No.2012 [Last50 Posts]
Is /bestemma/ ever coming back?
____________________________
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No.2030
>>2012
It is weird that so many boards are still missing tbh. /bestemma/ had to be one of the better boards on the site in terms of content quality.
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No.2032
Invidious embed. Click thumbnail to play.
>>2030
>/bestemma/ had to be one of the better boards on the site in terms of content quality.
Yes, it was very /comfy/.
I watched One on Top of the Other the other night. Was kind of sleepy though so a bit hazy with recollection. I remember thinking it was a bit too twisty turny and disjointed. There is a rather rising tension /sapphic/ scene which I will have to webm. The ending made the contrived story line somewhat satisfying. Now that I think about it, it has similarities to 'Dial M for Murder''.
Elsa Martinelli (Blood & Roses) looks so different in this.
I think now that I've watched it through once, I might gain more enjoyment a second time around to just soak up the ambiance of the piece.
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No.2045
It should, provided Codemonkey doesn't get corona'd
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No.2046
>>2032
Oh nice, I still have to watch it. Haven't had a lot of time to watch stuff, but mostly because of my own poor time management skills.
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No.2055
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No.2104
>>2032
>>2055
Watched it last night, it was a good giallo but I felt cheated on the sapphic department. Also I was expecting more psychiatric horrors to happen, the Susan scenes in the start gave off an asylum vibe similar to the ones in La dama rossa uccide sette volte. With a title like "One on top of the other" (female) and posters with Martinelli and Mell stacked I expected some romance between the two.
I know a chick with an uncanny resemblance to Marisa Mell, too bad she's "a bit" of a bobblehead unlike the cunning Monica from the film.
The ending was a great twist, my own expectation was to find out that Jane and Susan had been tricking the two brothers all along and I also confused the girl that goes to get some meds for the "nurse".
Things couldn't have turned out better for George and Jane in the end. He's got his beloved clinic, Jane has him for herself, his wife and his brother can no longer make him a formal cuck and their treason only meant they got removed from his life and took his debt with them as well.
The aesthetics were great throughout the movie, and the jazz score enhances the sleaze, with even its musical flaws working in favor of this.
I enjoyed seeing the cameras in George's apartment, such an stylistic whim. They don't really fit in a doctor's home, but this is giallo and we don't care for such things. Kind of reminded me of Patrick Bateman's camera setup. Oh, the beauty of heightened reality.
Like many other older films his one reminded me of how instant, rich telecommunications are a factor that could ruin stories if included in them. A modern version of this would have George released much earlier, and Susan would probably still be alive but captured on the border after trying to travel with a deceased person's passport. Limited access to information is a key part to proper mystery.
One pet peeve: they picked the least flattering haircut and makeup imaginable for Elsa Martinelli, it really turns a complete fox into someone that is hard to desire. The makeup for Marisa Mell made her quite unattractive at the start too but she is stunning all the way since the first moment she is shown as Monica up to the last moment when she's seen. I can't help but wonder if this was deliberate or if the taste of the 60s is to blame for it.
Also I think it's funny that we're talking about this film in a /bestemma/ thread when I had a small discussion a while ago regarding the color of Uxia's eyes and even thought she had heterochromia. Turns out it was the lighting messing with my poor color perception.
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No.2105
>>2104
I just found out that the score was composed by Riz Ortolani, the "flaws" are definitely intentional now that I know this. If there's any doubt it would be worth checking one of his other collaborations with Fulci: Non si sevizia un Paperino where there's a deliberate contrast between a particularly violent scene and a calm, almost soothing score. Or the score he did for Ruggero Deodato's Cannibal Holocaust, with similar contrasts.
As a last thought:
>tfw ywn be as handsome as Jean Sorel
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No.2111
I got around to finishing Emilio P. Miraglia’s La notte che Evelyn uscì dalla tomba/The Night Evelyn Came Out of the Grave last night. There are some similar motifs that would show up in Miraglia’s vastly superior La dama rossa uccide sette volte/The Red Queen Kills Seven Times from 1972; the red cloak, the red queen (here in a deck of playing cards, as the protagonist is playing Solitaire), the ominous portrait, a family castle and a crypt… Sadly the story is quite the mess, and far from as engaging as La dama rossa uccide sette volte.
The main problem is the protagonist, Lord Alan Victor Cunningham – he is a mentally unhinged serial killer. Haunted by the memory of witnessing his wife having an affair he picks up redheads, brings them to his family castle where the tortures and kills them; their red hair reminds him of his wife, and so he takes out his revenge on them. It is really hard to sympathise with Alan despite the mental anguish he goes through.
The others members of the Cunningham family are sadly underdeveloped. Aunt Agatha, cousin George… the family doctor… they are all background characters, and there is not really an attempt to cast suspicion at any of them throughout the film. The revelation is a twist that comes right out of the blue.
The film is well shot, and the music is easily the best part of the film. The blend of giallo and Gothic tropes was handled much better in La dama rossa uccide sette volte. I watched the Italian dub of the film, and the use of English names, and setting added some unintentional comedy – the castle is blatantly Italian, and even an English dub would have been weird IMHO. The opening doesn’t seem to have anything to do with the rest of the film, and the ending is so abrupt and weird it has to be seen to be believed. In addition to the sudden, somewhat comical ending, Alan walks away at the end, despite having recently suffered a nervous breakdown and being a mentally unhinged serial killer.
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No.2112
Now, after seeing the film I got thinking, and I realised a lot of the film’s imagery is very similar to Roger Corman’s adaptation of Edgar Allan Poe’s short-story The Pit and the Pendulum, released as Pit and the Pendulum in 1961. Only the third act – or rather the climax of the film – is from Poe’s story. The rest of the film is written to set up the part in Poe’s story, but they did work with themes Poe returned to in his works, especially that of the premature burial. The film stars Vincent Price & Barbara Steele, who had starred in Mario Bava’s La maschera del demonio/Black Sunday in 1960.
MASSIVE SPOILERS FOR BOTH FILMS FOLLOW!
In Corman’s Pit and the Pendulum the protagonist is a young Englishman, Francis, who arrives in Spain to visit his sister, Elizabeth, who is married to Nicholas Medina. Once there he is greeted by Nicholas’ sister, Catherine, who tells him that his sister is dead and buried some two months ago. He is later told by Catherine, that her brother, Nicholas, was traumatised as a child, witnessing their father torturing and murdering his wife and brother after he caught them having an affair.
The doctor who pronounced her death arrives on a visit. Mysterious things happen, making Nicholas fear that Elizabeth’s ghost is haunting him, or that she is not dead. When they break into her tomb and open the coffin they find a decaying corpse – the person having died in horrible agony from being buried alive! Nicholas suffers a nervous breakdown from the revelation. In his bedchamber he finds the portrait he painted of Elizabeth slashed and utterly ruined.
That night, as a thunder storm rages outside, Nicholas is tormented by the whispers of his deceased wife calling out to him. He follows the voice beckoning to him, and it leads him to the crypt below the castle. When he gets to Elizabeth’s tomb and looks into it, he hears the creak of the coffin-lid, and sees a bloody hand coming out from within – then a woman, obscured by the darkness sits up and gets out of the coffin.
Nicholas flees in terror and the woman follows him. He flees down the corridors and into the old torture chamber, where the woman comes out of the shadows and reveals herself to be Elizabeth – Nicholas stumbles and falls backward down the stairs, landing on the floor in a delirious state.
The twist is that Elizabeth and the doctor were having an affair and plotted how to get rid of Nicholas. The body in the coffin must have been a servant girl.
In Miraglia’s The Night Evelyn Came Out of the Grave the protagonist, Lord Alan Victor Cunningham, is haunted by memories after he caught his redheaded wife Evelyn having an affair, and after her death he picks up young redheaded women, brings them back to his family’s old castle, where he tortures and kills them in the old torture room.
After he marries Gladys he begins to suspect that his wife is alive, or that her ghost is tormenting him. He has a portrait of his wife Evelyn, and Gladys orders him to destroy it, claiming it is driving him mad to have it around – he agrees to have it destroyed, but tells her to do it; Gladys takes a knife and slashes the painting, ruining it completely. That night is dark, stormy night with thunder and lightning – Alan heads out into the night after seeing a redheaded woman whom he believes to be his wife, though the window. He heads out to the old crypt in the park, where he finds the decaying remains of his wife in the coffin. As he is leaving, pushing back the stone lid, he sees his dead wife sit up in the coffin. Horrified, he staggers backward and falls outside, landing on his back on the muddy, rain-soaked ground, in a delirious state.
The twist is that Alan’s cousin, George, set him up with Gladys, and the two of them are lovers and had planned to drive him insane, leaving them with the inheritance. But in a double twist George poisons Gladys and introduces her to his other accomplice, a lover named Susan. Gladys and Susan kill each other, and George thinks he got away with the perfect crime, having planned to get rid of Susan (who dressed up as Evelyn to lure Alan outside), but Alan makes a very sudden/out-of-the-blue recovery along with the family doctor. Alan and George fight; George is thrown into a swimming pool, and Alan sees a large sack of sulphuric acid(!!!) right next to the edge of the pool and throws it in after his cousin. The police arrive and carry a screaming George off as Alan and the good doctor watch. The film ends very abruptly, with a direct shot at George’s groin as the police carry him off.
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No.2113
>>2111
>>2112
I'm going to need to keep myself from reading the spoilers on the first post and the second post itself until I have watched the movies, but they're in my backlog.
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No.2114
>>2112
>The Pit and the Pendulum,
I haven't seen The Night Evelyn… but The Pit and the Pendulum is the first thing I thought of when I read your post above. Although I imagine my suspicions are indeed confirmed, I will not read the following spoilers until after I watch it.
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No.2120
The /bestemma/ Film Club makes a comeback over at tvch, discussing Autumn de Wilde’s feature film directorial debut EMMA., based on Jane Austen’s classic novel: https://tvch.moe/tv/res/8555.html
Emma.2020.1080p.WEBRip.DD5.1.x264-SHITBOX
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No.2121
>>2120
My internet is severely limited here so won't be able to dl movies or watch much streaming unfortunately.
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No.2123
>>2121
Good heavens!
Better put it on hold then. This is a film you need to experience in HD IMHO.
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No.2125
>>2111
Which version did you download? I was having issues downloading the NAHOM one but it's getting faster now. They're usually pretty flawless so I think I will download that.
I had a 1080p version by VXT queued as well which was going much faster than the NAHOM 720p one but now the order of things has reversed.
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No.2126
>>2125
I got this one: https://proxyrarbg(dot)org/torrent/mx9de1i
Fantastic DL speeds on it; some of the best I have had in all my times as a lawless pirate. Also getting Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn), after some anon on tvch made a thread about it, and because of costume designer Erin Benach, who worked on NWR’s Drive & The Neon Demon.
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No.2128
>>2126
I meant for La notte che Evelyn uscì dalla tomba, lol. I already have Emma, I had downloaded that exact version. It's with older movies that download speeds become an issue.
Also imagine NAHOM devoting their resources to a 2020 movie that's readily available on VOD kek, it's almost an insult to their rare catalog (although I know you didn't mean that, but it's a funny idea to entertain).
Also got your email and sent you my reply.
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No.2129
>>2128
Sheeeitttttt
I got this one:
The.Night.Evelyn.Came.Out.Of.The.Grave.1971.1080p.BluRay.x264-GHOULS
Got it way, way back, but only got around to seeing it this week. btdb(dot)io is the place.
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No.2130
>>2129
Oh, I avoided that one on account of it being too big 4U.
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No.2132
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No.2133
>>2132
Got La notte che Evelyn uscì dalla tomba, in both VXT and NAHOM versions. I'll probably watch it tonight.
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No.2135
Invidious embed. Click thumbnail to play.
The comparisons to Tommy Wiseau’s magnum opus The Room, and Mario Bava and Lucio Fulci makes me wanna check out Glenn Danzig’s directorial debut Verotika; “a horror anthology from Danzig's line of comic books of the same name. Stories which focus on horror content that's often sexual and violent in nature, usually featuring scantily-clad female protagonists.”
<“Hosted” by a woman named Morella (Kayden Kross), there are three stories contained within the film, which Danzig described as his tribute to anthologies he loves like Trilogy of Terror and Mario Bava’s Black Sabbath.
<Making any movie is hard, and I can see what Danzig is going for with Verotika. There’s a definite European flair to the proceedings, which is deliberate, from the Fulci-inspired eye gouge that opens the film to the Bava-inspired lighting and set design of the third story. There is the occasional striking visual (Danzig worked as his own DP) and the score is effective (Danzig worked as his own composer), but these brief glimpses into what the movie could have been aren’t enough to erase what the movie actually is. It’s a catastrophe.
[Cinepocalypse Review] Glenn Danzig's 'Verotika' is the Horror Equivalent of 'The Room' - Bloody Disgusting: http://archive.vn/XEHT9 /
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No.2136
>>2133
Change of plans, I'm exhausted and its late. I was thinking of starting the second season of Twin Peaks'' but the pilot is feature length so I will just go to sleep instead.
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No.2137
>>2136
wat
afaik only the season one pilot, the european version of the season one pilot, and the gilm, ""Fire Walk with Me'' are feature length.
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No.2139
>>2137
Nope. season one pilot and season two premiere are both feature length.
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No.2140
Saw this a while back, but haven’t had time to watch the rest of the show yet.
The episode title refers to the tarot card “The Tower”, which represents an obstacle one must face.
Martin takes the first step on the path of the samurai in this episode – he refuses to kill what he considers innocents; he is following a moral code, like the samurai did. Perhaps it is his relationship with Janey that is the cause of this change, or character growth? Part of him wants to be a better, righteous man because of her. She is young and pure and good, and he wants to be better because of her…
I know NWR has expressed little interest in Norse heathenry in the past – in interviews and on the audio commentary track of Valhalla Rising, but there are some very interesting and quite obvious references to the Norse religion here. Viggo attends a session with Diana – like Yartzia she believes in divination. In Norse society it was believed that the fates of everyone had been decided before their birth – woven into a tapestry by the Norns – goddesses of fate. Not even the gods could escape their decided fate, though Óðinn appears to struggle against it – perhaps even fight it, in an attempt to change the future.
Viggo’s monologue mirrors the events of Óðinn’s self-sacrifice to learn the secrets of the runes by hanging himself on the world-tree Yggdrasill, and how he gave one of his eyes as payment to drink from the Well of Knowledge. Like Óðinn Viggo lost his eye and was brought back from the brink of death, and gained new insight from the experience.
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No.2141
>>2139
Guess I must have repressed a lot of the second season… Especially everything with James & Donna, and Windom Earle. Should probably get around to rewatching the entire series and refresh my memory.
FILMS SEEN IN 2020
The Kindred (1987) by Stephen Carpenter
The Dead Pit (1989) by Brett Leonard
Cannibal Holocaust (1980) by Ruggero Deodato [rewatched 3x times; in HD for the first time & then twice more with the audio commentary tracks]
The Tomb of Ligeia (1964) by Roger Corman
The Bat (1959) by Crane Wilbur [https://archive.org/details/THEBATVincentPriceAgnesMooreheadLenitaLaneFullHorrorMovieEnglishHD720p]
The Bat (1926) by Roland West [https://archive.org/details/TheBat1926WithSoundtrack]
Sherlock Holmes Baffled (1900/1903) by Arthur Marvin [rewatched] [https://archive.org/details/SherlockHolmesBaffled]
The Bat Whispers (1930) by Roland West [https://archive.org/details/THEBATWHISPERSspecial65mmWidescreenEdition]
The Old Dark House (1932) by James Whale [https://archive.org/details/TheOldDarkHouse]
Mark of the Vampire (1935) by Tod Browning [https://archive.org/details/PhantasmagoriaTheater-MarkOfTheVampire1935578]
Murder by the Clock (1931) by Edward Sloman [https://www.invidio.us/watch?v=PHIl5Yi99SI]
Vincent (1982) by Tim Burton [Stop motion animated short: https://www.invidio.us/watch?v=fxQcBKUPm8o]
House on Haunted Hill (1959) by William Castle [rewatched] [https://archive.org/details/HouseOnHauntedHillWidescreenVideoUpgrade]
Cry of the Banshee (1970) by Gordon Hessler
The Fall of the House of Usher (1960) by Roger Corman [rewatched]
Thérèse and Isabelle (1968) by Radley Metzger [https://archive.org/details/ThereseAndIsabelle]
La notte che Evelyn uscì dalla tomba/The Night Evelyn Came Out of the Grave (1971) by Emilio P. Miraglia
EMMA. (2020) by Autumn de Wilde
Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (2020) by Cathy Yan
K-12 (2019) by Melanie Martinez [https://www.invidio.us/watch?v=2HtaIvb61Uk]
The Cat and the Canary (1927) by Paul Leni [https://archive.org/details/TheCatAndTheCanary]
Quella villa accanto al cimitero/The House by the Cemetery (1981) by Lucio Fulci
Aguirre, the Wrath of God (1972) by Werner Herzog
Nudo el selvaggio/Massacre in Dinosaur Valley (1985) by Michele Massimo Taranti
Possum (2018) by Matthew Holness (Garth Marenghi’s Darkplace)
Leviathan (1989) by George P. Cosmatos
The Rift aka Endless Descent (1990) by J. P. Simon
Curtains (1983) by Richard Ciupka
Prophecy (1979) by John Frankenheimer
The Initiation (1984) by Larry Stewart
ノロイ/Noroi: The Curse (2005) by Kōji Shiraishi
The Vampire Lovers (1970) by Roy Ward Baker [rewatched]
Malibu Express (1985) by Andy Sidaris
Hard Ticket to Hawaii (1987) by Andy Sidaris
The Big Sleep (1946 version & 1945 “pre-release version”) by Howard Hawks
Nightwish (1989) by Bruce R. Cook
Suspiria (1977) by Dario Argento
Inferno (1980) by Dario Argento
Crucible of the Vampire (2019) by Iain Ross-McNamee
Styria aka The Curse of Styria aka Angels of Darkness (2014) by Mauricio Chernovetzky & Mark Devendorf
The Trollenberg Terror aka The Crawling Eye (1958) by Quentin Lawrence; screenplay by Hammer horror regular Jimmy Sangster
What Keeps You Alive (2018) written & directed by Colin Minihan
The Abominable Snowman (1957) directed by Val Guest & written by Nigel Kneale
Kiss of the Damned (2012) written & directed by Xan Cassavetes
Devil Fish (1984) directed by Lamberto Bava
Polaroid (2019) directed by Lars Klevberg
The Beach House (2020) written & directed by Jeffrey A. Brown
Daniel Isn’t Real (2019) directed by Adam Egypt Mortimer
Tenemos la carna/We Are the Flesh (2016) written & directed by Emilano Rocha Minter
皇家師姐/Yes, Madam! (1985) directed by Corey Yuen
Bliss (2019) written & directed by Joe Begos
One Dark Night (1983) directed by Tom McLoughlin
Amulet (2020) written & directed by (((Romola Garai)))
Las brujas de Zugarramurdi/Witching & Bitching (2013) co-written & directed by Álex de la Iglesia
악녀/The Villainess (2017) co-written & directed by Jung Byung-gil
回路/Pulse (2001) written & directed by Kiyoshi Kurosawa
The Disaster Artist (2017) directed by James Franco
Picasso Trigger (1988) written & directed by Andy Sidaris
Savage Beach (1989) written & directed by Andy Sidaris
Guns (1990) written & directed by Andy Sidaris
Do or Die (1991) written & directed by Andy Sidaris
Hammer Horror: The Warner Bros Years (2018) written & directed by Marcus Hearn
Faster, Pussycat! Kill! Kill! (1965) written & directed by Russ Meyer
Frankenstein and the Monster From Hell (1974) directed by Terence Fisher [rewatched]
Profondo rosso/Deep Red (1975) directed by Dario Argento
Repulsion (1965) co-written & directed by Roman Polanski
L’uccello dalle piume di cristallo/The Bird with the Crystal Plumage (1970) written & directed by Dario Argento (his directorial debut)
Lo aquartatore di New York/The New York Ripper (1982) co-written & directed by Lucio Fulci
Ænigma (1987) co-written & directed by Lucio Fulci
Manhattan Baby (1982) directed by Lucio Fulci
Sette note in nero/The Psychic (1977) co-written & directed by Lucio Fulci
Il gatto a nove code/The Cat O’ Nine Tails (1971) co-written & directed by Dario Argento
Viking Destiny aka Of Gods and Warriors (2018) co-written & directed by David L. G. Hughes
Non si sevizia un paperino/Don’t Torture a Duckling (1972) co-written & directed by Lucio Fulci
Murderock – Uccide a passo di danza/Murder-Rock: Dancing Death (1984) co-written & directed by Lucio Fulci
Possession (1981) co-written & directed by Andrzej Żuławski
Una lucertola con la pelle di donna/A Lizard in a Woman’s Skin (1971) written & directed by Lucio Fulci
Mortuary (2005) directed by Tobe Hooper
Messiah of Evil (1973) written, produced and directed by Gloria Katz & Williard Huyck
The Wolf of Snow Hollow (2020) written & directed by Jim Cummings
Lord of Tears (2013) directed by Lawrie Brewster
The Unkindness of Ravens (2016) directed by Lawrie Brewster
The Return of the Living Dead (1985) screenplay by & directed by Dan O’Bannon
The Cat and the Canary (1939) directed by Elliott Nugent [a remake of the 1927 film directed by Paul Leni]
The Black Gloves (2017) written by Sarah Daly & Lawrie Brewster
The Mist (2007) written for the screen & directed by Frank Darabont, based on the novella by Stephen King
The Black Cat (1941) directed by Albert S. Rogell, very, very loosely based on the short story by Edgar Allan Poe
Carol (2015) directed by Todd Haynes, based on the novel The Price of Salt by Patricia Highsmith
Dead & Buried (1981) directed by Gary A. Sherman, screenplay by Ronald Shusett & Dan O’Bannon [rewatched]
La frusta e il corpo/The Whip and the Body (1963) directed by John M. Old Mario Bava
Sleepy Hollow (1999) directed by Tim Burton, screenplay by Kevin Andrew Walker, story by Kevin Yagher [rewatched]
The Watcher in the Woods (1980) directed by John Hough, based on the novel A Watcher in the Woods by Florence Engel Randall
Tenebre/Tenebrae (1982) written & directed by Dario Argento
The Watcher in the Woods (2017) directed by Melissa Joan Hart, based on the novel A Watcher in the Woods by Florence Engel Randall
Bad Dreams (1988) co-written & directed by Andrew Fleming
Ich seh, Ich seh/Goodnight Mommy (2014) written & directed by Veronika Franz & Severin Fiala
Сталкер/Stalker (1979) directed by Andrei Tarkovsky, based on the novel Roadside Picnic by Boris & Arkady Strugatsky
Possessor (2020) written & directed by Brandon Cronenberg
カルト/Cult (2013) written & directed by Kōji Shiraishi
Mutant aka Night Shadows (1984) directed by John “Bud” Cardos
Banshee Chapter (2013) co-written & directed by Blair Erickson [rewatched]
Gate II (1990) written by Michael Nankin & directed by Tibor Takács
The Fall of the House of Usher (1950) written by Dorothy Catt & Kenneth Thompson, directed by Ivan Barnett, based on the story by Edgar Allan Poe: https://yewtu.be/watch?v=UQ4K1MQ90SE
Short Story Showcase: The Fall of the House of Usher (1976) written by Donald Wilson & directed by Guerdon Trueblood, based on the story by Edgar Allan Poe: https://yewtu.be/watch?v=LVSSYkGaV5M
Hard Hunted (1992) written & directd by Andy Sidaris
Fit to Kill (1993) written & directd by Andy Sidaris
Enemy Gold (1993) co-written & directed by Christian Drew Sidaris
卍 aka Manji (1964) written by Kaneto Shindō & directed by Yasuzo Masumura, based on the 1928 novel by Jun’ichirō Tanizaki
The Dallas Connection (1994) written & directed by Christian Drew Sidaris
TRON: Legacy (2010) written by Edward Kitsis & Adam Horowitz, directed by Joseph Kosinski
L.E.T.H.A.L. Ladies: Day of the Warrior (1996) written & directed by Andy Sidaris
Killer Workout aka Aerobicide (Aerobi-Cide) (1987) written & directed by David A. Prior
L.E.T.H.A.L. Ladies: Return to Savage Beach (1998) written & directed by Andy Sidaris
Spectral (2016) written by Ian Fried, Nic Mathieu & George Nolfi, directed by Nic Mathieu
Carmilla (2019) written & directed by Emily Harris, based on the story by J. Sheridan Le Fanu
Black Bear (2020) written & directed by Lawrence Michael Levine
RELIC (2020) written by Natalie Erika James & Christian White, directed by Natalie Erika James
TV-SERIES SEEN IN 2020
Buffy the Vampire Slayer – Season 1 (1997)
deadwax (2018) written & directed by Graham Renzick
Riget/The Kingdom – Season 1 (1994) co-written & directed by Lars von Trier
Too Old To Die Young – Season 1 (2019) co-written & directed by Nicolas Winding Refn
Doctor Thorne (2016) written by Julian Fellowes, based on the novel by Anthony Trollope
Pride and Prejudice (1995) based on the novel by Jane Austen
Belgravia (2019) written by Julian Fellowes, based on his novel
ミス・シャーロック/Miss Sherlock (2018) based on the characters and stories by Sir Arthur Conan Doyle
BACKLOG
Aguirre, the Wrath of God (1972) by Werner Herzog
Nudo el selvaggio/Massacre in Dinosaur Valley (1985) by Michele Massimo Taranti
Possum (2018) by Matthew Holness (Garth Marenghi’s Darkplace)
K-12 (2019) by Melanie Martinez
Sette note in nero/The Psychic (1977) by Lucio Fulci
Quella villa accanto al cimitero/The House by the Cemetery (1981) by Lucio Fulci
Ænigma (1988) by Lucio Fulci
L'uccello dalle piume di cristallo/The Bird with the Crystal Plumage (1970) by Dario Argento
Leviathan (1989) by George P. Cosmatos
Verotika (2019) by Glenn Danzig
Bliss (2019)
Daniel Isn’t Real (2019)
Kiss Me Killer (1977) by Jess Franco
Liquid Sky (1982)
We are the Flesh (2016)
What Keeps You Alive (2018)
Las brujas de Zugarramurdi/Witching and Bitching (2013)
Tower of London (1962)
Хардкор/Hardcore Henry (2015)
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No.2142
>>2141
That's quite the impressive list, I have been slacking a lot. Haven't really kept track of what I watched other than some /tv/ movie club stuff (Joker, White Lightning), Dunkirk and the movies we've been talking about.
I've watched at least 5 movies this year, maybe 6. Most of them this month, January and February were pretty much wasted as far as cinema is concerned.
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No.2143
>>2142
Got the idea of keeping a list of books I’ve read this year, and keeping track of the films might be a good idea to. Only read three books so far, though Tales of Mystery & Imagination by Poe includes many of his short stories, and the other Poe collection I ordered (The Portable Poe) got lost in the mail.
I also forgot to add The Last Sect (2006) & Carmilla (1989) to the list of films I’ve seen so far, and I just finished Melanie Martinez’ K-12 (2019). One anon over at /tv/ suggested it; visually stunning, but woke as hell and not trying to be subtle about its anti-Whiteness.
Maybe the ongoing pandemic opens up free time to watch films? It’s not like there is anything else to do these days.
I suggested Argento’s The Bird with the Crystal Plumage as a film to do for the /bestemma/ Film Club when the board is back up. That one seems to be the giallo film to see.
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No.2145
>>2141
>Liquid Sky (1982)
That one was crazy. Also includes a sapphic plot.
>>2143
>Tales of Mystery & Imagination by Poe includes many of his short stories
Oooh I think I brought this down with me. Can't wait to get to this one.
>K-12 (2019). One anon over at /tv/ suggested it; visually stunning, but woke as hell and not trying to be subtle about its anti-Whiteness.
Think I'll give it pass.
>Maybe the ongoing pandemic opens up free time to watch films? It’s not like there is anything else to do these days.
I have a big backlog, so should be fun. Only problem is not being able to dl anything else at the moment.
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No.2146
>>2145
>That one was crazy. Also includes a sapphic plot.
I have literally no idea what it is about after watching the trailer, but it does look pretty and interesting. The sapphic plot is the cherry on top.
>Oooh I think I brought this down with me. Can't wait to get to this one.
Is it one of the illustrated editions? I got the Wordsworth edition, yellow cover with an embossed raven on the front. Ironically, and sadly, The Raven is not included in the volume. Nor is William Wilson, another of my favourites. Hopefully your copy includes explanatory notes in the back, since some of the very obscure references and quotations in French and Latin are lost otherwise.
>Think I'll give it pass.
It is officially up on YT if you change your mind.
Melanie Martinez - K-12 (Official Trailer): https://www.invidio.us/watch?v=xMJNm24n4Ok
Melanie Martinez - K-12 (The Film): https://www.invidio.us/watch?v=2HtaIvb61Uk
After seeing the film I went looking for reviews, and I found out one chick accused Martinez of rape.
Melanie Martinez Rape Accuser Says 'I Had This Sick Need to Protect Her': Report | Billboard: http://archive.vn/jq7sb / http://web.archive.org/web/20171208014119/https://www.billboard.com/articles/columns/pop/8062552/melanie-martinez-rape-accuser-heller-speaks
>I have a big backlog, so should be fun. Only problem is not being able to dl anything else at the moment.
There is a lot of content up on the Internet Archive you could check out, most of it in the public domain. I finished another silent old dark house film earlier today; The Cat and the Canary (1927).
https://archive.org/details/The_Cat_and_the_Canary (no audio)
https://archive.org/details/TheCatAndTheCanary (with music)
http://wrongsideoftheart.com/2009/08/the-cat-and-the-canary-1927-usa/
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No.2149
Just got done with Fulci’s Quella villa accanto al cimitero/The House by the Cemetery from 1981. This one scene in the climax of the film, where Lucy (Katherine MacColl) is trying to pry open the gravestone slab, was awfully familiar, and it turns out yet another Italian-made film served as inspiration for the covers used for the reprints of EC Comics horror comics. In the mid ’90s these old black & white comics were reprinted here in a pocket-sized format, and volume #2 was based on Emilio P. Miraglia’s La dama rossa uccide sette volte/The Red Queen Kills Seven Times (1972). Also like La dama rossa… there is a very memorable bat scene in a creepy basement – really WebM worthy stuff.
MacColl was also the protagonist in Fulci’s previous film, …E tu vivrai nel terrore! L'aldilà/The Beyond, also from 1981. Almost positive the main room in the library is the same used in …E tu vivrai nel terrore! L'aldilà, where the memorable spider scene takes place.
Not generally a fan of child characters, but the kid in this film is by far the most annoying kid I have seen in any film. I was rooting for Freudstein to kill that damn kid.
The young blonde woman, played by Daniela Doria, in the opening is absolutely stunning; one of the most beautiful women I have seen. The babysitter, Ann, played by Ania Pieroni is gorgeous as well. Even the real estate agent is kinda hot.
There is a good deal of gore in this, as you would expect from a Fulci film, and it looks pretty damn good; no eye-gouging though, a trademark of Fulci, but the throat slashings look really great.
There are also some genuinely eerie scenes in this; the scene where Norman listens to the audio cassette left behind by Dr Peterson, and the basment scene where Bob sees a pair of eyes shining in the darkness . The latter scene reminded me of the most effective scare in The Amityville Horror (1979) with James Brolin & Margot Kidder.
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No.2150
The aforementioned bat scene…
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No.2156
>>2146
>Is it one of the illustrated editions?
Unfortunately no. Picked it up sometime ago in the dollar bin outside a book store. Could be around a century old if this site is accurate http://www.collectionnelson.fr/PC.PHP?COL=NCOP
>Hopefully your copy includes explanatory notes in the back, since some of the very obscure references and quotations in French and Latin are lost otherwise.
Nope, the text just ends lol. Oh well I will try my best to understand.
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No.2157
>>2149
Based, I see you're putting the extra time to good use. I just watched La notte che Evelyn uscì dalla tomba and then fell asleep halfway down this post. Ended up going with the NAHUM 720p version, the 1080p one had the dreaded compression artifacts with stepped gradients in dark scenes.
As usual I'll post a more in-depth review later but I agree with the idea that the story is all over the place and that La dama rossa uccide sette volte is the superior Miraglia giallo. Thus one is a lot more demanding when it comes to the viewer's ability to suspend disbelief. It's only possible in the realm of heightened reality, it has a fever dream quality to it. And this is the exact reason it's kino. It may not have been intentional, but it's art and it's unique for this very reason.
As usual, Nicolai's score is impeccably crafted.
MASSIVE SPOILERS AHEAD
The faux English setting is laughable but not too distracting, specially when it's mentioned in the subtitles but not the Italian audio. What I did find distracting is that I couldn't tell the inmate in the beginning was Alan. I was expecting him to be a witness of the murders who is ignored by most people who he tells about them.
I kept guessing wrong time and time again and at last I suspected George but then the estate manager (who I had forgotten about and who was the one in charge of walling up the crypts) was shown in a conspicuous way and I thought it could be him. The missing silverware pointed to him as well. I should have known better with George talking about an inheritance earlier and the people dying being all heirs.
The plot is also hard to believe when Gladys was just one out of many whores in that party, how could George have known Alan would fall for her?
Then there's the Susan situation, how did she even get away unscathed? It didn't seem like George had arranged any protection in the room and she was nearly strangled to death. Same with Gladys in the wig.
When Aunt Agatha best girl tbh, I was thinking about how she was the hottest one right before she was killed, even though I'm a redheads type of guy was killed I thought there was some crossfire between killers acting independently, as her paralysis being fake really raised a red flag.
We're also somehow supposed to believe that Alan's last fugue was faked, but he's genuinely mentally ill in the rest of the movie. It all makes very little sense.
And to top it off, the acid burns George but not the hands of the cops who carry him soaked in acid. It feels like Miraglia wanted to test the audience's ability to suspend disbelief until the very end of the film, right before credits start rolling.
I thought the movie was oddly reminiscent of Una sull'altra, with a rich guy being screwed over by a relative who wants his inheritance and fucks his wife, psychiatric drugs, strippers who look like a deceased wife, tricks involving corpses. The main difference here is that George Dummurrier was framed for a crime he didn't commit and Alan Cunningham got away with several murders he did commit. It's funny that Fulci would then make his own film inspired on this one.
One thing I noticed is that some of the actresses had bodies that were far from perfect, like Susan's muffin top and while it gives away that funding wasn't the most generous, it also adds realism. Hollywood would rather try it's best to convince you that random prostitutes have sculptural, model tier bodies. Specially back in the day, maybe today it's closer to the truth.
I loved the use of color throughout the film, and even the overly saturated lightning that would normally just be a giveaway of a blue filter or a blue gel being used here has an aesthetic effect that serves to provide a nice contrast to the many red lights seen throughout the film. In some scenes where it's the only color it does take away from the experience though, as a reminder that what you're watching isn't real. But it's far from ruining the movie, just like it didn't ruin Dagon.
I really liked the trendy pad that Susan had. Reminded me once again of Una'sull altra, the stripper who lives in a trendy place that looks far beyond her budget. The mise-en-scène here was great and in particular the colors and contrasts stunning despite it being a fully lit scene.
I guess I won't make a fuller review after all, waking up to finish this post did wonders. The scene itself is hard to believe though, why would George arrange a meeting with the two girls at once? Why the cartoonish villain obsession to reveal his plan to Gladys when there was nothing to win from it?
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No.2158
>>2146
>William Wilson
ayy, that's a proto-banepost if I've seen one.
I have to read it
>>2150
I hadn't been able to watch earlier but now I did. Based and coronapilled.
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No.2159
Invidious embed. Click thumbnail to play.
>>2156
Most of the notes are just pointing out who some of the people mentioned are – a lot of really obscure authors, ancient Greek sculptors and what not, but there are quotations in Latin and French that are left untranslated by Poe – perhaps he assumed his audience would be able to get them without notes? Literate people back then were taught Latin in schools, and might have been more familiar with the authors and ancient Greeks Poe mentions?
Your copy looks a lot more fancy than my paperback Wordsworth though, and I’m guessing there’s no tiresome current year introduction by a university professor pointing out Poe’s flaws (alcoholism, racism, support of slavery, snobbery, &c., &c.).
Did find a site with the stories, introductions to each story, and extensive explanataory notes online though: https://www.eapoe.org/works/mabbott/tominfo.htm
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No.2160
>>2157
As you pointed out the film quite cleverly uses a lot of red lighting as a visual cue of danger – Gladys wears a red cloak, when Albert is stalked by the killer there is a red-glassed lantern on a tombstone, the Cunningham crypt is similarly lit by a red-glassed lantern, when Alan plays Solitaire he draws the red queen of Hearts and we cut to his eyes and then to the painting of his redheaded wife.
There is also a quick scene of George & Gladys pulling up to the secret apartment/love-nest, where we see the car, and then them, through some metal bars overhead – visually putting them behind bars for their crimes?
Sadly these visual treats are not enough to make up for the many problems of the film; Alan’s character being very hard to sympathise with, the lack of development for aunt Agatha, George, Albert, and the others, and the amount of coincidences needed for George’s plot.
The core idea – making Alan suffer a complete breakdown and get him placed in a madhouse – is OK, but the convoluted way they go about it is hard to follow. Surely there would be better way to get rid of Albert and Agatha? Why bury Albert after killing him with a poisonous snake? If someone found him and the autopsy found out he perished from a poisonous snake, it would be ruled a freak accident. Instead they bury him in the graveyard – if he goes missing, wouldn’t police start snooping around? It just seems like an unnecessary way to go about things…
The ghouls rip of the film sadly lacks the Arrow Video audio commentary track, which is a real shame.
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No.2162
Some more thoughts on Quella villa accanto al cimitero… On the old IMDb message boards there was an interview with screenwriter Dardano Sacchetti, a frequent Fulci collaborator: https://web.archive.org/web/20170215071323/http://www.imdb.com/title/tt0081318/board/thread/166621 / https://moviechat.org/tt0081318/City-of-the-Living-Dead/58c7366f5ec57f0478fae006/Screenwriter-Dardano-Sacchetti-interview
<At the time, I usually worked alone in my room. I had an idea and I worked on it. With Fulci, it was different. Every day, we would meet, talk during 2, 3 or 4 hours, brainstorming, exposing ideas, discussing about them. Then, we would try to organize these ideas in order to build the story. It was very interesting for me as I had never worked that way before.
One gets the impression that Fulci & screenwriter Dardano Sacchetti came up with a series of scenes and then began connecting these separate ideas into a coherent story. The blood-covered gravestone slab, the bat attack, the house next to a graveyard, the bleeding mannequin, the shining eyes in the dark basement… While this approach creates some inconsistencies and opens up for plot-holes, it also gives the film a unique feel, and the impression of extra “depth”. The old “style over substance” claim has been brought up by people commenting on the archived IMDBb message boards (https://moviechat.org/tt0082966/The-House-by-the-Cemetery), but like others have pointed out this claim misses the fact that “entertainment is about the feeling it gives you. Not the plot or the subject-matter. Those actually just help to create the feeling.” (https://invidio.us/watch?v=KlCr1ppcBjE).
This approach to screenwriting and filmmaking creates an interesting nightmarish quality to the film; characters act and react in ways to somewhat disjointed events that feel off, while we try to fill in the blanks in the story on our own. There is a quote attributed to Stephen King that goes: “Nightmares exist outside of logic and there’s little fun to be had in explanations. They’re antithetical to the poetry of fear. In a horror story the victim keeps asking why, but there can be no explanation, and there shouldn’t be one. The unanswered mystery is what stays with us the longest and is what we’ll remember in the end.”
Fulci & Sacchetti’s previous film, …E tu vivrai nel terrore! L’aldilà/The Beyond (1981), is even more dreamlike/nightmarish, though there is enough of a story there connecting the scenes in a satisfying way.
Saw some on the archived IMDb message boards speculate on possible Lovecraft influences for the story, and in hindsight there are ideas in the film reminiscent of Lovecraft’s short-story Cool Air. There is also the New England setting, and people driven mad and to suicide when they research things better left alone. There are aslo at least two possible ideas in Lovecraft’s Commonplace Book that could have inspired this film.
At its best Quella villa accanto al cimitero is a horror film where atmosphere and slasher elements unite to create a thrilling nightmare with a sense of a separate, heightened reality. Sadly there are also some annoying elements holding it back; the character Bob is too much of a distraction for most of the film, the execution of some scenes should also have been polished to make them feel more organic. IMHO the climax of the film is far too well-lit; the scene takes place in the basement, and they could have made use of the darkness, and some more artistic lighting to add to the atmosphere. The basement should also have been larger and more labyrinthine than the one we see in the film – in going with the dreamlike/nightmarish atmosphere they could have made it feel more ominous and foreboding. The basement in the film’s climax is much too normal-looking.
Looking at some of Fulci & Sacchetti’s other collaborations, there seems to be one interesting, recurring theme – psychic abilities. The films in their “Gates of Hell” trilogy all contain this, and in Lo squartatore di New York/The New York Ripper (1982) a New York police detective teams up with a psychoanalyst to track down a serial killer. In Sette note in nero/The Psychic (1977) a clairvoyant woman investigates a murder.
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No.2170
>>2160
I think you're giving Miraglia too much credit with the bars thing, it's too subtle. He likes to beat ideas into your head with a hammer. Remember the "inheritance" phone call.
I didn't find Alan being hard to sympathise with a problem, no likeable characters isn't something that bothers me that much. Now, the plot that taxes your suspension of disbelief so hard is a real problem.
And I must admit, Gladys almost had me at one point with her whore with a heart of gold act. But it seemed too forced and I didn't fully buy it.
To me the biggest issue by far were the numerous inconsistencies. Maybe the best way to make it work would be to write Alan off as an unreliable narrator, assuming that Susan didn't escape but that she was helped by George somehow and we didn't see it because the scene is as recollected by Alan. But it's a hack move in any case.
I think Alan getting away with it is part of what makes it good from a noir fan's perspective. It's certainly no redemption arc, but the key is knowing it doesn't have to be.
Also I'm sorry for the lack of pictures, I'm using someone else's portable computer at the moment, away from home during lockdown. Things should go back to normal when I get back to my place, should be around the 12th.
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No.2175
test>>2170
>Also I'm sorry for the lack of pictures, I'm using someone else's portable computer at the moment, away from home during lockdown. Things should go back to normal when I get back to my place, should be around the 12th.
I know the feel. Also sharing the space with others makes it difficult to participate on here and watch our movies freely.
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No.2186
Forgot to add And Now the Screaming Starts! (1973) to my list of seen films earlier. It is directed by Hammer regular Roy Ward Baker (The Vampire Lovers), the film stars Stephanie Beacham (Dracula A.D. 1972), Ian Ogilvy, Peter Cushing & Herbert Lom. Very similar to Hammer film, but made by Amicus. The film looks great, and there are some clever effects and shots, but there is too much nonsense going on, purely to get a cheap scare, and the characters seem hapless and artificially stripped of their agency in order for the story to progress in a certain direction. Cushing is entertaining and brings some extra depth to his character, and Stephanie Beacham looks lovely in the period costumes. Amicus is said to have been less willing to crank up the sex appeal, but Beacham’s ample bosom is on full display here.
Saw Matthew Holness’ feature length directorial debut earlier – Possum from 2018, starring Sean Harris & Alun Armstrong. The story is based on a short-story by Holness, and is reminiscent of Boy A (2007) & David Lynch’s Eraserhead (1977), but with none of Lynch’s dark comedy. The Lynchian influence is not only in the visuals and the eerie, ambient soundscape, but also its themes of sexual abuse behind the locked doors in neighbourhoods and suburbia. The film is also visually inspired by German expressionist horror films, and Holness states the film also came from a desire to “make a modern silent horror film”. There is very little dialogue in the film, and the score by The Radiophonic Workshop works brilliantly with the bleak visuals, letting the images tell the story, rather than the dialogue. The Norfolk landscape often takes centre stage; bleak, empty marshland, forest, and rundown buildings set the tone perfectly.
Note! The interview with The Art Desk contains massive spoilers, so be warned.
Possum Trailer | Out Now In Select Cinemas: https://invidio.us/watch?v=7kveYgWHcrU
From Garth Marenghi to big-screen horror – what the ‘lost boy’ of comedy did next | Film | The Guardian: http://archive.vn/T747o / https://web.archive.org/web/20181012091842/https://www.theguardian.com/film/2018/oct/12/from-garth-marenghi-to-big-screen-horror-what-the-lost-boy-of-comedy-did-next
Matthew Holness interview: 'I wanted to make a modern silent horror film': http://archive.vn/uDevF / http://web.archive.org/web/20181019162427/https://theartsdesk.com/film/matthew-holness-i-wanted-make-modern-silent-horror-film
The Radiophonic Workshop announce first ever film soundtrack: http://archive.vn/Daxk2 / http://web.archive.org/web/20180926180359/http://www.factmag.com/web/20180926180359oe_/http://www.factmag.com/2018/09/26/the-radiophonic-workshop-announce-first-soudtrack/
Alice Lowe, also from Garth Marenghi & Gareth Tunley’s The Ghoul (2016), has also written & directed a feature length film: Prevenge
<Driven by the voice of her unborn child, a pregnant woman takes revenge for the death of her boyfriend, embarking on a killing spree that is both vicious and funny.
Prevenge OFFICIAL TRAILER - Alice Lowe Movie: https://invidio.us/watch?v=8bEPU_58akI
And, as I was looking up Possum, I found another interesting film: Skyggenes dal/Valley of Shadows from 2017. It got rave reviews at the Toronto International Film Festival, where it premiered with Joachim Trier’s Thelma, and was compared to the films of Andrei Tarkovsky, Ingmar Bergman & Victor Sjöström.
<In this mystery drama we follow Aslak (6) in a quest for answers about recent tragic events. Valley of Shadows is a film in the tradition of the Scandinavian Gothic.
VALLEY OF SHADOWS Trailer | TIFF 2017: https://www.invidio.us/watch?v=c2WRsAyC-K4
Toronto 2017: Valley of Shadows review – CineVue: http://archive.vn/WtI7Y / http://web.archive.org/web/20170916141410/https://cine-vue.com/2017/09/toronto-2017-valley-of-shadows-review.html
TIFF Review: 'Valley of Shadows' Teeters on the Edge of Reality and Nightmare: http://archive.vn/kiG7c / http://web.archive.org/web/20200307183348/https://thefilmstage.com/tiff-review-valley-of-shadows-teeters-on-the-edge-of-reality-and-nightmare/
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No.2204
The first thirty minutes of this episode were some of the hardest ever to sit through. Genuinely disturbing and awkward – got this sinking feeling in my gut as these scenes went on and on without any break. Can’t think of a single film or TV show that comes close to this feeling of dread and awkwardness.
That hosing down scene was something else…
Also, part of that chase scene has got to be inspired by the IRL moment when Gosling gave NWR a lift home, and NWR, who was sick and had a fever, started crying from the music playing on the radio.
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No.2206
>>2204
Wait, is this Eastman? I thought you had seen the entirety of TOTDY already lol.
And yes, it was hard to watch. But worse is coming. Volume 8 is truly disgusting.
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No.2207
>>2206
No, I had the first volume finished but never got around to watching it till way later. Just got done with Volume 5 – The Fool. The episode really kicked off into high gear around the 40 min mark though, and from there it never let go till the very end.
It is gonna be hard to make it harder to sit through, but I guess NWR found a way to do it.
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No.2210
>>2207
In classic NWR fashion, it will probably leave you somewhat underwhelmed with its ending, but you'll keep thinking of it time and time again. It will leave a mark like his other neon kinos.
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No.2214
>>2207
>It is gonna be hard to make it harder to sit through, but I guess NWR found a way to do it.
It certainly is an uncomfortable slow boil for the most part. It felt like it only really started to get going toward the end of the series after such a long build up. I want a second season!
Kind of wish there were a high priestess of death that would come and wipe the scum off the face of the earth tbh.
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No.2216
>>2214
I wish they had left Martin and Janey or at least one of them alive for a second season. It feels kinda pointless without that. Yes, there's still Viggo and Diana but it was never the main focus of my attention. On the bright side, no one will compare it to Breaking Bad despite the Mexican stuff. There's no living Jesse here. Or in The Neon Demon for that matter :^).
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No.2219
I have officially started watching the second season of Twin Peaks.
The episode was going strong but it quickly deflated at the hour mark only to pick up some steam at the last 15 minutes or so when Cooper and Audrey came back to the screen. There was an explicitly unsapphic statement by Audrey that cracked me up. I'm hoping she manages to get out of the brothel intact but doubt it will be the case.
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No.2220
>>2219
>There was an explicitly unsapphic statement by Audrey that cracked me up.
Weird, considering Audrey was supposed to be in Mulholland Drive. Maybe I need to rewatch the show again… Though I should probably work on my backlog finishing TOTDY.
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No.2221
>>2219
I was disappointed in S2. Starts out ok iirc and then splits off into a dozen threads that go absolutely nowhere. They also change a key romance that pissed me off.
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No.2223
>>2221
Aye! I like Billy Zane as an actor; he seems like a swell fella, but I did not care for his character. At all. Thanks a lot Lara Flynn Boyle.
Not to mention the love triangle between Andy & Lucy & Dick . That really annoyed me too.
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No.2224
>>2220
Well, it was a tongue-in-cheek statement, when her boss at One Eyed Jack's asked her what her type was she said "not you".
Also I thought you had finished TOTDY, with that Ep10 webm you posted. Or am I getting you guys mixed up again?
>>2223
Lara paid for it dearly down the road though, she got bogged so hard that Moira Kelly looks more similar to her younger self than she does.
Her life somewhat resembles the dialogue in S02E01, as pointed out by the Spanish edition of Vanity Fair:
>When did you start smoking?
<I smoke every once in a while; it helps relieve tension.
>When did you get so tense?
<When I started smoking.
The folks at VF changed it a bit:
>Lara, when did you start getting surgeries?
<When Hollywood forgot me.
>When did it forget you?
<When I started getting surgeries.
https://archive.is/va0IW
Honestly the low point of the episode were the singing parts for me. I loved the Hank parts, he might be a "bicep" but he's really cool.
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No.2225
>>2224
>Also I thought you had finished TOTDY, with that Ep10 webm you posted. Or am I getting you guys mixed up again?
Yup, that as WebMAnon.
It was kinda funny seeing your rant about Teslas after seeing Volume V, with the car chase.
Do you remember the NWR/Gosling interview where they talk about their first meeting and Gosling driving NWR back afterwards, and the crying? I thought it was the “Unscripted” interview (https://invidio.us/watch?v=5Se4wv9tz58), but it turns out I was wrong!
Also, I found a cool interview with Lucio Fulci (& Jean Rollin!) in Starburst magazine from 1982, where he talks about The Beyond & The House by the Cemetery, and even throws shade at Kubrick’s The Shining! Massive spoilers for Fulci’s films in the interview though, so be warned: https://archive.org/details/Starburst_48v04n12_1982-08/page/n53/mode/2up
Lucio Fulci interview: http://archive.vn/6iz5 / https://web.archive.org/web/20190201065847/http://www.cultcollectibles.com/fulci/interview2.html
<“…my idea was to make an absolute film, with all the horrors of our world. It’s a plotless film: a house, people, and dead men coming from The Beyond. There’s no logic to it, just a succession of images. The Sea of Darkness, for instance, is an absolute world, an immobile world where every horizon is similar.”
<“Both films, intentionally, have no structure. We tried in Italy to make films based on pure themes, without a plot, and The Beyond, like Inferno, refuses conventions and traditional structures…”
<“People who blame The Beyond for its lack of story have not understood that it’s a film of images, which must be perceived without any reflection. They say it is very difficult to interpret such a film, but it is very easy to interpret a film with threads: any idiot can understand Molinaro’s La Cage aux Folles, or even Carpenter’s Escape from New York, while The Beyond or Argento’s Inferno are absolute films.”
— Lucio Fulci, interviewed in Starburst magazine
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No.2228
I watched the second episode and I'm about to watch the third, so far it's been good. I read the shark is jumped at episode 11 until 16.
Also thinking of Audrey's statement again, it could be interpreted in a sapphic way, and the ambiguity of this makes it even more funny. It's either that women aren't her type or that THAT WOMAN isn't.
>>2225
>It was kinda funny seeing your rant about Teslas after seeing Volume V, with the car chase.
That's hilarious now that you mention it, I hadn't thought of the connection. I don't quite remember the interview you mentioned.
>Fulci throwing shade at The Shining
Absolutely based. Truly /ourregista/.
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No.2229
>>2228
Turns out I misremembered, it was 10-16 and from then on they're just decent but not damn fine.
Right now I'm at Harold slicing his face with a gardening tool after Donna fatale used him to get access to the diary. I love the noir tone of those scenes. From the lighting to the venetian lights, total classic. Probably the most noirish scenes in the whole series so far, aesthetically speaking.
>>2223
Forgot to say, I'd hit that log lady kek.
Also I watched the first ones without the intros and then I remembered.
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No.2230
>>2229
Forgot to say it's been amazing to me how quickly I've been getting the episodes watched once I dealt with the pilot. Feature length pieces are intimidating because you feel like you have to commit to it, but 45 min episodes I can watch 3 back to back with no issues for some reason.
Also what a nasty way that abortion plotline was. Not gonna say I didn't see it coming after the suspicious travel thing, but damn what a nasty way to do it. I thought she'd have the baby when she told Dick to fuck off. Just awful.
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No.2232
>>2225
>Do you remember the NWR/Gosling interview where they talk about their first meeting and Gosling driving NWR back afterwards, and the crying?
I never saw the crying car interview and now I really want to see it!
>The House by the Cemetery
Now that I think about it, I'm sure I have a hard copy of this on DVD/Bluray back in the city that I bought ages ago but haven't watched. Have to go back after Easter to get some more prep for WFH so will take a gander if I do actually have it.
>>2230
>Also what a nasty way that abortion plotline was.
Funny, I legit can not remember this. Must have blocked it out.
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No.2234
>>2229
>Forgot to say, I'd hit that log lady kek.
Imagine a GF who does Log Lady cosplay. wew!
Audrey’s pink sweater and plaid skirt is pretty alluring too. Come to think of it, there really isn’t enough Twin Peaks cosplay!
>>2232
>I never saw the crying car interview and now I really want to see it!
Looking for the interview now. Maybe it was just Gosling being interviewed? Remember that NWR was not feeling well during their first meeting – he had a fever, and he wasn’t onboard with the idea. Afterwards Gosling drove him home/to his hotel, since NWR doesn’t have a driver’s licence (due to dyslexia & colour-blindness), and the fever and the music they listened to on that drive back really got to him, and he started crying, and realised that he wanted to do a film about a guy who listens to music as the drives around at night.
Here is one interview where NWR himself calls the genre Neon Noir: https://www.invidio.us/watch?v=1uK3UEGNt2Q
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No.2235
Invidious embed. Click thumbnail to play.
Gosling does mention the crying in the interview in the previous post! I also found this interview from IndieWire:
<Luckily, Refn likes the city where he shot “Drive.” Wooing Gosling to take the role was a memorable day. “I had a high fever and was on drugs that made me extremely high,” he recalled. “American pharmaceuticals are not the same as in Scandinavia. We had never met before, and had an awkward dinner that didn’t turn out well. I asked him to give me a lift home, because I’d be driving stoned out of my mind, and he was very relaxed and calm but I built myself into a frenzy of crying. He said, ‘We are going to make the movie,’ he filled the car with music as an emotional release, I was screaming at Ryan as he’s driving. [he said] ‘I’m in.’ That’s how we fell in love, literally.”
‘The Neon Demon’: Why Nicolas Winding Refn Loves His Fears | IndieWire: http://archive.vn/K2R8i
Here is the scene from Too Old To Die Young – Volume 5 – The Fool. This must be inspired by Gosling & NWR’s night-time drive, right?
Interesting to note that the song being played is Mandy by Barry Manilow.
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No.2239
>>2235
<[he said] ‘I’m in.’ That’s how we fell in love, literally.”
Bless. That's so great.
>This must be inspired by Gosling & NWR’s night-time drive, right?
Quite possible.
>Interesting to note that the song being played is Mandy by Barry Manilow.
Kek. All the timelines converging.
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No.2243
>>2235
>Barry Manilow
>Barryman Ilow
>Mandy
looks like Refn was Refn all this time, holy shit
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No.2244
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No.2245
Looks like the site is shitting the bed again. I’ve got a bad feeling about this.
Finished Fulci’s “The Gates of Hell Trilogy” earlier with Paura nella città dei morti viventi/City of the Living Dead (1980). I ended up seeing the trilogy in the wrong order (2, 3, then 1), but it’s not like there is any continuation here, other than a shared theme, and Catriona MacColl being the star in all three. Some other Fulci regulars show up as well, including the man himself, who plays a coroner in one scene. Perry Pirkanen from Cannibal Holocaust (1980) also shows up in one scene as a gravedigger.
I bought the Arrow Blu-ray release last year, but I never got around to watching it, or even unwrapping it. This is probably my favourite film in the trilogy; great atmospheric shots of foggy Dunwich, and some really creative horror scenes, and the gore scenes are top of the line. No eye-gouging, but some really gruesome stuff nonetheless – two scenes in particular stand out, and the climax of the film is the best out of all the three films in the trilogy. Great stuff.
The music is superb – the theme may not be as iconic as in the two other films, but overall I’d rate the score higher in this.
Speaking of Cannibal Holocaust, director Ruggero Deodato just announced the film is getting a sequel – a video game simply titled Cannibal: https://www.fantasticostudio.it/ruggero-deodato-cannibal/
Ruggero Deodato, Cannibal - Reveal trailer: https://www.invidio.us/watch?v=lHjW-n4P3zk
Cannibal Is a Video Game by Controversial Cannibal Holocaust Director: http://archive.vn/DOink / http://web.archive.org/web/20200411230206/https://www.dualshockers.com/cannibal-holocaust-game/
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No.2249
(Possibly) good news: Ron was in the thread about the /v/ fiasco and took some migration requests. I missed him in the exact moment BUT he said he'd return. I left a request to migrate /bestemma/.
Fingers crossed.
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No.2251
YouTube embed. Click thumbnail to play.
Just watched S02E10, I know I will be in the minority here but I didn't think it was bad baad.
The problem with it is that it's not Twin Peaks in spirit. It feels like a different show. Like a sitcom/procedural crossover. The scene with Nadine throwing the guy up reminded me of Wonder Woman jumping in the series. Audrey is a total fox as usual, but even the situations are cartoonish. The episode is much campier and subtle surrealist humor is replaced with cartoonish gags. There's explicit comedy that is almost fourth-wall breaking in its unrealism, it's self-conscious. In the Lynchian episodes, laughs were had at moments but it was carefully rationed and it was either realistic or dreamlike. Like Catherine as the Japanese bank representative, for example. Also she looked great when she revealed herself, she was a very fine looking lady for her age. Now it feels like a kids' show at moments. But it's not bad on its own, the problem is that it's not what Twin Peaks is about. The internal affairs plot is very standard, generic stuff. The twist with the Canadian was nice though and I didn't see it coming. All in all, it's enjoyable but I understand why fans hate it.
I couldn't help thinking of this Homer scene while I wrote my post. Maybe the owls birds are really not what they seem, kek. And I didn't remember the bird part in the end. Synchronicity or Twin Peaks reference on The Simpsons? Feels too subtle to be a reference but you never know.
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No.2252
>>2251
>There's explicit comedy that is almost fourth-wall breaking in its unrealism
I'm watching S02E11 and Cooper just spoke to the camera around the seven minute mark. Jesus Christ.
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No.2253
>>2252
Just got done with S02E11.
Some twists are beyond retarded, at this rate it feels like they're going to reveal that Laura Palmer was never actually killed and it was all a trick.
Also the high school comedy is overstaying itss welcome. Only missing a laugh track to completely jump the shark.
I'm assuming Andrew was Catherine's "guardian angel".
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No.2254
Invidious embed. Click thumbnail to play.
>>2251
>>2252
>>2253
There are a lot of soap opera-style shenanigans going on in this show, but that is part of the charm. It goes way too far with James & Donna’s characters, but it picks up towards the end. >>2253
>>2251
>Synchronicity or Twin Peaks reference on The Simpsons?
There are at least two Twin Peaks references in The Simpsons that come to mind. This bit from the episode Who Shot Mr. Burns? (Part Two), and another one in the episode Lisa’s Sax, where Homer is sitting up alone at night watching the show: https://invidio.us/watch?v=xjDa-_Vq51I
>Some twists are beyond retarded
On the “Twin Peaks Survival Guide” chart episodes 10-16 are by far the worst, so buckle up. It’s gonna be a bumpy ride.
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No.2255
>>2254
Just got done with the 16th episode, wasn't as bad as the previous ones. Things are starting to pick up. The ending with the wooden knob apparition was super weird in a bad way, almost like a parody, but other than that it was mostly fine. Even though the guide said it was one of the bad ones it's already starting to get better.
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No.2256
>>2254
Also I feel like this is the part where The Man from Another Place and the red room will be seen the most often. I'm hopeful for what is coming.
Those Simpsons references are golden, they really captured the spirit of the show.
Also I finally managed to message you, check your email.
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No.2258
S02E17 aka Episode 24 was marked as yellow in the survival guide and I must say, it felt like Twin Peaks again.
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No.2259
I'm loving Annie aka she-Cooper. I fear she'll find herself in Earle's path but hope I'm wrong. What a charming character, she's a light in the darkness that surrounds the town. I'm shipping Annie and Coop hard but I fear Lynch is endearing us to be able to hurt us later like he did with Maddie. I guess we'll see. Also the whole Gordon/Shelly thing is hilarious. I hope the man recovers his hearing.
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No.2260
I once met a virgin who was as much as a tease as Audrey. Without that experience, Audrey would strike me as a rather unrealistic seductress. But those seem to be the most powerful ones.
2 episodes to go, based giant warning Coop.
Will watch later, I must hit the sack now.
Then there's Fire Walk With Me and The Return.
There was a rather cool gialloesque scene with the chess pawn, that bright red blood that isn't realistic but creates that particular atmosphere within the frame of heightened reality. It should be detrimental to immersion but I find it fascinating instead. It gives a certain character, maybe it looks cheap but in a good way, like 2-perf film systems. Looks artsy and as cliched as this will sound, European. In particular 70s European. Italian film is the most notable example but you can see it in certain French movies as well. The other day I caught a glimpse of an scene of The Tall Blond Man With One Black Shoe, the movie itself seems to be utter garbage and is a Bond parody but the reds in that particular scene were intense and made it clear it was a 70s euro film. It's like the beautifully warm tone of the sky in American 80s films. Incidentally, Twin Peaks has both of these things.
Also, as an unrelated note: is it just me or does Bob resemble a goat? What an unsightly being, brilliant casting. Lynch is a master of physiognomy. Whether or not its conclusions are real, as a storytelling device it works wonders and Lynch has turned reverse physiognomy, for lack of a better word to describe designing a character from the inside out, into an artform. No wonder that bone goblin was so butthurt (ironically confirming Lynch's implications). The way he picks external traits goes well beyond "ugly=bad", he knows exactly what to choose to achieve the maximum effectivity in unsettling the viewer.
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No.2261
As I was about to hit the sack the realization that Annie was played by the same girl who played Mercedes on License to Drive dawned upon me.
I knew she looked familiar. Such a charming actress.
Also sorry for the poorly formatted ramble in my previous post. I didn't realize what a hideous wall of text it was going to be or that it was so regrettably long.
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No.2262
I have finally seen the S2 finale. What a way to end it. I guess the true Twin Peaks™ were ourselves all along. Like the victims, we get no real closure. Which is probably for the best, considering there wouldn't be a second season otherwise.
I managed to predict three events:
>Nadine coming back after she got hit, honestly it sort of disappointed me. Felt too obvious specially after Ben had a similar sort of fugue and came back.
>Bob entering Cooper's body. This one sort of disappointed me.
What I didn't predict was Windom being taken, but I knew he wouldn't manage to come out the same after the talk about the lodges. He was far from being a pure soul. In a way, the whole thing is a bit like the room from Stalker, a powerful place able to grant you power but also able to bring you great misery. One of the first thing said in Stalker is that the guy who showed the Stalker the way to the room entered it and ended up killing himself. But the room is closer to Poe's monkey paw except you have even less control over it. And it doesn't possess you. The black lodge is maybe closer to the Lord of Rings, it lures the corrupt to use them for its own evil means.
>A bomb for Andrew. But I abandoned this theory after the first box was opened. I honestly expected the box itself to be a bomb at first, then when the first puzzle box was opened and it seemed to have astrological signs I thought it maybe had something to do with Jupiter and Saturn. I thought the date could be related to the lodges and then the key lead to something that enabled whoever had it to open the portals, maybe some of the oil.
Also I'm left wondering what happened to Audrey. If the explosion were as it was shown, Breaking Bad style, she'd have to be dead. But I seem to recall her being in The Return, so I must be wrong. Oh, the internet and its infinite power to spoil our mysteries. I also accidentally spoiled myself that Leo is in The Return too so the seemingly sure death wasn't at all. And I know Windom is there too. But I'm guessing he'll be a spirit from the black lodge from now on. What I don't understand is why Laura and Maddy were in the black lodge. According to Leland, she never let them in. And Leland seemed to find joy when he died. Maybe the people of the lodge with the blank eyes are shadows, reflections, projections of the souls that aren't in it? I mean, Cooper's doppelganger had eyes like that.
I'll have to get myself a copy of Fire Walk With Me and The Return. I'm so hooked on this mystery it has become top priority in my backlog. But I'm afraid they will have more questions than answers.
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No.2263
Check out this article, part of it has to be the most retarded thing I have read:
Twin Peaks episode viewing guide | Esquire | https://archive.is/ekgSr
>Most reasonable people will agree that the second season of Twin Peaks went off the rails. They will also agree that it specifically went off the rails when the identity of Laura Palmer's killer was revealed in the season's seventh episode. That's not to say there isn't greatness left in the show after that point, but certainly its sense of forward drive became stalled, and the increasing weirdness sometimes got a little too indulgent and drawn out.
>The answer to that problem, then, is to start with Fire Walk With Me, then the pilot and Season One, and then watch only the first seven episodes, until the reveal of Laura's killer. Now, you might be tempted to stop there, but that would be wrong. You must—I repeat, you MUST—watch the series finale. Just skip to it. That's 14 whole episodes you can skip, saving you some time and some of the worst moments of the show, but without missing the truly bonkers final episode, directed by Lynch. And don't worry about not understanding everything that happens in it, because it's so weird you probably wouldn't understand it all anyway.
>Recommended for: Fans, and newbies who like to mix it up and just don't have the time.
I can't imagine how puzzling it must be to watch the final episode without all the ones leading to it. Watching it without really knowing who is who and why you should care what happens to them.
This part is particularly golden:
>it's so weird you probably wouldn't understand it all anyway
The writer of the article is so stupid it hurts, and he assumes readers are as stupid as he is. He probably zoned out during the episodes he recommends skipping.
I haven't read the rest of the article yet but it promises to be a fountain of stupidity, probably with random sortings of episodes.
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No.2264
>>2262
>I'll have to get myself a copy of Fire Walk With Me and The Return. I'm so hooked on this mystery it has become top priority in my backlog. But I'm afraid they will have more questions than answers.
If you really want to go balls deep in this mystery there are several books to check out as well. Think there is one about Cooper’s audio logs to Diane at the agency.
Fire Walk with Me is actually a prequel.
>>2263
>The writer of the article is so stupid it hurts, and he assumes readers are as stupid as he is. He probably zoned out during the episodes he recommends skipping.
Yeah, I think he underestimates the audience. I don’t think people who connect with the show and watch past the first season are that retarded. Low IQ individuals and normalfags would have quit the show long before the reveal of the killer, and by then you should be invested enough to finish the Second Season.
>>2261
She was in Gus Van Sant’s Drugstore Cowboy (1989) as well – that’s where I knew her from. She was also in one of those awful Austin Powers films.
>>2260
Are you gonna watch the International Pilot as well? Frost & Lynch wrote and shot additional scenes for the Pilot in case no network wanted the show, so they could at least sell it as a standalone film in Europe. You could save that for the very last and watch it after The Return; could be a nice way to complete the circle.
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No.2265
>>2264
The guy really got even more retarded by the end of the article as I predicted. He suggested watching only the episodes directed by Lynch, as if the showrunner didn't have the artistic control in TV shows (even if 10-16 are an exception). At least this recommendation was for "fans only".
About the International Pilot I probably watched it, I know the one I saw was like 90 minutes long if I recall correctly. I'll check when I'm back home. I also plan to watch Fire Walk With Me: The Missing Pieces which features material that had to be left out to not make FWWM overly long.
>Yeah, I think he underestimates the audience.
I wonder how much of the audience is like Homer in the video you posted, kek. Watching Lynch because he gets praise, but never really seeing what he's showing.
Also I'm aware that FWWM is a prequel, but it's my understanding that the killer is shown in it. So I'm glad I didn't watch it first. I'm guessing the theme of the evil in those woods will be mentioned a lot more often. I'm not quite ready yet to get into the books, I'll get the audiovisual material first. I feel more drawn to Blue Velvet and Mulholland Drive than the written word on Twin Peaks, for now. That said, Cooper's notes to Diane interest me more than Laura's diary, and I'll probably give them a listen before moving to other Lynch works.
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No.2266
>>2264
There was one thing I forgot to mention in my previous commentary. Don't you think it's odd that Cooper never explicitly talked about the owls are not what they seem clue? He mentioned the others, like the smiling bag or the circle of gold. But at some point it becomes obvious he's aware something is going on with them, everyone mentions the owl and the flash.
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No.2267
Mystery solved, I didn't watch the International Pilot. How do I know? I went through the archives and read my original review. Last thing I saw was Dr. Jacoby's gloved hand.
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No.2268
YouTube embed. Click thumbnail to play.
It was getting late here and "One Year Later" provided the perfect excuse to serialize the film after about half an hour. Debatable decision I guess since it could be argued that I'm messing with Lynch's artistic vision but gives me a way to get my times in order again.
It's weird how fast it feels it has moved, it almost feels like fan service at times. But one must remember this is a self-contained feature film even if it's part of a bigger universe so it should be no surprise that so much has appeared when one quarter of the film has already been played. I guess it's also a problem with prequels, the symbol on the ring or the owl magnet on the refrigerator would have been easily overlooked if I hadn't seen Twin Peaks S2 yet. So it kind of feels like a bumpy ride. I believe The Return will be more enjoyable as there will be more new stuff and it won't be the concentrate that concentrate is made of, to quote Audrey.
Also I'm hoping the similarities between Blue Velvet and Twin Peaks are more stylistic that conceptual.
Also it was weird to see the Black Lodge characters in a different setting than the Red Room. The direct, explicit reference to electricity so early shocked me a bit too.
But the weirdest feel of it all is that it felt too dense to be watched in one sit, almost like I have to administer it in smaller doses because I prefer things to happen more slowly. I'm the usually the opposite of the viewer that complains about "nothing happening", I require a slow burn. But I never expected to feel a film was too fast to the point of deciding to serialize it like now.
If we're going to have so much told again I wish it were more like Mandy. Not in the almost one-trick-pony way that Mandy felt at times, but taking more time to do things. But maybe the reason is that the background was one feature film rather than 31 episodes with a running time like 33. In any case, the first half hour of Fire Walk With Me hit me like a semi truck in terms of content thrown at me at once.
I'm almost certain that the International Pilot works better as a feature film than Fire Walk With Me does. But I'm just one quarter through it, so maybe I'm wrong. Here's me hoping it feels more like a feature film than twelve ten-minute shorts. Which is still undoubtedly better than a film that feels like one stretched short, though. But too much happening at once, instead of making it more substantial seems to cheapen the whole thing. Maybe the last three fourths of the film have something more enticing awaiting me.
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No.2270
Invidious embed. Click thumbnail to play.
>>2268
I think I’ll join you in a review of The Return.
>But the weirdest feel of it all is that it felt too dense to be watched in one sit, almost like I have to administer it in smaller doses because I prefer things to happen more slowly. I'm the usually the opposite of the viewer that complains about "nothing happening", I require a slow burn. But I never expected to feel a film was too fast to the point of deciding to serialize it like now.
Hear, hear! Perhaps my favourite NWR film is Valhalla Rising; the atmospheric scenes with no dialogue as they just explore Vínland are right up my alley.
Roger Ebert voiced a similar love for the atmospheric slow burn scenes in his review (http://archive.vn/nX3nL#selection-2305.1-2305.887) for Herzog’s Nosferatu – Phantom der Nacht (1979):
<That is why we're wise to forget the details of the basic Dracula story. Nosferatu doesn't pay them heed. It is about the mood and style of vampirism, about the terrible seductive pity of it all. There is a beautiful passage early in the film showing the hero, Jonathan Harker, traveling from his home village to the castle of Dracula. The count has summoned him because he is considering the purchase of another home. Harker makes the journey by horse path. He enters into a high mountain pass filled with tenuous cloud layers that drift by a little too fast, as if God were sucking in his breath. The music is not your standard creepy Loony Tunes, but a fierce melody of exhilaration and dread. Deeper and deeper rides Harker into the cold gray flint of the peaks. Some will say this passage goes on too long and that nothing happens during it. I wish the whole movie were this empty.
It is a shame Lynch didn’t take a similar approach to FWwM IMHO. But while he did go for a much slower burn with The Return, it didn’t work for me, like the original two seasons did, for several reasons.
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No.2275
>>2270
BV, what a terrible syntax in my sentence. I'm the usually the opposite. I clearly added "usually the" and didn't re-read the whole thing before hitting post.
I'm glad to see I'm not alone in my assessment of FWwM. I'll be glad to review The Return with you.
Also, look at Ebert not being a complete pleb for once.
Have you seen Blue Velvet already? If not, we could review that after The Return. It seems to be more noir-heavy, probably like the Harold episode with him writing down stories from Donna (Episode 12/S02E05). That episode was a true highlight of the series despite the survival guide not calling it a classic. And speaking of Harold, his appearance in the video you posted cracked me up. These Friends parodies are great when well executed.
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No.2276
Just resumed watching. Man, the new Donna is ugly as fuck compared to prime Boyle. Did she break up with MacLachlan or something for her to not be in this one?
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No.2277
>>2276
Those are fighting words, Anon. Consequences will never be the same.
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No.2278
>>2270
>But while he did go for a much slower burn with The Return, it didn’t work for me
Those fucking Dougie scenes.
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No.2279
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No.2282
Just finished Fire Walk with Me, I'm now certain it would have sucked more if I didn't serialize it. Also somehow things happened fast but it felt lacking in substance. I'm relegating the missing pieces last in the 'Twin Peaks'' backlog now. If this was the material they chose to keep I can't imagine how much of a disappointment the rest is.
It was interesting to see the truth about what happened that night, though. I was surprised to see Jacques and Leo absolved from the murder itself, I had figured they were servants of Bob handing him victims or whatever.
>>2277 (Checked)
lol, she doesn't come even close to prima Donna. Before she ruined herself, Lara Flynn Boyle was a beauty as delicate as Harold's orchids. FWwM is best Donna in terms of personality, though. She was a purer soul, even if she went with Laura to that house with Ronette and Renault.
>>2278
Honestly Dougie is one of the things I've been anticipating the most, I thought I'd see more of him in S2 but it looks like he appears almost exclusively in The Return. I've always found this scene to be absolutely hilarious, even before I started being serious about 'Twin Peaks'': https://www.invidio.us/watch?v=Qmoc7Mi2QGs
I have the webm with proper quality at home, but this will have to do for now. I know Dougie is Cooper's doppelganger but not much more about him. I'm assuming he's the same doppelganger from the S2 finale, but the eyes being normal confuse me. I hope he shows up in the first episode for a strong start. Will be watching now.
This discussion makes me wonder one thing: has BO seen Twin Peaks too? I'm guessing yes, which would mean I used the spoiler feature needlessly.
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No.2285
Just got done watching Part 1. Let's just say it gave Chromatics' Shadow a meaning I had never imagined. What a kino way to end an episode.
My only complaint would be the shoddy CGI and the dumb Homeland tier law enforcement software (incidentally, the show was also produced by Showtime). It looks goofy at parts. I wonder if normalfags figure downloading files from a server is like that. But it's a pet peeve at best.
All in all, much better than Fire Walk with Me. But it's probably an unfair comparison because it's not a prequel so there's more new material to add. In any case, this one was enjoyable all the way. Can't wait to see Gordon Cole. His signals method from Fire Walk with Me was quite clever. Maybe adding them on a prequel wasn't the smartest thing, though. It implies going backwards on the series, where he used to have secret signs he now shouts and people hear his secrets (which made for hilarious scenes, though).
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No.2288
>>2285
Working on getting The Return now… Hopefully I’ll have rewatched Part 1 later today.
The CGI and even the overall mise-en-scène felt downright cheap in places. A lot of the CGI is also unnecessary – practical effects would not only be much better, but probably cheaper as well. Sadly this is a problem that goes on throughout the entire season.
One of the appeals of the original two seasons was the cohesive story and the characters with the murder mystery and the unnatural element, but the unnatural elements of the show never took centre stage for most of the two seasons. The Return is all about the weird, unnatural, and it doesn’t have the same grounded appeal of the first two seasons. I think that is needed to contrast the fantastic elements, and make them work.
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No.2289
>>2288
top kek, that pic
I think there was no way for the supernatural to not take the stage after the Black Lodge was revealed. If anything it shows the supernatural was the reason for it all from the start.
But I guess I get where you're coming from. In season one, Cooper is pretty much a clairvoyant. He has these vague surreal visions. Suddenly, in season 2 with the reveal of the lodges and finally when he enters it, the vague becomes something concrete instead. It goes from murder mystery to fantasy drama. I did enjoy the transition but I get why you miss the original run. Maybe a better route would have been to make Bob go into a different body so that Cooper had to keep chasing his trail of bodies, but I still liked the new even if I miss the old.
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No.2291
>>2289
Gotta say, I did enjoy this episode a lot more than on my first watch. Paid a lot more attention to background details as well. Noticed that some of the books in Ruth Davenport’s apartment were about Indians/Native Americans.
Seen some interpretations of the Glass Box as a symbol of the TV, and Sam & Tracey being the audience just watching nothing important, wasting their time. Tracey is played Madeline Zima – I remember seeing her on The Nanny back in the day; strange seeing her fully grown-up; she is a real qt 3,14 now, and she looked really tall. The figure appearing in the Glass Box appeared to be either female or very androgynous – don’t think I paid attention to that on my first viewing, but it is worth keeping in mind.
The last scene, where the two policemen look at the car, is interesting since the broken flashlight is reminiscent of the autopsy scene in the Pilot aka Northwest Passage, where the overhead light is flickering. This is something Lynch does when he wants to call extra attention on something. This flickering also happened in the Waiting Room, where we see Cooper’s reaction as the light flickers and illuminates his face, as if he is watching a TV.
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No.2292
>>2291
At first sight I thought Tracey was played by one of the Olsen sisters lol. I also suspected the coffee would be laced.
The flickering light indeed means something special, spirit involvement. And it was confirmed when we saw the wife get killed by Dougie.
It would totally be a blue rose case. I must admit I was confused by Sam & Tracey being murdered and then appearing again intact, as if there's two timelines. I guess some will be explained in a later episode. Or not. In other words, I guess we'll see.
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No.2293
>>2292
How far ahead are you?
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No.2294
>>2293
Halfway through Part 4. Turns out Part 1 and Part 2 were in the same file, so I was one episode ahead from where I thought. Right now Michael fucking Cera showed up. I wasn't prepared for that. Can't stand him.
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No.2295
>>2294
Got Part 2 (– The Stars Turn and a Time Presents Itself) & 3 (– Call for Help) ready now, and should have Part IV (– Brings Back Some Memories) ASAP. Might as well get up to speed.
Turns out the rip I got has unofficial episode titles, like the original two seasons – and two(!) Russian dubbed audiotracks in addition to the original English.
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No.2296
Invidious embed. Click thumbnail to play.
>>2295
[recorder button clicks]
Anon, I'm now listening to Take Five in the breakfast scene and there's a thing that troubles me, not just as a /sapphic/ user but as a fan of Twin Peaks: is it just our old friend synchronicity, the same that brought Bob into existence, or was Lynch paying homage to Zbigniew Rybczynski and experimental film in general when he chose the song? You know I have mentioned it on this board a long while ago.
[recorder button clicks]
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No.2297
>>2296
A Blue Rose Case, most definitely.
I must be getting senile, ’cause the only Polish cinéma I remember discussing is Andrzej Wajda’s Katyń (2007) on the /tv/ bunker.
But speaking of Polish cinéma, I have considered adding Dekalog by Krzysztof Kieślowski & Krzysztof Piesiewicz to my backlog. The music was by Zbigniew Preisner who also did the score for Skyggenes dal/Valley of Shadows from 2017. Not sure if my body is ready for it though.
I also have something with multiple Twin Peaks references in store for later, if you are willing to watch something a little more outré.
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No.2298
I'm at Part 5 right now and I have to say, Jacoby's Dr. Amp is pure genius. A humble golden shovel salesman. Reminds me of someone…
>>2297
Katýn is pure kino. Shame my friends fall sleep halfway through when we gathered to watch it years ago.
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No.2299
>>2297
Also I'm 100% certain we mentioned it at some point, but I felt sure it was on this board and can't find it. Tomorrow I'll check the archives of the generals and whatever I can find from the old board
As an unrelated note, did you get my message?
One update about the topic, these last days some new softwares have come out, I'll research them as well as I can.
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No.2300
Just finished Part 5.
The cow has jumped over the moon.
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No.2302
Part 6 over, time to hit the sack.
This was a good one. Based Dougie and his pencil.
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No.2303
>>2302
Damn, you are fast. I gotta double-time to keep up here!
In Part 1 Carel Struycken is credited as ??????? – gotta keep that in mind for later. So much stuff happened in Part 2, I am struggling to process everything, even though I already watched it once. There’s so much just thrown at us all at once… Just gonna jump right into Part 3.
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No.2304
This was a hard sit. I am convinced Lynch gets a kick out of tormenting the audience; he may even loathe the audience. This is the episode where it becomes obvious there are some serious pacing problems going on. One one hand you have scenes where nothing happens, and then you have scenes that should have been give time to set in with the viewers.
The original show was about the characters, not the murder mystery, but in The Return the characters appear to be an afterthought, included to make the show somewhat coherent after Lynch has indulged himself.
I watched a little of the four hour long YT video breaking down the entirety of Twin Peaks, so I have some idea what is going on, but unless someone watching the show has seen this, or knows about Lynch’s fascination with Transcendental Meditation (TM), I very much doubt they will have more than a vague idea what is going on in certain scenes.
After this episode I am left with the distinct impression that Lynch did not set out to tell a story, but to explore his ideas on TM by using the show he made twenty-five years ago as a vehicle to do so. The scenes with (ex?) Dr Jacoby strike me as obvious padding.
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No.2305
>>2304
I'm at Part 8 already, was going to sleep after Part 6 but curiosity got the best of me.
I quite liked Part 3, but the same issues you mentioned hit the hardest at Part 8.
God, what a terrible episode. It's indulgence at its finest, you're better off watching the first 20 minutes and then reading the article in the Twin Peaks Wiki to refresh your memory than watching it. It's closer to a CGI demonstration than it is to anything else. I wonder if there was some kind of budgetary concern, or maybe it was his way to get the Showtime execs off his back.
I thought the floor sweeping scene in the previous episode was excessive but this one took the cake. I get that it's supposed to be this origin story of sorts but it doesn't work. It gives off the dreaded "feature length short" feel (even though it's not quite feature length, but there's not enough substance). It's almost like a parody done by a hack.
''Part 7' itself was good overall, save for the broom scene.
Now I'm finally hitting the sack.
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No.2306
Invidious embed. Click thumbnail to play.
Episodes 9 and 10 were much better. So Diane is helping bad Coop, huh.
And finally, we are about to see what's going on with the glass box.
Dick Tremayne went away but now we have Richard Horne around who's proving to be even a huger dick. Lynch probably considers it to be quite poetic.
Also this was in fuller display on previous episodes, but can we agree that while she's not so pretty (not ugly either, though, just far from the prettiest on the series) Tammy's walk is as sexy as Blanche's from Drive? What a fox.
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No.2307
One more thing, is it just me or does the periodical appearance of Roadhouse performances cheapen its effect? When Julee Cruise showed up it usually meant something, now it's basically filler. And the quality has only been going down and down. I liked Chromatics' Shadow and it was also related to the episode itself, but ever since then it's been a constant disappointment. Maybe if they showed James more things would pick up a bit.
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No.2308
Another unrelated comment from previous episodes. Right after Michael Cera showed up, the following episode we got two budget jewess Emma Stones (Amanda Seyfried, Jane Levy).
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No.2311
Just watched Part 11. It's a highlight. Great tone throughout the entire episode. And no Roadhouse performance, but a really nice piano.
And cherry pie is back. Damn good cherry pie.
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No.2312
WatchingPart 13 now. The words "big guy" had been uttered in a previous episode, but this one has the boxing match playing on Sarah Palmer's TV. I lost count of how many time the phrase was repeated.
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No.2313
I can't believe this, it's like the show read my mind lol. I complained about the Roadhouse performances, praised Chromatics and asked for more James.
Part 11 had no Roadhouse, Part 12 had Chromatics and now Part 13 has James. My wishes have been granted.
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No.2314
Invidious embed. Click thumbnail to play.
Hot damn, watching Part 15 now (I know, real binge) and the convenience store/gas station scene reminded me so much of the Chanels, down to the weird electrical things before arriving, the darkness, the black and white and the vintage gas station (in #6's version). Who could have ever imagined the blue rose was Lex-files material.
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No.2315
Just watched Part 17. That was a damn good piece of television.
I never imagined Cooper's plan but I must say I worried about what seems to have been the result. I'll see in Part 18, I hope.
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No.2316
Done with the finale now. What an unsatisfying ending, I would have rather seen it end with Part 17.
Didn't surprise me one bit to see the question "is it future or is it past" again as Part 17 strongly foreshadowed it.
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No.2317
Oh and also was the owl symbol actually a high voltage tower?
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No.2318
>>2316
I told you Lynch hates his audience. He thinks they want a happy ending with rainbows and birds chirping in the trees, so he goes out of his way to not only give us a bleak downer ending, but he also leaves us hanging; The Return ends with a ruined orgasm after eighteen episodes/hours of the director edging you with his fringe ideas of meditation and tulpas and vortexes and whatnot.
>>2317
Mind blown. I only noticed when I posted it, but there is an owl behind Dougie >>2279 in their kitchen too.
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No.2319
Invidious embed. Click thumbnail to play.
Here is the aforementioned four hour long video explaining Twin Peaks. Enjoy!
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No.2320
Invidious embed. Click thumbnail to play.
>>2318
How nice to run into you! It's not often that we get the privilege of real-time communication.
>I told you Lynch hates his audience. He thinks they want a happy ending with rainbows and birds chirping in the trees, so he goes out of his way to not only give us a bleak downer ending, but he also leaves us hanging; The Return ends with a ruined orgasm after eighteen episodes/hours of the director edging you with his fringe ideas of meditation and tulpas and vortexes and whatnot.
I didn't mind it being bleak, the tulpas or the vortexes, but I agree with you that he blew it and left us hanging for no good reason. Also one observation, were some of the scenes with Laura at the forest filmed back in the day? Both her and Coop look very young. Which brings me back to the ending of The Return, it leaves me wondering if his intention was to leave the door open for yet another sequel and if he might have filmed some extra scenes to continue the series years down the line from now.
I would have rather had an episode dedicated to rescuing Audrey again, this time from whatever lodge she showed up at (or leaving her there but showing Cooper unable to bring her back for whatever reason), than the mess we got.
I could care less about Diane. Fuck you, Diane. I don't know what was up with the other Diane at the motel.
It was a mess too that they brought back the Part 8 scenes but this time projected, to Andy I think it was. Part 8 itself felt like a hack version of Panos Cosmatos' melting mind sequences. Unlike Lynch, he actually made them look cool, he made them significant and he didn't make them overstay their welcome. And his approach to beings from other worlds is superior too. The fireman scenes were downright terrible for the most part.
And the white horse, what the hell. For once, Homer was right.
The Danes know what's up. If you wanna ride, don't ride the white horse.
Overall, I'd say the best episodes have been the ones that have at least one of these: the Mitchum brothers, Chromatics, James, Bobby (it's hilarious how little has he aged and how he keeps his mannerisms in a ever-young way), Janey-e.
I think Steven was one of the many characters that dragged down the quality of the show every time he was on the screen. Diane was bad most of the time too. And the woodsman, but this one doesn't need mentioning. Wally was horrible as well.
>Mind blown.
When they focused on them like that I couldn't help making the connection.
>I only noticed when I posted it, but there is an owl behind Dougie >>2279 in their kitchen too.
Damn, nice catch.
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No.2321
>>2320
>Also one observation, were some of the scenes with Laura at the forest filmed back in the day? Both her and Coop look very young.
My guess is “digital de-ageing”. From what I’ve heard it looks really believable, and the scenes in Part 17 were shot at night and in black & white, so that may have had some part in it too.
https://en.wikipedia.org/wiki/De-aging_in_film
>I would have rather had an episode dedicated to rescuing Audrey again, this time from whatever lodge she showed up at (or leaving her there but showing Cooper unable to bring her back for whatever reason), than the mess we got.
According to some theories I have heard she is in a coma at the hospital after the explosion, and bad Coop/the doppelgänger raped her.
After The Return I very much doubt we will see more Twin Peaks tbh. Supposedly Lynch is open to the idea of a fourth season, but I can’t see any network drop a lot of money into a fourth season after seeing The Return. Either Lynch made the third season to satisfy his own autism, or to piss off the audience who wanted to see more of a show he made twenty-five years ago – or both.
>Overall, I'd say the best episodes have been the ones that have at least one of these: the Mitchum brothers, Chromatics, James, Bobby (it's hilarious how little has he aged and how he keeps his mannerisms in a ever-young way), Janey-e.
wew! I thought I was the only one who liked James and his singing. I know a lot of fans hate on Just You, but I love that song.
Watched this Swedish show, Jordskott, after hearing comparisons being made to Twin Peaks. Quite a comfy show at the beginning, and there are things that are reminiscent of Twin Peaks; a family-owned saw-mill, small-town setting, a supernatural murder mystery… and that jacket the lead actress is wearing looks pretty damn cool.
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No.2322
>>2321
I know about deaging, but they looked just like they did in the original series lol.
>is in a coma at the hospital after the explosion, and bad Coop/the doppelgänger raped her.
That's correct, but they're not fan theories, it's explicitly stated that she recovers and appears in The Return. Richard is Bad Coop's son. When she and Charlie go to the roadhouse, at one point she's sent to one of the lodges.
>or both.
Sounds about right, kek.
>wew! I thought I was the only one who liked James and his singing. I know a lot of fans hate on Just You, but I love that song.
The song itself is just a dumb romantic song, but enjoyable and atmospheric. But he's a great character. Every scene he was on was high quality.
>reminiscent
I'd say they're direct references lol.
Anyhow, I must hit the sack.
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No.2325
>>2282
>This discussion makes me wonder one thing: has BO seen Twin Peaks too? I'm guessing yes, which would mean I used the spoiler feature needlessly.
Yes I rewatched 1&2 before watching The Return in Russian with English subs as that's all I could find at the time kek.
Only really found an appreciation for the first season tbh.
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No.2327
>>2325
>Russian webm
lmao nice
Must have been hell to watch the entire season like that though. Also it seems like it's a voice-over on top of the English track, in classic Russian fashion.
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No.2329
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No.2331
>tfw no qt3.14 Candie gf
>>2329
Is remaking Gishkino really a good idea?
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No.2334
>>2329
Probably will be a twisted and inverted disservice to the original.
>>2331
Doubtful.
The owls are not what they seem.
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No.2335
>>2334
Pure kino. The owl was uncanny. Do you think it influenced Lynch?
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No.2337
>>2335
>Do you think it influenced Lynch?
I think an underlying current about the owl as a symbol certainly did. As for this film, who can say.
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No.2354
Josh is back with Infinity Next, and it's been getting a lot of traffic. The site is called 9chan.
It will be probably buggy as hell and infested with kiwifag cancer (pretty much every lolcow eventually finds its way there to trollshield, like some did with /cow/), but it's a good thing it''s up. It might put some pressure on 8kun to get the damn migrations going. Board creation is enabled.
I don't trust the site to go there without protection, though.
Also speaking of bugs, thumbnails don't load on my phone, but they work on desktop.
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No.2358
>>2354
Some of the posters on Kiwifarms are bigger lolcows than the autists they are mocking, and Josh is one of them. Last I heard he was struggling to keep Kiwifarms up because he lacked funding. How was he able to launch a new *chan so soon? Glow-in-the-dark funding?
Any of you get around to checking out Sauna? My backlog is long enough already, but I do wanna rewatch this one – sorta similar to Eggers’ The VVitch: A New-England Folktale – very atmospheric and haunting, with a small cast and a slow build-up.
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No.2361
Been rewatching Garth Marenghi’s DARKPLACE today, and I was struck by how much I am like Marenghi, more so than Alan Partridge perhaps. Marenghi is pretentious and uses the words “mise-en-scène” and outré”, and twice on the show Dagless uses the phrase “I’m gonna level with you”.
And the excerpts from his horror novels are eerily similar to my own writing.
<2. If inspiration flags, try copying the work of dead authors on whose work the copyright has lapsed. Shakespeare was a decent little writer, but if there had been plagiarism laws back then, anyone pre-17th century who owned a quill could have had the Bard's arse in a sling. So steal.
<3. Be humble. Listen to your muse. If she tells you to write a scene about an attack of killer prawns, follow her lead. Don't impede your imagination. Then think about how you're going to make that prawn attack convincing. Get some books on prawns. Research is the key to exciting writing.
<4. Never re-draft. I never re-draft my novels, and I certainly wouldn't re-draft a teleplay. Don't dull your words by constant revising.
Garth Marenghi: 'I hereby vow never to work in TV again' | From the Guardian | The Guardian: http://archive.vn/QQBbx / http://web.archive.org/web/20140912211726/https://www.theguardian.com/theguardian/2004/jan/26/television
<Darkplace was shot on 16mm film and preserved the 4:3 TV aspect ratio of the period. Sound was mixed through limited channels on to tape, then unspooled, crunched, trashed, kicked around the studio, re-spooled and transferred back. Small, seemingly uninteresting technical details tend to work subconsciously on an audience's mind, so you don't then need to employ more 'obvious' pointers."
<"A great deal of modern TV and film leaves me cold," Holness explains. "Images are too clean, plots and characters dull and formulaic. I like the look of things made with human hands; dirt, ugliness and natural imperfections are what make films ring true for me. Old movies now seem more honest and realistic."
The Artist and the rise of retrovision | Film | The Guardian: http://archive.vn/XQvb2 / http://web.archive.org/web/20140303231630/https://www.theguardian.com/film/2012/jan/07/the-artist-retrovision-grindhouse
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No.2374
Sorry for my absence.
I've been wrestling javascript these days, I wish I were more competent. At least I'm getting to a point where I understand what the hell I'm looking at and almost understand what I'm doing. Troubleshooting JS+jQuery for a guy like me with no programming experience other than basic stuff in math-oriented languages hasn't been easy.
How's your week been, guys?
>>2358
I suspect he was grifting, also who knows how much it costs him to make that *chan. What I know is that he used Epik as the registrar and they already dropped him.
>>2361
Should we add him to the Lex Files?
Also he's absolutely right about the excess of cleanliness. I wouldn't go as far as intentionally shooting on 16mm but 2-perf seems like the sweet spot to me. With that 70s color treatment that makes reds pop.
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No.2375
Last night I took a break from attempting to code and was supposed to watch Suspiria (1977) but stayed up until late shitposting as time flew right by me. How pathetic. I'm disgusted with myself.
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No.2376
>>2375
It’s the thought that counts though, isn’t it?
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No.2379
Invidious embed. Click thumbnail to play.
I just had my mind blown over an easter egg from The Return. There's a giveaway from Coop's doppelganger not being the OG Coop when he's visited by the FBI in prison. He utters the first word like he would in the red room, backwards.
I might even end up watching The Missing Pieces, after a few days the craving for more Twin Peaks is back.
Also did you guys notice there's inlinered textnow?
Some TORfag suggested it and Ron implemented it. I'm getting the cold shoulder treatment regarding /bestemma/ though (or he isn't seeing my posts which I doubt). I'm considering talking to Jim when he streams as a last resort. I don't understand why it isn't back yet, but maybe I can convince him. After all, our film criticism was so serious you could probably publish it in print.
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No.2383
>>2379
>Also did you guys notice there's inlinered textnow?
Upon my word! What a time to be alive! What will they think of next, I wonder…
Now let us see if you can do greentext bluetext with inline redtext.
>I'm getting the cold shoulder treatment regarding /bestemma/ though (or he isn't seeing my posts which I doubt). I'm considering talking to Jim when he streams as a last resort. I don't understand why it isn't back yet, but maybe I can convince him.
I’ve got a few ideas actually; perhaps Ron assumed it is one of the countless waifu boards and didn’t think it worthwhile to bring back yet another one. Or they want to change the site’s image to make it appeal more to boomers and normalfags.
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No.2384
>>2375
>but stayed up until late shitposting as time flew right by me. How pathetic. I'm disgusted with myself.
This is like me everyday. Don't be too hard on yourself.
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No.2385
>>2374
>I've been wrestling javascript these days, I wish I were more competent. At least I'm getting to a point where I understand what the hell I'm looking at and almost understand what I'm doing. Troubleshooting JS+jQuery for a guy like me with no programming experience other than basic stuff in math-oriented languages hasn't been easy.
Sounds impressive even attempting it. I had mini breakdowns just trying to understand adding stuff to customise the CSS kek. Just keep plugging away at it.
>How's your week been, guys?
Cray. Happy our state hasn't folded to the feds regarding schools and we are still teaching remote. However, it's difficult to turn off after business hours and everything needs to be put into writing online and pretty much all of the content needs to be re-written for online work. Students are messaging at all hours. I'm hoping to acclimate soon enough, though I imagine that as soon as I do, we'll be forced back to the physical school.
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No.2411
>>2384
At least I now know I'm not alone lol.
>>2385
>Sounds impressive even attempting it. I had mini breakdowns just trying to understand adding stuff to customise the CSS kek. Just keep plugging away at it.
It's incredibly frustrating, sometimes I spend hours googling and reading, then code for a few minutes only for it to go wrong. Sometimes I manage to get it right.
The dollar sign in the code was a major obstacle for me until I learned it was just an abbreviated way to call the jQuery library. But JS itself is full of obscure things, for example there's the plus sign and then the double plus sign. It's like a programming version of newspeak now that I think of it lol. And for example x++ is different from ++x.
>Happy our state hasn't folded to the feds regarding schools and we are still teaching remote.
Based, fuck the feds and their irresponsible policies.
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No.2412
Somebody posted a pic of the scene where Laura whispers to Coop in the red room but with Dugin's face shopped on him and I jokingly said that 4TP meant "For Twin Peaks". Well, that certainly opened a rabbit hole there's no coming back from. Apparently there's a philosophy book by Dugin that seems to be influenced by the series or at least touches similar concepts (down to electricity, if the memes are to be believed), but in any case it's hilarious to watch the whole thing unfold. There's people claiming the entire book is a Twin Peaks shitpost.
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No.2413
Oh shit the memes are real, there will be a livestream in 10 hours with him discussing the show:
https://www.youtube.com/watch?v=8lvf59_ncKU
Not embedding because I doubt it will work.
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No.2414
Just watched The Missing Pieces. It was worth watching, but I would have hated it if I hadn't taken a break for a few days.
As expected, there's no real cohesion because it's all isolated scenes. I wonder what the significance of Annie having the ring and the nurse stealing it from her is.
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No.2418
YouTube embed. Click thumbnail to play.
And it's up…
I missed it live. I will watch it and report back.
Also invidio.us is down.
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No.2419
>>2414
It just takes some time before you can watch past livestreams on invidio.us
Looks like Austen кино is back on the menu! Love & Friendship from 2016, directed by Whit Stillman, based on the novel Lady Susan by Jane Austen. Stars Kate Beckinsale, Chloë Sevigny, Xavier Samuel & Stephen Fry.
Love & Friendship trailer - in cinemas from 27 May 2016: https://www.invidio.us/watch?v=X6XAHpKQk-k
I already got the first episode of Doctor Thorne adapted from the novel by Anthony Trollope by Julian Fellowes (Downton Abbey), but this film looks more like my cup of tea.
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No.2420
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No.2421
>>2419
No, I mean the site itself was down lol.
Looks like they fixed it.
>>2420
Interesting, I'll give it a watch when I have the time.
Also pic related is Dugins In Search of the Dark Logos, the book that anons over at tvch claim to have a lot of Twin Peaks'' shitposting in it. If I find a translated copy I'll get it, probably an interesting read.
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No.2422
Invidious embed. Click thumbnail to play.
>>2421
Never noticed it was down, though BitChute is acting up at the moment.
Just saw that GtK did a video on Cannibal Holocaust.
Sad to see they gave attention to E. Michael Jones and brought him on to their videos too. Cannot stand that damn assclown.
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No.2423
Invidious embed. Click thumbnail to play.
Fróði mentiones Werner Herzog’s Aguirre, the Wrath of God in the talk on Cannibal Holocaust. Also finished this video on the HBO mini-series on Chernobyl. Kinda surprised and saddened to see that they won’t cover John Milius’ Conan the Barbarian (1982) in the DECAMERON Film Festival. It seems like an obvious pick to me, given it is all about Nietzsche’s ideas (the triumph of the will).
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No.2426
>>2421
What a mess this post was. Hapa-tier butchered markdown and the image didn't get posted.
Here's me trying to make up for it a bit.
Haven't watched the Twin Peaks one yet.
>>2422
E. Michael Jones is like a right wing Bill Nye. Can't stand his look. Some of the stuff he says is right but most is an oversimplification of things reaching wrong conclusions.
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No.2435
Invidious embed. Click thumbnail to play.
>>2426
Caught the Twin Peaks vid with Dugin yesterday – he brought up some interesting points, especially regarding the scream at the end, and that we shouldn’t over-interpret the characters/what they symbolise.
Just finished the one on 28 Days Later with Semiogogue (https://invidio.us/watch?v=7jnLLHa5sd4), and that was another really interesting one. He really made me rethink a lot about the film, and I agree completely with him on the zombie genre as a whole. He referenced Zombi 2/Zombie from 1979 by Lucio Fulci – should add that one to my backlog.
Also looked up the film he initially considered doing a video on, Taxidermia from 2006 by György Pálfi, and it looks really interesting, though I think the trailer completely misses the point and tone of the film.
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No.2438
>>2012
Get raped twice and kill yourself, you retarded fucking tranny faggot sack of nigger shit with down syndrome.
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No.2439
>>2435
I watched it last night too, it was honestly a letdown for me.
I'll repost what I said elsewhere:
>The best part was him talking about the miracle that happens but is deprived of its significance (even if I don't fully agree with this conclusion, as Laura's scream seems to imply the timelines have come together again), most of the rest seemed like fart-huffing. That said, his refusal to leave the world of Lynch when asked about Kubrick was cash.
>The talk about Lynch's talented approach to archetypes and about his approach to stupidity as a phenomenon was good too.
>Lucy, Andy and Wally are characters I could never write. They exist outside of the realm of things I am capable of imagining. Wally's stupidity was enough to piss me off and I would rather see Twin Peaks without him in it.
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No.2442
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No.2443
>>2439
The Dugin/Twin Peaks video was unironically a bit 2 deep 4 UUUU. The livestream format and the language barrier could be part of it; if it had been a video essay or just a written essay I think he would have been able to explain things more easily, and so a layperson can get it as well.
The “black miracle” idea is sort of a posher way to say what I was getting at earlier, with Lynch edging the audience and then denying them release at the end.
Just came across one article claiming Wally is the best thing about The Return. Back on /tv/, when the The Return originally aired I voiced my dislike for the character as well. Thankfully he is hardly in it.
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No.2446
Last night I busied myself with La polizia incrimina, la legge assolve (1973, High Crime), this time to give it a review. Highly recommended, it was a key film in popularizing the poliziottesco genre and for good reason. It's not noir in its aesthetics but the sentiment is very similar.
It had some problems with the audio and the edition (this might have be a problem with my copy though, some parts have "glitches" that seem unintentional and where some short sequence is repeated. Like the dove in Tarkovsky's Stalker but by mistake). The one true coincidence with Tarkovsky is that Nostalghia's Delia Boccardo is in it. Basically Christina Hendricks in the 70s. The chases are top notch.
It's not particularly deep or intellectual but it's worth a watch. And surprises are constant. You think you have someone figured out and it turns out you don't at all.
The opening sequence is a staple of the era, and lets you know you're in for a good time. You have traffickers doing their business in Marseille, and then in Genoa, the city where our hero Vice-Commissioner Belli is waiting to catch them. Translation note, because this is subtitled: "MARSIGLIA ore 7,15" is Italian for "Marseille, 7:15", and "GENOVA ore 11,45" is Italian for "Genoa, 11:45". It's probably obvious but it's worth making sure the message is able to cross any language barriers, just in case.
The cinematography is quite remarkable from the first shot. At first it's hard to tell what you're looking at, it looks like a hole in a wall inside a dark room like Audrey's secret hole in the wall or maybe a flashlight in the dark, but when you see what it is it blows your mind. And the action soon surprises you in the least expected moment and even when the director foreshadows that something is about to happen, the things that happen aren't the ones you would expect.
It's very stylishly shot and the chases by foot in those intrincate, dark and dirty streets have nothing to envy those in The French Connection, Midnight Express or Sorcerer. There's something very refreshing and idiosyncratic about these action films, they're quite gritty. And Italian ones have that anni di piombo (Years of Lead) social unrest imprinted in them. You see thugs carrying out their activities with no regard for anyone. Usually in the other movies you don't see the criminals firing at random people to make the police quit a chase, but it is often the case in Italian films (as it was in real life during that era).
And because it wouldn't be a 70s Italian film without it, the impeccable mise-en-scène is accompanied by a bottle of J&B, this time with a glass being poured before our eyes. And the atmosphere is completed by a memorable soundtrack, which while funky sometimes, is highly effective and parts of it are simply gems, like this one.
I leave you with the main theme, that was employed in a rather powerful way in its variants throughout the film. No funk here.
Guido & Maurizio De Angelis - La Polizia Incrimina, La Legge Assolve | https://invidio.us/watch?v=NCa8TBrAT4o
>>2443
>The “black miracle” idea is sort of a posher way to say what I was getting at earlier, with Lynch edging the audience and then denying them release at the end.
I had originally interpreted your idea as saying it was indulgent without going anywhere with it, like on Part 8, lol.
I don't mind the black miracle itself, it's a bleak outcome but that's not necessarily a bad thing. I take more issue with the open nature of the ending. Had it ended before the scream, the meaninglessness of saving Laura would be there. But it didn't and we're left with ambiguity instead.
>Just came across one article claiming Wally is the best thing about The Return.
That's blasphemy right there. Take that man to the bonfire.
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No.2452
How come I never heard of Andy Sidaris till just now?
Malibu Express - Original Trailer - HD Restoration!: https://invidio.us/watch?v=YrvB2nErS_g
Hard Ticket to Hawaii - Original Trailer - HD Restoration!: https://invidio.us/watch?v=UV7h4-2ZUqE
Picasso Trigger - Original Trailer - HD Restoration!: https://invidio.us/watch?v=mR7rqptSgLs
Savage Beach - Original Trailer - HD Restoration!: https://invidio.us/watch?v=LgXCkk5n0s8
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No.2456
>>2452
the dude in the middle poster looks a bit like Hank Jennings lol. Looks like some exploitation masterpieces right there.
Also I have Argento's animal trilogy ready, I remembered you wanted to review L'uccello dalle piume di cristallo (1970, The Bird with the Crystal Plumage).
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No.2458
>>2456
Indeed! Read two interviews with Sidaris, and the guy was an absolute legend. Love his non-PC takes and approach to filmmaking. He worked with his wife, and they make it clear in the interviews that they made fun, escapist action films with characters that are “larger than life”.
CineSchlock-O-Rama: http://archive.vn/tfRGL
digitallyOBSESSED! Interview: Andy Sidaris: Bullets, Bombs, and Babes: http://archive.vn/msid7
Was looking up Curtis Harrington’s Night Tide from 1961 yesterday, and who else but NWR just made a 4K remaster of the film! The film is in the public domain and can be found on the Internet Archive (https://archive.org/details/NightTide1961), but the quality is not the best. It can be streamed/downloaded in 1080p from NWR’s site; https://www.bynwr.com/articles/night-tide
<Curtis Harrington’s critically acclaimed 1961 fantasy-thriller, inspired by the writing of Edgar Allan Poe and starring Dennis Hopper in his first lead role…
<Dennis Hopper’s first starring role is as Johnny Drake, a sailor who spots the stunning Mora (Linda Lawson) in a beatnik jazz club, falls in love with her, and gradually is drawn into a strange world in which she may or may not be a mermaid.
http://wrongsideoftheart.com/2009/02/night-tide-1961-usa/
>>2446
>That's blasphemy right there. Take that man to the bonfire.
Enjoy.
Wally Brando Represents Everything Great About ‘Twin Peaks’ and David Lynch | Decider: http://archive.vn/oKFWe
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No.2459
>>2458
> It can be streamed/downloaded in 1080p from NWR’s site
Be my guest :^)
>Wally Brando Represents Everything Great About ‘Twin Peaks’ and David Lynch
Undoubtedly the work of a professional fart-sniffer.
I took the liberty of looking at his articles assuming he would have sung the praises of Part 8 and I was proven right:
‘Twin Peaks’ Part 8 is David Lynch at His Most Abrasively Avant-Garde Best | Decider: https://archive.is/h3jTa
This guy isn't a critic, he's either a paid shill or a pretender. I don't know which one is worse but he's got obvious plebbit taste.
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No.2462
Last night I had another Christina Hendricks dream. Other times, her appearing was usually after the dream becomes lucid. But this time, it wasn't. I'm not even sure the dream was lucid at any point.
So that begs the question: Who is the dreamer?
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No.2464
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No.2466
>>2464
Not specially, but it was romantic. Arguably more offensive than if it were carnal.
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No.2469
>>2462
>>2466
Did you watch something with her in it recently? Or does she just appear all the time?
Can’t think of any recent dream I’ve had with anyone famous showing up… I did have a dream that was probably influenced by The Rift aka Endless Descent recently, but it was anything but pleasant – sort of a nightmare actually.
Please, tell me your secret; how can increase my chances of experiencing Monica Bellucci Christina Hendricks dreams?
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No.2470
>>2469
I didn't watch anything with her in it, but watching La polizia incrimina, la legge assolve with Delia Boccardo who strongly resembled her and had a motherly demeanor in it probably was a factor.
And she doesn't appear all the time, this was the second time I remember it happening.
Punishing one's body by sleeping at less than ideal hours with the air conditioning drying the room enough that you wake up with a dry mouth seems to increase the chances of dreaming. And so does going out less than usual.
Interestingly enough, in the dream we were both younger than we are now, in our early to mid twenties. But she didn't really look like she did in real life at that age. She was prettier in the dream, closer to what she would eventually become but much younger. And closer to Delia than to real young Christina (but closer to 2010s Christina than to Delia).
The environment was pleasant in the same way that Twin Peaks or Mystic is, it had that small town warmth to it. Neighbors were friendly and not distant. Luckily there was no truck with twelve trout stolen with Christina in it nor was a truck with the catch of the day unloaded in my car. Now that I think of it, I didn't get a fishing vibe at all.
I believe that the current situation makes our minds a lot more permeable to the influence of films than it usually is, because they have become a much more important source of stimuli than they used to be.
>Persephone
Ah, I see you're a man of taste as well.
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No.2472
>>2469
>Can’t think of any recent dream I’ve had with anyone famous showing up…
The last celebrity I remember dreaming of was Hillary Clinton many years ago (before the election). She was really nice and personable in the dream. I was so bemused at my mind when I woke up. It made me sick.
I find I'm more likely to lucid dream and go in and out of the same dream type thing if I wake up very early and then go back to sleep.
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No.2473
>>2472
W-was it… lewd explicit?
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No.2474
>>2472
Lol no. She was like a family friend or something all smiles and very warm and welcoming. I remember being suprised even in my dream kek.
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No.2480
>>2474
Kek
>wtf my subconscious is a Hilldawg now
>>2472
Now that you mention it, lucid dreams and going back to sleep after waking up go hand in hand. Even better is "waking halfway up" but it's not something that can be controlled willingly.
Going back to my own dream, I don't think I had realized how much a woman showing signs of being a good potential mother at the behavioral level can add to her attractiveness. It's beautifully Darwinian.
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No.2482
Oh boy. I dropped a Blue Velvet review on tvch in a thread where the OP compared it to Only God Forgives and made some people extremely upset.
This is the thread: https://tvch.moe/tv/res/29764.html
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No.2483
>>2482
Holy mackerel! That is some next level shitposting.
Seems like there are some anons who go back, and remember our Best Emma Generals from 8chan/tv/ fondly. Wonder if anyone still remembers Robertsdyke?
If you want to expand on your Twin Peaks posting, perhaps make some vague allusion to esoteric Hermeticism? Hermes Trismegistus’ idea of “as above, so below” seems similar to the theme of Transcendental Meditation (TM) in Twin Peaks: The Return.
Think it is time our /bestemma/ Generals made a comeback on tvch? Night Tide might be a good film to discuss, not just because of the obvious NWR connection, but also the mermaid; similar to Uxía in Dagon, and because of the Danish mermaid fairtyle by H. C. Andersen and the mermaid statue in København.
Btw., I love the comparison to a “Nick Park claynimation character” – I recently watched all the Wallace and Gromit shorts, and then had a listen to the audio commentary tracks as well. The Wrong Trousers (1993) is obviously the best of the lot, but I have a weak spot for A Grand Day Out (1989); the music and some of the camera work is quite impressive.
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No.2484
>>2483
>Seems like there are some anons who go back, and remember our Best Emma Generals from 8chan/tv/ fondly.
I'm not so sure about that, I was the only one who said they were good lol.
There's obviously anons who want to see content that's more analytical and deeper than the average discussion. One anon was particularly happy about my review and he also found it agreeable.
>Wonder if anyone still remembers Robertsdyke?
Good times. Damn hapa didn't know what hit him, kek. I wonder what his thought process was. Did he really think he could just post some random (Czech or maybe Hungarian I think it was) girl and that /tv/ would eat it up? Maybe he had some run ins with her at some point in the past and thought he could use us to set /tv/ on her? It didn't backfire as miserably or spectacularly as his threads trying to use Gahoole as a trollshield, though.
>If you want to expand on your Twin Peaks posting, perhaps make some vague allusion to esoteric Hermeticism? Hermes Trismegistus’ idea of “as above, so below” seems similar to the theme of Transcendental Meditation (TM) in Twin Peaks: The Return.
I would, but I don't feel knowledgeable enough in the matter.
By the way, there's a couple actual Twin Peaks threads. I think you should post in them.
<Anon has Twin Peaks related nightmares and wants to know why it made such an impression in him: https://tvch.moe/tv/res/30297.html
I posted my "main stimuli" theory in it, same that I talked about a few posts above in this thread.
<Anon wonders if Nadine is the most irritating character in the history of TV: https://tvch.moe/tv/res/28225.html
I brought up Wally Brando to show that she's not even nearly the most irritating one in Twin Peaks
<Anon asks for comments from people who watched Twin Perfect's Twin Peaks video: https://tvch.moe/tv/res/27644.html
I'm positive you have seen the video so maybe you could weigh in.
>Think it is time our /bestemma/ Generals made a comeback on tvch? Night Tide might be a good film to discuss, not just because of the obvious NWR connection, but also the mermaid; similar to Uxía in Dagon, and because of the Danish mermaid fairtyle by H. C. Andersen and the mermaid statue in København.
It would probably be good for /tv/, but I doubt our discussion would be as comfy as it is here. After a few hours from making the thread it would fall prey to the multiple spergs that lurk around.
>Btw., I love the comparison to a “Nick Park claynimation character” – I recently watched all the Wallace and Gromit shorts, and then had a listen to the audio commentary tracks as well.
I was exactly thinking of Wallace and Gromit when I made that comparison, kek. Even her teeth are shaped like she came from that world. Hilariously enough, I searched "Laura Dern Wallace and Gromit" and this picture that compares them came up.
There's an interesting connection between Twin Peaks, the Derns and the Two Coreys.
The second movie that had the Two Coreys, License to Drive, also had the wonderful Heather Graham (Annie) playing the love interest that is taken away by an antagonist in a stolen vehicle, much like Windom Earle would do later but as part of some unfortunate coincidences rather than intentional evildoing. Then the next year, Corey Feldman had a supporting role in The 'Burbs, a macabre comedy starring Tom Hanks. It explores the theme of horrible things happening in an almost utopian, peaceful place. Guess who else is in it, in a major supporting role? Bruce Dern, Laura's dad. And in one scene, he utters the words "Hans Christian Andersen" so I guess it's also linked to your own post in a weird way. And speaking of parents, there's also Carrie Fisher. But the best thing I can say about her is that she's Billie Lourd's mom, quite the opposite from Bruce. She was alright in the movie, though.
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No.2485
A bit late to the party, but I just finished George P. Cosmatos’ Cobra (1986). Brigitte Nielsen is absolutely stunning in this. What a cutie!
Brian Thompson, who plays Night Slasher, the villain, played Luke in the first season of Buffy the Vampire Slayer, and the Judge in the second season. He is a great villain actor; very underrated actor IMHO. He has a great, commanding presence in the film.
Stallone gets the job done as the titular action hero, though someone like Michael Sopkiw might have brought some additional heart and charm to the role. Stallone is very stoic and stone-faced, and that is great for an over-the-top action film like this though, and the Miami Vice Crockett stubble is a good look.
This might be one of, if not the, most patriotic 1980s films ever. Everything from the soundtrack to Cobra’s framed photo of President Reagan in his office, and the gratuitous product placement in this – Pepsi & Coke.
My main gripe with the film is the car Cobra drives for most of the film – it feels very out of place with the rest of the film’s very 1980s æsthetic. In going with the film’s over-the-top style, they should have gone all in and given Cobra a sexy 1980s car instead. perhaps a Lotus Esprit Turbo?
This film, along with NWR’s Drive must be the two chief influences on Hotline Miami. The villains in particular, are very similar to the 50 Blessings group in that video game, and I very much appreciated that their motives were left mostly guessed at.
The climax in this film is impeccable – non-stop action in my favourite third act set piece – an industrial/factory area.
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No.2489
>>2485
>A bit late to the party, but I just finished George P. Cosmatos’ Cobra (1986).
Very nice, it's a classic! You read like BV but my memories tell me it was BO who hadn't seen it, I'll assume my memories were wrong and leave it to you to set the record straight. Word has it that Cosmatos merely lended his name and that it was Stallone who actually directed it.
Brigitte is great indeed. Since you brought up NWR, did you know she's Julian Winding's mom?
I disagree with you about the car. I think it adds to Cobretti's tough guy persona. Incidentally, it was Stallone's personal car. He is extremely attached to it, and it was stolen a long time ago. After 17 years, he recovered it in 2011: Sylvester Stallone reportedly reunites with stolen car | https://archive.is/bevj4
I think a car like an Esprit Turbo would have been far too exotic for a guy like Cobra. It could have worked in Miami Vice where you have undercover cops that need to blend in with high rollers from the criminal world. Cobra lives in a beautiful but not particularly good part of the town.
The creators of Hotline Miami attribute the inspirations to Drive and Cocaine Cowboys. Naturally, having Drive as an inspiration means you have Cobra as an indirect one, with the latter having influenced the former so much (remember the Driver's toothpick?).
I personally enjoyed Cobretti's stone cold demeanor, goes well with the character he plays. The comedy deriving from Cobretti's personality is one of the highlights of the film, specially because of the way it's played. "Attitude problem", "bad for your health" and cutting pizza with scissors and then eating it with leather gloves will never not crack me up.
The film is so memorable, I saw it the last time years ago and I still remember it vividly. A true classic.
And since you mentioned Blastfighter, I can't help but suspect Stallone saw it and liked it despite it being inspired on one of his own films. Why do I say that? Not only the story bears some similarities, but the high tech gun is a signature of both films. Cobretti's is a Jatimatic SMG with a laser sight, a quite exotic piece for the era. And Tiger's "Blastfighter" is a SPAS-12 with a night vision scope.
The final death is an absolute classic that belongs up there with "Let off some steam, Bennett" uttered by Arnold in Commando. And that's the film that completes the trifecta, too.
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No.2492
>>2489
>I'll assume my memories were wrong and leave it to you to set the record straight.
No need to “correct the record”; you were right – I’m BV. I started watching the film way, way back (2016?), but I stopped it after the super market shootout at the opening, and ever finished it. Started looking through my DL folder yesterday, and decided to finally get around to it.
>Since you brought up NWR, did you know she's Julian Winding's mom?
Remember reading something about that way back, but I must have forgotten. Now I really hope there is nothing to the awful rumours that she cheated on Stallone with Eddie Murphy.
As for the car… it sticks out from the rest of the cars seen as well, but it doesn’t fit the 1980s look the rest of the film has. His cop buddy, Tony, tells Ingrid (Brigitte Nielsen) that Cobra is stuck in the 1950s or something to that effect, but we see him use computers in his apartment, and he uses a modern SMG in the third act.
Maybe a more traditional American muscle car? Or a more average car, as in Drive, given an upgrade to make it suitable for high speed car chases.
Whenever you have a big guy for you, like Stallone or Schwarzenegger in the lead, you risk them completely dominating interactions with the villains and that defuses the tension somewhat. John Milius mentions on the audio commentary track to Conan the Barbarian that they needed to find two equally big and imposing guys to portray Rexor (Ben Davidson) and Thorgrim (Sven-Ole Thorsen) to be a match to Schwarzenegger. Davidson was an American football player, 203cm tall and weighed 125 kgs; Thorsen is a stuntman, bodybuilder and strongman competitor – he won Denmark’s Strongest Man in 1983 – and he is 193cm tall.
Brian Thompson as Night Slasher makes for a really imposing villain in this film – he is tall and he’s got bulging muscles.
In Blastfighter Tiger is in good shape and an outdoors type, but Tom is bigger, and even with his limp he looks like he could give Tiger some real competition in a fight.
>Not only the story bears some similarities, but the high tech gun is a signature of both films.
Yeah, that caught my eye too – both characters are cops/ex-cops who are chased by a bunch of guys out to kill them and someone they care for, both have their cars rekt, both end up fighting the villain mano a mano… and of course the firearms. Both Tiger and Cobra carry their special firearm in a briefcase, and it is only fully revealed/used in the third act.
http://www.imfdb.org/wiki/Cobra_(1986)#Jatimatic_SMG
The Jatimatic SMG is a really nice-looking submachine gun, and the fact that it is one of the few films were it makes an appearance is cool. Makes it all the more memorable.
A shame there’s been no hardcore action films with the H&K G11…
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No.2493
>>2492
>No need to “correct the record”; you were right – I’m BV. I started watching the film way, way back (2016?), but I stopped it after the super market shootout at the opening, and ever finished it. Started looking through my DL folder yesterday, and decided to finally get around to it.
CTR btfo once again, lol.
Glad to see I still got it.
>As for the car… it sticks out from the rest of the cars seen as well, but it doesn’t fit the 1980s look the rest of the film has. His cop buddy, Tony, tells Ingrid (Brigitte Nielsen) that Cobra is stuck in the 1950s or something to that effect, but we see him use computers in his apartment, and he uses a modern SMG in the third act.
He does have an almost greaser look, though. I seem to recall him wearing a flat cap at one point but I'm probably thinking of another film.
>A shame there’s been no hardcore action films with the H&K G11…
I thought Robocop wielded one for a moment. Boy, was I wrong. There is one in the similarly themed Demolition Man though. It's a remarkably futuristic gun and it's indeed a shame it isn't seen in any action movies that aren't set in the future.
The unrelated and more recent KelTec KSG hasn't missed any chances to be featured, and I don't only mean in Shuaiby's infamous video. It's a really cool gun. The KS7 isn't featured in any movie that I know of, though. I think that should change.
An even newer firearm is the AKM-based TriStar Compact Tactical shotgun. Old platform but fresh take on it and it looks nothing like other AKM-based weapons. It came out in 2018 and hasn't been featured in any films that I know of yet.
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No.2494
Had this one on my backlog for a while, and after Fróði mentioned it on the DECAMERON Film Festival when discussing Cannibal Holocaust, I finally decided to see it. This film may actually have been an inspiration for Cannibal Holocaust, since this film also features cannibals, decaying corpses found in the jungle, and a native village of straw huts being set ablaze. There are also scenes of livestock animals being prepared for slaughter, though Deodato goes all the way and shows the actual killing of animals in his film.
Comparisons to Antti-Jussi Annila’s Sauna (2008) & NWR’s Valhalla Rising (2009) are also evident – the dreamlike atmosphere and slowburn pacing, in addition to the story itself.
The opening shots, filmed near Machu Picchu, are breathtaking and really impressive. One of the most memorable and beautiful openings I have ever seen.
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No.2521
Invidious embed. Click thumbnail to play.
>>2493
>He does have an almost greaser look, though. I seem to recall him wearing a flat cap at one point but I'm probably thinking of another film.
His cop partner, Tony, wears a sixpence cap in the film, and Ingrid wears a beige beret when they are heading out of L.A., and stopping at the diner. Stallone wears a flat cap in some/one of the Rocky films, as well as a fedora or trillby, with his motorcycle leather jacket: http://1.bp.blogspot.com/_5TVweOD6rT4/TEq7AxhVokI/AAAAAAAAAEM/J94njnY6fww/s1600/sylvester-stallone-rocky-5.jpg
>I thought Robocop wielded one for a moment.
That one is on my backlog – gotta get to it soon. You are probably thinking of the Barrett M82 from that film – that is one impressive-looking firearm… Seen videos of it being rapid-fired on YT, and photos of ISIS soldiers being taken out by its .50 calibre bullets.
The KSG looks familiar…
A shame we don’t see more unique/æsthetically pleasing firearms in films, just the same old guns we’ve seen in a thousand different films and TV shows.
Arrow Video is releasing White Fire (1985), a French-American-Italian-Turkish film by model/softcore porn director/exploitation filmmaker Jean-Marie Pallardy. Looks like there is a whole lot more than just “awkward brotherly love” going on to me though.
<Erotic filmmaker Jean-Marie Pallardy (Erotic Diary of a Lumberjack) brings his kinky touch to high octane action in this infamous exploitation epic, complete with chainsaw mayhem, awkward brotherly love, and a very ‘80s theme song by the band Limelight!
Exclusive Look at Arrow's 'White Fire' Blu-ray! [Trailer] - Bloody Disgusting: http://web.archive.org/web/20200515233955/https://bloody-disgusting.com/home-video/3616705/exclusive-look-arrows-white-fire-blu-ray-trailer/
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No.2523
YouTube embed. Click thumbnail to play.
>>2521
>A shame we don’t see more unique/æsthetically pleasing firearms in films, just the same old guns we’ve seen in a thousand different films and TV shows.
I always thought the plasma rifles in Eraser were cool as a kid. I know nothing about guns.
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No.2543
ノロイ/Noroi: The Curse (2005) is written & directed by Kōji Shiraishi – I had already seen his 2009 film オカルト/Occult, which was one of the best found footage films I have seen. Noroi: The Curse is even better IMHO, and deals with themes and ideas similar to Occult, as well as the documentary style approach.
The biggest problem with found footage films, I think, is that they always feature young, annoying protagonists/characters and contain cheap jumpscares – Shiraishi’s films do not contain jumpscares, and he treats the genre with a seriousness sadly lacking in this genre.
The film is a slow burn, and by far the most complex and ambitious found footage film ever – it really feels like a documentary by Kobayashi and his camera man. It pieces together a story using additional sources, including clips from TV programmes, news broadcasts, and footage shot in the 1970s transferred to VHS and then filmed on a CRT TV. The large number of characters, the use of TV footage and interviews is unique for a found footage film, and it really helps to make the audience suspend disbelief and accept what is going on. In the found footage horror film Grave Encounters (2011) the characters are young adults and definitely annoying, even assholes. They are also paranormal researchers making a documentary/TV show, but we immediately find out these assholes are also complete frauds. In comparison Kobayashi is a serious, dedicated researcher into weird phenomena; having a genuine researcher who wants to get to the truth is far more engaging than watching a bunch of asshole frauds who accidentally stumble upon genuine paranormal horrors.
In a very refreshing change there is no needless, distracting and forced romance or contrived tension between the characters – it really feels like the footage of a documentary into the supernatural made by competent paranormal researchers/documentary makers.
The story is complex and genuinely intriguing – a mystery that draws you in and keeps you engaged all throughout. Because the story is rather complex and is told via various sources and by multiple characters, it is absolutely necessary that the viewer must pay close attention. This isn’t a film you can turn off your brain and “enjoy” for the scares.
I’ve seen several users on the archived IMDb boards bemoan how boring and long this film is, and one joked(?) about dosing off during the “exposition dumps”. The “exposition dumps” are invaluable to the film – they really add a lot to be believability of the story. By showing actual documents, footage and artefacts relating to the mysterious Kagutaba ritual, going back decades and centuries, it really helps to cement the idea that this is a genuine ritual. In Shiraishi’s later film, Occult, he uses the same technique to help ground the film; interview experts, analyse the etymology of the words, looking into the history, and looking at artefacts.
IMHO the most effective “scares” in this film aren’t the effects shot of the Kagutaba entity, but the more subtle and eerie scenes. These stuck with me even after the film ended. Connecting some of these eerie scenes with information we learn much later on proved to be the creepiest and most effective for me. Two scenes in particular come to mind: (MASSIVE SPOILERS FOLLOW)
* In the very beginning of the film Kobayashi interviews a woman who has heard weird, eerie noises from her neighbour. This distorted noise is picked up on the footage recorded and then analysed by an expert, who concludes that the sound is made by “more than 5 babies”. This is eerie enough on its own, since we only know that the woman has a son, “aged between 6 and 9”, but much later on in the film we learn that the woman, worked at a clinic performing late-term abortions and would keep the foetuses to perform the Kagutaba ritual. That made the sound of the babies genuine nightmare fuel. This isn’t stressed in the film, and it is only by recalling this bit of information from early on that the full implications of the abortions and foetuses.
* During the footage from a TV variety program testing the psychic/ESP abilities of the children, the young psychic girl, Kana, draws a face, vaguely human for the fifth test. We soon find out that the paper for the fifth test only included the text “Звезда”, which is Russian for “Star”. Up until then Kana has managed to answer all the tests perfectly, so when she answers with a drawing of a vaguely human face and the answer is Russian for “star”, it seems to allude to an otherworldly, cosmic origin for Kagutaba, or that Kana sees humanoids connected with stars/the universe. In this TV footage there is also the test where the children attempt to make water materialise in sealed bottles. Kana is the only one we see succeed with this task, and we see a few strands of hair in the bottle along with the water. In the same footage the water, and hair, is scientifically analysed, and we learn that the water contain animal plankton, suggesting a freshwater source, a river or a lake, and that the strands of hair could be human, but had no medulla development, indicating that it could be from a newborn baby. Weird and slightly eerie on its own, but when we connect this with Shimokage village, where the “demon ritual” connected with Kagutaba was being carried out, being flooded by the building of a dam, and the abortions/foetuses, it takes on a whole new level of nightmare fuel horror.
Noroi: The Curse (2005) – Suddenly, a shot rang out …: http://archive.vn/GqOmT / http://web.archive.org/web/20171014181200/https://suddenlyashotrangout.com/2017/06/20/noroi-the-curse-2005/
The film, with English subtitles, can be viewed/downloaded over at the Internet Archive: https://archive.org/details/noroithecursemovie_201908
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No.2546
>>2484
>But the best thing I can say about her is that she's Billie Lourd's mom
Wow, I never realised she was Carrie Fisher's daughter when watching Scream Queens.
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No.2549
>>2546
That's one big reason for the earmuffs, they're a reference to Leia.
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No.2552
>>2549
How the fuck did I miss this?
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No.2555
Just watched Argento's L'uccello dalle piume di cristallo (The Bird with the Crystal Plumage).
I honestly didn't like it as much as Profondo Rosso or Tenebrae.
Felt a bit too derivative from Bava's Sei donne per l'assassino but not as stylish, with poorer performances and poorer action. There's plenty of dumb victims doing implausible things when in danger. Like, if you're about to get raped or murdered with a knife you don't grip your bed as if trying to endure the pain, you try to grab the hand that holds the knife. Some actions seemed more fitting for the more dreamlike works of Argento such as Inferno than for a giallo firmly grounded in the real world. There's foreshadowing of the ending but it's not nearly as subtle (yet less conclusive) than in Profondo Rosso. The best thing about it is who turned out to be the killer. I think it was influential. It was mostly entertaining but the tension wasn't kept as well as in other of his films. It's simply not as tight. Damn good for a directorial debut in that era, though. It showed that Argento was a promising director.
>>2552
I knew beforehand so I guess it doesn't really count lol
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No.2559
Just watched Il gatto a nove code (1971, The Cat o' Nine Tails) by Dario Argento. The second installment of the animal trilogy, it's an impressive improvement on L'uccello dalle piume di cristallo.
Overall a lot more intense, with better murder sequences and without the derivative feel from the previous installment and a tension that won't give up. Makes me wonder what made Argento improve so much in just one year. Was it the better budget allowing him to discard more takes in search of excellence? Was it the criticism making him able to recognize and correct his flaws? Was it just the experience? Whatever it was, I'm impressed.
There's very little bad things to say about this movie. mostly nipticking about plot details like the implausibility of the murderer knowing about the photographer having the picture.
There's a good deal of false leads that make the guessing game all the more exciting, and chases by foot that are a staple of that era of filmmaking. You don't see those rooftop chases anymore and they're great and engaging cheap to produce action.
You can't miss this one, not as stylish as Profondo Rosso but great nevertheless. Highly recommended.
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No.2560
Got done with 4 mosche di velluto grigio (Four Flies on Grey Velvet, 1971), finishing the Animal Trilogy. Once again, Argento delivers. This time dreams play a big role, and there's some elements from the first movie like the visits to some unsavory yet helpful characters. There's some sketchy forensics but they're quite effective as a plot device and certainly more believably if more outlandish than what you'd see in CSI. Argento likes playing with ideas from fields that are foreign for most watchers, including myself. Disproven ideas, but ones that make for brilliant plot devices. The soundtrack was really nice too. I suspected the killer's identity fairly early, but the film has some details that throw you off.
It also included some horror elements that would later show up on Profondo Rosso, like the puppets.
Great lighting too, very noiresque at parts. It's stylish but not in the colorful way later Argento works are. Very refined giallo.
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No.2561
>>2560
>>2555
>>2559
I got copies of these the other night. Can't wait to give them a watch.
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No.2578
Invidious embed. Click thumbnail to play.
1987 interview with Arlene & Andy Sidaris and Playmate/actress Dona Speir.
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No.2585
Invidious embed. Click thumbnail to play.
Looks like a mix of Blastfighter & Cobra – in a good way. The poster reminds me a lot of Umberto Lenzi’s 1988 slasher Nightmare Beach.
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No.2588
Just finished watching Mario Bava's Cani arrabbiati.
It could be argued that in some parts the performances weren't the best but damn, what a tense thriller. It breathes noir. And it has a twist in the end that no one could
ever see coming. Really good stuff, highly recommended.
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No.2591
Some additional notes on ノロイ/Noroi – The Curse (2005)… This film really stuck with me, and there are a ton of things that deserve to be looked at. This is without a doubt the best and most effective found footage horror film I have seen, and it is also the best Lovecraftian/cosmic horror film. Instead of rehashing the old Lovecraftian entities/monsters, it does something new and unique, and Kagutaba is a very interesting entity worth exploring.
MASSIVE SPOILERS – AGAIN
When Kobayashi is looking for information on the name/word he comes into contact with Doctor Shioya, who has seen the name/word in an “ethnological document compiled by the Tokita county office”, and “a document that is over 200 years old.”
Kobayashi asks: “Does that mean that Kagutaba is the name of a demon?”
Doctor Shioya replies: “Well, it’s difficult to say. I think that it was just convenient for them to call the unknown entity a demon.”
Kagutaba – かぐたば – translates as “Soul of Evil” according to Bing Microsoft Translator. According to Doctor Shioya the name consists of the Kanji characters for “disaster, tool and spirit”. It is a name invented by humans, the sorcerers?, in order to name the entity, just like it was convenient for them to call it a daemon – it was something unknown and they used a term they were familiar with to classify it.
Kana’s answer to the televised ESP tests strongly indicate that Kagutaba came from the stars – very much a Lovecraftian entity! It may have been summoned from the universe by the sorcerers who used its powers to their own gain. After it turned on them it was “pacified” by a sorcerer and now rests below the ground. The villagers of Shimokage used to perform the “demon ritual” to pacify it – keep it asleep?
Kagutaba can “possess” people – enter their dreams; Marika made the loops while sleepwalking.
The thumping noises heard by multiple neighbours may be the “possessed” person trashing about in their sleep, perhaps struggling against the “invasion” of Kagutaba in their dreams. When asked about the noise, Midori, Marika’s upstairs neighbour, denies having heard the noise at all – she could either be ignorant of the noise she made, or Kagutaba has hold over her, preventing her from answering truthfully.
The “demon ritual” itself is quite interesting and worth exploring. The priest wields a sickle and uses it to cut a rope/band – the strangle-hold Kagutaba has on the people – symbolised by the weird looped bands appearing throughout the film connected with Kagutaba’s presence. The villagers of Shikamimachi have a sickle and two pieces of rope next to their entrance doors, presumably to signify that they are not in Kagutaba’s deadly web – the “ectoplasmic worms”? The claps and bows performed by the priest are unique to this ritual – one bow, four claps, one bow. The number four is considered an unlucky number in Japanese culture (as well as most East Asian cultures), because it sounds like word for “death”.
The scene at the Kobayashi home with the pigeons reminded me of the scene in Thelma where the birds fly into the window as Thelma suffers an epileptic seizure. Marika likewise suffers a seizure and collapses on the floor before a flock of pigeons flies into the window. Pigeons are somehow connected with Kagutaba – either as a sort of carrier pigeon, the daemonic entity reaching out, communicating, or symbolic of how the “plague” is spreading to new people. Dead pigeons are used in creating the magic circle found in the woods. Dogs may have been used as guardians by the villagers, alerting them of the unnatural presence of Kagutaba. Later all the dogs have been murdered and sacrificed – thus removing an early alert of Kagutaba’s presence.
The “ectoplasmic worms” could be symbolised as the looped strings. Hori’s description of the worms is reminiscent of the entities seen in Lovecraft’s From Beyond; invisible to people, existing between dimensions/realities, and possibly connecting the “infected” people in a “web”.
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No.2603
Taking my cowboy hat off to Andy Sidaris. Malibu Express (1985) is one of the most enjoyable films I have seen, maybe ever. It is very muchlike an episode of Magnum, P.I. and a James Bond film rolled into one, but with the sexiness cranked up to 11 – “bullets, bombs and babes”. This film has everything.
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No.2604
>>2603
Funny to see such a recent bump to this particular thread. I treated myself to some De Palma today, Dressed to Kill. I didn't think it would be THAT sleazy, some parts are arguably pornographic. It's considered by some to be an "American giallo" but even though the identity of the killer is arguably a mystery it doesn't quite feel like a whodunit. I felt that it lacked tension too. It's very good aesthetically, though. But it doesn't have the intensity of most gialli.
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No.2605
>>2603
>It is very muchlike an episode of Magnum, P.I. and a James Bond film rolled into one, but with the sexiness cranked up to 11 – “bullets, bombs and babes”. This film has everything.
This sounds exactly like what I want to watch tonight. Hopefully can get a copy quick smart.
>>2604
De Palma today, Dressed to Kill.
I saw this years ago and can only remember flashes. I remember thinking Nancy Allen and the colour shots were great. Would like to revisit this one. Was it the one with the really long stalking shots from the perspective of the killer?
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No.2608
>>2605
Not at all, in fact there's very little killing. Plenty of lingering shower shots, though.
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No.2610
>>2608
I must have it mixed up. Maybe I'm mixing two De Palma films together. Definitely have to revisit it now.
While waiting for Mailbu Express I took a risk on The Hunt. Must say I was pleasantly surprised. Getting Hillary Swank to play Athena was particularly brilliant if not serendipitous. Our former muse even plays a role which I think you'll get a kick out of watching her character arch play out.
What blew my mind is that Damon Lindelof was one of the writers and I absolutely detest any of his previous work that I've seen.
The main lady was hot and now I want to see more of her work.
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No.2611
Glad I dl'd 2 copies of Malibu Express. One of them is some soft core erotica where they're on a boat of the same name kek. Now that would have been a confusing watch.
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No.2612
>>2603
>>2611
So it took me until 55 mins into this to realise that the first one that I thought couldn't possibly be Malibu Express and was some erotica rip off is actually Malibu Express and the one I started is actually Hard Ticket to Hawaii. Both files were labeled Malibu Express with 1 seeder (damn you obscure torrents!). This is what happens when you don't properly check your files in a sleep deprived state in the middle of the night. Welp, will watch Malibu later and finish watching this one. I kept wondering where the blonde guy was.
You'll like Hard Ticket… Diamonds, toxic snakes, throwing ninja stars, blondes, bazookas, and breasts. What more could an anon want?
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No.2614
>>2612
kek
That is the funniest shit I’ve read in a while. One article on Sidaris over at Daily Grindhouse called him “the king of hardboiled softcore”.
<We've never shown anything below the waist, and we don't do any bumping and grinding or any of that crap. We just do a little bit of sexy stuff. I like our pictures, because they're nice little adventure pictures. They're not mean-spirited, and I think you know that. In our movies, we don't put a knife to some girl's throat and say "We're gonna cut your t*** off, or cut your throat." We don't do crap like that. We have a family atmosphere, we pay well, and we pay on time.
digitallyOBSESSED! Interview: Andy Sidaris: Bullets, Bombs, and Babes: http://archive.vn/msid7
I got this copy. Malibu.Express.1985.1080p.BluRay.x264-BRMP – 8,75GB, but worth it. Should have Hard Ticket to Hawaii ready tonight, and I got a 1080p copy of Sexykiller, morirás por ella as well. I believe Malibu Express is the only film with a male lead, after this one he focused on the Playboy Playmates as the leads instead.
There is a pretty memorable shotgun in this film as well, a High Standard Model 10A, used by one of the villains, and Cody drives a red De Lorean.
Daily Grindhouse | MALIBU EXPRESS Is Still Packing Heat On Its 35th Anniversary: http://archive.vn/RDz6h / http://web.archive.org/web/20200524014719/http://dailygrindhouse.com/thewire/malibu-express-35th-anniversary/
Daily Grindhouse | ANDY SIDARIS: THE KING OF HARDBOILED SOFTCORE - Daily Grindhouse: http://archive.vn/vJGRI / http://web.archive.org/web/20190201041526/http://dailygrindhouse.com/thewire/andy-sidaris-king-hardboiled-softcore/
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No.2622
YouTube embed. Click thumbnail to play.
>>2614
>That is the funniest shit I’ve read in a while.
Glad you got a laugh out of it kek.
<We just do a little bit of sexy stuff. I like our pictures, because they're nice little adventure pictures. They're not mean-spirited…
You know, as I was watching Hard Ticket… with my sleepy eyes, I thought more than once how nice it was to watch people having fun. Relaxed sexual play mixed in with a silly story. It just doesn't happen anymore. Like Sidaris said, they're not mean-spirited, it's just fun.
I must say it was quite something to watch Ridge from The Bold & the Beautiful getting his rocks off. He never was oscar winning material kek but entertaining nonetheless.
>There is a pretty memorable shotgun in this film as well,
Wait until you get a load of the razor frisbee…The.Best.
>I got this copy.
I think I'll give the 1GB copy I got a watch first.
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No.2629
>>2622
>You know, as I was watching Hard Ticket… with my sleepy eyes, I thought more than once how nice it was to watch people having fun. Relaxed sexual play mixed in with a silly story. It just doesn't happen anymore. Like Sidaris said, they're not mean-spirited, it's just fun.
Hear, hear! Really refreshing to see a fun action adventure like that; nothing grimdark or cruel, just a fun, well-shot film. And the gorgeous women are the cherry on top.
Malibu Express was really impressive; for a sleazy/sexy action film riddled with clichés, it is very well made. Sidaris began filming football games for TV, so he knew how to frame a shot and film action. That really makes it look more expensive than it is. So often B-movies are made by people who can’t frame a shot properly, or film action, or just don’t know how to show restraint, and that really hurts a film.
>He never was oscar winning material kek but entertaining nonetheless.
Just like that guy in The Rift. For these kind of roles you need charismatic, good-looking actors and actresses who can pull off the physical stuff. I think that goes a long way in making up for any acting.
>Wait until you get a load of the razor frisbee…The.Best.
God, the wait is killing me. Been stuck on 78,97 for days now.
Saw one anon post a still of this gif scene the other day, and when I did a reverse image search to find the sauce it turned out to be from a Sidaris film (the actress is Julie K. Smith).
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No.2638
>>2555
>L'uccello dalle piume di cristallo (The Bird with the Crystal Plumage)
Finally going to watch this right now. See you on the other side.
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No.2640
>>2555
>>2638
Should have it by tomorrow. This is one of the big ones, so I wanna get a decent copy of it.
Watching the 1946 version of The Big Sleep now. Not sure if I am going to check out the 1945 version as well afterwards.
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No.2642
>>2640
>Watching the 1946 version of The Big Sleep now.
Think I saw parts of this years ago. Always wanted to watch it. Let me know if worth it.
>>2638
The Bird with the Crystal Plummage
Well, what a randomish ending. I guessed that the killer would be a woman somehow, but thought it would be his gf considering the detective recognised her. After he met the artist (ewh) I thought that it would be his gf had escaped the asylum and become a woman kek Btw the detective reminded me very much of Gary Oldman.
The viewing experience was a bit marred because I had to spend 5 mins at the start getting the stupid subtitles aligned with them speaking in the copy I had and they didn't flow that great.
>>2555
>There's plenty of dumb victims doing implausible things when in danger. Like, if you're about to get raped or murdered with a knife you don't grip your bed as if trying to endure the pain, you try to grab the hand that holds the knife.
I read it as more of a 'so terrified you can't respond appropriately' type of thing. But I do wish she had shoved the knife right into the attacker's eye at the door. Opportunity missed.
Did you notice the 'Black Power' and Einstein posters prominently displayed?
>The best thing about it is who turned out to be the killer. I think it was influential.
Yes I do like how Argento often completely fucks with expectations (and does it much better than movies often try to do today). It did feel a little like a rushed explanation tidying up at the end though. Like in Blood and Roses. He really brought it all together well in Tenebrae imo.
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No.2644
>>2642
>Think I saw parts of this years ago. Always wanted to watch it. Let me know if worth it.
It was a very enjoyable film – the characters and their interactions are surprisingly fresh and modern, with well-written and witty dialogue (“you’re higher than a kite”).
After shooting had completed in 1945 they rewrote parts and shot new scenes to include Bacall’s character more in order to appeal to the public’s fascination with Bogart & Bacall and their on-screen chemistry.
The plot is pretty damn dense and confusing; as others have commented, it is more about the thrill of the investigation and watching it unfold. In his review Roger Ebert mentions the confusing plot and reshoots, and states that “the movie is about the process of a criminal investigation, not its results.”
Ended up watching the 1945 “pre-release” version today; it spends more time on the investigation to the detriment of Bacall’s character, and the relationship to Marlowe. In the bonus features there is an in-depth comparison between the 145 & 1946 versions. Some of the reshoots add subtle changes to fit the romance between Bogart & Bacall’s characters.
If you see the final version (1946) there is no need to watch the “pre-release” version. Jack L. Warner commented after seeing a final sneak preview of the finished film: “This new version, which as new scenes protecting Bacall, comes off great, and in my opinion we have 100% better picture.” In his introduction to the film Robert Gitt, who does film restoration and preservation for UCLA Film & Television Archive, states that “[t]he revisions by Hawks and his associates made a good film even better, and helped to restore and enhance the career of Lauren Bacall.”
Elisha Cook, Jr. has a small role in this, and I recognised his name in the opening credits from Roger Corman’s The Haunted Palace. There are also some interesting and amusing similarities between this film and Twin Peaks and Malibu Express, but I won’t spoil anything now, in case you want to check it out yourself.
The Big Sleep Movie Review & Film Summary (1946) | Roger Ebert: http://archive.vn/cbmMX
The.Big.Sleep.1946.1080p.BluRay.HEVC.AAC-SARTRE
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No.2652
>>2640
>>2642
>>2644
What a coincidence, I watched it the other day too. Not gonna lie, I didn't like it much. Like an anon over at tvch said, it's too much like a stage play. Is it just me or does the book girl resemble Emma Stone?
The Maltese Falcon is better in my opinion.
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No.2656
>>2652
Knew going in that it was more about the characters, their interactions and the investigation, so I wasn’t disappointed or thinking it was going to be something it isn’t.
It does come off like a stage play, but I kinda like that, and Hitchcock’s Rear Window (1954), has a similar look and feel without it being any less enjoyable. The dialogue is witty and clever, and, along with Bogart & Bacall’s on-screen interactions and chemistry the film’s strengths.
<“The plot didn’t matter at all. All we were trying to do was make every scene entertain. I can’t follow the story. I saw some of it on TV the other night and I’d listen to some of the things [Marlowe] would talk about and it had me thoroughly confused.”
— Director Howard Hawks
SPOILERS AHEAD
There are some noticeable similarities between this film and Twin Peaks…
Carmen Sternwood, and to a lesser extent her sister, Vivian Rutledge, are very much like a combination of Laura Palmer & Audrey Horne. They are rich, and both Carmen and Audrey act coy and flirtatious with an older investigator/agent.
Carmen and Laura are mixed up in some shady business and have developed a drug addiction, and gotten mixed up in porn/prostitution – Carmen in Geiger’s illegal porn racket, and Laura in prostitution (Fleshworld magazine).
There is also a scene at a casino where the characters play the roulette and a private detective/agent is there looking for clues.
Also like in Twin Peaks the focus is on the characters and their interactions, not about solving the mystery; the mystery/investigation in The Big Sleep & Twin Peaks are very engaging and complex, and there are some very sinister things going on below the surface – young women being exploited, drug addiction, multiple murders…
Pretty early on I was reminded of Andy Sidaris’ Malibu Express (1985); first Carmen, then the Acme books lady, and then the taxi driver flirts with Marlowe… Like in a Sidaris film every single woman in the film is drop-dead-gorgeous and wants to get with the smooth-talkin’ private detective. Only difference is we would see a lot of tits on display if Sidaris had directed this film.
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No.2657
Just finished Mario Bava’s 1966 film Operazione paura/Kill, Baby, Kill aka Operation Fear aka Don’t Walk in the Park. The copy I watched had the German titles: Die toten Augen des Dr. Dracula
Which is a rather misleading title since there is no Dr. Dracula or vampires in the film, though there is a doctor and someone’s “dead eyes”.
As I expected the film is visually stunning – Bava’s camerawork is impeccable, and his use of lighting is a delight. Burton’s Sleepy Hollow owes a lot to this film, as there are numerous striking similarities; the rational protagonist arriving in a small, highly superstitious town to assist with the investigation of a recent death, the autopsy of a young woman angering the fearful villagers, who are less than welcome to him from the beginning, witchcraft, and a killer come back from beyond the grave to get revenge… There are others as well, but then I’d be getting way too deep into spoiler territory.
One of the most surreal scenes in the film is pretty much straight out of Twin Peaks: The Return, where Cooper is chasing his doppelgänger and always ending up in the same place.
Gonna need some time to figure this one out. A lot of things that deserves to be looked at here.
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No.2659
>>2559
>The Cat o' Nine Tails
Just got around to this one.
>it's an impressive improvement on L'uccello dalle piume di cristallo.
100% agree. Much better pacing kept me more engaged and as you said, a tension that doesn't give up.
>mostly nipticking about plot details like the implausibility of the murderer knowing about the photographer having the picture.
IKR? The killer always seems to know where people are for no reason. Or that there was another print sitting there waiting to be developed that was never returned to. I guessed the killer merely because they weren't mentioned again after first going through a number of names and only seen near the beginning. I must say I did get confused with the fiance and the fag. Were they both corporate spies or working with corporate spies? The comic relief cop always talking about his wife's cooking reminded me of similar bits and oddball humour in Hitchcock films, also some of the shots, like one of the milk shots. Btw, is that one of the least efficient milk containers or what?
<xyy
>implying chromosomes exist
>inb4 this film gets banned for wrong think and displaying people drinking milk.
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No.2660
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No.2666
>>2659
Yes, there was some corporate espionage going on. That's why they didn't want the police snooping around.
The milk cartons confused me too, turns out they're the original TetraPak cartons. Apparently designed to be stored like this at whatever part of the process.
The XYY trisomy was originally thought to be linked to aggressive behavior but later debunked, but Argento never let those facts get in the way of a proper story (when you see 4 mosche di velluto grigio you'll see some things that will make CSI look realistic, lol).
Also "the photographer having the picture" was meant to be in a spoiler but I had a brain fart and italicized it instead.
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No.2668
>>2666 (checked)
>The XYY trisomy was originally thought to be linked to aggressive behavior but later debunked
It made me think of that 'warrior gene' stuff that was being talked about around 5 years ago. Over-represented in prisons.
>Also "the photographer having the picture" was meant to be in a spoiler but I had a brain fart and italicized it instead.
Kek, I thought you were just emphasising the point.
>The milk cartons confused me too, turns out they're the original TetraPak cartons.
I've only seen that packaging used with icy poles.
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No.2669
Bit late to the party on Dario Argento’s Suspiria (1977). Had never seen the entire film before.
Way back I had made a note in my Commonplace Book on De Quincey:
<Thomas De Quincey – English essayist, best known for Confessions of an English Opium-Eater (1821). Many scholars suggest that in publishing his work De Quincey inaugurated the tradition of addiction literature in the West. Dario Argento used De Quincey’s Suspiria de Profundis, particularly the part Levana and Our Ladies of Sorrow, as an inspiration for his Three Mothers trilogy of films (Suspiria, Inferno & The Mother of Tears).
There were also a few elements of the film similar to E. F. Benson’s ghost story The Sanctum, though that story deals with Satanists, rather than witches.
The Sanctuary by E. F. Benson (Online Text): http://archive.vn/uOzlf / https://web.archive.org/web/20190610063130/http://www.steve-calvert.co.uk/public-domain-texts/e-f-benson-the-sanctuary.html
Absolutely beautiful film – stunning cinematography, Bava-esque use of colours, and the music by Goblin fits this film perfectly. Story-wise it is somewhat uneven, though Fulci said in an interview they were making “absolute films”; “we tried in Italy to make films based on pure themes, without plot, and The Beyond, like Inferno refuses conventions and traditional structures…”
The same is true with Suspiria, and even though certain parts feel more forced than others – the exposition on witchcraft and Helena Markos – the visuals, music and atmosphere generated easily compensates for the non-traditional story-telling technique.
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No.2675
And that’s the second part of Argento’s Three Mothers trilogy down.
Noticed right away how similar the interior of the building is to the ballet academy in Suspiria, which makes sense since the buildings were designed by the same architect.
The underwater scene where Rose dives in to find her keys immediately came back to me when Mark begins tearing open the floorboards and hacking through the concrete layer beneath in the exact same shape as the hole Rose found in the basement. I was certain there would be some kind of time loop shenanigans going on so that Mark was the dead body Rose found.
Again it was absolutely beautiful to look at; the unrealistic lighting (red and blue) is very æsthetically pleasing to the eye, and the sets are stunning. The apartments in the building are gorgeous – Rose’s in particular, with her old books, fountain pen and writing desk, and the wallpaper…
Any idea what the significance of the full lunar eclipse was? Mr Kazanian brought attention to how rare it was, and the eclipse happens as he is butchered in Central Park.
Two more observations regarding Suspiria…
When discussing The Kindred (1987), WebMAnon pointed out the sinister implications with the left side. In the film the teachers walk to the left instead of the right (the exit) at night. Undoubtedly a reference to the “Left-hand Path”.
After the film ended I also remember that there is a strange similarity between Suspiria (1977) & Lucio Fulci’s The Beyond (1981); in both films a blind character is killed by their guide dog who suddenly turns on them, going straight for the throat.
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No.2689
>>2560
>Once again, Argento delivers.
I was impressed during the beginning, but it seemed to drag and fall a part as it went on for me. The comedic parts seemed oddly placed. It didn't have that constant suspense as in Cat of Nine Tails.
>There's some sketchy forensics but they're quite effective as a plot device
Yes that was quite clever.
>The soundtrack was really nice too.
RIP Morricone. He just died today. I also saw Bruno Nicolai's name in the credits.
>I suspected the killer's identity fairly early, but the film has some details that throw you off.
Right, like the hands of the "killer" as they wrap the wire around a victim's neck.
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No.2733
I think /bestemma/'s return is officially off the menu. I tried to contact Codemonkey via twitter to no avail. He didn't even reply about whether or not I could have the backup or if it still exists. It's all so tiresome, I wish he'd had been straight with me months ago. I don't even get why it's not restored, it was anything but controversial.
>>2675
I commented on Inferno in the 80s horror thread, if you're interested this is the post: >>2457
>The underwater scene where Rose dives in to find her keys immediately came back to me when Mark begins tearing open the floorboards and hacking through the concrete layer beneath in the exact same shape as the hole Rose found in the basement. I was certain there would be some kind of time loop shenanigans going on so that Mark was the dead body Rose That one was a highlight. Mario Bava directed that part.
>Again it was absolutely beautiful to look at; the unrealistic lighting (red and blue) is very æsthetically pleasing to the eye, and the sets are stunning. The apartments in the building are gorgeous – Rose’s in particular, with her old books, fountain pen and writing desk, and the wallpaper…
I wasn't too impressed with the lighting, seemed a bit cheap to me. Like it lacked warmth. The color in Suspiria was definitely better. The rest was gorgeous though.
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No.2736
>>2733
>I don't even get why it's not restored, it was anything but controversial.
I don't get it either.
/bestemma/ will always be welcome here anon. Will you try to start another board? Is that even possible yet?
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No.2753
>>2733
Figured as much. It seems the whole process of bringing back boards has come to an end. It’s been a while since I last saw an announcement that a board had been brought back.
Jim & Ron just want the QAnon crowd now, not to bring back the good old days of 8chan.
Any ideas on what happens now?
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No.2755
>>2736
Nice to see my OC still around.
>I don't get it either.
I suppose they halted the migration process for whatever reason and the board was left among the ones that didn't get in early enough. It could have been that I requested three board restorations at once back in the day (/bestemma/, /worstemma/ and /julia/).
>/bestemma/ will always be welcome here anon.
Thanks BO, I really appreciate your hospitality.
>Will you try to start another board? Is that even possible yet?
I'm not sure, the whole ordeal has greatly demoralized me. I had even helped with bug reports and other things but I guess Jim and Ron's vision of the site doesn't include a board like mine in it. I think it's possible to request new boards but 8kun feels like a sinking platform to me.
>>2753
>Jim & Ron just want the QAnon crowd now, not to bring back the good old days of 8chan.
I'm not even sure it's about QAnon, but it probably plays a role. I guess it's QAnon plus boards that allow them to virtue signal as a home to the ostracized. I can't imagine of another reason for them to bring back weird fetish boards like the one with the diaperfags while taking forever to bring back /tech/ for example. I suspect boards of a more sexual nature serve as a shield to /pnd/ and /qresearch/, which would explain why BO was able to get /sapphic/ back despite some irregularities. If anything, I'm glad this board had that going for it, we wouldn't have a place to hang out together without that.
I had floated the idea of launching my own site but I've seen some nasty stuff going around lately with entire sites getting attacked for seemingly no reason.
As for alternative imageboards that could maybe host us, Josh's software looks interesting but the site is full of scum and I don't want anything to do with Mark's website. I would rather not be on any place with lynxchan as the software either.
>Any ideas on what happens now?
For now I plan to keep abusing BO's hospitality, at least until I get some idea that I'm enthusiastic about. The best part about 8chan was that you didn't have to worry about all the backend stuff and it was free. And you were one more fish in the shoal, a shoal with fatter fish that were more interesting to predators. Being one little fish in the wild doesn't afford you that protection. I wish I could provide better answers but for now that's the best I can come up with.
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No.2758
>>2755
>If anything, I'm glad this board had that going for it, we wouldn't have a place to hang out together without that.
Same. It was not fun when the site went down last time.
>For now I plan to keep abusing BO's hospitality,
Kek, you are most welcome.
>The best part about 8chan was that you didn't have to worry about all the backend stuff and it was free. And you were one more fish in the shoal, a shoal with fatter fish that were more interesting to predators. Being one little fish in the wild doesn't afford you that protection.
Yes.
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No.2761
Invidious embed. Click thumbnail to play.
>>2755
Looks like board migration is still happening. Unless Ron said something /bestemma/ could still make a comeback. With 8chan you had a sense of security – it had been around since 2013, and it took a lot before it finally went down. I very much doubt the Webring has that lasting-power – it’s only been around for a short while, so who knows if it will be around in a year or two.
NEON just put out a teaser trailer for Brandon Cronenberg’s new sci-fi/thriller Possessor.
<From the visionary mind of writer/director Brandon Cronenberg, POSSESSOR is an arresting sci-fi thriller about elite, corporate assassin Tasya Vos. Using brain-implant technology, Vos takes control of other people’s bodies to execute high profile targets. As she sinks deeper into her latest assignment Vos becomes trapped inside a mind that threatens to obliterate her.
The lead is played by Andrea Riseborough (Mandy), and Sean Bean & Jennifer Jason Leigh are also in it, as well as some unfamiliar names: Christopher Abbott & Tuppence Middleton. Getting some major Red Queen… vibes from the mask shown on the poster/video thumbnail.
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No.2763
>>2758
Thanks BO!
>>2761
Interesting, however the at this rate if it ever got restored it could take years. I suspect the restorations have something to do with Ron's personal interests. You know, he asked about Smiley around the time he restored /fringe/. And /1cc/ is Japanese stuff. I hope you're right though (but I still expect nothing).
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No.2766
Any of you fine folks get around to watch Tenemos la carne/We Are the Flesh?
This film is borderline pornographic and easily the most pretentious film I have ever seen. There is a ton of nudity in this, and at first I thought the dicks were fake, but later on there are lingering close-ups of genitals, and graphic sex scenes.
Around the halfway point we are treated to a sex scene between the two of the characters, brother & sister, beginning with a blow job. This is followed up a sex scene shot in infrared (4:3 format) set to some song I can’t even begin to describe. Once the infrared hanky-panky (thankfully) ends, we go to a wide shot of the two lovers going at it on the floor whilst some hobo is watching the spectacle; singing some nonsensical song and jerking himself off till he blows his load (presumably onto the two lovers). As he ejaculates he falls backwards and out of view – dead.
It tries so hard to be shocking and edgy it almost feels like a parody. But the film is far too pretentious for that to be the case.
It almost feels wrong to recommend this film to others, but I think we need to get this one on the tvch Film Club. I want to see Gahoole’s reaction to this one.
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No.2767
Found another bunch of films that look interesting. Yes, Madam! is a Hong Kong action/comedy/crime film with Michelle Yeoh & Cynthia Rothrock. A lot of the comedy is way over-the-top, and the characters speak really fast so the subtitles fly by. Love the 1980s fashion and martial arts scenes though.
In The Line Of Duty 2 / Yes Madam ! / Police Assassins Trailer (HQ): https://invidio.us/watch?v=g4IAe3VmUpk
<Silk, the toughest cop in Honolulu, busts small time smugglers only to reveal a larger syndicate smuggling Asian mobsters into the States by buying the identities of Hawaiian citizens.
Silk (1986) [Trailer]: https://invidio.us/watch?v=zrVfmB9HbNw
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No.2768
>>2767
>'Yes, Madam!'
Ah yes, I recall downloading a 316mb version of this (must have been from yt) when we were talking about Rothrock on /bestemma/ some time ago. When I saw it had Michelle Yeoh, I couldn't resist!
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No.2769
>>2767
>In The Line Of Duty 2
I saw In the Line of Duty 3 on late night tv one night in the 90s (early 2000s at latest) and LOVED it. I have never been able to find a copy online. Went through the production company and found some niche site selling dvds, but never ended up buying it.
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No.2770
>>2767
>Silk
<'cos I'm so fucking smooth
Brilliant. Definitely one to watch.
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No.2771
>>2768
Ah, I see you’re a man of culture as well.
Found a 6,55GB copy (SADPANDA), but there is some really dodgy dubbing going on, the characters speak so damn fast the Engrish subtitles are flashing on the screen, and the . Had to pause, go back and reread the last bit of the subtitles again and again. It was nice to have a break whenever there is a fight scene, and no dialogue.
Wished they would have focused more on Yeoh & Rothrock’s characters, rather than the shenanigans of the three scoundrels Strepsil, Apsirin & Panadol. Ng & Carrie are underdeveloped, and seeing them clash at first, slowly bond and then team up to take out the badguys would have made for a fun buddy cop comedy martial arts film on its own.
Been trying to get a copy of the Michelle Yeoh film Silver Hawk from 2004, but not many seeders on that one; been stuck on 34% for a while now. Not seen the film since the 2000s, when I caught it on TV. This film is peak Y2K æsthetic; the mise-en-scène is almost entirely grey, metallic and white, with splashes of extremely bright colours interspersed, and of course the Y2K fashion and the metropolis setting (skyscrapers of concrete, steel and glass). Yeoh plays Silver Hawk, a Batman-style superhero:
<Lulu Wong lives a double life – part urban social butterfly, part vigilante superhero.
>>2769
Doesn’t help that they messed up the numbering on this series… According to Wikipedia Yes, Madam! is the first in the series, even though it was also titled Police Assassins 2 or II when it came out in the US/UK. The second film, Royal Warriors (1986), was titled Police Assassins in the US/UK. The third is In the Line of Duty III (1988) and Cynthia Khan takes over for Michelle Yeoh as the lead.
https://en.wikipedia.org/wiki/In_the_Line_of_Duty_(film_series)
>>2770
Yeah, that director, Cirio H. Santiago made a bunch of B-movies shot in the Philippines, including a lot of Viet Nam war films. Some joker on Wikipedia must have written the filmography; Silk is listed as a “Slow, boring detective drama.”
https://en.wikipedia.org/wiki/Cirio_H._Santiago#Director
There is also a sequel from 1989: http://wrongsideoftheart.com/2009/05/silk-2-1989-usa-philippines/
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No.2785
Just sat through what is undoubtedly the worst film of the year: Amulet is the directorial debut of (((Romola Garai))), and it is not only one of the slowest paced and pretentious films I have seen ever, the feminist agenda is about as subtle as a sledgehammer to the face. This film is marketed as a horror film, and it tries to masquerade as such from time to time, wearing some tired old horror tropes as Buffalo Bill wears a skin suit. But the mask slips early on, and its true goal, to peddle a pretentious feminist agenda shines through the cracks.
The characters are bland and clichéd from the get-go, and in the third act it feels like we are watching a parody of a radical feminist’s fever dream. There are two or three half-assed attempts to actually scare the audience awake, but these never has any payoff and fizzle out right away.
There are some “WTF” moments, and attempts to build up an eerie atmosphere, but just as soon we are trapped in the same agonisingly slow mess of a story.
The third act/finale is when the film decides to go for broke and just dives headfirst into the abyss. All attempts to masquerade as a horror film is gone and we are treated to the most pretentious feminist idea of a “revenge”, culminating in a pregnant male giving birth.
The symbolism and message, or agenda, is so in-your-face and hamfisted I genuinely wonder why the writer/director tried to put up the façade of a serious atmospheric horror film in the first place.
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No.2788
>>2785
OMG please post some webms.
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No.2789
>>2788
Some context(!) for the first WebM: Tomaz is a war veteran with PTSD living as a refugee (though the war is over)and is given the job of doing repairs on the house where Magda lives with her elderly, dying mother locked away on the top floor. Only, it turns out Magda’s mother is actually her father, who gives birth to massive albino bats, and back in the day he murdered his wife and was planning to “elope” with his daughter. And if that wasn’t enough, it turns out Tomaz is a rapist – the film has been teasing or alluding to some sort of warcrime as a cause for his PTSD-fuelled nightmares. Anyways, after killing the “mother” upstairs Tomaz opens a door and this happens…
Other than Tomaz there is only one other male character given dialogue in the film, a passenger in a Volkswagen (obvi.) driving past a group of refugees yells: “Oi! Why don’t you lot fuck off back home?” This happens six minutes and thirty seconds into the film, and from that point I knew we were headed for troubled waters. The guy even leans out of the window in a comical fashion as he does it.
Tomaz backstory is told in a series of painfully boring flashbacks; he finds an amulet in the ground, and he helps hide a woman who is on the run, trying to reunite with her daughter on the other side of the border. She tells him the amulet/figurine is “[a] women guard]. An amulet. Perhaps she will protect me.”
The figure looks pretty androgynous to me, but worst of all, it looks exactly like the Angel of Death from Hellboy II: The Golden Army only without wings.
We also learn that Tomaz’ mother was a dentist (obvi.) and it was thanks to her that Tomaz got a cushy border guard position, thus likely saving his life. Seems strange there would be just one guy stationed at a border post during a war… there should at least be two, and they’d sleep/watch the border in turns.
While on guard duty Tomaz is reading a books by philosopher (((Hannah Arendt))) – I am certain her being a woman and a Jew like the writer/director is pure coincidence – and when he lives in England he is working on in thesis. When Magda asks him about it he only reveals that it is about “Philosophy, the study of ideas.” to which Magda responds that “I know what philosophy is.” Brilliant. Just brilliant.
I just can’t made head or tails out of the subtle and highly esoteric shell symbolism… perhaps you have any ideas?
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No.2790
>>2788
This second WebM happens directly after the first were Tomaz gives birth. There is a cut to black and we cut to Magda now driving around Dartmoor, though the film wants you to think it is the same Eastern European country Tomaz came from. How did she get the car? The woman at the gas station is of course the same woman Tomaz met on his guard duty and raped (because he’d become dependent on her? He seemed pretty able to take care of himself out there, but whatever). No mention what happened to the woman’s ex-husband who managed to get the daughter across the border. At the gas station Magda buys some food, but is told by the woman that she wouldn’t even feed that stuff to a pig, to which Magda just about winks at the camera and says that she “fucking hate cooking.” After telling the woman at the gas station to “never forgive”, she drives off, tosses the food she bought at the gas station into the backseat, where Tomaz is covered by a blanket, and the film ends with her laughing.
The cherry on top is the godawful “reverse” end credits, ’cause this film isn’t like other films.
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No.2791
>>2789
>I just can’t made head or tails out of the subtle and highly esoteric shell symbolism… perhaps you have any ideas?
From what you've written. The inside looks like he is returning to the womb/birth canal, which is inside a nautilus looking shell that symbolises eternity or the source of all things [mother] then there's the hive queen (never saw the Hellboy sequel but it made me think of the egg laying queen in Aliens. Oh hey it's the evil witch from Harry Potter, Umbrage. I bet the 'monstrous feminine' thing has something to do with it all. Still haven't read over the concept again, but saw you linked to it (I think in relation to The Blood Spattered Bride).
>>2790
Wait did Tomaz also rape Magda? Why does she hate him? Does she know her 'mother' is actually her father?
>After telling the woman at the gas station to “never forgive”
Does she say "never forgive" or "never forget"?
Did Tomaz confess to Magda and give her the amulet and she knows who the gas station woman is and that's why she returns the amulet? Wouldn't the gas station lady be like "wtf?" and why would she smile to remember when the amulet failed to protect her from Tomaz?
What the hell is the albino bat part?
I think I'll give this one a pass seeing how from your review and the webms it looks like an "educated" wank fest. Unless you think it's so bad it just has to be seen?
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No.2793
>>2791
I was joking, since the shell/vagina/womb symbolism was to blatant, but I agree with what you wrote.
Assume the Magda version of the guardian/amulet represents the womb/uterus. The shell also brings to mind Sandro Botticelli’s painting The Birth of Venus, and, depictions of Venus from ancient times.
>Wait did Tomaz also rape Magda?
No. They went out to a bar/club once, and it looked like there was some attraction there, but when they danced and she tried to kiss him he freaked out and took off. Probably the PTSD from the war and the feeling of guilt has made him unable to connect with someone romantically. Later on he appears to forgive himself and there is a scene of them resting on a récamier, so it is implied they had sex.
>Why does she hate him?
I could try to come up with something that would sound plausible given the film’s agenda: Like Magda’s father Tomaz is a sinner, and when he forgives himself for what he did during the war that enrages the guardian/goddess and he must then replace the father.
Both Tomaz & the father harmed women – Tomaz raped a woman, and the father killed his wife, who was a mother of six, and a newspaper article mentions he planned to elope with his daughter, so I guess we can add incest to his list of crimes.
Because of this they are tormented by a “daemon” – “toxic masculinity” is like a daemon, causing them to hurt those they should care for/women.
Since they have no womb/uterus their daemonic bodies can only create evil, i.e. give birth to these horrible albino bats.
Guessing this is what the director was getting at.
>Does she know her 'mother' is actually her father?
Oh, yeah.
>Did Tomaz confess to Magda and give her the amulet and she knows who the gas station woman is and that's why she returns the amulet?
No, and I have no idea how Magda got hold of it. Unless I am mistaken we never see Tomaz having the amulet with him in England.
>Wouldn't the gas station lady be like "wtf?" and why would she smile to remember when the amulet failed to protect her from Tomaz?
That would be the logical response, but this film doesn’t bother with logic. I assume the idea is that Magda now has exacted revenge on Tomaz on behalf of the guardian/goddess, and she lets the gas station lady know by giving her the amulet back.
>What the hell is the albino bat part?
WebM .mp4 related
>Unless you think it's so bad it just has to be seen?
It isn’t enjoyably bad, as a lot of bad films (The Room, Birdemic) &c.), just so pretentious and preachy it feels like a propaganda film given a story as a framework to keep the whole thing together. I’ll make sure to seed this as long as I can to prevent other people from paying money to see this atrocity.
Just saw Las brujas de Zugarramurdi/Witching & Bitching (the Spanish 2013 film with Macarena Gómez), and it turns out it is (unironically) a perfect double feature with Amulet. There are so many weird similarities in theme and visuals at times, but it is its mirror image – everything is opposite & turned on its head. You have the idea of the “monstrous feminine”, the Venus of Willendrof figurine, and an old pagan religion worshipping a guardian/goddess, and a sort of battle of the sexes. Even small details like the soldier and seeing something eerie in a toilet! The film is absolutely bonkers, pure insanity. It turned to brain to mush.
If you do end up seeing Amulet you should make sure to watch Witching & Bitching right afterwards.
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No.2794
The second scene with the albino bats.
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No.2795
>>2793
>I was joking, since the shell/vagina/womb symbolism was to blatant, but I agree with what you wrote.
Lol I was wondering but erred on the side of caution.
>Since they have no womb/uterus their daemonic bodies can only create evil, i.e. give birth to these horrible albino bats.
Amazed the TRA haven't SHUT IT DOWN yet.
>Birdemic
Never heard of this. Going to look for a copy right now.
>just so pretentious and preachy it feels like a propaganda film given a story as a framework to keep the whole thing together.
Looks fairly boring too.
>Just saw Las brujas de Zugarramurdi/Witching & Bitching (the Spanish 2013 film with Macarena Gómez)
>If you do end up seeing Amulet you should make sure to watch Witching & Bitching right afterwards.
Got a copy of this yonks ago when it was discussed on /bestemma/ I think. Will definitely give it a watch, but will just skip Amulet entirely.
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No.2800
>>2795
>Never heard of this. Going to look for a copy right now.
Every scene in that film could be turned into a WebM of pure gold. As bad as it is, I think you will enjoy it a lot more than you would Amulet.
>Got a copy of this yonks ago when it was discussed on /bestemma/ I think. Will definitely give it a watch, but will just skip Amulet entirely.
Wise decision. Amulet is no worth wasting time on. Witching & Bitching was a total blast though – totally insane and very intense. The film is pretty damn redpilled as well, which was nice to see. This could never have been remade in the US, and if it was given a wide theatrical release in the US now heads would explode.
The ending, where the characters are watching Sergio’s magic show performance reminded me a lot of the ending to Death Becomes Her, where Meryl Streep & Goldie Hawn’s characters are watching the funeral, and gloating. In this film the three witches do the same thing – and Macarena’s character, Silvia, having taken Eva’s spot in the trio.
In the ending Eva has left behind the pagan witch religion, and she’s ditched the “punk rock grill” look – just like in We’re the Millers, where Roberts’ character has to ditch that look to look the part in the happy family they are pretending to be.
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No.2810
>>2800
>As bad as it is, I think you will enjoy it a lot more than you would Amulet.
17 mins in and I just can't. I had to stop it. Will try again when in a better head space. Looking forward to what I imagine will be amazing special effects of attacking birds?
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No.2822
>>2810
Guess you need to be in the mood for some insanity to be able to enjoy it. The special effects will blow your mind.
Came across The Villainess when I was looking through Arrow’s catalogue the other day – looks like a fun John Wick-esque action film, but when ever better and crazier stunts.
The Villainess - Official UK trailer: https://invidio.us/watch?v=srr_7fM-hL4
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No.2838
Been reading the script to As Above, So Below (2014), and there are a lot of interesting differences from the finished film – most of them would have been better, but I am glad they decided to ditch one bit…
The pfd can be DL’d here: http://www.horrorlair.com/movies/as-above-so-below-screenplay.html
* After Scarlett sneaking into a war zone there is a different introduction to her and Benji, at her university office where they set up a Kickstarter campaign to fund the quest/documentary for the philosophers stone.
* Benji is an overweight Irish guy – guess the studio needed a more diverse cast so they made him black in the film. Zed isn’t described as a mulatto/56% either…
* Instead of the weird cult chanting, they encounter an underground theatre showing the silent Phantom of the Opera with Lon Chaney set to music by Aphex Twin, there is also an underground rave where a skinhead with a swastika tattoo picks a fight and George later utters the line “I literally punched a Nazi.”
* La Taupe isn’t a catatonic when they meet him, but he is “high as a kite”
* The way George’s phobia of being underground is explained is much, much better.
* At one point, pg 59, Scarlett is referred to as Sophie, so that may have been her original name.
* Papillion disappears when the ceiling in the alchemist chamber, and when he appears in the second/mirror alchemist chamber he is the one who attacks Souxie.
* La Taupe wears a face-mask, and when it comes off it is revealed that he has burn scars on half his face (another Phantom of the Opera reference?) – he is the one who is pulled into the burning car, not Papillion.
* When they are making their way back they move through hellish versions of the underground rave and underground theatre. The film being projected on their way back is Häxan/Witchcraft Through the Ages (1922).
* On her lone trek back to find the real stone Scarlett encounters, and is tormented by, daemonic versions of her father instead of the stone monsters.
* The way Scarlett figures out they need to jump down the abyss if explained and ties in with the recurring ideas from ancient-Egyptian mythology.
* Zed’s sin is revealed to having been part of a hit-and-run.
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No.2850
>>2822
A bit too much like Hardcore Henry/False Alarm for my taste, I prefer the more traditional cinematography of John Wick honestly.
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No.2851
>>2850
Watched it the other day. The action scenes are very chaotic and intense – the opening is done in a first person POV, and the end mostly in an “over the shoulder” style found in video games. Kinda like the chaotic, disorienting style, it makes it feel more real than a typical action film.
Wish they would have done most of the scenes with fewer enemies though. You can see badguys just hanging out in the periphery, just waiting for their time to attack. In a confined space like a narrow corridor it works better, but you still have enemies in front and behind, and they never attack at the same time; once she’s dealt with some badguys in front of her, she turns and takes out some of the guys behind her. It is all very fast and intense, but it feels stilted and artificial nonetheless.
Still, the camera work is very fluent and beautiful, perhaps a bit too chaotic for some who prefer a more traditional approach, but it is absolutely seamless and very immersive. Stunning sets and costumes and lighting – the Oriental æsthetic with red paper lanterns, katanas and tea ceremonies, looks fantastic when combined with modern society: suits, motorcycles, machineguns, &c.
The story goes from hardcore action with sword-fights and blood spraying, to spy thriller, to romance with some comedic elements, to melodrama you only find in soap operas, and then back to hardcore action.
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No.2852
Emmawars are back at tvch, or more like an emmaskirmish because the only factions at war for now are Stoners and Flopsonfags: http://archive.is/T9VWy . Pretty intense OC.
>>2851
Sounds like it's absolutely like Hardcore Henry lol. If you haven't seen it check it out, you might like it.
As for me, it gave me motion sickness in parts, watching it on a large screen.
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No.2854
>>2852
There are actually Flopsonfags? That’s gotta be ironic shitposting, right?
Haven’t been to tvch since May, but I’ve seen some of Gahoole’s vids, so I know Zach is back.
Came across this relevant list on Twitter nitter of “movies ranked by largest imdb rating gap btwn males and females”.
https://nitter.net/kwamurai/status/1292229682545471488#m
Might cause some asshurt to Zach and the Flopsonfags.
nitter.net (Twitter) & bibliogram.art (Instagram) are silimar to invidio.us, and lets you browse Twitter/Instagram without any of the bs and bloat.
Btw., what is the sitch on Gahoole now? Sounds likething happened to him?
>>2852
I’ll add Hardcore Henry to my backlog. Never felt motion sick from chaotic camerawork, but the strobe lights in Daniel Isn’t Real was hard on the eyes.
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No.2855
>>2854
Zach used to post that list himself to claim that "males have no taste". nitter.net is awesome but bibliogram isn't that great at least for now, having no real search feature ruins it.
Gahoole got his stuff confiscated by the feds over a false CP report, they were women so maybe one of them was Nurse Siegethot in disguise.
I believe there were some low key flopsonfags, the ones who defended Zach whenever he got bullied. Nowadays it's probably just him.
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No.2856
Wrote down a lot more more on Las brujas de Zugarramurdi/Witching & Bitching after I saw it. There’s a lot more to it than you’d think from a crazy comedy like this.
The religion of the witches is obviously in reference to radical third wave feminism, and how this insidious idea is hurting the way the sexes get along. They aren’t satisfied with equality, they want to dominate and rule over men, and force other women to adhere to that same idea.
This film was ahead of its time, and it would be fun to see how an American audience reacted to this film today when everything is a “micro aggression” and everything must come with “trigger warnings”.
The witches openly encourage sexual promiscuity & drugs, either as a twisted form of liberation/freedom from the dreaded patriarchy, or just to ruin peoples lives. When Eva tells the other witches she has found real (monogamous) love they bury her alive – she is cast aside and reject when she strays away from their religion and teachings.
The mother goddess, a morbidly obese and grotesquely bloated monstrosity who attacks in a blind rage, is a pretty blatant parody or a caricature of the ideals pushed by radical feminists, who reject accepted beauty standards and differences between the sexes, and embrace/push “body positivity”.
The way the witches act, like a mob out for blood, highlights their flock mentality
The way Luismi, is chained and kept as a prisoner is exactly like Julie Bindel’s idea of putting all men in concentration camps – out of sight, out of mind. Eva obviously cares for her brother, and she brings him books – Westerns – so he can keep occupied, presumably against her mother and grandmother’s wishes/knowledge.
The retarded pervert at the bar is allowed to roam around unchained, probably because he is retarded and thus not a threat to the witches, but he is very much like a slave, henpecked, and completely under their control.
Meanwhile the other men in the bar only care about the TV, too busy watching schlock to realise there are witches right under their noses, and that the witches run the show and are feeding them human flesh.
None of the witches are portrayed as unhappy or hating their nature ;they absolutely enjoy their existence and way of life, but in doing so they are harming/killing people who have personally done them no harm, and if they succeeded in their goal it would be catastrophic to those who disagree with their views.
Toads are associated with witches, not least as their familiar, and in medieval times toads/frogs were associated with Satan. Is this link to Satan why the Witches are seen drinking this bile-looking liquid from the toads? By ingesting this liquid Satan grants them supernatural powers? Silvia is turned into a wicked witch when they feed her this liquid. They also try to feed her human flesh, but she spits this out.
The romance between José & Eva should’ve been handled better. You could argue that it is love at first sight, but IMHO it needed more development. When José left her behind in the tunnels I was afraid that would either be the end of Eva, or that she’d come back to get her revenge on him for rejecting her. It felt off that he would just leave her behind like that – she had been buried alive by her own relatives for choosing love over her witch cult, and it would have been nice if José realised her true intentions and what she sacrificed then and there… that it was love, and not just sexual desire/attraction, like her fellow witches no doubt would have told her.
Still, despite any shortcomings in developing their relationship, in an American film they would no doubt have José reunite with his ex-wife at the end, and have Eva die, so I was pleasantly surprised by that twist, and the film’s non-typical characters and story.
Felt really bad for the poor guy from Badajoz. He just wanted to go to his job interview, but then the taxi was hijacked by robbers on the run from the police; they are shot at by the police; he is thrown out and left in the ditch wearing only his underwear, then he is picked up again; he is tortured by Eva, who pulls out a tooth, is about to strangle him, then cuts off all his fingers and serves them as aperitifs to the witches; for the grand finale he is about to be burned alive along with the other guys. Poor guy. Glad to see him enjoying the magic show at the end, and that he got bandaged up, but still.
The three witches reminded me of the Three Mothers in Argento’s film trilogy. They are also reminiscent of the three witches in Shakespeare’s play Macbeth. Like the film, the play opens with the three witches, predicting the future: https://archive.org/details/mrvvilliamshakes00shak/page/130/mode/2up
There is also a homage to the now-lost 1927 film London After Midnight with Lon Chaney, Sr. directed by Tod Browning: the grandmother witch, who already looks like Chaney’s character in that film with her hair and makeup, puts in a pair of pointy metal teeth and grins at the camera, an exact match of Chaney’s evilly grinning character.
https://en.wikipedia.org/wiki/London_After_Midnight_(film)
Luismi is played by Javier Botet, he was also in the short film Merry Little Christmas as Demonia alongside Macarena. He was also in del Toro’s El laberinto del fauno/Pan’s Labyrinth (2006) & [•REC] (2007).
I have tried to source all the drawings, paintings and photos shown in the opening credits. Some of the choices are obvious and amusing (Merkel in particular), but others are harder to follow: https://pastebin.com/TVa7Afg5
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No.2857
>>2793
>>2800
>>2856
I hadn't seen your posts about it, I'll have to give it a watch when I have the time. Not before next Wednesday though.
I'll avoid reading more of your post until then because I already spoiled myself the burying part.
I knew it'd be packed with interesting stuff when I saw the Venus of Willendorf scene in a webm long ago. Zugarramurdi actually had witchcraft happening back in the day.
I must say I didn't expect it to have a critique of feminism, my interest has gone even higher reading that.
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No.2864
>>2857
Shiet. I was under the impression you guys had already seen and discussed it. There is enough surprises there even if you know about the burial part. The set-up for that reminded me of an entry in Lovecraft’s Commonplace Book: http://archive.is/GR3fK
<[#]142 Members of witch-cult were buried face downward. Man investigates ancestor in family tomb and finds disquieting condition.
Sounds like there is a connection between witches and face down burials…
>Zugarramurdi actually had witchcraft happening back in the day.
They mentioned that in the film, saying the place has a bad rep because of that. Think they mentioned that on a podcast I listened to afterwards as well.
One of my ancestors was a lagmann (“superior judge”) who approved the death sentences of Lisbeth Nypan and her husband Ole Nypan, for witchcraft in 1670: https://en.wikipedia.org/wiki/Lisbeth_Nypan
Lisbeth was burned to death at the stake, while her husband was beheadded, since the judge and court considered her more guilty.
On another branch of the family tree an ancestor was actually accused of being a witch (“troldquinde”) by a neighbour, claiming their cows didn’t produce milk any longer. The whole debacle ended in a trial in 1640 at Kvikne (https://no.wikipedia.org/wiki/Kvikne), and she got off because the neigbhour woman then swore she had never even accused her. Maybe she realised how severe the accusation was and backtracked her story in court?
Transcribed trial documents: https://www.trolldomsarkivet.uio.no/perl/ikos/visprosess.cgi?prosessid=131
Original trial documents: https://media.digitalarkivet.no/view/28884/89
Still, what a colourful family histroy!
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No.2884
Started watching a recent Guide to Kulchur episode yesterday, and Lars von Trier’s TV-series Riget/The Kingdom (1994-1997) was brought up. I have avoided von Trier’s films, but this series managed to interest me quite a bit, so I did watch the first episode after looking it up.
The show is basically a blend of Twin Peaks & Garth Marenghi’s DARKPLACE.
There are weird, supernatural shenanigans going on at the hospital, but it kept vague and eerie, and then you have some Lynchian characters and moments, paired with some WTF DARKPLACE bits. It blends together surprisingly well, and the show has a washed-out sepia look to it, with a complete disregard for traditional cinematography; hand held camera work only, but of course nothing chaotic or disorientating. Only four episodes in each of the two seasons, though each episode is one hour long.
At the end of the first episode Lars shows up in front of a theatre curtain and talks to the audience as the end credits roll next to him. Very weird…
<Soap opera, satire and ghosts: ‘The Kingdom’ turns 20
<Its main genre was hospital soap opera, but there was also a lot of satire, and further mixed with spooky horror elements, and to some extent everyday realism.
Sæbeopera, satire og spøgelser: ’Riget’ fylder 20 år | Film og serier | DR: https://archive.vn/HtvmG / http://web.archive.org/web/20151027130705/https://www.dr.dk/nyheder/kultur/film/saebeopera-satire-og-spoegelser-riget-fylder-20-aar
Riget AKA The Kingdom (1994) Season 1-2 S01-S02 (576p DVD x265 HEVC 10bit AAC 2.0 Danish Silence) [QxR]
Also got a HD copy of Musarañas now: Musarañas 2014 BDRip 1080p x264 DTS Castellano URBiN4HD Eng Sub
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No.2885
>>2884
>I have avoided von Trier’s films, but this series managed to interest me quite a bit, so I did watch the first episode after looking it up.
I tried too many of his offerings and never liked what I have seen. I decided to stay away from Von Trier years ago and then watched The House that Jack Built without realising it was his. DISGUSTENG. Going to have to pass.
>Musarañas
Forgot about this one. Thanks for the reminder.
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No.2890
>>2885
Baste and Kendrickpilled. I knew you would come around eventually.
Finished the second episode of Riget earlier, and I think you are right. The one decent doctor on the show is set up to be a willing cuckold now. Apparently Lars thought he was half Jewish because him mom lied about who his dad was, and he keeps doing the handrubbing pose all the time in his monologue at the end.
Probably gonna drop that show, and watch Julian Fellowes’ Doctor Thorne from 2016 instead.
Found two motion posters and regular posters for Musarañas. Avoid looking up the English poster; it looks like a massive spoiler, and like they were trying to sell it as a horror film, rather than a serious drama.
https://www.barfutura.com/musaranas/
https://www.barfutura.com/musaranas-2/
https://www.barfutura.com/musaranas-3/
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No.2896
>>2890
>Baste and Kendrickpilled. I knew you would come around eventually.
Posted only for your pleasure. I still don't get the rat girl thing.
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No.2906
>>2210
>>2214
>>2216
Finally finished the first season. And I was somewhat let down by the ending. Not to mention I suspect Halley Gross, who co-wrote the last two parts, is a Jewess. She was one of the main writers on the recent video game (((The Last of Us – Part II))), and in the last two parts of TOTDY we suddenly get mentions of Arabs & Jews being the victims of cartel violence, fascism, concentration camps, and rapists LARPing as Nazism, complete with the black Hugo Boss designed Waffen-ϟϟ uniforms.
It all does seem too over-the-top to be seriously, but I have no doubt Gross added most, if not all of these elements, and that it was done seriously.
The police detectives performing a play for Martin when he quits, felt intentionally over-the-top on the other hand. It also plays in with the Jesus symbolism; Martin’s wound, the torture he endures before his execution. What bothers me the most is that we get all this set-up, and it all comes to nothing in the end, and that I imagine there to be more depth and complexity there than there really is.
Given that Part 10 is only thirty minutes it comes off like there is a lot of padding here, to keep the other parts one hour long. I would have preferred it if NWR ignored running times and just let each part be as long or short as he felt they needed to be.
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No.2912
Took me a long time but I did it, 88888 GET on tvch. On a new thread, with an uploaded file!
https://archive.is/PulOa
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No.2913
Eastman was asking for my reviews for Argento's The Three Mothers trilogy on /tv/. Here they are:
Suspiria: >>2429
Inferno: >>2457
La Terza Madre: >>2460
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No.2924
Been revisiting Little Witches from 1996, and was surprised to see some very familiar faces: Jack Nance, Clea DuVall!
This was Clea’s first role, though she doesn’t seem to be too fond of the film. Jack Nance plays a priest at the Catholic high school, and his character is into fly fishing, just like Pete Martell on Twin Peaks. Sheeri Rappaport was also in The Craft (1996) as an extra, and Zelda Rubinstein played the medium in Tobe Hooper’s Poltergeist (1982). There is an unusually high number of Jewesses in this film… Mimi Reichmeister, Sheeri Rappaport, Jennifer Rubin & Zelda Rubinstein.
A real shame this film has not been given a Blu-ray release. IMHO it is pretty damn entertaining, with a really nice cast and fun special effects. Sadly a lot of people cannot give it a fair chance due to its similarities to The Craft, dismissing it is a cheap knock-off.
Little Witches (1996) Trailer: https://www.yewtu.be/watch?v=6Ssgs4uRK4s
Little Witches (1996) Promo Reel: https://www.yewtu.be/watch?v=pIInC-AkAlM
Femme Fatales – Volume 5 Number 12 – interviews with Sheeri Rappaport & director Jane Simpson: https://archive.org/details/Femme_Fatales_v05n12/page/n25/mode/2up
Femme Fatales – Volume 6 Number 6 – interview with Zoe Alexander: https://archive.org/details/Femme_Fatales_v06n06/page/n55/mode/2up
Femme Fatales – Volume 7 Number 10 – interview with Clea DuVall: https://archive.org/details/Femme_Fatales_v07n10/page/n3/mode/2up
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No.2951
I should probably apologize to Oliver Huntemann for this act of lockdown boredom induced hackery.
Filmed at 30 fps, low res and then cropped because my proper camera isn't currently available. I'm honestly surprised it came out roughly in focus. Best viewed using Tomorrow theme to avoid having the visuals altered by the surrounding colors, if you want to appreciate my hackery in its full splendor. Not suitable for fullscreen unless you have a 2000s phone kek.
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No.2952
>>2924
Looking "a bit" like Alexandra Daddario in that last pic.
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No.2983
>>2559
Agrred; this is a strong improvement over L’uccello dalle piume di cristallo on all levels. It feels more real and a lot darker than his previous film, perhaps in part to the “lack” of the Argento æsthetics. Argento’s use of highly exaggerated and unnatural lighting is the first thing I think of, and this film doesn’t have that, so it grounds the film better.
The scene where the killer smacks the young girl and pushes her into the backseat of his car was genuinely hard to sit through – the use of the colour red and the look of fear on the girl’s face make it a genuinely disturbing moment. More awful than any of the murders we see.
Then we have the scene where Giordani finds himself locked inside the mausoleum. His reaction made me laugh out loud. The scene where Cookie & Giordani sneak through the graveyard reminded me a lot of La notte che Evelyn uscì dalla tomba. The graveyard looks very similar, and the red light inside the masoleum, and the way Giordani puts the light down, directing it towards the coffin he is about to open, it is very similar to Miraglia’s film. Both films came out in 1971, so who knows who took inspiration from who.
Just like Giordani I thought Anna would be involved in the killings somehow; with all the talk of the XYY syndrome and criminal behaviour, the film did a fine job giving us a red herring with her maniac driving, and the revelation that she was adopted.
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No.2984
>>2660
>>2668
I believed these posts were BV's but it looks like they were BO's.
These are mine:
>>2659
>>2666
BV has seen the movie now so he can finally join the conversation.
It's a great film. I love how much Argento managed to explore from a giallo standpoint. It is a giallo but it's also an action film and a spy film. Even a touch of gothic horror. It's fantastic.
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No.2985
>>2983
Oh I just saw this new post kek, I posted >>2984 to help you find it but I'll leave it up for the commentary.
>>2983
>Then we have the scene where Giordani finds himself locked inside the mausoleum. His reaction made me laugh out loud. The scene where Cookie & Giordani sneak through the graveyard reminded me a lot of La notte che Evelyn uscì dalla tomba. The graveyard looks very similar, and the red light inside the masoleum, and the way Giordani puts the light down, directing it towards the coffin he is about to open, it is very similar to Miraglia’s film. Both films came out in 1971, so who knows who took inspiration from who.
Definitely, it's very reminiscent of that. The gothic touch I was mentioning. By the way, speaking of Miraglia, did you see this post >>2981 ?
>Just like Giordani I thought Anna would be involved in the killings somehow; with all the talk of the XYY syndrome and criminal behaviour, the film did a fine job giving us a red herring with her maniac driving, and the revelation that she was adopted.
The maniac driving didn't make me suspect her, but the milk scene and the adoption did. Not because of the XYY because that meant male, but motives weren't lacking in a company that dealt with genetics when her genes didn't match those of her parents.
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No.2986
>>2984
Quite right.
As for the milk cartons, I am pretty sure we had those here as well, but containing cream (the diary product) and various dessert sauces, not milk.
>It's a great film. I love how much Argento managed to explore from a giallo standpoint. It is a giallo but it's also an action film and a spy film. Even a touch of gothic horror. It's fantastic.
Yes, like Miraglia’s two films, and Fulci’s Sette note in nero.
La dama rossa uccide sette volte, Il gatto a nove code & Sette note in nero all manage to blend gothic horror and giallo in a perfect way. It is nice to see so much variety in this genre.
Other than the difference in camera work/cinematography, I am picking up more differences between Argento & Fulci. In Argento’s giallo films the dialogue is more snappy and witty, with more back-and-forth between the characters, who are also more laidback.
Fulci’s films are more serious, the characters very much so. This is contrasted with the odd weird character who seems almost at odds with the serious tone, though it doesn’t clash completely – somehow it works, given the genre and the often brutal violence and gore. It doesn’t feel real, it stays in the realm of the fantastical and weird:
<It is true that all my films are terribly pessimistic. The main characters in The Beyond, for instance, become blind, as their sight as no raison d’être any more in this lifeless world. But humour and tragedy always join, anyway. If the emphasize the tragic side of things, it may have a comical effect. Everything considered, having directed so many comedies when I started my film career turns out to be very useful for my true cinema, the cinema of the Fantastic.”
“the Fantastic” is of course a translation of “Fantastique” a French genre where fantastical elements play apart, but are more subtle and harder to separate and tell apart from the other elements. His quote also bears a striking similarity to the opening of HPL’s The Shunned House (1924): “From even the greatest of horrors irony is seldom absent.”
Suppose I should go on with Argento’s “animal trilogy” as well, and see what this Miss Sherlock show is like.
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No.2988
>>2986
Definitely finish the animal trilogy, 4 mosche di velluto grigio is awesome. Like Il gatto a nove code, it has some sci-fi forensics, or should I say, CSI-fi (chuckling here after coming up with that one kek), and it's very clever.
>Other than the difference in camera work/cinematography, I am picking up more differences between Argento & Fulci. In Argento’s giallo films the dialogue is more snappy and witty, with more back-and-forth between the characters, who are also more laid-back.
Absolutely. You could say that Argento's work is comfier, whereas Fulci exposes you to the dread of the world. And this I say without even taking aspects like the gore into account. The environments in which Fulci's plots develop are darker and yet feel more real. It could be said they have a more pessimistic tone.
>>2656
I had missed this post, and you're right, there's more than a few similarities if you take the time to compare them. They're not obvious if you're not looking for them, but there's a high likelihood of Lynch being inspired by The Big Sleep (consciously or not), being a fan of noir himself.
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No.2989
>>2659
The killer must be psychic. He may have seen the photographer take a photo of the scene, but how he managed to track him down, and just before he could develop the photo of the killer’s hand is hard to see.
I think it would have been better if we had seen a more stereotypical giallo killer. Since we only see the killer’s brown eyes, that rules out a lot of characters, since most of the characters have blue eyes.
>>2985
>Not because of the XYY because that meant male, but motives weren't lacking in a company that dealt with genetics when her genes didn't match those of her parents.
With the gay/crossdresser club scene I almost expected something à la Sleepaway Camp going on with Anna, and that they would find out the truth in the adoption papers. That theory fell apart when they have sex, since Giordani would have noticed that.
The barber shop scene was quite memorable; something really unnerving about having a barber talking about murders and throat-cutting while he is giving you a shave.
The long hallway at the research institute reminded me of the long hallway at the fashion house in La dama rossa uccide sette volte where the Red Queen runs down it and her long red cloak fluttering behind her.
Anna’s outfits deserve amention as well. Usually not a fan of ’70s fashion, but her outfits looked great.
>>2988
Got it on my backlog. Next up is Non si sevizia un paperino, since you have hyped up the brutality in that quite nicely. There is a scene in Lo squartatore di New York where the killer cuts a prostitute’s (played by the beautiful Daniela Doria) nipple with a razor blade – that really made me squirm.
>Absolutely. You could say that Argento's work is comfier, whereas Fulci exposes you to the dread of the world. And this I say without even taking aspects like the gore into account. The environments in which Fulci's plots develop are darker and yet feel more real. It could be said they have a more pessimistic tone.
Yes, Argento certainly doesn’t shy away from blood and murder, but it is more stylised and “beautiful”, with unnatural lighting. Fulci goes for a much more gritty approach. Not hard realism, but unflinching brutality.
It reminds me of the lines in Nightcall
<I’m gonna tell you something you don’t want to hear
<I’m gonna show you where it’s dark, but have no fear
And it is similar to what Lynch does, he shows us this darkness and violence so that we can better appreciate the light and goodness. With Fulci we are more likely to get a bleak downer ending though. From interviews I have read it sounded like he used the violence in his films to deal with what he was going through in his personal life, but Non si sevizia un paperino came out already in 1972. The horse-riding accident in Sette note in nero is worth noting, since one of Fulci “had a severe equitation accident” according to screenwriter Dardano Sacchetti. Sacchetti’s very first screenwriting credit was on Argento’s Il gatto a nove code.
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No.2990
One thing I just noticed while looking at the lobby cards for the film over at Wrong Side of the Art: there was apparently a scene where Giordani & Anna make up after the fight with the killer on the rooftop!
http://wrongsideoftheart.com/2009/05/cat-o-nine-tails-il-gatto-a-nove-code-1971-italy-france-germany/
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No.2992
>>2989
>>2990
This is giallo we're talking about so I wouldn't trust things like eye colors too much, I've seen them used as red herrings in the genre since at least the 60s. It's not common but it happens. They're a clue but as unreliable as any.
I agree about the killer's apparent psychic powers, though.
>The barber shop scene was quite memorable; something really unnerving about having a barber talking about murders and throat-cutting while he is giving you a shave.
That one reminded me of Eastwood's later High Plains Drifter, also features a barber using a blade in a rather tense scene.
>With the gay/crossdresser club scene I almost expected something à la Sleepaway Camp going on with Anna, and that they would find out the truth in the adoption papers.
Didn't cross my mind.
>That theory fell apart when they have sex, since Giordani would have noticed that.
>Anna’s outfits deserve a mention as well. Usually not a fan of ’70s fashion, but her outfits looked great.
I liked her outfits too, very glamorous. And in some of the scenes it kinda felt like a Bond movie. You've got this espionage ring, Dr. Braun looks like a Bond villain and the bar was very Bond-esque, the scenes between Anna and Giordani are very Bond-esque too (not just in bed, the restaurant scene and the high speed chase too).
>The long hallway at the research institute reminded me of the long hallway at the fashion house in La dama rossa uccide sette volte where the Red Queen runs down it and her long red cloak fluttering behind her.
Fulci's Murderock - Uccide a passo di danza features a similar looking scene too. And speaking of red cloaks, what about the one in Sette note in nero?
>killer cuts a nipple
Those small things are so Fulci, he really has a knack to make your skin crawl. The opening of Non si sevizia un Paperino features something rather macabre that made me pussy out of postpone the watching back in the day, I was super tired and decided it wouldn't be healthy to subject myself to such a gut-wrenching experience so I went to sleep and watched it the next day kek. If the razor cutting the nipple unsettled you, this one you will find even harder (not the starting scene, a rather violent scene that comes later).
>Yes, Argento certainly doesn’t shy away from blood and murder, but it is more stylised and “beautiful”, with unnatural lighting. Fulci goes for a much more gritty approach. Not hard realism, but unflinching brutality.
I think that his previous comedies helped him enhance the grotesque, Italian comedy often deals with the underclass and has no qualms in depicting the ugliest aspects of it. Meanwhile Argento seems to glamorize violence instead. He makes it sexy. He even created his own shade of bright red to use in his movies using some cherry sauce. It's hard to think of an apt enough comparison between Fulci and another director, I feel like Lynch isn't even nearly gritty enough. Incidentally, fellow Lovecraft adaptation director Stuart Gordon seems like a closer fit. In particular in Dagon. I'm certain you'll find a lot of similarities between it and Non si sevizia un Paperino. I don't want to elaborate to avoid spoiling anything. I'm thinking of the parallels and I keep remembering things, even though comparing the two films is a stretch in itself.
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No.2994
YouTube embed. Click thumbnail to play.
The b8 for the red devil… The psyops…
If the old address still works, check your inbox BV.
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No.2995
>>2992
>I liked her outfits too, very glamorous. And in some of the scenes it kinda felt like a Bond movie. You've got this espionage ring, Dr. Braun looks like a Bond villain and the bar was very Bond-esque, the scenes between Anna and Giordani are very Bond-esque too (not just in bed, the restaurant scene and the high speed chase too).
Yes, it did feel like a 007 film at times. Dr Braun reminded me of the blonde Waffen-ϟϟ soldier in Where Eagles Dare (of course played by a Jew). Never been a fan of the James Bond films tbqh. The Andy Sidaris spy thrillers with Playboy Playmates in most of the roles are more entertaining.
The posh setting in Europe probably adds to the 007 feeling of the film.
>Meanwhile Argento seems to glamorize violence instead. He makes it sexy. He even created his own shade of bright red to use in his movies using some cherry sauce.
Yeah, even though there are some scenes there that are quite brutal they are so damn beautiful it makes it much easier to handle. It is quite the feat to make the violence and deaths look so æsthetically pleasing, helped along with the score.
>fellow Lovecraft adaptation director Stuart Gordon seems like a closer fit.
Yes! Now that you mention it there are a lot of similarities between the two filmmakers. Gordon’s criminally underrated 1995 horror film Castle Freak is incredibly Fulci-esque; unlike Gordon’s previous films it is dead series and very bleak and sad, and there is a lot of blood and gore. One woman has her areola bitten off in a very graphic scene. There is also a young beautiful girl who is blind, and the film was shot on location in Italy. It is almost like Gordon was channelling Fulci when he made Castle Freak & Dagon.
Gordon began his career with stage plays, and his early films are horror comedies, but Castle Freak has Fulci’s brutality, bleakness and realism to a T. It is far darker than Dagon tonally. The face-skinning scene in Dagon was very Fulci-esque as well; bloody and gory and it keeps going and going.
Some have claimed Castle Freak is a very loose adaptation of Lovecraft’s short story The Outsider, but other than two or three similar elements it is wholly original.
They are doing a remake of it now, probably already in post production.
>>2994
IT’S BACK ON
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No.2997
>>2995
>Yes, it did feel like a 007 film at times. Dr Braun reminded me of the blonde Waffen-ϟϟ soldier in Where Eagles Dare (of course played by a Jew). Never been a fan of the James Bond films tbqh.
>The posh setting in Europe probably adds to the 007 feeling of the film.
I like some of them now and then, but not a big fan either. It's fun getting everyone incensed on /tv/ with hot takes about it though. The posh setting surely plays a role, but this one goes even beyond that. There's an European posh setting in a lot of gialli but this one has so much action and spy themes it's impossible to not think of that. It's not as direct as Nolan's skiing scenes from Inception where he outright sought to make a Bond-like scene, though. This is more like a film born in the same environment as a Bond one rather than an imitation.
>Yeah, even though there are some scenes there that are quite brutal they are so damn beautiful it makes it much easier to handle. It is quite the feat to make the violence and deaths look so æsthetically pleasing, helped along with the score.
You could say that if Argento is the mansion chase scene and the suicide scene, maybe even the couch photoshoot scene from The Neon Demon, Fulci is the mutilation scenes from Only God Forgives. That eye looks tasty!
>Yes! Now that you mention it there are a lot of similarities between the two filmmakers. Gordon’s criminally underrated 1995 horror film Castle Freak is incredibly Fulci-esque; unlike Gordon’s previous films it is dead series and very bleak and sad, and there is a lot of blood and gore. One woman has her areola bitten off in a very graphic scene. There is also a young beautiful girl who is blind, and the film was shot on location in Italy. It is almost like Gordon was channelling Fulci when he made Castle Freak & Dagon.
>Gordon began his career with stage plays, and his early films are horror comedies, but Castle Freak has Fulci’s brutality, bleakness and realism to a T. It is far darker than Dagon tonally. The face-skinning scene in Dagon was very Fulci-esque as well; bloody and gory and it keeps going and going.
I think that Gordon is even gorier with the flaying. Castle Freak sounds very interesting, I'll add it to my backlog.
>IT’S BACK ON
And get this, the message you got was incomplete. The attachments were dropped. But if you check again, you'll find the information that completes the picture. It's gonna be a wild ride.
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No.2998
>>2995
>Where Eagles Dare
I looked it up and immediately recognized Ingrid Pitt in some of the pictures. I wasn't aware she had worked with Clint Eastwood, very interesting. For a moment I thought she had been in a similar outfit in one of her Hammer Horror movies but it turns out the pic you had posted (against a mountain backdrop) was from
the set of Where Eagles Dare.
Mary Ure looks good in this still, shame she's working for the wrong side!
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No.3013
>>2906
I've heard it's a very Ed Brubaker thing, down to the shot in the genitals. I agree that he should have made them as long or as short as needed, specially when the run times were anything but even.
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No.3014
>>2857
It's long overdue but I finally watched it. Not gonna lie, I had a great time and it was a fun watch but I found it lacking something. Found it to be too much like a theme park ride, like Disneyland if you will.
>>2800
>>2856
I was really surprised by the way things turned out with Eva and Jose, as well as Sylvia's attitude towards the sacrifice (although they did a ritual on her).
One of the things that I found enjoyable was the Spongebob guy, after the card reading scene. Made me smile like Cooper looking at the "smiling bag". Another such moment was the man telling Sergio he'd be eaten and come out "a new man". The very explicit foreshadowing is constant and done in a very comically effective way.
>The mother goddess, a morbidly obese and grotesquely bloated monstrosity who attacks in a blind rage, is a pretty blatant parody or a caricature of the ideals pushed by radical feminists, who reject accepted beauty standards and differences between the sexes, and embrace/push “body positivity”.
The goddess is the prehistorical Venus of Willendorf, but it can certainly be read that way too. It's the first comical reference to it I've known, the latter one happening in the TV series The Young Pope. Also a minor redpill, might have gone unnoticed: even the witches say "our sex", not "our gender" which is the gender theory term that despite originating decades ago has only recently managed to replace "sex". So it's redpilled even in such an implicit way (at the same time it's sad to have to consider such a little thing redpilled due to the current state of affairs, kek).
The table, silverware and plate gave me a good chuckle, it was like a giant version of doll house toys. It looked like something a kid would come up with, kek.
I think it's funny that Eva in a way acts like Uxia in Dagon, going against the other cult members out of love. However, Uxia was actually doing it for the cult too, Eva betrays it. The characters are very much alike still.
One scene that confused me was the kiss and the following seizure or whatever, I interpreted it as being marriage-like because it was in front of the altar or something.
Another funny thing was hearing Jose say he's had it with judges, alimony and "the witch of his mother" and then she becomes one in the most literal of senses.
>Felt really bad for the poor guy from Badajoz. He just wanted to go to his job interview, but then the taxi was hijacked by robbers on the run from the police; they are shot at by the police; he is thrown out and left in the ditch wearing only his underwear, then he is picked up again; he is tortured by Eva, who pulls out a tooth, is about to strangle him, then cuts off all his fingers and serves them as aperitifs to the witches; for the grand finale he is about to be burned alive along with the other guys. Poor guy. Glad to see him enjoying the magic show at the end, and that he got bandaged up, but still.
I had written him off as dead by the time he showed up with the bandages, had a good chuckle.
>Some of the choices are obvious and amusing (Merkel in particular)
That bit was gold, kek.
The film is undoubtedly full of cultural references, but it was so heavily satirical that it felt rather shallow to me, despite the bold takes. Never pretentious though, as didactic as it is about historical and geographic trivia it never tries to hide its lowbrow nature. And the style felt a bit generic for my taste.
I think I enjoyed Sexykiller: morirás por ella more than this one. There were parts that felt too stereotypical, redpilled as they may be. Wildly unpredictable film, though. That's always a good thing. The cops deciding to keep the gold was one of those, as was Eva and Jose's relationship.
There's two things that continue to trouble me, not just as the /bestemma/ founder but as a human being: what did Luismi really intend to do putting his hand out when someone went to the toilet? And how could his hand extend that far out?
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No.3020
>>3014
Look what I just found out: Carolina Bang, who plays Eva, is absolutely banging hot, and is the director's wife is part Norwegian. Her first surname is actually Herrera, Bang is from her mother but obviously it makes sense for her to use Bang as her stage name. Not only it is very unique but it also avoids confusion with the Carolina Herrera perfume brand.
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No.3023
>>3014
>even the witches say "our sex", not "our gender" which is the gender theory term
Would have expected the witches to use the PC term… we’ve only got one word for it (“kjønn”) – what is the sitch in Spanish?
>I think it's funny that Eva in a way acts like Uxia in Dagon, going against the other cult members out of love. However, Uxia was actually doing it for the cult too, Eva betrays it. The characters are very much alike still.
Quite. It seems like the witches in this film are all human, but their views have twisted their morality, and the bile-like fluid they consume adds to that.
In the Innsmouth/Imbocca case it is like Judaism – it is a religion (the Esoteric Order of Dagon/Esoterica Orde de Dagon), but there is also a racial element. Uxía and the other cultists, with the exception of Ezequiel, are hybrids of Deep Ones and humans, so even if she left the cult for Paul/Pablo, they are still hybrids and bound by their hybrid blood to eventually go into the sea. That is a big part of what makes it so awful and horrific – it is in their blood, their bloodline is cursed, and there is no way to fix that. This motif appears in several of Lovecraft’s stories, and an additional two stories allude to the tainted Innsmouth-blood.
In one of the articles I posted over at tvch Gordon explains the bizarre, slapstick-y part where Paul tries to fix the lock on his hotel room door – Ezra Godden’s (Paul/Pablo) favourite actor is Harold Lloyd, the famous silent film comedian, and the part where he tries fixing the lock is like something Lloyd’s characters would have done in the silent comedies he made. Godden also decided to wear the glasses as a homage to Lloyd.
>One scene that confused me was the kiss and the following seizure or whatever, I interpreted it as being marriage-like because it was in front of the altar or something.
I thought it was a reaction to feeling genuine romantic love – maybe that bile-looking liquid from the toads makes them “toxic”, unable to handle normal feelings and emotions?
But your theory has a lot of merit – that one witch exploded when she was hit by the medallion, so they have trouble with Christian imagery for sure.
>There's two things that continue to trouble me, not just as the /bestemma/ founder but as a human being: what did Luismi really intend to do putting his hand out when someone went to the toilet? And how could his hand extend that far out?
Doubt he would try that on anyone. If a burly truck driver made a stop there and used the toilet he’d probably keep as far away as possible. But when you have a striking woman like Silvia… it made for a very chilling scene – seeing that long, thing arm reach out from the hole and apparently about to grab her by the pussy.
>>3020
wew! I wondered about her name actually. Bang is a posh family, originally from Denmark. My teacher in junior high was a Bang. He is a politician now.
It is a clever move to use it in a stage name; it is very memorable and unusual.
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No.3026
YouTube embed. Click thumbnail to play.
>>3023
In Spanish, gender becomes "género" and sex becomes "sexo". I assume the reason they didn't use the PC term was merely chronological. What was once normal today is politically incorrect. Gender always had a grammatical meaning until it was coopted by ideologues.
>I thought it was a reaction to feeling genuine romantic love – maybe that bile-looking liquid from the toads makes them “toxic”, unable to handle normal feelings and emotions?
>But your theory has a lot of merit – that one witch exploded when she was hit by the medallion, so they have trouble with Christian imagery for sure.
I tend to lean towards your theory but I guess mine could make sense too. Maybe it's a combination of both.
>Doubt he would try that on anyone. If a burly truck driver made a stop there and used the toilet he’d probably keep as far away as possible. But when you have a striking woman like Silvia… it made for a very chilling scene – seeing that long, thing arm reach out from the hole and apparently about to grab her by the pussy.
kek, made me think of vid related. he did ogle with morbid fascination in the other cases though.
Also one redpill that I forgot to mention in my previous post was the mind poison that Cosmopolitan is. Lots of women who read it and take it seriously end up very unhappy as a result of the poor advice they follow. It's like a real life version of the coven (and in fact Eva's grandmother talks about the mag).
Now some random commentary I forgot to make earlier:
In the table scene with the knife I kept thinking Tony would cry and they'd harvest his tears for whatever recipe they were making. I don't know what was about the knife going in that made it more funny than painful to watch despite the sound though.
The fight scenes were pretty well edited, and the walking on walls/roof scenes were both well made and hilarious.
When they stop the cab for Eva's mom I thought it was Sylvia at first, from the heels and how the legs looked. It was probably intentional, those didn't look like old legs and "his witch of a mother" seemed to foreshadow it.
And last but not least: what was the deal with the drag queens? Just grotesque imagery for comedic effect like the tracheotomized old witch or more commentary on the debauchery the witches were part of? She cracked me up, I doubt it's a thing that's seen often outside of Spanish cinema, nothing is off limits for them when it comes to bizarre/cruel comedy. For example in the Torrente saga (which is more vulgar, gross and degenerate than funny, but that's another matter) you get scenes of a son bullying his wheelchair-bound father, then in a sequel he fucks a retarded woman who was sleeping. It's a very offputting saga which I don't recommend but it shows that facet of Spanish humor well. Here the tracheotomized old woman (she's credited as that, reading the credits made me chuckle a few times too, and now on a reread I just noticed something that makes my previous remark even more relevant: one of the drag witches is Santiago Segura, director and protagonist of the Torrente saga) gets bullied by Eva's grandmother with the hair dyes. You also get the Luismi scenes with his rotten skin that falls off and he goes and hugs Jose. And the way Silvia (subs said Sylvia but credits say Silvia, just found that out too) treats his patients is very typical of grotesque comedy too.
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No.3029
I need your assistance with something, Webmanon and Eastman. Please check your emails for more info, I promise it's fun. I used the old address for reliability's sake.
Also for Eastman: my review of Una lucertola con la pelle di donna is at >>3007.
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No.3049
Our thread at tvch died, had we reached bump limit or something? In any case when I went to archive it at archive.is I found someone had already done it. BV I'm guessing? Good work if so.
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No.3050
>>3049
Saw that earlier when I was checking in. Pretty sure the hapa is responsible; no doubt he bumped a bunch of other, old threads and made a few new slide threads to make sure our thread got 404’d. When he didn’t take his bait posts he probably was asshurt and decided to get back at us by killing the thread.
>In any case when I went to archive it at archive.is I found someone had already done it. BV I'm guessing? Good work if so.
Not me! I checked yesterday to see if it had been archived recently, and do it myself if it hadn’t, but someone had archived it multiple times – I thought it was you!
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No.3052
>>3050
I had archived it a few times but before it fell off the catalog. Maybe I then archived it after it fell off but I don't remember doing it (could happen while sleepy).
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No.3053
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No.3054
>>3053
top kek
There's also the remote possibility of a third party doing it, the thread was praised at the very least. Did you get a chance to review the emails? I'm basically stuck until I make a decision and I'll need all the input I can get.
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No.3055
I'm going to prime myself tonight to watch The Black Gloves by watching Lord of Tears. The Unkindness of Ravens will be next if I manage to get a copy.
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No.3056
Just finished Lord of Tears. I'll do a quick spoilerless review.
It's a very original story and it's Lovecraftian in the purest sense of the word, as in something Lovecraft could imaginably come up with. There are no direct references to any of Lovecraft's work, no Cthulhu imagery, no tentacles, nothing like that. There are however certain narrative aspects: the general cosmic horror, family curses, ancient cults, nightmares, visions, sacrifices, a return to one's roots only to find incomprehensible mysteries that only become more horrific as they're solved.
The low budget shows mostly in three aspects: image, sound and minimal cast.
The image has good definition but the colors betray a sensor that makes things look rather sterile except when stimulated by extremely saturated colors like those of painted furniture and decorations under a tungsten light. Gives away the low budget but doesn't really affect the experience, specially after you get used to it. The low light shots, specially the ones with a flashlight were another matter. Although good for horror, it wasn't exactly pretty and didn't work as well as say the burglary scenes from deadwax. The other pet peeve would be that some shots were done wide open with a low f number lens and it didn't look very good. And last, I guess it's a separate thing but I'll include cinematography here. Some of the shots (notably at th pool) have the camera placed in a still position and you can tell there was a shortage of cameras that forced them to stitch shots together from different takes to make one scene. For all its flaws, however, it was good. This is no Amer, you won't find those embarrassing camera movements that look like the operator was trying a camera for the first time. And you won't see stuff.like obvious filters to simulate nighttime. Or endless stares with closeups. This is a competently done film.
In the sound department, again it has a distinct digital feel to it, and the acoustics aren't the best either. It is clear but sometimes it's arguably unnaturally clear.
And last, the cast. Almost the entire film has two people on the screen. Without counting the Owlman, the film has like six people in it, of which two appear less than five minutes each in the whole film. This isn't a bad thing, just something clearly related to the low budget. I think you'll like Eve a lot, she's a lot like Audrey Horne in looks and demeanor with maybe a dash of Anita in the looks department.
The locations were amazing, I think the film is a great case for making films in the Highlands. The buildings work great, the wilderness does too. Both the forests and the hills.
There's one scene with James and Eve that reminded me of that painting Der Wanderer über dem Nebelmeer. The shots with the trees are great too. Overall the film has an amazing atmosphere. Some moments are goofy and more typical of a romcom but I feel like they worked, to ease the tension a bit if anything (before getting even more asphyxiating).
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No.3057
>>3056
Ah I remember watching this a while back and being pleasantly surprised by the quality considering the low budget look. It also gave me confidence to watch Brewster's other films.
>Lord of Tears
ok
>Unkindness of Ravens
Got so bored I think I ended up forwarding through it. Maybe you'll have better luck.
>The Black Gloves
Entertaining and went in a direction I had thought they were only going to imply. Macarena is a treat!
>The Devil's Machine/Automata
Repulsive. If I didn't already have For We Are Many, I would not be watching any more of his stuff again. But seeing as I already have FWAM and it's an anthology made of different film makers I am willing to give it a go…eventually.
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No.3058
>>3057
Wow, this is a surprise! I didn't expect anyone to have seen them. I'm guessing you were able to see them on some streaming service like Prime Video.
I had to settle for a tiny copy of Lord of Tears myself but I guess the high bitrate (for the dimensions) made up for the low resolution because it looked alright. The Unkindness of Ravens is another story, I can apparently get it in 1080p. And The Black Gloves, I ordered a physical copy.
I'm guessing you're BO, is that right?
I saw a lot of reviews complaining about the performances, I thought they were pretty good myself and that those people didn't get it. For example they said that Euan Douglas (James' actor) couldn't properly convey being attracted to Evie but I think the point is that James is so troubled and scared he can't open himself to relationships anymore. People also find trouble with him freaking out at the crayon drawing, to me that meant PTSD being triggered so it made perfect sense. I think that most negative reviews were from brainlets, flawed as the film is.
Didn't you find the French words and the phrase "let me take care of you" a bit creepy even before things were revealed? I assumed Eve was the Owlman disguised by a hallucination. I wasn't too far off I guess, even if I was wrong.
I'm not sure about The Unkindness of Ravens (haven't seen it yet, but the imagery looks different from the few screencaps and posters I've seen) but I think this one is probably essential to fully understand The Black Gloves. Motifs like the old picture show up in both. My guess is this one is more closely related to The Black Gloves.
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No.3059
>>3058
Just got my claws on The Unkindness of Ravens. At first glance it seemed like a sequel to Lord of Tears but Jamie Scott Gordon's character here is Andrew, not Allen. I'll watch it later if I can and report back.
I can also make it available for you guys with a more convenient way than the one I had to use (terrible hoster, uses some tricks to make the browser miscalculate the download speed with bursts).
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No.3061
Dear Friends! Check your emails for things to watch.
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No.3063
>>3059
Just finished watching The Unkindness of Ravens. It has very little to do with Lord of Tears outside of the themes of PTSD (with a very different cause) and the bird-headed antagonists.
Technically it's a step-up in some aspects compared to Lord of Tears, it tends to look more expensive. However, the opening had its weak moments in this aspect. Until the first minute it looks like they have solved the cheap look, then it starts looking like the scene from deadwax when they arrive at Tuck Weston's house. You know, the digital crushed colors look. Then it picks up at the titles. After that, the therapist scene might as well be a rehearsal with its cinematography, editing, sound design and performances. I hate to be this harsh, but it's abysmal, porn intro tier. The sound design particularly, it's so bad. Sounds like they were talking at a voice recorder and it was left unprocessed. Again, like in Lord of Tears, it's too clear. And the lack of background music intensifies that awkward porno vibe. It had me worried. But after this scene, it looks great and you get awesome visuals, with shots of the wonderful landscapes of the Highlands and other visual treats. From the train trip onwards (just after 3 minutes from the start), the visuals are really nice. Then, after he gets out of the house around the one hour mark, the film starts its weakest part for about 10 minutes. It really drags. Then it picks up again for the last 5 minutes and it's over. The choices of folk music were really nice, but the score wasn't always the most effective.
I found similarities between the Raven Warriors and the Black Skulls from Mandy, there's some similar concepts at play and even similar visuals at some points (strobe lights). Also in some ways, Andrew's journey is reminiscent of Red's. It's a huge stretch, though, but I think this could make a good double feature with Mandy. Quality-wise the differences are abysmal, though. Mandy is solid in every possible way. This one is a work of art but full of flaws too. Of course, the budget plays a role here. Even though Mandy is considered a low budget film at six million dollars, The Unkindness of Ravens was around 56 thousand. It's well below what most people would consider the minimum budget to make a good film, and that alone has merit when you see the result. The kind of budget that Brewster works with imposes limitations even on the most basic of things like the available equipment (not to mention talent willing to work for little money), and yet he achieved a compelling film. That's nothing to sneer at.
The story isn't nearly as compelling as the one in Mandy (or the one in Lord of Tears but it felt more similar to Mandy concept-wise), not to mention that the fact that it's all in his head greatly undermines and cheapens it. Mandy plays with the distinction between reality and fantasy and blurs it, The Unkindness of Ravens is a lot more grounded. And yet, Andrew's delusions don't seem to have any horrid consequences outside of some relatively minor injuries to himself. I was expecting things to go awful when he picked that rifle up. Like him hurting someone thinking it's a Raven Warrior. In other words, I was expecting his descent into madness to end in a similar way to Darling. No such thing happened.
It's a horror film but it didn't feel like one to me. Sure, it has horror scenes but they felt accessory to the drama. Technically it would be psychological horror but I don't feel like the label is entirely appropriate. Felt more like a war film dealing with the human side of it. It makes a lot of overt references to Apocalypse Now, down to having Wagner's Die Walküre playing as they gun down rebels in Afghanistan, but in a way this is Colonel Kurtz bringing the horror back home. It's more than a passing reference, the same spirit seems to be there. But again, the big fights happening in his head greatly undermined it. I was expecting to see at least a breakdown in the vein of First Blood. Instead, it's mostly hallucinatory. The ravens are real and trigger his PTSD but little else is. I kept wating for a twist that never came.
I haven't seen The Black Gloves yet but I'm under the impression that this one is completely irrelevant to fully understanding it. It was good to see Brewster's evolution for the better and for the worse, though. I think The Black Gloves will be a lot more compelling (if only because of the return of the Owlman). In comparison, this one fell a bit short in the lore department. My biggest gripe would probably be how heavy handed the execution scene was. It's presented as if he did the right (and even heroic) thing by refusing to exact revenge and shooting the war criminal instead but it's not so clear-cut to me and even felt a bit like a white guilt angle. The whole idea of capturing the guys who did it and executing them feels needlessly unrealistic, and war crimes don't mean you get to kill one of your own to spare a captured enemy's life.
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No.3089
I should get my copy of The Black Gloves tomorrow, if everything goes right and I can get to the post office in time.
BV, did you check your inbox? The Owlman awaits.
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No.3091
Finally, The Black Gloves is here. Excuse the poor quality of the pictures, I don't have my good camera at hand right now. The DVD isn't precisely loaded with features, just the trailer. But I was pleasantly surprised to discover it was a color film as opposed to B&W as I thought from seeing the teaser trailer a long time ago. The trailer in the posted video is the same one as in the DVD.
Brewster's muse Alexandra Hulme is back, and she does some of the same things we saw in Lord of Tears. But her character has a different name now. I wonder what awaits.
Also there seems to be no grating Scottish accents this time like there was in The Unkindness of Ravens, it was a bit too much in the therapist scene.
Our muse displays impeccable English with a really subtle accent, you can barely tell she's a foreigner.
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No.3092
>>3091
>>3091
>But I was pleasantly surprised to discover it was a color film as opposed to B&W as I thought from seeing the teaser trailer a long time ago.
Why pleasantly? That said, I am quite surprised too, since the trailer was in black & white, and it premièred in black & white at FrightFest Halloween according to STARBURST Magazine:
<The most stylish and unusual film of this year’s FrightFest Halloween was Lawrie Brewster’s The Black Gloves, a strikingly shot in black-and-white psychological horror film with elements of classic mid-20th Century classics like The Innocents, coupled with the likes of Black Swan and Argento’s Suspiria.
THE BLACK GLOVES - STARBURST Magazine: https://archive.vn/OrL0W / https://web.archive.org/web/20171128132308/https://www.starburstmagazine.com/reviews/the-black-gloves
Did they release it in colour because they didn’t think a black & white film would appeal to modern audiences? Since it was shot in colour, that might be the best way to see it. A film shot in black & white would need to be filmed with that in mind, demaning different lighting and overall approach. If they just turned it into black & white in post, that would not come off as an authentic black & white film IMHO.
Btw., I found a Japanese poster for Argento’s Deep Red, and it was promoted/released as Suspiria part 2! Never mind that Deep Red was originally released in 1975, and Suspiria in 1977…
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No.3093
>>3092
>Why pleasantly?
Because in my experience, digital lends itself to color better. B&W can be gorgeous if high-contrast film is used.
>it premièred in black & white at FrightFest Halloween according to STARBURST Magazine:
>The most stylish and unusual film of this year’s FrightFest Halloween was Lawrie Brewster’s The Black Gloves, a strikingly shot in black-and-white psychological horror film
Very interesting! I didn't know that. In any case, this looks good. I took a peek at some parts and it was beautifully shot. I will be unable to watch until tomorrow because of things I have to do, but I can hardly wait.
>Did they release it in colour because they didn’t think a black & white film would appeal to modern audiences? Since it was shot in colour, that might be the best way to see it. A film shot in black & white would need to be filmed with that in mind, demanding different lighting and overall approach. If they just turned it into black & white in post, that would not come off as an authentic black & white film IMHO.
Maybe they realized the film would shine more in color. If shooting RAW, you shoot in color anyways.
>Btw., I found a Japanese poster for Argento’s Deep Red, and it was promoted/released as Suspiria part 2! Never mind that Deep Red was originally released in 1975, and Suspiria in 1977…
Hilarious, not the only example of that kind of thing though. Speaking of Profondo Rosso, the porcelain doll in the trailer reminded me of it a lot.
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No.3094
YouTube embed. Click thumbnail to play.
There's also a newer film by Brewster, also with Hulme in it: Automata.
I was turned off by the logo that seemed like inauthentic imitation but the trailer is something else, amazing lighting.
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No.3095
>>3056
They obviously had access to some incredibly beautiful locations to shoot on, so the sub-par camera is especially frustrating. It feels cheap and hand-held, like it was shot on a cheap DV camera from the very early ’00s, and the desaturated colours are not helping.
Just imagine what this could have been shot with a high quality digital camera, or on actual film.
You have some really beautiful and atmospheric shots of the manor house and the estate; a bleak, windy landscape beneath a leaden sky, and then cut to scenes of modernity – modern cars outside and bare white walls inside. It just doesn’t work. Seeing these ugly modern cars and large plain white walls just rubs me the wrong way. Put on some wallpaper, cover the walls with paintings and decorate the room!
I do think the film would have been better off with some trimming down. I was left with the impression that they had to reach a certain running time, so they stretched out what they had too much. The romance could have been cut down and made more restrained, and a lot of the horror scenes go on for far too long. Undead Evie and scenes of Owlman/Moloch should have been kept short. They are overexposed and go on and on, and in the end they end up deflating.
These would have been really great in a shortened version. The scenic landscape scenes, the shots of the manor house, and the basement scenes are great. Did not care for the many timelapse scenes, the hamfisted romance, and the music that appears over two scenes could have been taken from Tommy Wiseau’s magnum opus The Room.
Instead of a Dictaphone (à la Dale Cooper), have him talk to Allen on the phone. He fills his friend in on what it is like to be back, then hears the crash from the bedroom, and rushes to look, still on the phone, and tells his concerned friend what the source of the sound was. Keeping an audio-log on a Dictaphone seems very contrived and artificial. Have him write in a diary instead!
And you are spot on about the sound feeling unnaturally clear, artificial, and wrong. Looking at the end credits they list a lot of royalty free sound effects they used.
>I think you'll like Eve a lot, she's a lot like Audrey Horne in looks and demeanor with maybe a dash of Anita in the looks department.
You thought correctly. She was a highlight for sure, and with that dark hair and bright red lipstick she does remind me of Anita; she has a 1950s look, sorta like Dita Von Teese.
>There's one scene with James and Eve that reminded me of that painting Der Wanderer über dem Nebelmeer.
yes, now that you brought it up I see the similarities! The scene where they are looking upon their surroundings and then scream out.
>something Lovecraft could imaginably come up with.
There is a strong Lovecraft connection here – HPL’s The Rats in the Walls has an American widower move back to his family’s ancestral home in England following the death of his only son. Once there he is haunted by the sounds of rats in the walls, and in the basement he finds that the manor was built on the sight of a Roman temple, and an even earlier pagan, Druidic site of worship. The protagonist slowly loses his grip on sanity and the final blow comes when he finds out his own ancestors were part of a degenerate cannibal cult and bred humans to be eaten/sacrificed in a large cave below the manor house.
Parts of this story, published March 1924, is eerily similar to a dream described by Carl Gustav Jung in his posthumous 1962/3 book Erinnerungen, Träume, Gedanken/Memories, Dreams, Reflections: https://archive.vn/ere4K / http://web.archive.org/web/20160816034906/https://appliedjung.com/jungs-dream-house/
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No.3096
>>3095
>They obviously had access to some incredibly beautiful locations to shoot on, so the sub-par camera is especially frustrating. It feels cheap and hand-held, like it was shot on a cheap DV camera from the very early ’00s, and the desaturated colours are not helping.
The handheld part didn't bother me that much, it was more the chromatic qualities of it. I completely agree it would have looked amazing with better equipment.
>You have some really beautiful and atmospheric shots of the manor house and the estate; a bleak, windy landscape beneath a leaden sky, and then cut to scenes of modernity – modern cars outside and bare white walls inside. It just doesn’t work. Seeing these ugly modern cars and large plain white walls just rubs me the wrong way. Put on some wallpaper, cover the walls with paintings and decorate the room!
In a way it helps show a bigger contrast I guess. I didn't mind the cars, they enhanced the realism, but now that you mention it the walls weren't great. By the way, the mansion in the film is available for staying (and if I'm not mistaken, appeared on The Black Gloves again). Here's their website: https://www.ardgourholidays.co.uk/ardgour-house-
I think I'd be too creeped out to stay in James' room, kek. Also how creepy is that Ardgour House in the Mist black and white picture they have on the image gallery?
>I do think the film would have been better off with some trimming down. I was left with the impression that they had to reach a certain running time, so they stretched out what they had too much. The romance could have been cut down and made more restrained, and a lot of the horror scenes go on for far too long. Undead Evie and scenes of Owlman/Moloch should have been kept short. They are overexposed and go on and on, and in the end they end up deflating.
I found no problems there but your complaint is obviously shared even by the director himself: there was a later Director's Cut release that trims much of the fat: 104 minutes become 85. I think the most blatantly filler scene was the picnic one. Even the swing one served as character development.
>These would have been really great in a shortened version. The scenic landscape scenes, the shots of the manor house, and the basement scenes are great. Did not care for the many timelapse scenes, the hamfisted romance, and the music that appears over two scenes could have been taken from Tommy Wiseau’s magnum opus The Room.
Kek, the music was indeed off at several parts. The scene where they talk about the ghosts in the house doesn't go well at all with the song. But the pool scene takes the cake. The song that goes "I am your ghost" was a bit of unintentional comedy but wasn't too bad because it had started before. But the piano roll after he submerges her, damn. And now that I rewatched that part, the sound effects themselves are hilarious. That alarm buzz when picking up the feather, the sound of the water too. The romance I didn't mind for one reason: silly as it is, it hints that there's something wrong. Why is Evie so desperate to seduce him at any costs? I was wrongly convinced she was the Owlman since the moment she said "let me take care of you". One thing I'm noticing is that the film severely degrades with rewatches, even partial ones like the one I just did. That's fine for me because I'm not one to rewatch films outside of rare exceptions, but it does expose some of the film's weaknesses.
>Instead of a Dictaphone (à la Dale Cooper), have him talk to Allen on the phone. He fills his friend in on what it is like to be back, then hears the crash from the bedroom, and rushes to look, still on the phone, and tells his concerned friend what the source of the sound was. Keeping an audio-log on a Dictaphone seems very contrived and artificial. Have him write in a diary instead!
Ironically enough I found that relatable, as I do similar things (usually to record dreams). I've compared written notes and voice notes of the same dream and the latter are a lot more detailed and bring back a completely different memory because you collect details where you'd fill in wrong ideas instead going from the written notes. But I understand what you mean, most people don't even have a voice recorder at hand (maybe it was related to his teaching, though).
>And you are spot on about the sound feeling unnaturally clear, artificial, and wrong. Looking at the end credits they list a lot of royalty free sound effects they used.
To me the worst thing wasn't so much the sound effects, but the dialogue scenes. They have that unnatural quality to them, that clarity that you ironically tend to get from a voice recorder like the one James used in the film.
>yes, now that you brought it up I see the similarities! The scene where they are looking upon their surroundings and then scream out.
It was an amazing scene. I hadn't consciously noticed at the moment but he even has the same pose at one point (his final one is different, though).
>There is a strong Lovecraft connection here – HPL’s The Rats in the Walls has an American widower move back to his family’s ancestral home in England following the death of his only son. Once there he is haunted by the sounds of rats in the walls, and in the basement he finds that the manor was built on the sight of a Roman temple, and an even earlier pagan, Druidic site of worship. The protagonist slowly loses his grip on sanity and the final blow comes when he finds out his own ancestors were part of a degenerate cannibal cult and bred humans to be eaten/sacrificed in a large cave below the manor house.
There you go. Great to have a Lovecraft expert on board, I missed that completely.
>Parts of this story, published March 1924, is eerily similar to a dream described by Carl Gustav Jung in his posthumous 1962/3 book
Could Jung have read the story and have been influenced by it?
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No.3097
Check your emails, BO and BV. Probably of more interest to BV since there's nothing BO hasn't seen yet in it I believe.
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No.3098
>>3095
One thing just dawned upon me: while I was abusing the term "Lovecraftian" to shitpost about Las brujas de Zugarramurdi some days ago, the mansion the witches live in was built on top of a temple, although it was to desecrate it for being Christian. And it also has connections to a large cave where sacrifices are done. And there is more. The first thing that I recall getting me banned on /tv/ in the 8chan era was a zero-effort shitpost with pic related and the text "Thoughts?" or maybe it was even "thots?" for extra cancer points expecting people to post video related. Gahoole, being a reasonable mod, accepted my appeal when I explained how it was on-topic. One of the things that were posted in that thread was the passing/sacrifice scene from Las Brujas de Zugarramurdi. I had a connection with our muse before I was even aware of it. I think that was maybe 2017 or 2018.
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No.3100
>>3098
I couldn't find the original thread (it was probably deleted, although I remember it being anchored) but I found a post where I recollected about the ban on /tv/ kek. Turns out the text was apparently "thots" indeed.
https://8kun.top/tv/res/1318679.html#1318850
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No.3102
>>3096
>The handheld part didn't bother me that much, it was more the chromatic qualities of it.
The unsteady camera contributes to the cheap feel of it, and that took me out of the film more than the colourless scenes did. It is really noticeable and distracting. If they had treated the camera like a sturdy film camera, and only made it move like a heavy film camera, I think that would have helped enormously. No quick, unsteady movements, and only angles you could have pulled off with a film camera.
The Swedish film The Okända (“The Unknown”) from 2000 is presented as a pseudo-found footage horror film; none of the characters in the film shoot the film, but it was shot on a DV camera as if it had been the characters themselves had shot it – lots of shakiness, imperfect lighting, natural light and darkness only, and it was shot on a shoestring budget. On the audio commentary track the director reveals that the film was shot on a DV camera and then shown on a large screen which was then shot with a 35mm camera. This gives the film a truly unique look – the film grain of a professional film with the colours and imperfections of a home video.
I love the look on that film, and if they had done it on Lord of Tears I think it would have looked a lot better and really set it apart from all the other shot on DV horror films. The creators of Det Okända were really working on a low budget – actors and actresses used their own everyday clothes, and it takes place almost exclusively out in the wilderness – so they were in the exact same position as Brewster & Co.
>In a way it helps show a bigger contrast I guess. I didn't mind the cars, they enhanced the realism, but now that you mention it the walls weren't great.
Listened to some of Roger Corman’s audio commentary track for The Fall of the House of Usher (1960); he says shot the entire film on fifteen days. And that was the longest shoot he had had in his career. Up until then he had shot black & white films on a ten day shooting schedule for American International. He also talks about something called articulation of the surface:
<We worked very hard on the sets and the set dressings, I was a believer, and still am, in what we used to call in art history 1A – articulation of the surface – which is to fill the surface of the set with objects, with paintings, with statues, even the chairs having ornate carvings. All of these things were rented from a prop house and it doesn’t really cost that much more to rent more ornately carved objects than the straight objects, and we filled the sets with as much as we could.
Part of it could be the cheap DV look and weak colours, but anything would be better than seeing so much of the screen taken up by a plain white surface behind the characters in a long talking scene.
>Why is Evie so desperate to seduce him at any costs?
Speaking of bad porno vibes… That almost strip-scene where she descends the stairs to the pool made me think the director had given up making a psychological horror film and opted for a hardcore porno instead. And given their past history it is very weird that she would seduce him.
>One thing I'm noticing is that the film severely degrades with rewatches, even partial ones like the one I just did. That's fine for me because I'm not one to rewatch films outside of rare exceptions, but it does expose some of the film's weaknesses.
Would imagine so. There are some films I can watch again and again and notice new details and really appreciate the work that went into the film, but I do not think this is one of those films. Maybe if they made a shorter cut, leaving out the unnecessary parts and kept it short and sweet.
>Ironically enough I found that relatable, as I do similar things (usually to record dreams).
Dale Cooper tier. I find it much easier to record my dreams in text form. Suppose both methods are valid for documenting dreams though, since you have to re-think what happened in the dream, thus bringing it back and going over it in detail. Gotta do it while it is still fresh in your mind though. If you wait too long you lose a lot of details and impressions, but when you have it down, it helps save the dream in your brain and when you re-read it it really brings it back in your mind’s eye.
>To me the worst thing wasn't so much the sound effects, but the dialogue scenes. They have that unnatural quality to them, that clarity that you ironically tend to get from a voice recorder like the one James used in the film.
It sorta makes sense to exaggerate the sounds of the animals when you have them in a close-up as it heightens the icky quality of the creepy-crawlies.
>Could Jung have read the story and have been influenced by it?
The book was published in German in ’62 & in English in ’63, but I’m not sure when he had that dream. It could be contemporary of Lovecraft, or even predate the story. It could be the contents of the dream is common and many people experience similar dreams? Lovecraft often incorporated his dreams into his stories. If I remember correctly HPL was not a fan of Freud and his theories, but I don’t know his opinion on Jung, or what Jung was all about. According to Wikipedia Jung & Freud had a falling out and did not see eye to eye either.
Think it was Lovecraft scholar Robert M. Price who brought up the Lovecraft/Jung connection.
Check out this trippy reading of Poe’s The Raven from 1982 1976: https://archive.org/details/theraven_20170314
Think you will enjoy the colours. It uses Doré’s artwork, including some from his illustrations for other works.
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No.3103
>>3102
>The unsteady camera contributes to the cheap feel of it, and that took me out of the film more than the colourless scenes did. It is really noticeable and distracting. If they had treated the camera like a sturdy film camera, and only made it move like a heavy film camera, I think that would have helped enormously. No quick, unsteady movements, and only angles you could have pulled off with a film camera.
I went back to it because I genuinely couldn't remember those scenes. They mostly happened when James runs in the woods and when he's shocked after opening his "time capsule". Amazing conservation, by the way. But I won't pick on that, I'm only thinking of it now. During the first watch, the suspension of disbelief was strong enough to not notice that detail.
>The Swedish film The Okända (“The Unknown”) from 2000 is presented as a pseudo-found footage horror film; none of the characters in the film shoot the film, but it was shot on a DV camera as if it had been the characters themselves had shot it – lots of shakiness, imperfect lighting, natural light and darkness only, and it was shot on a shoestring budget. On the audio commentary track the director reveals that the film was shot on a DV camera and then shown on a large screen which was then shot with a 35mm camera. This gives the film a truly unique look – the film grain of a professional film with the colours and imperfections of a home video.
>I love the look on that film, and if they had done it on Lord of Tears I think it would have looked a lot better and really set it apart from all the other shot on DV horror films.
Very interesting technique. One thing though, when you say DV I tend to think of home video and tiny CCD sensors. This one I'm certain wasn't shot on something like that. How do I know? There's blurry backgrounds, the same wide open lens shots I mentioned earlier. The problem with this is of another nature. I agree that the film-out process could have enhanced the film but at the same time I don't think it would have solved the underlying issues. It's mostly a matter of contrast and color treatment.
>All of these things were rented from a prop house and it doesn’t really cost that much more to rent more ornately carved objects than the straight objects, and we filled the sets with as much as we could.
That's a more than fair point he's making. Why rent unremarkable props if you can get something memorable instead?
>Speaking of bad porno vibes… That almost strip-scene where she descends the stairs to the pool made me think the director had given up making a psychological horror film and opted for a hardcore porno instead. And given their past history it is very weird that she would seduce him.
Don't forget the line by the Owlman in pic related: "But now, the morbid marionette has been manipulated to fruition." He knows that James has repressed the memories and uses that as one more instrument to torment him. The Owlman is a sadist, he's there for that sweet garmonbozia offering. And like the ravens from Lawrie's other film, he finds his victims tastier when drained of their souls. He's there to feast on despair. There's one thing that bugs me about this, though. If she's just a puppet of the Owlman, why does the submersion scene produce shock in her? I think her soul is still kind of there, and the Owlman has convinced her to do his bidding. This apparent "plot hole" is actually another element of mystery in this story I think. There's no way they didn't think of this detail. Or maybe the Owlman did it on purpose so that it would hurt James even more, a simulation of shock from trauma. Both theories could work, and in fact if her soul is still there, then the Owlman is still squeezing suffering (tears) out of her. Such a perverse creature. I'm fascinated with it.
>Would imagine so. There are some films I can watch again and again and notice new details and really appreciate the work that went into the film, but I do not think this is one of those films.
Absolutely.
>Maybe if they made a shorter cut, leaving out the unnecessary parts and kept it short and sweet.
I wonder what Brewster left out in the Director's Cut edition.
>Dale Cooper tier.
kek
>I find it much easier to record my dreams in text form. Suppose both methods are valid for documenting dreams though, since you have to re-think what happened in the dream, thus bringing it back and going over it in detail. Gotta do it while it is still fresh in your mind though. If you wait too long you lose a lot of details and impressions, but when you have it down, it helps save the dream in your brain and when you re-read it it really brings it back in your mind’s eye.
I usually record them in text form, but voice notes make it easier to elaborate on the details. There was one particular dream I recorded using both methods, and I was shocked to find out later how different the two recollections were. With text (specially on a screen like a phone) you demand your mind to drift further away from being half-asleep. I suppose this doesn't matter if you completely wake up, but in my experience the dreams I remember happen when I wake up still sleepy. The voice record manages to be a lot richer on the details, and the narration itself becomes a stream of consciousness. Meanwhile, the written version is more like a list of bullet points.
>It sorta makes sense to exaggerate the sounds of the animals when you have them in a close-up as it heightens the icky quality of the creepy-crawlies.
Definitely. Also I think I'm figuring out some of the things that make the dialogue sound so artificial: one, you have what is called a "fast attack", that is, the sound goes from zero to peak instantly. I think that's because of the microphone's sensitivity. That's ideal to record a lecture, for example, as it makes things sound clearer, but it doesn't sound the most natural. Another thing is the high sensitivity to certain sounds like "s" and other consonants. There's a process done in music production called de-essing that seeks to eliminate the excessive sibilance from records. In Evie's voice, this problem is specially noticeable. James isn't that bad, but Evie's s, sh and t sounds are really harsh. De-essing may not even be necessary if correct microphone placement and type are used, also the pop filters help (those circular meshes that you often see streamers put between them and their microphones). It's weird that this problem appears though, because the film doesn't appear to be dubbed (and if it was dubbed, they did an excellent job syncing).
>Think you will enjoy the colours. It uses Doré’s artwork, including some from his illustrations for other works.
Like I did with Evie, you thought right. The distorted background music is a treat too, very surreal. I'll check the full thing later but it looks really good.
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No.3104
>>3102
I watched it now, not only I enjoyed it but a number of things in the poem made me think of some things we see in The Unkindness of Ravens. I think Brewster purposely set the audience to see certain things similar to the ones in The Raven, only to come up with a different conclusion.
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No.3107
>>3057
Kek, obviously Automata didn't register with me even after reading your post. I posted this >>3094 after it without realizing it. What was so bad about it?
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No.3109
I just experienced The Black Gloves. And I say experienced because just "watched" felt inadequate to convey how much I liked it.
It's a beautiful film and the flaws of Lord of Tears and The Unkindness of Ravens have been ironed out. There were some questionable musical choices but nothing scandalous.
This one takes a different focus and deals with things already explored in Lord of Tears without retreading, so it didn't feel quite as Lovecraftian.
The performances were great, from the entire cast. And Macarena talking about being a muse was a dream come true. The cinematography, a delight. Light and color are used here to create magical images, one may even say Argentoesque. The similarities with Profondo Rosso don't end at the dolls. It has been compared to Suspiria but I think it feels closer to Inferno. In any case, it's very Italian-like. Even the role the title ends up playing was very gialloesque.
I enjoyed the way it echoed back to Lord of Tears, like in those scenes where Finn insists that the Owlman is a delusion and tells Elisa nothing was real. Made me think of those last lines from the first film:
Forget your Heaven, and your Hell as well.
Cast out your morbid doubt, and sleep a hundred years.
The inevitable end will find you in your blindness.
It will seek you in your slumber, in the numbness of your sweet denial, and defile you.
Dim dreamer.
And when Death takes you, you will not awake elsewhere.
For there is no believer’s bliss.
There is but one eternal certainty, and that is the abyss.
>>3057
>Entertaining and went in a direction I had thought they were only going to imply.
I saw some twists coming but it wasn't without surprises for sure.
I thought she was going to give the baby to the Owlman to recover Lorena and drive Finn insane. However, that last scene left me thinking I may not be completely wrong. I also suspected at some parts that Elisa was dead. Specially after she jumps.
>Macarena is a treat!
Indeed, not just her performance but she looks great in some scenes where not even the makeup manages to age her too much. This would arguably a flaw but beauty is the only thing I won't complain about. In others they did manage to make her look old.
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No.3110
Now some brainlet takes that I didn't feel like putting in the main post:
There is something I'm not sure if was based or redpilled or if I'm just making associations because of burger influence, but "MLK" is prominently featured and dreams play a huge role in this film. Sinister dreams. I know it's Moloch/Molock but I can't help but wonder if it's a double-entendre as well.
Additionally, some themes here fit with Aerobicide and Murderock - Uccide a passo di danza but it's really stretching it and the mention is basically a shitpost, specially of Aerobicide. Very superficial similarities and a completely brainlet observation that almost devalues The Black Gloves.
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No.3122
>>3107
>What was so bad about it?
I was probably in a bad mood. But the storyline pushing incest between the father and daughter just repulsed me. I can't remember much (this year has been a real haze) but me swearing expletives at the tv as I watched it.
>Additionally, some themes here fit with Aerobicide
I haven't watched any of my backlog in ages. This will be the first when I finally get to it. Looks fun.
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No.3123
Finished watching Messiah of Evil. earlier. What a magnificent era of American cinema the 70s were. I'll gloss over it because I'm phoneposting and have to go soon, but this will be a decent start for the conversation I hope.
Some small things in it like the Dark Stranger being apparently Thom reminded me of Clint Eastwood's Weird West film High Plains Drifter (I'm using the spoiler feature in case you haven't seen it). In it, there's some flashback scenes of some outlaws whipping a lawman to death in a lynching as the locals watch doing nothing, and he curses the town. The guy in the flashback looks ambiguously like Eastwood's character and was played by his stunt double.
I think it might have been influenced by The Shadow over Innsmouth and then influenced Stuart Gordon's Dagon, assuming he ever saw it. I make this speculation based on the fact that some elements in Dagon which weren't part of the novella appear here too. For example, proximity to the damned town playing a role in the transformation. Or fire being an apparently effective way to kill them.
Now to analyze the film itself (for now just in an aesthetic sense), it was striking. A visual feast. Those super dark blacks, those noir-like night road scenes. I think that's where celluloid shines the most. You get that extreme contrast, that darkness. The things that are lit like the car or the gas station appear against a pitch black background giving the appearance of being in the middle of nowhere in the most literal sense of the word, it looks like a void. The lighting was masterful, and those mattes in the atelier, nothing short of amazing. Combined with the lighting it was quite the experience. And that 60s/70s makeup, absolutely gorgeous. The girls themselves look good on their own but that makeup really makes their beauty pop. Similar to Edwige Fenech's look in Martino's Tutti i colore del buio from 1972 or Marisa Mell's look in Lucio Fulci Una sull'altra from 1969. It's not a look you see often in American cinema. I wish it made a comeback, it's lovely.
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No.3124
>>3122
Sounds baste and Refnpilled kek. Seriously though even Too Old to Die Young kept that formula in the realm of unrealized fantasy and only the opposite version was acted on.
If I were you I'd go for Fulci's Muderock - Uccide a passo di danza first unless you have already seen it. Aerobicide is much cheaper in every sense, even forgetting about budget. It's good dumb fun but you have to be in the mood for it. At moments, it's the embodiment of "so bad it's good".
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No.3126
>>3110
From wiki:
>Valentin Greissing in 1678 suggested that the vocalisation Molek was modelled after חֹלֵם ḥōlem "dreamer; prophet" to distinguish it from melek "king".
The plot thickens. Maybe the American obsession with Martin Luther King was a surreptitious form of Moloch worship all along. Or not, but it's an interesting thought to entertain.
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No.3127
>>3123
This is a genuinely bleak film with an apocalyptic atmosphere – right away there is a sense of mystery and eeriness, and soon there is a sense of foreboding doom. The atmosphere is very oppressive and dense, and the wall-paintings are a very lever way to add to this; distorted images depicted by Arletty’s artist father as he slowly falls victim to the influence of the blood moon and the town. One genius scene is where Toni takes Arletty’s bed to get some privacy, but is troubled by the surrounding wall-paintings depicting townspeople watching her. All through their stay at the beach house these paintings make the place feel eerie – no place in town is safe, not even when they are alone can they escape this sickness and the silently watching townspeople.
One of the versions available on the Internet Archive has a different soundtrack, but I much prefer this mostly silent version I have seen twice now. The silence is great at highlighting the isolation and emptiness of the place. Mostly natural sounds like wind and waves against the beach.
The shots of the sandy beach and the albino trucker listening to Wagner made me think of Herzog’s Nosferatu – Phantom der Nacht (1979), and the film has a very European feel to it. I’ve already mentioned the visual similarities to Argento’s films, but it is perhaps more like a Mario Bava film. Argento tends to let a single, strong colour dominate the scene, but Bava uses “all the colours of the night”, just like this film. It is beautifully lit, with reds, blues and purple, and some green and yellow. And the very deep black background, like you pointed out, gives the impression of a yawning black void of nothingness surrounding the characters – like in a dream or nightmare only the important is visible, and whatever is outside the frame isn’t visible.
The opening is similar to Halloween III: Season of the Witch (1982), same with the appearance of bugs and the frantic, failed attempt to warn people of the doom that is coming.
I do not think the opening is a dream/nightmare, but it really happened. My main question about the opening is if it is supposed to take place in Point Dune, or if it shows that the disease is spreading further.
The opening and ending is very reminiscent of The Rats in the Walls in which the protagonist tells his tale from an insane asylum – that story also features a cannibalistic cult. Arletty’s escape from Point Dune is also similar to Robert Olmstead’s escape from Innsmouth. He managed to convince the gov’ment to get involved and take action against the EoD, so he must have told them another story in order to be believed. At the end of that story he plans to break out his cousin from an insane asylum so they can join their relatives in the deep sea, so apparently his cousin went mad when he found out the truth//wasn’t believed when he told anyone else.
Arletty’s father is an artist, a painter, and sensitive artists appear in several of Lovecraft’s stories, where it appears that their sensibility/sensitivity affects them sooner and stronger than other people. Another not-uncommon trope in Lovecraft’s stories is the possibility of an unreliable narrator; it could be that Arletty really is insane and the story she is telling is not what really happened.
The film makes a direct reference to the Donner Party (1846–1847), a group 87 of pioneers who got lost on their way westward and resorted to cannibalism, and of which 48 members survived.
https://en.wikipedia.org/wiki/Donner_Party
https://en.wikipedia.org/wiki/Alferd_Packer / https://commons.wikimedia.org/wiki/File:Harpers_Illustration_1cropped.jpg
Cannibalism brings to mind a nameless corpse-eating cult first mentioned in HPL’s The Hound. The way people undergo a physical and mental change is also similar to ghouls in HPL fiction who feast on human flesh and lose their humanity.
Joseph’s warning to Arletty mirrors a similar passage in The Call of Cthulhu (written 1924):
<Joseph Long: The Dark Stranger watched the chaos, and he walked into the sea and said he would return a hundred years later. To a world tired and disillusioned. A world looking back to towards all gods and our dark ways – our world.
<The Call of Cthulhu: [The Cthulhu Cult] would never die till the stars came right again, and the secret priests would take great Cthulhu from His tomb to revive His subjects and resume His rule of earth. The time would be easy to know, for then mankind would have become as the Great Old Ones; free and wild and beyond good and evil, with laws and morals thrown aside and all men shouting and killing and revelling in joy. Then the liberated Old Ones would teach them new ways to shout and kill and revel and enjoy themselves, and all the earth would flame with a holocaust of ecstasy and freedom.
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No.3128
>>3127
>One of the versions available on the Internet Archive has a different soundtrack, but I much prefer this mostly silent version I have seen twice now. The silence is great at highlighting the isolation and emptiness of the place. Mostly natural sounds like wind and waves against the beach.
The one I saw has music at several parts but it also leaves a lot with just natural sounds like you described, maybe it's the same one you're talking about. The music is mostly eerie synths, almost 50s sci-fi style even resembling a theremin.
>The shots of the sandy beach and the albino trucker listening to Wagner made me think of Herzog’s Nosferatu – Phantom der Nacht (1979), and the film has a very European feel to it. I’ve already mentioned the visual similarities to Argento’s films, but it is perhaps more like a Mario Bava film. Argento tends to let a single, strong colour dominate the scene, but Bava uses “all the colours of the night”, just like this film. It is beautifully lit, with reds, blues and purple, and some green and yellow. And the very deep black background, like you pointed out, gives the impression of a yawning black void of nothingness surrounding the characters – like in a dream or nightmare only the important is visible, and whatever is outside the frame isn’t visible.
Indeed. The actions are also very dreamlike, it doesn't seem like anyone would do some of the things they do if not dreaming.
>I do not think the opening is a dream/nightmare, but it really happened. My main question about the opening is if it is supposed to take place in Point Dune, or if it shows that the disease is spreading further.
The method is strange, though. I think it happened but I'm unsure of what it means. Usually the ones from Point Dune just used their bare hands and teeth. Maybe this one has to do with an early transformation though, as the girl appeared normal.
>Another not-uncommon trope in Lovecraft’s stories is the possibility of an unreliable narrator; it could be that Arletty really is insane and the story she is telling is not what really happened.
That would be quite the twist but also undermine the story, like the "everything in American Psycho happened in Bateman's head" theory. I hope you're not right lol.
By the way, the similarities I had found between Touch of Evil and Messiah of Evil were utterly superficial. It sure looked a lot more similar in my memories.
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No.3129
Now, when it comes to Kiss Me Deadly, there's a lot more. You have the hitchhiker, the road at night, the gas station, the whistleblower, the murder attempt with a car lift.
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No.3130
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No.3131
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No.3132
The visuals aren't where the similarities end, by the way. The notion of doomsday is central to both.
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No.3133
Now arguably the most obvious visual parallel to Stuart Gordon's Dagon.
And unrelated to it, an observation about the theater scene: the locals look blue, Toni is the only one who doesn't.
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No.3134
Also from Kiss Me Deadly, the couple where the woman helps the injured man get away (part of the scene in >>3132 ).
And more stunning shots from Messiah of Evil, without much commentary. It's remarkable the look they achieved with the stairs scene, the wall isn't hit by the blue light at all but Arletty is, so she becomes integrated to the dock in the painting. Which stays the same color after the white light comes.
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No.3135
Thom and The Dark Stranger from Messiah of Evil, The Stranger and Marshal Duncan from High Plains Drifter. Another similar thing about both films is the score, those eerie synths used to convey supernatural happenings.
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No.3136
YouTube embed. Click thumbnail to play.
There's something else about High Plains Drifter: like in Messiah of Evil, the ending echoes the opening. This was remarkably common during that era. Vanishing Point (1971) has that. Dirty Mary, Crazy Larry (1974) has that too. Recalling the infamous quote by George Lucas: "It's like poetry, it rhymes."
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No.3137
>>3133
The colour is of course associated with death and the dead, and in Japanese Ukiyo-e art the dead are always shown as blue. Not that I consider the changed townspeople to be zombies, but they are no longer fully human.
Interestingly the film was also released as Dead People, and on this black & white poster it has the title Return of the Living Dead!
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No.3138
>>3134
The stairs scene is one of my favourites in the film – absolutely stunning! The wall-painting with its blue tone, and the eerie red light of the blood moon shining in thru the doorway is superb. Mario Bava would nod in appreciation at this one, I think.
I also found a rather interesting IRL similarity between the married writer/director couple of this film to HPL & his wife, Sonia Greene. Sonia was a Jewess and Lovecraft was the ultimate WASP, and they apparently spent their honeymoon editing and proofreading something he had written. He also wrote articles for a journal she published (The Rainbow).
Gloria Katz and Willard Huyck's Best Defense Against Critics Is Their Screenwriting Track Record | PEOPLE.com: http://web.archive.org/web/20191121095640/https://people.com/archive/gloria-katz-and-willard-huycks-best-defense-against-critics-is-their-screenwriting-track-record-vol-22-no-8/
Read online that Sonia apparently divorced him because Lovecraft wouldn’t stop ranting about the Jews…
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No.3139
>>3109
You are spot on about some of the musical choices being questionable – at best. It is rather distracting to have this modern synth in a 1940s setting in a film that strives to imitate the film noir genre.
The titles and end credits were terrific – instantly made me think of 1970s horror. This makes the film seem like a 1970s horror film set in the 1940s, which is quite interesting.
>>3110
The black swan sequence was probably my favourite in the film, and the way she went after him with a hat pin did remind me of Fulci’s Murderock - Uccide a passo di danza as well.
The MLK theory is interesting, and I think you might be onto something.
Some of my own brainlet comments (who am I kidding, all my comments are brainlet tier):
The painting of Elisa is a variant of the infamous painting Portrait of Madame X by John Singer Sargent: https://en.wikipedia.org/wiki/Portrait_of_Madame_X
Lorena’s scarred hands reminded me a lot of Dr Frankenstein’s burn-scarred hands in Frankenstein and the Monster From Hell (1974); the good doctor also covers up his scarred hands by wearing gloves.
Both this film and Lord of Tears reminded me a lot of Crucible of the Vampire. A British indie horror film set in a large, haunted country house, where an outsider visits. You also have a ballet scene, and a sapphic element.
Speaking of a sapphic element… the relationship between Lorena & Elisa might just be one of extreme adoration, but it feels like they are crossing over into romantic territory.
>>3104
Yes, at one point the film appears to pay homage to Poe’s poem; Andrew sitting up at night, by a desk and writing poetry, then there is a knock on the door/window. That must have been a deliberate reference I think.
Also, in English a person who stays up late/all night is called a night owl, but in Scandinavia they are called a “natteravn” – “night raven”.
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No.3140
>>3139
>You are spot on about some of the musical choices being questionable – at best. It is rather distracting to have this modern synth in a 1940s setting in a film that strives to imitate the film noir genre.
Naturally, the non-diagetic aspect of it makes it a little less bad. In any case I didn't mind it that much, I noticed because I was looking for it.
>The titles and end credits were terrific – instantly made me think of 1970s horror. This makes the film seem like a 1970s horror film set in the 1940s, which is quite interesting.
The end credits reminded me a lot of Inferno. Admittedly, Lord of Tears already had some elements I hadn't picked up on until minutes ago when I revisited Inferno for some screencaps. The parallels are stronger here though, with the main character trying to find out what happened to someone he cares about (it was Mark's sister in Inferno), him going through books about the house's history and the end credits plus the color scheme in several scenes being reminiscent of Inferno.
The opening titles are a lot like those in Tenebre with the burning book.
You have a house with a dark secret in the basement, like the buildings in Inferno too. It's been compared to Suspiria but I frankly see very little resemblance, probably by commentators who never bothered with Inferno. The more I reminisce on it the more I realize there's similarities: there's talk about the piping making noises. This is a feature of the building in Inferno.
And this same act of reminiscence is making me realize there's parallels between Inferno and Messiah of Evil too: the moon eclipse and the blood moon play very similar roles. Kazanian is eaten alive by animals under the eclipse, and then slashed much like the man in the opening of Messiah of Evil, by someone he thought would help him. There's also Sara who gets her finger hurt and has some bleeding on her way to investigating the library.
There is one thing that is more Suspiria-like than inferno-like in The Black Gloves though, and that's the beauty of the colors. In Inferno the red and the blue looked sort of cheap in comparison. The ghostly curtains give off a Carpenter vibe to me I think.
>The black swan sequence was probably my favourite in the film, and the way she went after him with a hat pin did remind me of Fulci’s Murderock - Uccide a passo di danza as well.
That wasn't what I had in mind exactly, but it's an interesting observation. I was thinking of the bitter dance instructor who had her dancer career cut short by a crippling accident. Or a bitter fitness instructor who had her modeling career cut short by a fire and who has to cover the scarred skin with clothes.
>The MLK theory is interesting, and I think you might be onto something.
You know, it wouldn't be the first time the left tries to get a guy with a "special" name to be a martyr for them. Look what I found on wiki:
>Valentin Greissing in 1678 suggested that the vocalisation Molek was modelled after חֹלֵם ḥōlem "dreamer; prophet" to distinguish it from melek "king".
Maybe it wasn't Brewster's intention but I think he may have inadvertently dropped a redpill.
>Speaking of a sapphic element… the relationship between Lorena & Elisa might just be one of extreme adoration, but it feels like they are crossing over into romantic territory.
I felt like reading it as sapphic would be sexualizing something that appears to be non-sexual even when nudity is involved so I didn't bring that up.
>Yes, at one point the film appears to pay homage to Poe’s poem; Andrew sitting up at night, by a desk and writing poetry, then there is a knock on the door/window. That must have been a deliberate reference I think.
That's the exact part I was thinking about when I said that.
>Also, in English a person who stays up late/all night is called a night owl, but in Scandinavia they are called a “natteravn” – “night raven”.
Sounds like… the owls are not what they seem.
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No.3141
>>3137
Very interesting points, all of them. Do you think the association with blue comes from how corpses acquire a bluish color after the oxygen in the blood is consumed? The symptoms seem to point in that direction too, ironically enough like the ones on the actual Return of the Living Dead (low temperature, loss of sensitivity). I read some talk about the supermarket scene with the meat being an allegory of consumerism but I think it's overanalyzing it (not that I don't often overanalyze stuff, but I try to be aware of what I'm projecting and shoehorning over what the author of some work intended).
>>3138
>The stairs scene is one of my favourites in the film – absolutely stunning! The wall-painting with its blue tone, and the eerie red light of the blood moon shining in thru the doorway is superb. Mario Bava would nod in appreciation at this one, I think.
The red was supposed to be from the wall painting rather than the moon (but probably represents the moon in the painting). And just now I noticed after a quick rewatch that the blue in the painting is the blue light. It also makes the orange-ish red become redder (there was probably some red light in use too). I'm astonished at how wrong I was in >>3134 saying
>the wall isn't hit by the blue light at all but Arletty is, so she becomes integrated to the dock in the painting. Which stays the same color after the white light comes.
I think it was partly the editing that fooled me, as that painting isn't immediately shown again.
And speaking of Bava, it doesn't get more Bavaesque than these two segments in the videos (one of them in the next post due to filesize restrictions). The way they go from one color to another and make it work is great. To paraphrase Tarkovsky, they're painting in time (he talked about filmmaking as "sculpting in time" but here the painting metaphor seems more apt).
The swimming scene was beautiful, it looks infinite and yet calm. Is Thom's disappearance actually not death but him preparing to come back as the Dark Stranger?
Narratively I think Toni's scene in bed was superior, but aesthetically the one with Arletty takes the cake. Is it me or did it attempt to mimic the imagery of the tales Sleeping Beauty and Snow White?
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No.3142
Also talking about this while I had my other post in the background where I shitposted about owls made me remember one aspect of the film. In more than one way, it's very Lynchian. Small town, horrific secrets. I'm leaving for now but I'm sure there's more to comment on that I'm forgetting right now.
One that I just remembered though is Godard's famous surreal work Pierrot le Fou. I sort of hated it but it had some worthy ideas and aesthetics: painting plays a big role in it. And so does colored lighting. When Arletty's father is covered in blue paint it immediately put Pierrot le Fou in my mind.
There's also a colorful driving scene that I hated because of how obvious it is they're sitting on a car in a studio with colored lights being pointed at them randomly as a substitute for city lights. Effects-wise it was very bad. Virtually everything in the film happens in coastal locations, including islands.
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No.3143
>>3140
>MLK
<Frank Rudolph Emmanuel Olson (July 17, 1910 – November 28, 1953) was an American bacteriologist, biological warfare scientist, and an employee of the United States Army Biological Warfare Laboratories (USBWL) who worked at Camp Detrick (now Fort Detrick) in Maryland. At a meeting in rural Maryland, he was covertly dosed with LSD by his colleague, Sidney Gottlieb (head of the CIA's MKUltra program) and, nine days later, plunged to his death from the window of the Hotel Statler. The U.S. government first described his death as a suicide, and then as misadventure, while others allege murder.[1]
https://en.wikipedia.org/wiki/Frank_Olson
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No.3144
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No.3145
Pierrot le Fou had these beautiful scenes that I posted but was also insufferably pretentious and tryhard, causing immersion to suffer a lot and actors to look like they couldn't act. It was too much like an amateur stage play. I hated that Godard decided using completely unconvincing effects was better than not having certain scenes at all or even just going for a more modest variation that didn't require complicated resources. For 1965 it's frankly terrible in many aspects. Very heavy-handed too with some commentary.
>>3143
Wait, what's the link besides suicide? Is the name supposed to ring some bell? Or are you linking MLK and MKU(ltra)?
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No.3146
>>3145
>Wait, what's the link besides suicide?
The suicide turns out not to be a suicide – Elisa didn’t jump to her death, and I very much doubt the official story about Frank Olson’s death.
Summa summarum:
* A suicide that turns out to not be a suicide
* A poisoning (Lorena must have put something in his wine; IRL Frank Olson was poisoned by a MKUltra scientist days before his death)
* MLK / MKUltra – this must be a deliberate reference to the gov’ment program.
* Moloch/MKUltra is messing people up till they can no longer tell what is real and what is not; it gets into your mind and makes you experience things that aren’t real. In order to free yourself you must make a sacrifice to Moloch.
>>3103
>If she's just a puppet of the Owlman, why does the submersion scene produce shock in her? I think her soul is still kind of there, and the Owlman has convinced her to do his bidding.
We are told that victims to Moloch have to be drowned. This doesn’t seem to be the case in The Black Gloves, where it doesn’t matter how the person died as long as they are sacrificed to Moloch by placing their severed head on the shrine. No doubt the “memory” of being drowned triggered that response in Evie when he dunked her under in the pool.
It has been really interesting to follow Brewster & Daly’s progress throughout this trilogy. In a way it is similar to Lucio Fulci’s Gates of Hell trilogy where Catriona MacColl was the only recurring actress, and the shared theme of a gateway to Hell being opened and the affect this has on the people and the surroundings. In this trilogy it is the bird motif, sacrifice and psychological trauma.
The eye-plucking and eye trauma in The Unkindness of Ravens is also something that is very Fulci-esque.
And speaking of Fulci, I would totally take his mannequins falling down over that awful CGI fall in The Black Gloves. A mannequin close-up would fit the 1970s Euro-horror tone and in a way pay homage to Fulci. Even just showing it from Elisa’s perspective and see him vanish over the cliff edge and hear his screams would have been better.
Some scenes would have worked better in black & white IMHO, while others look absolutely stunning and perfect in the Argento/Bava-esque light.
Some of the outside daylight scenes in particular were not well-lit, and some of the interior scenes make it seem like the moonlight shining in thru the windows is much, much stronger than the sunlight is during the day.
The shots of the moon when Finn arrives at Baldurrock reminded me of old school films with matte paintings. It’d be interesting to see the film in black & white as well.
It should have been a two disc version; the colour version on disc one and the black & white version on disc two, with some special features where Brewster talks about what he intended and which version he prefers and recommends.
The balloons and the birthday decorations immediately made me think of Matthew Holness’ directorial debut film Possum, which opens with a shot of party balloons and smoke.
>>3140
>I felt like reading it as sapphic would be sexualizing something that appears to be non-sexual even when nudity is involved so I didn't bring that up.
It may not be sexual, but it does come off as romantic. They were willing to do anything to help the other.
I wasn’t even referring to the scene where Lorena helps undress Elisa, but the scene where Lorena takes Elisa’s hand and sucks or licks her hand. That is not friendly – that is a sign she is absolutely devoted to her. Not to mention the part where she is about to kill for Elisa – and Elisa ends up repaying the favour.
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No.3147
>>3146
>A suicide that turns out to not be a suicide
It's a stretch though, the final result in one was death and in the other it wasn't.
>MLK / MKUltra – this must be a deliberate reference to the gov’ment program.
I highly doubt it for one reason: MLK appears linked to Moloch outside this film, it's an ancient thing like YHWH is to Yahweh. Apparently Moloch is a deriding vocalization of the word, to avoid calling him "king" which is the meaning of the root MLK, if I got it right.
>Moloch/MKUltra is messing people up till they can no longer tell what is real and what is not; it gets into your mind and makes you experience things that aren’t real. In order to free yourself you must make a sacrifice to Moloch.
The sacrifice to him is to grant a wish, in a similar way to the tales of selling one's soul to the Devil. It's an exchange.
I think the "freeing oneself" part applies to those who are going to be sacrificed. He wanted Elisa since she was a baby, but Lorena protected her. And he wanted James since he was a baby, but his parents chose to sacrifice Eve instead. James and Elisa were both traumatized by what they witnessed, but the outcome was the opposite: in James' case, he liberated Eve and was horrified by what his parents did, but Moloch gets his way in the end by offering Allen his father's health back in exchange for James' head. Moloch's designated offering ends up given to him. Meanwhile Elisa although desired by him becomes his servant instead. She's witnessed the offering but she didn't repress the memory, while James and his parents lived in denial, and while Finn wants her to deny her own memories as delusions, she refuses to. And Finn's denial is so strong that even in his last moments while facing Moloch he tells him he's not real. I think that Eve's baby is next in the chain of offerings. At some point someone will want to have something and Moloch will lead them to sacrifice that baby and put his head in the shrine. Likely Eve herself (people sacrificing their children to Moloch was a recurrent thing in the Bible).
That said, I think your theory may work the other way round: that MKUltra itself had some Moloch elements to it.
>No doubt the “memory” of being drowned triggered that response in Evie when he dunked her under in the pool.
I understood this, but the thing is that she's supposedly a revived corpse, a "morbid marionette" as the Owlman calls her. So my question is, is her soul still there fighting Moloch's will to some extent? Or is Moloch deliberately faking that to make James suffer?
>It has been really interesting to follow Brewster & Daly’s progress throughout this trilogy.
It has been quite the journey. It's not often that you get to see such progress. It's either a middling hack being a hack in every work he does or a prodigy with a great debut who keeps putting out great work. This duo went from amateurish to solidly professional, if flawed.
>And speaking of Fulci, I would totally take his mannequins falling down over that awful CGI fall in The Black Gloves. A mannequin close-up would fit the 1970s Euro-horror tone and in a way pay homage to Fulci. Even just showing it from Elisa’s perspective and see him vanish over the cliff edge and hear his screams would have been better.
It wasn't CGI but it was a stupid greenscreen effect. I agree even the mannequins would work better. I clearly repressed this memory because I forgot about it while I reviewed the film kek.
>Some scenes would have worked better in black & white IMHO, while others look absolutely stunning and perfect in the Argento/Bava-esque light.
Honestly I didn't think much about that, but I'm guessing the ballet fire and the ship scenes would have been even more impactful. Still, I tend to prefer color.
>Some of the outside daylight scenes in particular were not well-lit, and some of the interior scenes make it seem like the moonlight shining in thru the windows is much, much stronger than the sunlight is during the day.
I thought that was deliberate. Maybe a concept related to the glow of buried remains under the moonlight? They cause what is called an "atmospheric ghost light", sometimes explained by the oxidation of phosphine released by the decay. Look up will-o'-the-wisp or ignis fatuus. Under the right conditions sometimes glowing orbs are seen.
There's also the question of a "thick atmosphere", I didn't get the impression of stronger light but more "focused" light, visible beams as opposed to scattered light. But I can see where you're coming from.
I didn't mind the daylight outdoors scenes but maybe my attention wasn't on the lighting. I tend to be indifferent unless it's outright terrible or incredibly good. Going back I now noticed some lack of fill light in some of them, specially when Elise and Finn are under the tree. Almost noir-like harshness.
One thing I noticed (admittedly I was looking for it) and didn't mention before, partly to not spoil your experience was handheld shots with some shakiness. You didn't mention them so I'm guessing they didn't bother you much.
>It may not be sexual, but it does come off as romantic. They were willing to do anything to help the other.
>I wasn’t even referring to the scene where Lorena helps undress Elisa, but the scene where Lorena takes Elisa’s hand and sucks or licks her hand. That is not friendly – that is a sign she is absolutely devoted to her. Not to mention the part where she is about to kill for Elisa – and Elisa ends up repaying the favour.
I tended to see it as an almost mother and daughter relationship, but you're right about the hand thing being weird. Also remembering the visions of Moloch during the fire I'm thinking maybe she struck a deal with him - like the deal she must have struck during the orphanage years. Kids kept disappearing, probably to keep Elisa safe. Maybe part of the deal is that she must stay in Baldurrock. And that's why Lorena offers herself to free Elisa. Getting out of Baldurrock wasn't possible for Elisa before. I'm thinking of another theory too: maybe during that fire she died and she's an illusion in Baldurrock until Lorena is sacrificed. An illusion created by Moloch as part of her deal with Lorena to lure a new sacrifice into the shrine, in this case Finn. But that theory, now that I think about it, makes little sense with Elisa threatening to kill herself with the gun. But maybe Moloch keeps her alive only within Baldurrock until a sacrifice is made to free her.
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No.3149
>>3146
>The eye-plucking and eye trauma in The Unkindness of Ravens is also something that is very Fulci-esque.
Something I should have mentioned earlier and didn't think of is that there's a Spanish proverb that goes "Cría cuervos y te sacarán los ojos". That translates as "raise ravens and they'll gouge your eyes out". There's even a surreal Spanish film titled after the proverb: Cría Cuervos (1975). I haven't seen it but interestingly enough it features a girl who feels guilty of her father's death and experiences hallucinations. But I doubt it influenced Brewster in any way, despite those superficial similarities the stories are nothing alike. The girl who is the protagonist is more like the girl from Profondo Rosso, a child with macabre wishes that imagines things. Interestingly enough Argento's film is from 1975 too. Cría Cuervos is supposed to be a commentary on Franquismo the Spanish historical period associated with Francisco Franco's regime. I suspect the film is of the leftist persuasion, but probably worth a watch from an artistic perspective. That said, I have no plans to watch it any soon, my backlog is crowded enough already and I move at a glacial pace when I'm not in a short binge where I watch about 4 films in a space of few days.
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No.3154
>>3110
>Very superficial similarities and a completely brainlet observation that almost devalues The Black Gloves.
I've officially jumped the shark. I asked Lawrie Brewster on Twitter about Murderock - Uccide a passo di danza. Didn't want to ask about Aerobicide as it felt almost insulting. If he humors my question I'll probe further.
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No.3158
>>3141
yes the scene where Arletty is swimming alone is very beautiful; the ringlets/waves surrounding are quite pretty. Very haunting image.
Now, what happens next? Arletty says she was rescued, brought back and dressed up, offered to the Dark Stranger. This scene is quite similar to the sacricial scene in Dagon, where Bárbara is offered as a bride to Dagon. Is she taken and impregnated by the Dark Stranger, or does he settle with telling her the truth and letting her spread His word, knowing no one will believe her?
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No.3160
>>3158
I didn't even consider the possibility of the Dark Stranger not having his way with her. Wouldn't be much of an offering. However, there's no signs of impregnation. Maybe it's something more insidious, a corrupting force that rots her from the inside and will eventually make her a puppet of the Dark Stranger. The ritual was certainly more civilized than the one from Dagon though, which was almost sacrifice with the ritual dagger and all. Maybe there's a form of mind control involved, she didn't resist. Or maybe it's just fear itself.
Maybe the commentary track could shed some light on it. I sent you some info about versions of the film that may be of interest to you. And some news. All in your PM inbox.
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No.3167
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No.3168
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No.3169
>>3168
Appreciated, thanks!
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No.3170
Just watched 5 bambole per la luna d'agosto (Five Dolls for an August Moon) by Mario Bava.
Believe it or not, the house in pic related is a matte, which had to be painted by Bava himself. The man was a true master of the camera, I wouldn't have known it was a matte if I didn't read about it. Looking at it in a still picture I can tell, but barely.
It's amazing the visuals he achieved with the tight budget he had as well.
And funnily enough, there's a spinning bed in the rich man's pad, just like the one in Body Double which I watched last night. Edwige Fenech and Justine Gall absolutely steal the show here with their stunning beauty. I'm specially smitten with Justine, she has angelical features.
The story has some very clever twists that I never saw coming and some themes of voyeurism so I tend to think that De Palma must have seen it and been inspired by it, there are some very weird coincidences.
And I think, get this, that it might have influenced Scream Queens too. There's some interesting situations that appear in both: the vigil in the same room because no one knows who the killer is, the decision to store the stiffs in the freezer until figuring out what to do much like it was done with Ms. Bean after boiling her face off in oil.
I'm most impressed by how little cheapness can be perceived. It doesn't look like the production nightmare it was where there wasn't even enough money to provide clothing for the actors. And the sound isn't bad at all either. Bava had to edit this one himself, and he did an amazing job on that too. The film really doesn't look bad at all. The one bad part I could point out is the terrible music at the party, distorted funk similar to the one in Fulci's Una lucertola con la pelle di donna.
One thing I noticed is that Bava seemed reluctant to display the J&B labels, most of the shots you see the bottle but the visible label is the rear one. Until I saw the red letters, I was wondering if they hadn't sponsored the film and had only been included for familiarity's sake or if it was even a similar looking bottle.
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No.3171
One of the most beautiful sequences in the film and the one that doesn't spoil a thing. And another shot with what I believe to be a different matte crafted to match other lighting conditions.
I believe Bava used blue filters at some points, but he did it so masterfully it can't be said with complete certainty. It's hard to tell if it's a blue filter or just the blue hour.
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No.3172
YouTube embed. Click thumbnail to play.
>>3169
>I tended to see it as an almost mother and daughter relationship, but you're right about the hand thing being weird.
That is Macarena’s take on it as well.
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No.3173
>>3172
Wow, you spoil me with this content, I didn't know this was out there. I like how her accent varies from the one in the film, it makes you realize the effort she puts into it. In the interview her English is not as good because she hasn't practiced the lines. Also she sounds wonderful to work with and makes it sound like Jamie and Lexy are great to have around too. I like how appreciative she is of everyone, you can tell it was a film made with passion. There isn't much money in it for anyone but everyone involved doesn't do it just because it was the only work they could find, they are almost gifting this piece of art to the world.
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No.3174
>>3172
Also did you get my embarrassing plot outline in your PM inbox? It's pure hackery but I think it could actually work in film form, as horribly written and cliche-ridden as it is. Noir scripts were often messy. Also I think the ending isn't bleak enough, I let a bit too much light shine at the end of the tunnel. For a true noir, there has to be true loss. I committed the same sin as Lynch did with Blue Velvet.
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No.3175
>>3173
Very surprised they didn’t include this interview and other interviews on the DVD/Blu-ray. I really appreciate them putting them online for free, but they should have included everything they could on the physical release.
It was very interesting how she brought up the language difference and the challenge to make sure the lines connect with her and feel real, with real emotion behind them. That shows she really wanted to give the role weight and gravitas and took the role seriously. It is very challenging to say something in English as a non-native English speaker, and convey that same honesty. Saying “I love you” in English doesn’t have the same emotion behind it, it rolls off the tongue easier than saying “Jeg elsker deg”. It doesn’t feel as real somehow, and you need to work on how to make it feel real to the audience.
Casting someone who has done ballet as a ballet teacher is a very clever bit of casting that helps the believability. And v must have done ballet too in order to pull off those scenes. Do you think the ballet scene in Lord of Tears came about because Hulme has ballet training, and they wrote the scene based around that? Then they decided to go all in on the ballet angle in The Black Gloves.
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No.3176
>>3175
>Very surprised they didn’t include this interview and other interviews on the DVD/Blu-ray. I really appreciate them putting them online for free, but they should have included everything they could on the physical release.
Maybe it's related to it being a release by Freestyle media, the US distributor that also had it available on VOD via Apple TV and some other outlets.
>It was very interesting how she brought up the language difference and the challenge to make sure the lines connect with her and feel real, with real emotion behind them. That shows she really wanted to give the role weight and gravitas and took the role seriously. It is very challenging to say something in English as a non-native English speaker, and convey that same honesty. Saying “I love you” in English doesn’t have the same emotion behind it, it rolls off the tongue easier than saying “Jeg elsker deg”. It doesn’t feel as real somehow, and you need to work on how to make it feel real to the audience.
I hadn't thought of it until she brought it up. I'm not sure I relate much but English has colonized my mind. I often think in English, swear in English, etc. It's a bit embarrassing to confess kek.
>Casting someone who has done ballet as a ballet teacher is a very clever bit of casting that helps the believability. And v must have done ballet too in order to pull off those scenes. Do you think the ballet scene in Lord of Tears came about because Hulme has ballet training, and they wrote the scene based around that? Then they decided to go all in on the ballet angle in The Black Gloves.
There's two possibilities there: they either cast Hulme while looking for a ballerina and she turned out to be a perfect fit for the Hex Media team or they wrote the part for her. I don't really know but I guess finding out would be a matter of doing some research. A third possibility is that she aced that part more than the others and they decided to boost it in Lord of Tears. I wonder how Lorena came to be too. My guess is they wanted a foreign actress with good English who could dance and would be interested in the project enough to not mind the wage which I assume to be on the lower side. They could easily had swapped her for, say, an Eastern European character. I suppose there was a generic foreign character meant to be adapted to whatever nationality the actress that fit the criteria.
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No.3177
>>3175
>>3176
Confirmed, the 3 disc special edition is filled to the brim with extras:
http://www.dvdcompare.net/review.php?rid=5244
You get a CD with the soundtrack, and both the DVD and the Blu-ray have the same content in different resolutions, including:
>Audio commentary by director Lawrie Brewster
>Cult of the Owlman featurette (16:33) (mockumentary)
>Tales of the Owlman featurette (16:26) (continuation of the previous mockumentary)
>Deleted Scenes (6:27) with title cards explaining the reasons
>Prank Video (4:34)
>Interviews (100:52)
<Featuring interviews with Macarena Gómez, Jamie Scott Gordon, Alexandra Hulme, Sarah Daly, Kat Morgan, Tom Staunton, Iain Leslie, Scott Anderson, Keith Robson, Ryan Livingstone, Simon Lam, Fearghas Urquhart, The Black Swan, Tom Staunton and Lawrie Brewster, this collection are mostly taken from on set, with the cast and crew telling their work on the film as well as some funny stories while joking around. With the exception of Staunton and Brewster who talk to each other, all other interviews are done individually. Although there is a large amount of participants, unfortunately there are no chapter stops for this extra so if you plan to watch some and take a break, make sure your player has a "resume" function.
>Behind the Scenes documentary (52:26)
<Presented are raw behind the scenes footage in chronological order from the first day of production until the last, showcasing the crew's arrival to the location, jokes played on each other, outtakes, looks at the special effects, as well as goodbyes at the end. Again, there are no chapter stops on this extra.
I'm glad I got the Freestyle Media version though, I loved the colors.
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No.3180
Just saw Cosa avete fatto a Solange?, extremely gritty giallo dealing with serious issues. It's the opposite of escapism, very little room for fantasy in it. Very pessimistic too. Not ugly but not pretty either, but it's not a film you watch for the photography. Let's just say it's not exactly arthouse. The plot is the meat here. The sleaze adds to the grittiness, and it's on the lower side compared to other gialli. Similar in various aspects to Dallamano's later film La polizia chiede aiuto. I would say it's less sleazy, less stylish and less exotic than Non si sevizia un Paperino and La dama rossa uccide sette volte but it's a lot more serious too. There are no models or castles here. The coolness factor isn't specially high. But it's brutal in its handling of the horrific issues it deals with. Very little gore too, it's not a particularly visceral film.
The title is uttered once in the film, if we count variations 3 times. But it doesn't matter, it's clear the title came from the line and not the other way round.
Another peculiar line has J&B being explicitly offered as such to a visitor. I had seen labels but never heard it's name in a film before.
Il maestro, Ennis Morricone did the score. It's good but not particularly memorable.
This is a film carried by its plot and the themes of predation and social pressure. Very similar to La polizia chiede aiuto in those underlying aspects of it. I liked it a lot but it doesn't feel like most gialli and I don't really know who I could comfortably recommend it to.
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No.3198
I was looking at some pics and found something interesting and almost premonitory. This is a new year photoshoot with the cast from Musarañas for Brunch magazine. There's the trapped man (Hugo Silva), there's Macarena in black apparently being responsible for it and Nadia in white, apparently trying to spare him. There's also floating balloons. Sound familiar?
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No.3201
>>3198
Found another photo from that photoshoot the other day, had no idea of the backstory.
The scenario in your photo is eerily similar to The Black Gloves. If she had been wearing a pair of black gloves in this photoshoot as well that would have been the cherry on top.
PS: maybe we should shill Sexykiller, morirás por ella over at tvch? It is almost Halloween and that film takes place on Halloween and it is a slasher film, so it is perfect!
PPS: speaking of Phyllis Schlafly, wasn’t she mentioned on the Halloween episode of Scream Queens? Chanel was dressed as Jackie Kennedy, obvi., and I think she suggested one of the other Chanels could dress up as Phyllis Schlafly.
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No.3205
>>3201
>Found another photo from that photoshoot the other day, had no idea of the backstory.
>The scenario in your photo is eerily similar to The Black Gloves. If she had been wearing a pair of black gloves in this photoshoot as well that would have been the cherry on top.
I'm not 100% sure of what the backstory is and that particular photo I posted didn't make it to the actual publication, but it's a lot like The Black Gloves indeed. I wasn't a fan of the official publication, they published in GIF format with some dumb animations added.
>PS: maybe we should shill Sexykiller, morirás por ella over at tvch? It is almost Halloween and that film takes place on Halloween and it is a slasher film, so it is perfect!
I guess we could but I doubt many will want to watch a film in Spanish.
>PPS: speaking of Phyllis Schlafly, wasn’t she mentioned on the Halloween episode of Scream Queens? Chanel was dressed as Jackie Kennedy, obvi., and I think she suggested one of the other Chanels could dress up as Phyllis Schlafly.
I just went to check (it's episode 5), you misremembered. They dressed up as first ladies.
Here's the exchange:
<#5: Oh my God, why are you so depressed?
>My husband was shot in Dallas, idiot. For this year's Halloween, the Chanels will be going as the wives of fallen presidents. I am Jackie Kennedy. Number Six, you will be going as the emotionally fragile Ida McKinley, whose husband was felled by an anarchist's bullet. Number Three, you will be going as homely and religious Lucretia Garfield, the bereaved wife of President James Garfield.
<#3: Hold up. No way. Why do I have to be the homely one?
>There's only so many murdered presidents, Number Three.
<#3: What about Mary Todd Lincoln?
>Chanel #5 is Lady Lincoln, obvi.
<#5: Wait, what do you mean, obvi?
>Just a second, nutbag. If you're gonna be a pain about it, I guess we could open it up to presidents who were almost assassinated, so you can either be Betty Ford -which means you'll have to get wasted and stay wasted all night- or you can be alleged Hollywood mattress Nancy Reagan.
<#3: Dibs. I'm Nancy Reagan.
<#5: Wait, why am I Mary Todd Lincoln?
>God, do I have to spell it out for you? You're out of your frigging gourd, Number Five. You're a weird, psycho lunatic who's gonna end up in an asylum somewhere, staring at a wall, trying to nurse a watering can. You're a Mary Todd Lincoln if ever there was one.
<#5: That's it! I can't take this anymore!
>That is such a Mary Todd Lincoln thing to say.
<#5: No! I am done with you, Chanel, and I mean it.
>Do you mean it, Number Five? Because you scream "I'm done with you" kind of a lot, and yet you're still standing here.
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No.3265
A few recent photos I came across, I believe they are all done by Juan Manuel Macarro. I also just found out Macarena did the voice of Zeta in the Spanish-language version of Angry Birds 2.
There are several photos of Macarena on Macarro’s website, including one where she is wearing a red cloak à la Carol in Fulci’s Una lucertola con la pelle di donna: https://www.juanmanuelmacarro.com/works
The photoshoot Tokyo Diamond by Macarro is worth checking out as well: https://www.clankmagazine.com/tokyo-diamond/
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No.3271
>>3265
Very refreshing! That guy is the epitome of fashion photography, those pics really pop! A candy world. I hadn't seen that kind of photography in a long time, very stylish.
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No.3285
>>2112
I finally watched The Night Evelyn… tonight. I remembered you mentioning The Pit & the Pendulum in the back of my mind but never read the spoilers. Thought I was so smart and had it all figured out. The doctor and Evelyn clearly were trying to make Allan mad, obvi. Boy did I get a shock when Evelyn stepped out of the grave and it wasn't Evelyn. Also, sooooooooo Allan tortures and murders women and………..he get's no comeuppance whatsoever? Is it because he chose prostitutes that he isn't regarded as a deranged monster but rather a tortured soul who has "attacks". Poor mentally ill boy. Plus that stupid doctor tells him to leave the castle, it's not healthy, then within minutes is telling him to get a wife and stay at the castle and not to go to London. I hated everyone except Gladys, which I guess kudos to the director for that. And the poison champagne and sulfuric acid pool scenes made it all worth it.
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No.3286
BO, I hope you don't mind me redoing your post, before The Pit & the Pendulum you had '" instead of '' so it all looked wacky (italics from The Pit & the Pendulum all the way to Gladys). I deleted the old one and redid the formatting (actually intended to delete my own post but misclicked like a retard but it's probably a good thing because it gets rid of the edit message stacked with the 8kun disclaimer).
I think Allan not getting his comeuppance makes it more unique. I think this perverted sense of justice the film sets it apart from more standard stories. It gives it that dose of sleaze that you rarely find outside of this genre.
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No.3289
>>3286
>BO, I hope you don't mind me redoing your post
No worries. I was so confused for a second before I read your post. I wasn't at my main comp so was going to edit it later, then I wake up and see it looking right but without an edit message.
>It gives it that dose of sleaze that you rarely find outside of this genre.
True. I guess I'm so used to seeing only one formula play out.
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No.3303
Reposting some things I found and posted on tvch earlier.
The remake of Castle Freak from 1995 releases in December, and Barbara also stars in the remake and is a producer. The original film, directed by Stuart Gordon, was only very vaguely inspired by the works of H. P. Lovecraft (The Outsider in particular, as well as idea entry #117 in his commonplace book, dated 1923: A secret living thing kept and fed in an old house. https://archive.vn/GR3fK#selection-641.0-641.55), but it looks like this film goes all in on the Lovecraft angle. I think the original worked perfectly on its own, and I am a bit worried the inclusion of some grand cosmic horror will dilute the original, core story. The original film was a really bleak, dark story about a dysfunctional family dealing with loss and guilt, and it did not need any cosmic horror to be able to stand on its own.
CASTLE FREAK (2020) Official Trailer: https://yewtu.be/watch?v=mUc2Kr8P4kw
Sacrifice, originally known as The Colour of Madness, is another Barbara Crampton Lovecraftian horror film, blending cosmic horror and folk horror. The film premièred 22 October this year on FrightFest, but no official release date has been announced yet, though it will be released by DREAD: https://nitter.net/DreadPresents/with_replies
<New Yorker Isaac and his pregnant wife return to a remote Norwegian village of his birth to claim an unexpected inheritance. Here they find themselves caught in a nightmare as an ancient evil awakens to claim a birthright of its own.
https://www.wnfc.no/filmography/sacrifice
Found twelve stills on the production company’s, HYDRA FILMS (RKM), official website: http://www.hydrafilmsrkm.com/gallery.html
<If any, what were your influences when writing the screenplay for Sacrifice?
<We’ve had people describe Sacrifice as ‘folk horror meets cosmic horror’. I would love to reel off a load of obscure references but it would be disingenuous not to say we were influenced by the defining works of these respective genres – namely The Wickerman and The Call Of Cthulhu. To imply otherwise would be like writing a vampire movie and concluding Bram Stoker was completely inconsequential to its conception.
<The biggest influence however wasn’t horror related at all… Strangely it was Nicolas Winding Refn’s Drive. Like Drive, we wanted to create something that had a fairly conventional framework and proudly hit its genre beats – but that was executed in a hazy and idiosyncratic manner. A subversion of the familiar.
<The film features lots of colourful visuals, what were your thoughts and ideas for some of those visuals?
<The working title was ‘The Colour Of Madness’ rather than Sacrifice and in some ways this acted as an evocation of the visual style we hoped to achieve for the film. Most horrors movies are naturally dark, gritty and visceral in terms of their aesthetics. We very much wanted to create something that felt ethereal, colourful and almost antithetical to what one usually associates with the word ‘horror’.
<We wanted every scene to feel like it was somehow illuminated by the Northern Lights and for the film as a whole to have the mood of Edvard Munch’s ‘The Scream’. A beautiful shimmering, watery nightmare…
Sacrifice: Interview With Tor Mian - SciFiNow - The World's Best Science Fiction, Fantasy and Horror Magazine: https://archive.vn/XOkv0 / http://web.archive.org/web/20201104193541/https://www.scifinow.co.uk/interviews/sacrifice-interview-with-tor-mian/
SACRAFICE Film Clip (2020) Barbara Crampton: https://yewtu.be/watch?v=hyZtYpFcF7E
Exclusive: Barbara Crampton talks SACRIFICE, CASTLE FREAK Remake & Being a Producer: https://archive.vn/w4N9L / http://web.archive.org/web/20201101020938/https://www.dreadcentral.com/news/350859/exclusive-barbara-crampton-talks-sacrifice-castle-freak-remake-being-a-producer/
SACRIFICE [FrightFest October 2020] - STARBURST Magazine: https://archive.vn/DLY5U / http://web.archive.org/web/20201027103332/https://www.starburstmagazine.com/reviews/sacrifice
30 Coins is an upcoming, 2021, HBO series by Álex de la Iglesia (Las brujas de Zugarramurdi/Witching & Bitching) and stars Macarena!
30 Coins | Official Teaser | HBO: https://yewtu.be/watch?v=PWA06dBpQ9g
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No.3313
Just found out that screenwriter/actress Daria Nicolodi (Profondo rosso, Inferno, Tenebre &c.) died 26 Nov. She had two children with Dario Argento, including Asia. F
https://www.ciakmagazine.it/addio-a-daria-nicolodi-ex-compagna-di-dario-argento-e-star-di-profondo-rosso/
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No.3315
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No.3326
Some guy mass-bumped threads on tvch and knocked us off the catalog. I already archived the old thread. It was a comfy thread.
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No.3327
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No.3358
Working my way through the Bullets, Bombs and Babes series by Andy Sidaris, and there is an all too brief sapphic moment during the opening credits of Hard Hunted (1992). Roger Moore’s son R.J. Moore plays the villain Kane in this and the next film, Fit to Kill (1993), and he is a blast; great on-screen presence, charisma and he has a lot of fun with what is a surprisingly well-rounded villain character. It would have been swell if they had brought him on earlier in the series.
In Do or Die (1991) Pat Morita (Mr. Miyagi from The Karate Kid series) played Kane, but he does not come close to R.J. Moore’s performance. Hard Hunted also marks Julie Strain’s first appearance in this series, as the memorable and lovable assassin Blue Steel.
There is a fun and stylish dream scene in Fit to Kill where Kane dreams about Donna that might be inspired by the sex dream in Fulci’s Una Lucertola con la pelle di donna.
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No.3390
>>3326
By “some guy” I take it you mean the resident hapa? Being so asshurt that he bumps every other thread just to get that one thread gone sounds like something he’d do. And isn’t that what happened to your previous GET thread, 88888, too? Best not to bring it up on tvch/tv/ though, so we don’t let him have that satisfaction of complaining about his spamming.
My backlog is already daunting, but this one caught my eye. I’m a simple man; I see neon lights, I click.
What Lies Below | Official Trailer (HD) | Vertical Entertainment: https://invidious.snopyta.org/watch?v=WEeBSr_WcKo
Saw a thread about Black Bear on tvch/tv/, so I am planning to give that one a watch as well.
BLACK BEAR - Official Trailer: https://invidious.snopyta.org/watch?v=D7XVArQc7z8
Got the 2019/20 Carmilla & Portrait of a Lady on Fire ready to go for the Sapphic Film Club.
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No.3394
>>3390
>What Lies Below
I completely forgot I saw this trailer a while back. Looks like it could be a good one.
>BLACK BEAR
Know nothing about it but willing to watch just for Aubrey tbqh.
>Got the 2019/20 Carmilla & Portrait of a Lady on Fire ready to go for the Sapphic Film Club.
Also locked and loaded. Was hoping to get to Carmilla on the weekend.
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No.3395
>>3358
> all too brief sapphic moment during the opening credits of Hard Hunted (1992).
Boooo!
I still have to start from the beginning with Malibu Express after accidentally watching Hard Ticket to Hawaii first. Then on to Picasso Trigger.
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No.3396
>>3390
Could be, but I'm not sure.
>>3358
>>3394
>>3395
I envy you guys, I haven't had time to watch anything lately. Haven't even watched Bliss yet.
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No.3407
>>3395
IKR? Some of the characters in these latter films feel superfluous and should have been scrapped IMHO. Watched the last film in the series yesterday, and the two (or four) films are not as entertaining as the earlier films. You can ditch Guns (1990) & Do or Die (1991), and end the series with Fit to Kill (1993). The two films directed by Christian Drew Sidaris are fun, but they shift the focus over on two new guys, and they are not given as much development as Donna Hamilton (Dona Speir), Taryn Kendall (Hope Marie Carlton) or Nicole Justin (Roberta Vasquez).
Shae Marks, who plays Tiger in Day of the Warrior (1996) & Return to Savage Beach (1998) should have played Lara Croft in a Tomb Raider film; she has the proportions, the hair, and unlike Angelina Jolie, she is not afraid to show off her assetts. She gave me big Lara Crfot vibes in Return to Savage Beach, with her outfit and hair and sunglasses, and the whole treasure hunt aspect. There is a scene in that film where Tiger & Cobra (Julie K. Smith) decide to take a break from treasure hunting and go for a swim in the ocean together, and they just pull down their swimsuits so they can swim with their breasts out. They even hold hands for a moment as they are done swimming and are walking across the beach. God bless Andy Sidaris!
I would recommend these films in the Bullets, Bombs and Babes series:
Malibu Express (1985)
Hard Ticket to Hawaii (1987)
Picasso Trigger (1988)
Savage Beach (1989)
Hard Hunted (1992)
Fit to Kill (1993)
>>3396
More than half of what I watch end up being shite though, so you make up for it with quality over quantity.
Btw., after seeing the deepfake thread about TRON: Legacy (2010) on tvch/tv/, I decided to go back and see that, and it is fucking beautiful; the score by Daft Punk is fucking amazing. The opening scene, is so damn good; when that heavy synth score kicks in as we are moving through the cityscape… wew!
CGI Jeff Bridges looks fucking awful, and there was one or two CGI effects that looked suboptimal, but this could easily be fixed today. Disney should remaster this film – use current (year) de-ageing on Bridges and replace the awful 2010 CGI face with that. It would look so much better. The overall æsthetic of the film is gorgeous too, and all the women are wearing these skin-tight suits with a neon glow… this is probably the last good film Disney made, and likely the last good film they will ever make.
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No.3413
>>3394
>Know nothing about it but willing to watch just for Aubrey tbqh.
Watching it right now. The writing is fantastic; almost like a low-key comedy in a way. Very weird. In a good way. Christopher Abbot from the recent Brandon Cronberg film Possessor is in it as well. No idea where I first heard about Audrey Plaza though. There is something familiar about her.
Had my eyes on Sator for over a year now, and it is finally getting a release date: 9 Feb 2021
This one looks really interesting; slow-burn, atmospheric horror set in the woods.
<Secluded in a desolate forest home to little more than the decaying remnants of the past, a broken family is further torn apart by a mysterious death. Adam, guided by a pervasive sense of dread, hunts for answers only to learn that they are not alone; an insidious presence by the name of Sator has been observing his family, subtly influencing all of them for years in an attempt to claim them.
<“Sator is quite personal to me,” says Graham. “It delves into my family’s dark history with mental illness surrounding a supernatural entity, and uses home video footage to create an interwoven piece between documentary and fiction.”
<For years generations of his family, including his grandmother, have claimed to make contact with a mysterious presence by the name of Sator, and the film features her own haunting accounts of contact.
Unnerving Official Trailer for 'Sator' Promises a Dark Nightmare of a Horror Movie This February - Bloody Disgusting: https://web.archive.org/web/20201214194345/https://bloody-disgusting.com/movie/3644818/unnerving-official-trailer-sator-promises-dark-nightmare-horror-movie-february/
SATOR (2021) | Official Trailer: https://www.youtube.com/watch?v=9e_Ij0S-sBw
Some old links I had saved:
Sator: https://invidious.snopyta.org/watch?v=lhJlf0VGxSk
https://www.heavenofhorror.com/reviews/sator-2019-horror/
https://www.cgmbacklot.com/reviews/fantasia-2019-sator-2019-review/
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No.3414
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>>3413
>uses home video footage to create an interwoven piece between documentary and fiction.”
Red flag, red flag. This is rarely done well. My first instinct was to expect that this would be faked found footage, but as every review is saying that June Peterson is his real family I'll give the benefit of the doubt. The concept sounds incredibly similar to Relic with /ourgirl/ Bella Heathcote. That one killed me to watch. Very moving.
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No.3415
>>3413
>Watching it right now. The writing is fantastic
Will find a copy/stream.
>No idea where I first heard about Audrey Plaza though.
I think she started out on tv? She's in a lot of reddit tier movies but just has that pull you know? I really liked her in Ingrid Goes West.
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No.3417
>>3414
My main concern is that it goes too far into mainstream horror, with all the tired clichés we expect from that. That would ruin it for me. Since it is based on something his grandmother claims to have seen/experienced, there is a fine line between blending that with horror fiction to visually show a manifestation of mental illness, and making it feel cheap by resorting to horror clichés.
>Relic
Adding this one to my backlog. It reminds me a lot of The Taking of Deborah Logan; older woman living alone in a large old house in a rural place; family struggling to cope with a relative suffering from dementia.
Recognise Emily Mortimer & Robyn Nevin too! Not sure where I’ve seen Nevin – probably The Matrix-series. Think they were shot Down Under.
>>3415
I was really enjoying it up till the last fifteen or so minutes; Allison (Aubrey Plaza) decides to make out with a nigger to get back at her husband, whom she (mistakenly) thinks has an affair. After she’s gotten herself BLACKED the same nigger has sex with another white woman just two or three minutes later.
That just ruined what had been a thoroughly entertaining and well-written film completely. And to add insult to injury Aubrey is one of the producers on the film.
Abbott & Gadon are great in it though – Abbott in particular some very amusing lines and quirks that shine through. There’s a lot of stuff to go into about the story, but that finale just made me hope it’d finally end.
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No.3427
>>3414
Just got done watching RELIC. Was not expecting this based on the trailer thumbnail. This is easily one of the best, if not the best, film of 2020. Absolutely amazing on every level. I’ll try to gather my thoughts and write down some thoughts on it later. Never seen horror film like this before; it isn’t pretentious at all, but it is horror for grown-ups.
Makes me want to check out The Babadook too.
Thanks for bringing this one to my attention.
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No.3428
>>3427
>This is easily one of the best, if not the best, film of 2020.
It definitely left an impression on me.
>it isn’t pretentious at all, but it is horror for grown-ups.
I thought you might find it a bit pretentious. Glad to see that's not the case. Everything about it just building to the final scene brought me to tears as the credits rolled. Also found Mortimer's accent surprisingly convincing.
>Makes me want to check out The Babadook too.
I need to watch this one again too. I recall it being pretty good with atmosphere and tension building.
>Thanks for bringing this one to my attention.
Most welcome.
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No.3429
>>3428
>Also found Mortimer's accent surprisingly convincing.
Saw on Wikipedia she is English/American, but when I heard her speak I assumed she’d lived Down Under.
>I thought you might find it a bit pretentious. Glad to see that's not the case.
The whole film had a very natural and authentic vibe to it. It didn’t go for the cheap jumpscares, the characters were all likeable and acted naturally. It was really refreshing to see a mature horror film like this. Think they found a very nice balance between the emotional drama and the horror in this one.
The house represents Edna’s mind; the black mould starting to appear, and the tagline (“everything decays”) shows how her mind is deteriorating due to the illness.
The whole sequence where Sam enters the attic room and finds herself trapped in a maze is so damn good. I have dreams/nightmares with that exact same kind of “nightmare architecture”; hallways that change dimensions and become very low and narrow so you have to squeeze and crawl through them, often cluttered with boxes and shelves and whatnot, getting in the way.
The way the maze changed angle was a really nice touch; really added to that nightmare feel. That whole third act was legit tense and spoopy.
Sam & Kay being lost in this maze of hallways with no exit must represent Edna’s memories of them being lost and inaccessible to her – they are still there somewhere, in her mind somewhere, but the doors opening to those memories are gone. Parts of the house is deteriorating, decaying; water damage and that black mould is taking over, wallpaper is coming off…
Assume that the shadowy figure we catch glimpses of, and who is making that noise inside the walls, is Edna’s dead husband who is haunting her memories, and slowly being reduced to a shadowy figure as her memories of him slowly decay.
The black mould stains reminded me a lot of 回路/Pulse (2001); when the characters become ghosts they leave behind a black stain – the only trace left of them is a fading black stain.
>Everything about it just building to the final scene brought me to tears as the credits rolled.
Loved that overhead shot of the three of them on the bed, showing the three generations.
Another scene that really stood out to me was Edna is confronted by Kay with the photo album; “I just wanna go home”, home being the past, where her loved ones are still happy and alive. She is trying to protect the memories by keeping them safe outside (her deteriorating mind, i.e. the house)
It looked like that scene could be in front of where the old cabin was located?
That was really powerful stuff, really sad. Some of the post-it notes she had left behind were quite the gut punch too – two of them really stood out: “My mother has green eyes” & “Am I loved[?]”
Two other scenes that stood out: when Edna accuses Sam of stealing her ring, and the scene where Sam is relaxing in the bathtub and hears someone sneaking around outside the bathroom door. Not only was that really creepy, but you feel extra exposed and vulnerable in that state of undress.
The only thing I didn’t quite like about the ending was that Kay closed and locked the door on Sam before she took Edna upstairs. That just felt too much like a film thing to do. It’d be better if Sam stood outside, pleading, begging for her mom to come with her and get out of the house, but Kay just shook her head and went back inside, leaving the door open. Or she could close the door, but not lock it.
When I saw the thumbnail for the trailer I half expected something with a lot of jumpscares.
I get why they promote it like that, but it could cause some teenagers or gore-enthusiasts leaving disappointed because the film turns out to be something different from typical horror fare.
Any idea what was up with all those candles?
And that black stain on Kay’s shoulder is an indicator that she to will fall victim to dementia, like Edna, and her (Kay) great-grandfather who lived alone in the old cottage?
Came across something writer/director Natalie Erika James said about the story behind the film:
<Several years ago I took a trip back to Japan to see my grandmother, who suffers from Alzheimer’s. It was a trip I’d kept delaying for one reason or another, and when I finally got around to seeing her, it turned out I’d left it too late – she didn’t recognize who I was. The guilt was hard to swallow. At a certain level, it felt worse than death – to see your loved one progressively lose parts of themselves, and slowly become a stranger.
<The rural town where my grandmother lives is where I’d spent many of my summer holidays, attending the local primary school with my cousins. During that trip I observed how much the town had declined – all the younger generations choosing to relocate to the bigger cities, leaving an aging community behind. There were horror stories about elderly people being found dead in their homes well after the fact – neglected and forgotten, their children in distant towns, their bodies starting to deteriorate. I could think of nothing more heartbreaking.
https://silverscreenanalysis.com/relic-2020-review/
Over at moviechat.org I saw one moron bash the film for how it portrayed people with dementia, and another tard claiming Bella ruined the film. Some people…
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No.3436
>>3429
>It was really refreshing to see a mature horror film like this. Think they found a very nice balance between the emotional drama and the horror in this one.
Agreed.
>The house represents Edna’s mind; the black mould starting to appear, and the tagline (“everything decays”) shows how her mind is deteriorating due to the illness.
You know I hadn't even considered this while watching it but it makes sense. I had read it as;
the mold is the illness, both the illness and the way ill people are treated are the monster. I read the maze scenes as Kay and Sam's experience of living and caring for someone with dementia. Never knowing 'which way is up' so to speak.
>Assume that the shadowy figure we catch glimpses of, and who is making that noise inside the walls, is Edna’s dead husband who is haunting her memories, and slowly being reduced to a shadowy figure as her memories of him slowly decay.
Yes, I think I thought the same thing while watching. Need to find a copy to watch it again more closely (originally watched a tv streaming service).
>回路/Pulse (2001); when the characters become ghosts they leave behind a black stain – the only trace left of them is a fading black stain.
Still need to watch this one. I don't recall that being in the American version.
>She is trying to protect the memories by keeping them safe outside (her deteriorating mind, i.e. the house)
Makes sense with the house representing her mind.
>Two other scenes that stood out: when Edna accuses Sam of stealing her ring, and the scene where Sam is relaxing in the bathtub and hears someone sneaking around outside the bathroom door. Not only was that really creepy, but you feel extra exposed and vulnerable in that state of undress.
Yes! You really feel for Sam as she struggles to come to grips with what is happening to Edna.
>Or she could close the door, but not lock it.
Perhaps locking the door was symbolic of Kay's desire to protect Sam. The fact that Sam still comes in emphasises that this monster is beyond her control.
>I get why they promote it like that, but it could cause some teenagers or gore-enthusiasts leaving disappointed because the film turns out to be something different from typical horror fare.
Many seething IMDB reviews that's for sure. Studios need to but out of promotion I swear. Trailers mostly suck for this reason. It's probably also why the film hit me out left field. I had no idea what it was about, expecting a jump scare typical horror, only to end up crying with a brick in my stomach.
>Any idea what was up with all those candles?
At this point I don't remember them.
>And that black stain on Kay’s shoulder is an indicator that she to will fall victim to dementia, like Edna, and her (Kay) great-grandfather who lived alone in the old cottage?
Yes that was how I read it. That whole scene of Edna being reduced to something other than she was, a remnant, a shadow, broke my heart. And then Sam seeing the mark on Kay's back as they lay there showing love and care for what remained just kicked me in the gut. Life is so unfair.
<At a certain level, it felt worse than death – to see your loved one progressively lose parts of themselves, and slowly become a stranger.
One could even call it, horrific.
James certainly encapsulated that in the film. The horror, the neglect, the guilt, the loss of self and recognition. Brava.
>Over at moviechat.org I saw one moron bash the film for how it portrayed people with dementia,
Smoothbrain.
>and another tard claiming Bella ruined the film.
As if Bella could ruin any film she is in.
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No.3441
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No.3449
>>3436
>I read the maze scenes as Kay and Sam's experience of living and caring for someone with dementia. Never knowing 'which way is up' so to speak.
Nice one. I agree with that interpretation. The nightmarish layout of the maze mirrors the changes Edna goes through; caring and fully there, like when she gifts Sam the ring, and then passive-aggressive and different, like when she talks about Jamie, their next-door neighbour, and reacts to Sam’s offer to move in with her.
>Yes, I think I thought the same thing while watching.
Actually, thinking about it now, the shadowy figure could also be a general manifestation of the disease. Or her memories of her husband (and other relatives) are so hazy and unclear that they appear frightening to her.
>Need to find a copy to watch it again more closely (originally watched a tv streaming service).
I would recommend this one: Relic (2020) (1080p BluRay x265 HEVC 10bit AAC 5.1 Tigole)
All the special features are also included; behind the scenes featurette, (German) trailer, and interviews with Bella Heathcote, Emily Mortimer, Robyn Nevin, writer/director Natalie Erika James, cinematographer Charlie Sarroff, and production designer Steven Jones-Evans.
Haven’t even gotten around to watching these yet.
>Still need to watch this one. I don't recall that being in the American version.
They went overboard with the black stains in the American one. Remember Kristen Belle’s character’s friend getting sucked into the black stain on the wall. And they didn’t come close in matching that one ghost scene in the Japanese one – genuinely eerie that one, and beautifully done too.
>The fact that Sam still comes in emphasises that this monster is beyond her control.
Assumed she got in using the cat door again.
>Studios need to but out of promotion I swear.
As long as they get people to watch it, they get paid, and they are willing to go to extreme lengths to get people interest. Deceptive editing of trailers, and even scenes shot only for the trailer are not unheard of.
>At this point I don't remember them.
The grandmother had these homemade candles all over the house, and several times we see her carving them, doing these ornate decorations on them with a knife or tool.
>And then Sam seeing the mark on Kay's back as they lay there showing love and care for what remained just kicked me in the gut. Life is so unfair.
It was interesting to note the different reactions and responses to what happens as well, because of the different relationships between them. Kay has a stronger bond to Edna, due to the mother/daughter relationship, and Sam is more cautious and wary; it is when she sees the stain on Kay’s shoulder that she has that same powerful reaction.
There is a small sub-genre of creepy old people in horror films; The Taking of Deborah Logan and M. Night Shyamalan’s The Visit come to mind. Quite liked The Visit, quite eerie and disturbing. Not sure if it had be a found footage film though…
And this is the only one with some heart to it. I genuinely felt bad when Kay hit Edna with the steel pipe – I still felt like that was Edna and not a monster, and the sound was just awful to listen to.
>>3441
Uh-oh… Maybe related to his sister coming out as trans?
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No.3450
>>3449
>Maybe related to his sister coming out as trans?
The fuck? Quick rundown? I don't keep up with what he's up to much.
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No.3451
>>3450
He doesn’t modpost here, but he did in another thread it was brought up at /tv/.
<My sister who hasn't spoken to any of our family in nearly 3 years just decided to make her first message back to us that she's coming out as non-binary and is getting hormone treatment for it. She's ignored and talked shit about us for years, so I'm assuming this is her attempt at a "get out of jail free card" for treating us like horse shit this whole time. This shit is mental poisoning that corrupts a person's ego and morals and is just a shallow attempt to justify their own shitty behavior and choices into an identity that everyone else is at fault for not recognizing. These LGBTQ+ groups are parasites and will corrupt and indoctrinate anyone they think they can. I am tired of letting these fucks run roughshot on colleges and creative workplaces, fuck every LGBT group in the country and fuck every retard who supports them.
https://tvch.moe/dunk/res/22436.html
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No.3452
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No.3466
I just had the weirdest dream. Me and a lady friend (who may or may not have been Hulme, that part of my memory is fuzzy but she seems like the most probable candidate) were sitting in the snow outside some friend's posh house, about 10m from the street, watching the traffic in some boulevard intersection half a block away as we waited for my friend to arrive. At one point, a pickup truck goes past the house and its occupants recognize us and wave at us. It was the president of the country I'm currently at (where it doesn't snow in Christmas because it's summer) driving and Emma R*berts as his passenger. Then we wave back, they do the OK sign, we do it too and we all let out a knowing laugh. We all (us two and them) act like we've been each other's friends for a long time.
I'm left wondering what the fuck my brain meant by all that. It doesn't snow here in Christmas, maybe it meant it's all fake. If that was really Hulme in it, it could mean a dream inside a dream. Was it an implicit Owlman dream about being friends with people who will be a letdown (or a "morbid marionette")? Was it a desperate, elaborate way of wishing them to be "secretly based"? Then there's all the implications about fuzzy memories and Hulme.
Also the cinematography (yeah, I'm being enough of a pretentious faggot to say my dreams have a certain cinematography) was MDE tier. PoVs shots and extreme mirror close-ups with extended laughing scenes (that seemed genuine unlike the party at Nick's where he trips Sam's wife).
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No.3469
>>3466
>We all (us two and them) act like we've been each other's friends for a long time.
Dreams are so weird like that.
>It doesn't snow here in Christmas, maybe it meant it's all fake.
That reminds me of the different realities (?) in Housewife. Wasn't the difference indicated when there was snow or not outside?
Was it Christmas time in your dream?
>If that was really Hulme in it, it could mean a dream inside a dream.
Or just because you have been watching the movies recently and she got put in there?
>Was it a desperate, elaborate way of wishing them to be "secretly based"?
Potentially. Or maybe your intuition believes them to be? Or maybe that we must stick together despite differences? I once had a dream of being friends with Hillary Clinton. Woke up confused and angry with myself kek.
>yeah, I'm being enough of a pretentious faggot to say my dreams have a certain cinematography
Completely understand, I get some that are utterly cinematic.
>that seemed genuine unlike the party at Nick's where he trips Sam's wife
Top kek.
Sounds like a cool dream anon. Did anything happen afterward?
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No.3472
>>3452
New Year vid by Gahoole is up: https://www.youtube.com/watch?v=xoo4wQSyZok
A clever shitposter at tvch made the following (spot on) comment/description:
<ASMR | Menacing Incel Torments You About Current Affairs ~ Rage Sounds, Unhinged Laughing (Plunged In Darkness)
>>3466
>it doesn't snow in Christmas because it's summer
Now that is eerie! And unnatural. No snow and Christmas during summer!
>Was it a desperate, elaborate way of wishing them to be "secretly based"?
Yes, sorta. This is a bad omen IMHO. How bad depends on how much of a tinfoil hat wearer you are.
Before I watched Las brujas de Zugarramurdi Macarena showed up in my dreams to nights in a row; very wholesome and æsthetically pleasant dreams involving a ballet performance (maybe Tchaikovsky’s The Nutcracker) in an absolutely gorgeous location, not unlike the Garnier Palace of the Opéra de Paris, and there was a beautiful winter wonderland outside in my dream too! Took that as a good sign and that is was why I decided to finally watch that film.
Are we watching 30 Monedas/30 Coins? Might be a nice way to kick-start the new year and get on a good course from the start.
https://macarenagomez.es/en/news/filming-of-the-series-30-coins-by-alex-de-la-iglesia/
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No.3474
>>3472
>Now that is eerie! And unnatural. No snow and Christmas during summer!
Laughs nervously in Australian
>and there was a beautiful winter wonderland outside in my dream too!
You know I don't think I've ever had a dream with snow in it.
>Are we watching 30 Monedas/30 Coins?
Will find a copy when back in the city. Still have yet to watch Las brujas de Zugarramurdi . So behind on everything.
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No.3475
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>>3472
<ASMR | Menacing Incel Torments You About Current Affairs ~ Rage Sounds, Unhinged Laughing (Plunged In Darkness)
Perfect. Poor Gahoole, I hope he makes it through the year. Maybe if he stopped hating women he would get laid.
And another vid!
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No.3478
>>3474
>Laughs nervously in Australian
And let us not forget that water drains clockwise Down there as well…
ʜɪᴄ ꜱᴠɴᴛ ᴅʀᴀᴄᴏɴᴇꜱ
>You know I don't think I've ever had a dream with snow in it.
Snow dreams are special. Not that often I have them, sadly. Had an interesting discussion about dreams with Refn via email a while back – remember reading that we can only dream about faces we have seen before, so maybe you’ve gotta see/experience snow IRL before you can dream about it?
>>3475
Now I am getting slightly concerned for the Big Guy… one moment he is depressed (as per usual), then he is back to his antics again, probably putting on a façade.
>Maybe if he stopped hating women he would get laid.
I want to believe, but it sounds like he is in a viscous cycle he can’t get out of.
Hope we can encourage him to try and get /fit/ in 2021. That could help with the depression, and maybe lead to him finding a GF down the road.
Got two new films on my backlog already, both by writer/director Fabien Delage.
Could have sworn there was a HD rip of La rage du Démon/Fury of the Demon (2016) out there, but now I can’t find it – if it even existed. The premise sounds really interesting, and I enjoy a good horror mockumentary, so I won’t give up this easily!
Fury of the Demon - Official Extended International Trailer HD: https://invidious.snopyta.org/watch?v=yOI5AUdLBSE
Cold Ground (2017) is a found footage horror film set in 1976 and shot (at least partially) on Super 8. Wonder if that one brief shot in the trailer (depicted on the alt/art poster) is a homage to, or was inspired by Lucio Fulci…
COLD GROUND (2018) Official Trailer HD Horror Movie: https://www.youtube.com/watch?v=gjQRmTidN_U
Documentary Filmmakers and Scientists Uncover Freezing Frights in Cold Ground (2017) - Diabolique Magazine: https://archive.vn/vYJPc / https://web.archive.org/web/20210101142336/https://diaboliquemagazine.com/documentary-filmmakers-scientists-uncover-freezing-frights-cold-ground-2017/
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No.3480
>>3469
>That reminds me of the different realities (?) in Housewife. Wasn't the difference indicated when there was snow or not outside?
Can't really say I remember that part but you could be right.
>Was it Christmas time in your dream?
Yes it was.
>Or just because you have been watching the movies recently and she got put in there?
It's the most natural explanation, although it's been over a month. I like to attach significance to it but you're probably right lol.
>I once had a dream of being friends with Hillary Clinton. Woke up confused and angry with myself kek.
kek, I haven't had that displeasure yet.
>Completely understand, I get some that are utterly cinematic.
I appreciate the understanding kek
>Sounds like a cool dream anon. Did anything happen afterward?
I woke up, if I recall correctly kek. Also I didn't say it in the post but by "extreme mirror close ups" I meant the rear view mirror inside the truck.
>>3472
>Yes, sorta. This is a bad omen IMHO. How bad depends on how much of a tinfoil hat wearer you are.
kek, no ravens at least. That would have been one unkind dream.
>Before I watched Las brujas de Zugarramurdi Macarena showed up in my dreams to nights in a row; very wholesome and æsthetically pleasant dreams involving a ballet performance (maybe Tchaikovsky’s The Nutcracker) in an absolutely gorgeous location, not unlike the Garnier Palace of the Opéra de Paris, and there was a beautiful winter wonderland outside in my dream too! Took that as a good sign and that is was why I decided to finally watch that film.
Very cool! Also very odd, we saw it before The Black Gloves didn't we? Maybe you saw some trailer or something. Glad to hear you're getting visits from our muse in the oneiric realm.
>Are we watching 30 Monedas/30 Coins? Might be a nice way to kick-start the new year and get on a good course from the start.
Count me in, I just don't know when I can start watching it but I will surely give it a watch.
>>3474
>Laughs nervously in Australian
lel
>So behind on everything.
I haven't got around to even watching Bliss lol. Haven't seen a single film in weeks. Hard to find the time where I am right now, but hopefully I'll get the chance soon.
>>3478
>remember reading that we can only dream about faces we have seen before, so maybe you’ve gotta see/experience snow IRL before you can dream about it?
I very much doubt the IRL part is necessary. Also I think I've had dreams about people I don't remember seeing before (the old giant menacing man for example).
>Now I am getting slightly concerned for the Big Guy… one moment he is depressed (as per usual), then he is back to his antics again, probably putting on a façade.
It's been a rough year for him. With covid and the sister thing it's probably been some of the worst in a long time.
>he is in a viscous cycle he can’t get out of.
You probably wanted to say vicious but the implications of "viscous" and "can't get out of" are hilarious, it still works. Like being in a pond of thick oil.
Also did you get a new email address yet? A reliable one?
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No.3496
>>3480
>Very cool! Also very odd, we saw it before The Black Gloves didn't we? Maybe you saw some trailer or something. Glad to hear you're getting visits from our muse in the oneiric realm.
Yeah, easily one of the most pleasant and enjoyable dreams from recent memory.
I’m at this ballet performance with some friends, though I can’t remember who was there with me now; we’re standing around admiring something in a large, beautiful room, and I made a comment or correction, and when I look up or turn around I see Macarena there and our gaze met; I assume she must have heard what I said, because she smiled at me – not just her lips, but her entire face lit up with this amazing and beautiful smile, especially her eyes. I remember that amazing smile quite vividly. Imagine what it must feel like to have that smile directed at you IRL, and the knowledge that you are the cause of that smile… wew! Reminds me of the dialogue in The Neon Demon:
<Sarah: What’s it feel like?
<Jesse: What do you mean?
<Sarah: To walk into a room, and it’s like in the middle of winter. You’re the sun.
<Jesse: It’s everything.
When she smiled at me in the dream it felt like she was my sun on a cold winter day. Which is fitting since it was a winter setting and afterward we (sans Macarena) left in a sleigh or carriage; it was like something from a fairytale almost.
Saw your posts in the toonme thread over at tvch, and the Evil Presley song; that reminded me of her eyes in the dream too. Blue really is the warmest colour.
>Count me in, I just don't know when I can start watching it but I will surely give it a watch.
Swell. Let me know when you guys get the first episode. I could sure go for some Macakino right about now.
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No.3500
YouTube embed. Click thumbnail to play.
The trailer for the new Lovecraftian/folk horror film Sacrifice with Barbara Crampton is out! Glad to see they updated the poster to get her name right.
Barbara Crampton Calls to Cthulhu in New Lovecraftian Horror Movie 'Sacrifice' [Trailer] - Bloody Disgusting: https://archive.vn/vW0RD / http://web.archive.org/web/20210112035607/https://bloody-disgusting.com/movie/3647838/barbara-crampton-calls-cthulhu-new-lovecraftian-horror-movie-sacrifice-trailer/
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No.3504
>>3478
>maybe you’ve gotta see/experience snow IRL before you can dream about it?
Have experienced snow a few times, but only briefly. Actually, now that I think about it, I don't think temperatures really ever feature in my dreams. Storms and winds, yes, but not heat or cold or that kind of thing.
>Hope we can encourage him to try and get /fit/ in 2021. That could help with the depression, and maybe lead to him finding a GF down the road.
Yes this would be helpful I reckon. But how do we help encourage him?
>>3480
>Also I didn't say it in the post but by "extreme mirror close ups" I meant the rear view mirror inside the truck.
Those cinematic ones are the best. Where you see things from different perspectives and different speeds etc. Usually they're the fun ones.
>>3496
>When she smiled at me in the dream it felt like she was my sun on a cold winter day.
That is awesome.
>I could sure go for some Macakino right about now.
>Macakino
Kek.
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No.3505
>>3500
>The trailer for the new Lovecraftian/folk horror film Sacrifice with Barbara Crampton is out!
Wew lad it looks great! Excited to see this one.
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No.3508
>>3505
Yeah, got a good feeling about this one. Barbara’s character refers to this local legendary entity as “inn sofandi”, which is Old Norse for “the sleeper”, and in an interview (see >>3303) she said she worked with a language coach to get the accent right.
Just little details like that really adds to the believability, and it shows how dedicated Barbara is to the role. Not sure if many actors/actresses on this sort of film would even bother to get the local dialect right when they are speaking their English lines. And they shot on location, which is really nice. All too often companies shoot elsewhere, and that is really distracting and noticeable as a native – Ireland and Eastern Europe is nice, but it doesn’t look like home.
How long till we hit the bump limit on these threads? Maybe we should start new ones for the new year? Some of these are getting out of hand.
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No.3515
>>3508
>And they shot on location, which is really nice.
It really makes a difference.
>How long till we hit the bump limit on these threads? Maybe we should start new ones for the new year? Some of these are getting out of hand.
I set the bump limit way back when as 500. But it can be set as low as 250 and as high as 750. What do you think?
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No.3517
>>3515
Noticed a lot of the pics aren’t loading properly as of late, but that could be because the site has issues in general, and not because the threads take too long to load. If the site works and everything loads as usual we could keep going with the old threads for a good while longer.
Noticed two boards that I thought wouldn’t be brought back again after 8chan went down are up. Hardly any pics load on them, and whenever I try making a post I get this “invalid board” error, so I am not sure what is going on there.
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No.3518
>>3517
I noticed the pic thing as well, but only for posts prior to the migration to 8kun. Assumed it had something to do with getting lost in the process. Have you noticed it happening on more recent posts?
>Noticed two boards that I thought wouldn’t be brought back again after 8chan went down are up. Hardly any pics load on them, and whenever I try making a post I get this “invalid board” error, so I am not sure what is going on there.
Potentially still importing data/getting set up?
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No.3519
>>3518
>Have you noticed it happening on more recent posts?
Yeah, often it takes a few times hitting reload before everything on the main page loads, and clicking on files in the threads doesn’t always work either.
For some reason I can’t even phonepost on this site any longer, and I can’t remember the last time this board loaded properly on my phone.
>Potentially still importing data/getting set up?
Maybe/hopefully. But it might just be a glitch or incompetence. One of the boards never had much activity at all, and I doubt anyone ever requested it being brought back to 8kun.
With Ron gone as admin, where do I even look for updates? @infinitechan hasn’t been updated since 2019
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No.3520
>>3519
Testing from phone.
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No.3521
>>3519
>Yeah, often it takes a few times hitting reload before everything on the main page loads, and clicking on files in the threads doesn’t always work either.
Damn, it's been working for me mostly that I can think of.
>and I can’t remember the last time this board loaded properly on my phone.
Phone posting also still works for me >>3520
>With Ron gone as admin, where do I even look for updates? @infinitechan hasn’t been updated since 2019
I can't find anywhere. Been trying to access Gab for days and it just keeps timing out or barely loading. Haven't been able to even see what Ron has said on there. We really need /sudo/ back. I was surprised that wasn't the first one brought back tbh.
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No.3523
I had a chance to watch some stuff these last days and decided to delve into Sergio Martino's body of work, I had a lot of his films in my backlog. I went by chronological order.
Two days ago I saw Martino's first giallo, Lo strano vizio della Signora Wardh (1971). I was disappointed during most of it, it underestimates the viewer. It has some classic moments and is smart at parts, but it strains the suspension of disbelief. Most of it feels like a poor justification to have kinky scenes. It did pioneer the phrase "Il tuo vizio è una stanza chiusa e solo io ne ho la chiave" (your vice is a locked room and only I have the key) that later became the title of Martino's third giallo and that was later attributed to Edgar Allan Poe and used as the tagline for Lucio Fulci's Una lucertola con la pelle di donna from 1971 featuring Anita Strindberg who would later star in Martino's next two gialli.
We get plenty of Edwige Fenech, George Hilton, Alberto de Mendoza (from Fulci's Una sull'altra and Una lucertola con la pelle di donna) and Ivan Rassimov (from Bava's Planet of the Vampires), actors we'd see again in some of Martino's other works.
Yesterday I saw La coda dello scorpione (1971), it was better than the other. Has some thematic similarities to Ruggero Deodato's Affare Concorde (1979) and thematic and cinematic similarities to Mario Bava's Sei donne per l'assassino (1964) and Ecologia del delitto/Reazione a catena (1971) which was Bava's pioneering slasher (much dumber than his proper gialli, by the way). Even the main murder weapon is similar to the one in Bava's film. No Rassimov o Edwige, but Anita Strindberg, Alberto de Mendoza and George Hilton are in it. There's also Luigi Pistilli who was in Ecologia del delitto.
There's some "enlarge and enhance" that would put CSI to shame, but other than that it didn't strain the suspension of disbelief too much.
Il tuo vizio è una stanza chiusa e solo io ne ho la chiave (1972) was the one I watched today. Unexpectedlysapphic, it's a retelling of Edgar Allan Poe's The Black Cat with twists and turns typical of gialli. This one I'd recommend. You'll see paintings play an important role too, similarly to the ones in Emilio Miraglia's La dama rossa uccide sette volte and La notte che Evelyn uscì dalla tomba. This time we get Edwige, Anita, Pistilli and Rassimov but no George Hilton or Alberto de Mendoza. Probably the best Edwige look in a Martino movie besides Tutti i colori del buio.
Now I'm only missing I Corpi Presentano Tracce de Violenza Carnale (1973) and Morte sospetta di una minorenne (1975) and I'll be done with Martino's gialli. His films are interesting even from an scholarly point of view, you can use them to teach both what to do and what to avoid doing. Some of his choices can be quite puzzling sometimes, he has moments of brilliance surrounded by mediocrity or straight up cinematographic failure. You get brightly lit scenes supposed to be in the dark where the darkness is conveyed by the character in them attempting to turn on a lamp, for example. Or scenes filmed with much worse quality in order to do a shot he couldn't figure another way of doing (probably using an Super 8 camera or something like that to take them). Or shots taken with such poor lenses (or lighting) that there's ugly chromatic aberrations, as if a studio couldn't get him a decent lens. It really makes me think what was going in Martino's head when he made them. Was it poor choices on his part or studio interference? In any case, he lacks the flair of Fulci and Bava, who worked around limitations and even included them in smart ways sometimes. Like the intermission in Non si sevizia un Paperino or the rock in Planet of the Vampires. Don't take this criticism as harsher than it is, though. I see Martino as a less refined artist, but not as a talentless hack with no inspiration. He has interesting ideas and sometimes good visuals, but he's hit and miss. He wouldn't be my first recommendation to someone who isn't already into giallo, though.
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No.3524
YouTube embed. Click thumbnail to play.
>>3523
>It has some classic moments and is smart at parts, but it strains the suspension of disbelief.
In the same vein as Four Flies on Grey Velvet?
>Il tuo vizio è una stanza chiusa e solo io ne ho la chiave (1972) was the one I watched today. Unexpectedlysapphic
Well well look what I found on the gialli channel! Looks like this channel is a gem for as long as it sticks around.
>Was it poor choices on his part or studio interference?
Maybe as simple as funding?
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No.3526
And so the cat has the last laugh!
The dynamic between the characters reminded me of The Blood Spattered Bride which coincidentally came out the same year.
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No.3528
Saw a thread over at tvch/tv/ that Julie Strain has died. She was in five of Sidaris’ Bullets, Bombs and Babes films. Turns out I had seen her before those, since she was the model, or muse, of Heavy Metal magazine artists like Simon Bisley & Luis Royo.
<“I am the chick that they call when they want a gun-toting amazon-bitch-Barbarella-merciless-bitch with a machine gun. Vampires, witches, sorceresses, double agents – that’s what I do and I like to headbutt people in fights and kick them and spit on them and bust them in the balls.”
Julie Strain, Heavy Metal Warrior Queen, 1962-2021: https://archive.vn/P7ZQj / http://web.archive.org/web/20210112050338/https://www.heavymetal.com/news/julie-strain-heavy-metal-obituary/
Cult films and the people who make them: interview: Julie Strain: https://archive.vn/ihQ82 / http://web.archive.org/web/20210116005005/http://mjsimpson-films.blogspot.com/2015/03/interview-julie-strain.html
F
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No.3529
>>3524
>In the same vein as Four Flies on Grey Velvet?
The stalking part is similar I guess but not the forensics. La coda dello scorpione however rivals Argento's film. This one suffers a lot from convoluted situations that make too little sense. I don't want to spoil anything but there's some situations that are hard to believe. Too many overly convenient happenings. Some attributable to conspiracy but other parts would require a stupid amount of luck to work.
>Maybe as simple as funding?
I entertained that idea at first but some of it could easily be solved without spending more money, simply by doing alternative shots or handling the lighting differently. A color filter in front of the light like he used in Tutti i colori del buio (which gets its name precisely from that) alone would do wonders. Or simply dimming the light a bit and making sure more light hits the actress than the surroundings. The chromatic aberration could be solved with not directing the light straight into the lens, as the fringing is caused by too much contrast. Then you have things like the scenes in Tutti i colori del buio where you can see the dark floors that are supposed to be a void. That could be solved in a lot of ways: putting a grid, a flag, a snoot, closing the barn doors a bit, using a graded neutral density filter, or failing all that simply shortening the time of the film stock in the developer bath in the lab.
Then there's things like poorly focused scenes where it makes no artistic sense to be out of focus or bad angles for scenes that should be sexy.
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No.3530
>>3524
>>3526
Wow, you were quick to watch it. That dub is like nails against a chalkboard to me lol. Italian only for me when it comes to gialli.
I wondered if it was one of the inspirations for The Black Gloves. Picnics near a cliff.
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No.3531
Here's an example of what I find puzzling. He managed to make Edwige look plain with his choices of lighting, lens and camera placement. It's like a reverse talent, kek.
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No.3533
Just saw I corpi presentano tracce di violenza carnale (1973, better known as Torso). This is a classic in full right. It has some sapphistry too, but of the blacked kind which is disgusting.
That aside, it's much better than all the others. Cinematographically, narratively and in mood.
Tension is always high on this one. The suspension of disbelief isn't tested too much. There's moments when you're not sure if you're seeing aware sadism or obliviousness, but it works in both ways and the guesswork makes it even more effective. I didn't get even close to guessing who the killer was. The story is also pretty engaging.
There were no faux passes (pun intended, you'll get when you see the film) in the cinematography, and sometimes you even notice some showing off with classic giallo shots using ornate objects as obstacles for the camera and mirrors for some trick shots. Camerawork aside, the visuals are really good even from a mise-en-scène point of view too. The foggy forested bog is amazing. There's many classic scenes in this one. I think it may have influenced Argento's Profondo Rosso and Tenebrae. Specially the latter. This one sends chills.
The low point would be the hippie meetup/party in the abandoned building with the dancing girl in the middle, but that's more personal taste than anything. It's a reflection of the era, but one that I find quite lame.
Highly recommended, I'd say this is a must-watch. The best work I've seen from Martino so far.
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No.3536
>>3533
One thing I forgot to mention: despite the general sleaze, the awful interracial scene was surprisingly restrained. At no point do we see lip locking, it's implied but obscured by a bed post. Makes me wonder if it was a request of one of the involved.
Also there's some discussion where some guy has a bad case of jungle fever but another one says he was never into negresses.
Still disgusting nevertheless.
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No.3539
YouTube embed. Click thumbnail to play.
Just finished watching Morte sospetta de una minorenne.
Something funny happened while I watched it, I was thinking "this is like a succession of theme park rides" because it has scenes that are straight comedy in the middle of chases to the point of silliness and other various aspects of it, when an actual amusement park showed up. I had to let out a laugh.
The soundtrack is very good at the parts that have nothing to do with Giuliano, reminiscent of Goblin. Some parts of the main theme are very reminiscent of Goblin's Profondo Rosso theme, notably the bassline. This has been noticed by others as I quickly found out by googling "Luciano Michelini Goblin":
https://www.soundohm.com/product/morte-sospetta-di-una-min
<*to be released in mid June* "Four Flies is pleased to introduce for the first time on vinyl another top level score for the Italian slasher/crime flick directed by Sergio Martino, The Suspicious Death of a Minor (Morte Sospetta di una Minorenne). Perhaps the best Luciano Michelini score ever (a composer well-known to Italian soundtrack enthusiasts for his famed RCA works - Anna - Quel particolare piacere and La conquista di Luna), and for sure one of the toughest of the whole genre. The main theme echoes certain passages from Goblin’s Deep Red (Profondo Rosso) - recognizable by the use of the same church organ located in the historic Ortophonic Studio in Rome in 1975, only a few months after Claudio Simonetti’s hands played it for Dario Argento’s masterpiece. That said, the entire soundtrack sounds somehow “Goblinesque”, thanks to the prog-rock & funk action themes that are used for chases, murders, and suspense scenes. Remastered from the original reels preserved in the C.A.M. archives, this vinyl edition features new LP editing, and is housed in a hard tip-on sleeve with a stunning artwork designed by Luke Insect."
Funnily enough (and unsurprisingly) looking for the soundtrack on youtube using the English title, Too Young to Die brings up Too Old to Die Young, with one of the thumbnails having Janey lying against the fence as she waits for Martin.
The film is clearly influenced by Massimo Dallamano's La polizia chiede aiuto and I could sense where the plot was going since Pesce showed up. I should have taken the clue before, with the main character being played by the same actor in both. I can't say it surprised me because the title hinted similar themes. And just like in that one, there's a blend of poliziottesco and giallo in Martino's film. But this one isn't as brutal, it switches from thriller to comedy very quickly. I feel like there was a desire to compete with the likes of Dirty Harry at parts, to have one-liners and such. While not being as brutal tone-wise and not as cynical in its political implications, the tragedy is even more extreme in the case of one of the girls.
The cinematography is on point, this time when there's optical artifacts there's an artistic purpose for them. The film looks good from start to end. And you see details like the mirror sunglasses used to great effect too. Brian De Palma would do something similar years down the line in Body Double and Carlito's Way.
There's a cinema scene much like in Messiah of Evil and Martino took this opportunity to play a part from Il tuo vizio è una stanza chiusa e solo io ne ho la chiave in it.
The chases on foot are much more serious than the car ones, very intense.
There was a scene near the end that went dark really quick, and I believe the intent of the soundtrack was to create contrast but it was too predictable to work properly.
The ending itself, however, is great. I expected it to be even more cynical than it was, but it was really good.
Overall I recommend watching it if you don't get overly annoyed by the inconsistent tone. The comedy music really lowered the quality of the scenes it was in. Wherever you hear the song in 2:48 in the embedded video and its variations you know the scene will be low quality. Not only because the song is Yakety Sax tier, but because the scenes consistently become dumb comedy whenever it plays. That said, I think the rest of the film is well worth enduring the comedy scenes. I feel like they undermined the gravitas of the rest of the film.
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No.3565
YouTube embed. Click thumbnail to play.
Went to the grocery store today and for some reason I started reminiscing about the song Run Away With Me, specially the "baby… every… single… minute" chorus, and thinking whether it was by Ava Max or Dua Lipa. For some reason I also thought it was actually Your Type. As I entered my home I realized it was actually by Carly Rae Jepsen and decided to play it, thinking of posting it here. At one point the "and I want you to miss me" line is played and I realized it was the song from one of the videos by our disgraced former muse. She was doing tiktok-like videos before tiktok, it's amazing when you think about it.
After the song ended, the actual song I was thinking of started playing, and I realized my mistake, embed related. I wonder if those conveniently fuzzy memories came to my mind as the first drop out of a fountain of inspiration and I hope that's the case. The well of ideas has been pretty dry for a while and I could certainly use some help. This gave me some cinematic ideas.
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No.3570
Only got around to watch three films this month, and one was a short film. My backlog is already pretty damn long, and now I’ve found three more films to add to it. Two giallo films by Umberto Lenzi; Così dolce… così perversa/So Sweet… So Perverse (1969) & Sette orchidee macchiate di rosso/Seven Blood-Stained Orchids (1972), and No Orchids for Miss Blandish (1948) a British gangster (noir?) film based on the novel by James Hadley. It was panned by critics, which is partly why I wanna check it out.
<No Orchids for Miss Blandish received strong criticism for its treatment of violence and sexuality.[11] Cliff Goodwin says that it was “unanimously dubbed ‘the worst film ever made’” by British reviewers.[4] The Monthly Film Bulletin called it “the most sickening exhibition of brutality, perversion, sex and sadism ever to be shown on a cinema screen”.
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No.3586
Was looking through my lengthy link archives for a quote by NWR, and found this interesting article on Film Noir. So of course I had to add two of the films mentioned, The Third Man (1949) & The Big Combo (1955), to my backlog, as well as the sequel to Lady Snowblood: Blizzard from the Netherworld (1973), Lady Snowblood: Love Song of Vengeance (1974) after bringing them up in the Kill Bill thread over at tvch/tv/.
One still from Sex & Fury appears to show Reiko Ike caressing Christina Lindberg’s nude breast – the thing is, I don’t remember it being /sapphic/… maybe I need to rewatch it?
Also, here is the NWR quote (it was on a magazine picture I had in a folder, not an online article at all, so I wasted a good thirty minutes looking for it):
<“For me, it was more about Does it look interesting? than, is it right? My films are pretty simple, and simplicity is a powerful effect. The simpler, the better. Less is more in my philosophy, nothing is everything.”
— Nicolas Winding Refn talking to Christian Monggaard
The cinematography of Film Noir - Screenhead - The art of cinema: http://archive.is/BnQKI
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No.3603
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No.3604
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No.3606
>>3604
Sacrifice, the Lovecraftian/folk horror film with Barbara Crampton. There is an interview linked to earlier ITT where one of the two directors say the film is inspired by Drive. Also, there is northern lights in a still I have seen. Probably gonna watch it tonight.
Trailer: https://www.youtube.com/watch?v=igUyQPawlps
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No.3608
>>3606
Oh, nice. I've been a bit out of tune with everything, out of tune with the world I guess you could say kek. I've been meaning to get some stuff off my backlog but can't seem to find the right time. If everything goes right I'll have some time next week.
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No.3612
>>3603
Oooh exciting. Will see if I can watch tonight too.
>>3608
>I've been a bit out of tune with everything, out of tune with the world I guess you could say kek
>>3608
>I've been a bit out of tune with everything, out of tune with the world I guess you could say kek.
Same anon. I think I disconnected during around March last year and haven't been able to reconnect since.
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No.3613
50 mins in. Man the bitch boy is quite unlikeable. Will be happy to see him bumped off for a bumper harvest.
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No.3615
>>3613
Top Kek. What a satisfying beheading.
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No.3618
>>3613
Not an easy role to play though. Think they found a good balance between sane and unhinged for Isaac. They could easily have gone off the deep end and into camp territory, but he kept the performance grounded. That makes it harder to sit through when he turns on Emma.
That opening credits sequence was really beautiful – very much like the opening to Corman’s Poe adaptation Pit and the Pendulum (1961) – very colourful, which is a welcomed change from the usual dreary and dark colour palette in most horror films. The open shot with Isaac’s mother washing her bloody hands in the sink was great too.
Wish the film would had kept all the weird, unnatural elements to the dream scenes. When the sword is thrown back from the sea it kinda lessened the impact of the film’s end. Deranged cultists acting on their beliefs can be just as eerie and disturbing without revealing whether or not they are right or wrong.
Also, when the big twist comes and Isaac is sacrificed instead of Emma, it struck me as very contrived that the cultists tied her up and put her on the raft. That was just to trick the audience.
Some of the lighting was beautifully done; at times it was a bit too much, especially some of the kitchen scenes were too saturated in orange – maybe the wooden panelling made it look that way?
Some fun nods to HPL thru the film too, which was nice. Really prefer this more subtle take on it, than the all out monster films.
At first I found it hard to imagine Emma going to Renate, but when I thought about afterwards, she only knew Renate was involved with these strange customs. As the audience we, of course, expects her to be a sinister character, but Emma couldn’t have known the cult was Wicker Man style crazy.
>>3615
What do you think happens afterwards? Is Emma heading back home, or does she stay on the island? She knows too much about the cult, and she knows, or at least suspects, that the Slumbering One is real, so does she join the cult?
I want a woman to look at me the way Astrid looked at Isaac during the supper scene
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No.3619
>>3618
That makes it harder to sit through when he turns on Emma.
When he wakes up and doesn't give a shit that she is hyperventilating from a nightmare was when I paused it to comment. It felt like there wasn't much of him shown as anything more thank blank in the beginning to show much change. We see him say "a lady is present" at the bar and that's about it. And even that can be said by anyone keeping up appearances. There was no 'original' Isaac for me to care for to lament his 'change'.
>That opening credits sequence was really beautiful
Yes, LOVED the opening credits but the colour scheme got overdone and quick.
>Some of the lighting was beautifully done; at times it was a bit too much
The phrase 'paint by numbers' came to mind when considering the lighting. For the most part it lacked something, maybe atmosphere? Though I did like the nightmare with the glowing amulets in the night scene. Like a fun retro 80s horror.
>Deranged cultists acting on their beliefs can be just as eerie and disturbing without revealing whether or not they are right or wrong.
Agreed.
>Also, when the big twist comes and Isaac is sacrificed instead of Emma, it struck me as very contrived that the cultists tied her up and put her on the raft. That was just to trick the audience.
Again agreed. I was surprised for a split second when she was tied as I was sure that Isaac was to be slaughtered. But even then presumed it would play out as it did. The narrative has been done before. As soon as he spoke of his dad at the house, I had suspicions. These suspicions were cemented with the bar scene that followed. Made me think of that Niven and Kerr movie Eye of the Devil.
>As the audience we, of course, expects her to be a sinister character, but Emma couldn’t have known the cult was Wicker Man style crazy.
Same. I was like "as if!" but then I remembered most of her fears were from her dreams.
>What do you think happens afterwards?
<You'll get used to it
I guess she stays. Voluntarily not sure.
>I want a woman to look at me the way Astrid looked at Isaac during the supper scene
Kek. Emma should've punched Isaac in the mouth when they got home. When they met under the lights, I thought they would have sex and that Astrid would get pregnant so they wouldn't need Emma if she escaped or died. Lol.
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No.3621
>>3619
>When he wakes up and doesn't give a shit that she is hyperventilating from a nightmare was when I paused it to comment.
Yeah, that was a rather odd reaction. It was also a bit weird how he just got out of the car and went for the front door when they arrived, without helping or making sure his pregnant wife was OK.
When they are looking at the painting of the boat caught in a storm I got the implication that he was a Christian; at least he had been raised Christian, yet he is very quick to abandon that and his wife to join this new, weird cult he’s just found out about.
>Yes, LOVED the opening credits but the colour scheme got overdone and quick.
They blew their load too quickly. It would be pretty hard to keep up after an opening like that.
>I guess she stays. Voluntarily not sure.
Sounds exactly like what happened to Isaac’s mother, only she managed to get away when she found out they were going to sacrifice her son.
Since their sacrifice, Isaac, got away they would have to find another person to sacrifice, yes? Maybe that person was Renate’s husband? That would explain why it felt like a catharsis for her when she finally sacrifices Isaac – if he hadn’t managed to get away, maybe her husband would still be alive?
>Kek. Emma should've punched Isaac in the mouth when they got home.
Some of their interactions were quite fun tbh. The talk about whales and harpooning…
>I thought they would have sex and that Astrid would get pregnant so they wouldn't need Emma if she escaped or died. Lol.
Was certain it’d be some kind of Innsmouth-style story where the baby, Isaac & Emma’s, would be some eldritch abomination, but my expectations were pleasantly subverted. I think that kind of story has been done to death already, and it was nice they went in a different direction.
Emma’s nightmares also reminded me of the line in The Last Wave (1977): “A dream is a shadow of something real.”
It was a clever way of foreshadowing things – the eldritch abomination sleeping beneath the waves, and Isaac turning on her was foreshadowed in the sexual abuse dreams.
The cult’s practice of collecting the head of those they sacrifice and place it in the Tupilaq sounds like the practice of the head cult of the Celts in France in the late Iron Age, who would take the heads (skulls) of their enemies and put them in a niche in a “head pillar”.
The entrance to the Paths of the Dead in “The Return of the King” is probably also inspired by this Celtic head cult practice of displaying the skulls in “head pillars” (and lintels).
Looked up the word “Tupilaq”, and according to Wikipedia it is:
<an avenging monster fabricated by a practitioner of witchcraft or shamanism by using various objects such as animal parts (bone, skin, hair, sinew, etc.)[2] and even parts taken from the corpses of children. The creature was given life by ritualistic chants. It was then placed into the sea to seek and destroy a specific enemy.
https://en.wikipedia.org/wiki/Tupilaq
Remembered that there was a Greenland connection in HPL’s The Call of Cthulhu, where a professor of Anthropology encountered “a singular tribe or cult of degenerate Esquimaux who religion, a curious form of devil-worship, chilled him with its deliberate bloodthirstiness and repulsiveness.” The story also uses “certain queer hereditary rituals” and a fetish, Tupilaq?, “around which they danced when the aurora leaped high over the ice cliffs.” https://archive.vn/UlKqG#selection-365.289-212.115
With this in mind it seems like they’ve just switched the “tribe or cult of degenerate Esquimaux” with Norwegians. Something tells me these filmmakers would not have portrayed Eskimos/Inuit as having these same attitudes and beliefs, including human sacrifices…
https://en.wikipedia.org/wiki/Kingittorsuaq_Runestone
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