughably melodramatic, making an act as simple as tearfully begging for her life unintentionally funny since she seems to not care that much whether she gets away from crazy old Justin or not. She is so annoying that this is one case where you root for the heroine to get blown up.

And what can I say about Dr. Hardy? Oh man, does Robert Mitchum not give a damn in this movie. He looks bored and like he wants to pass out. Not a single line of his is read with even an ounce of what you might call conviction or enthusiasm. Case in point, when Justin ties Hardy to a chair and tries frying Laura in front of him, he looks at the horrific turn of events the way one might look at a screening of The Last Airbender: slightly surprised at how terrible it all is, but mostly bored and wondering when it’ll be over. If the characters in a movie don’t seem that affected by the crazy horror stuff, then why should the audience be?

Midnight Ride is saved from being an irritating experience by Mark Hamill as Justin McKay, the sociopathic photographer with sister issues. I once came across a review that claimed Hamill’s performance isn’t that wonderful because “playing a crazy person isn’t hard.” What inane logic! While I’m not so sure if Hamill’s performance is “realistic,” it is very entertaining and a lot of that entertainment value comes from Hamill. Some of the time, he feels like he’s doing a campy impersonation of Norman Bates with his puppy-dog look and incestuous fixation on a female family member. The other part of the time, he’s straight-up Joker, cackling madly and enjoying the mischief he causes. Hamill’s line readings of choice dialogue like the sing-songy, “I’m not goin’ till I get a pic-ture!” when he insists Laura let him take photos of her while she drives or “Don’t you ever run away from me!” are so deliciously over-the-top that if you re-watch this movie as I do, you’ll be reciting them as they come up. (My favorite Mark moment is when Laura offers herself to Justin in exchange for her freedom and Hamill just says in the most disappointed tone possible, “You’re acting like a slut!”) And as I mentioned previously, there is that one fleeting scene in which he is allowed to be scary. So, Hamill definitely wasn’t phoning this one in and he is a joy to watch throughout.

And in no scene is Hamill a greater joy to watch than in the film’s insane climax. I cannot do this climax justice with mere words and I won’t dare give any of its pleasures away to those who have not experienced this classic. Let’s just say Justin somehow gets hold of a four-wheeler and chases Lawson around. In a hospital. There is much punching and appropriation of scary surgical instruments. And the film’s final scare is pure magic. Also notice how seconds after that last horrific moment, the credits come up accompanied by smooth, cheesy jazz music.

Since the film is only available on VHS, the image quality isn’t so good. Everything is smudgy and the already dark look of the movie can sometimes make it hard to see what’s happening. Even with a better transfer, I’m not so sure this movie’s look would rank among the likes of Kubrick or Kurosawa. Being that deadly combination of extremely low budget and incompetent on a technical level, Midnight Ride is not exactly a cinematic feast. The editing in particular is BAD, particularly during the action scenes, where the editor chose to cut to things that only disrupt the kinetic energy that should be building, like when Justin has Lawson tied down to the front of a vehicle and he’s driving like hell. On more than one occasion, the editing is so amateurish that you have to wonder if the editor was trying to sabotage the movie. It’s kind of impressive.

If this movie sounds like your idea of a good time, then I want you to do something: watch it with as many people as possible. Share it with your family. Tell all your friends too! Among my admittedly limited social circle are people with varying tastes in cinema; they do not always dig the movies I recommend and vice versa. But Midnight Ride is one movie that unites people regardless of taste, creed, race, sexual orientation, gender, or where you fall on the Marvel versus DC debate. You might not laugh at Some Like It Hot or Blazing Saddles, but you will laugh your ass off at Midnight Ride. Forrest Gump or Brokeback Mountain might not make you cry, but you’ll cry with laughter at Midnight Ride. This movie unites us, binds us, could be the path to world peace. No one will fight any longer, because we can all agree that Mark Hamill chasing Michael Dudikoff on a four-wheeler while Robert Mitchum in a doctor’s coat looks on with disinterest is the height of cinematic absurdism. God bless all the people involved in the making of this gem.