Actually, he didn't leave the band, he tragically died in a thagomizer incident.Thag left the band too soon, which is a shame, because he was the funny one of the group.
[Movies] Talk about the last movie you saw 2: Electric Threadaloo
- Thread starter Dave
- Start date
I used it to deliberately reference @Dave who used it to deliberately reference that comic. Does that count?
--Patrick
Blended
I know it's pretty old. I think it's also the third film that Adam Sandler and Drew Barrymore starred in together. The humor is juvenile but that's what we've come to expect from Sandler movies. It made me laugh and that's the whole point of humor. Not every joke has to come from The New Yorker.
I also just realized that so many of these Happy Madison films aren't meant to win awards or to break records at the box office. Looking at the recurring cast that always seem to be in his movies, I think these films are just an excuse for Adam Sandler and all his friends to spend a month living in luxury resorts in Hawaii or South Africa. Of course their primary goal is to shoot a film, but I can definitely picture them spending a lot of time screwing around. And that's perfectly all right.
I know it's pretty old. I think it's also the third film that Adam Sandler and Drew Barrymore starred in together. The humor is juvenile but that's what we've come to expect from Sandler movies. It made me laugh and that's the whole point of humor. Not every joke has to come from The New Yorker.
I also just realized that so many of these Happy Madison films aren't meant to win awards or to break records at the box office. Looking at the recurring cast that always seem to be in his movies, I think these films are just an excuse for Adam Sandler and all his friends to spend a month living in luxury resorts in Hawaii or South Africa. Of course their primary goal is to shoot a film, but I can definitely picture them spending a lot of time screwing around. And that's perfectly all right.
Transformers One
I know the bar was set pretty low, but I'd say this is EASILY the second best Transformers film(tied with Bumblebee)!
On the subject of the film, there is death, like a LOT of death, no Energon blood, but still LOTS of death! Not Optimus scalping faces brutality, but it gets up there.
I know the bar was set pretty low, but I'd say this is EASILY the second best Transformers film(tied with Bumblebee)!
On the subject of the film, there is death, like a LOT of death, no Energon blood, but still LOTS of death! Not Optimus scalping faces brutality, but it gets up there.
Smile (2022)
Nicktoberfest has begun! Gonna try watching horror flicks I haven't seen this month. I have a few others in mind, but this one came to mind when I saw a sequel was coming out. I heard good things about it when it came out.
And it's...okay. It relies way too heavily on cheap, predictable jump scares. Some of the mind tricks are fun, but they get old after awhile. You never really get what the monster's motivation is outside of "torture the human," which is dull. The building drama and insanity with the main character is fun, although there was a weirdly long length of time during her "research" where she didn't have a single encounter with monster. No scares, no mind tricks, nothing. Late in the movie, it does a trick similar to IT: Chapter Two where they figured "monster gets inhumanly big means scary, right?" and it wasn't. It just looked cartoonish.
Still, for all my gripes, it was fun for what it was and I was engaged enough to see where it went. Probably not something I'll ever revisit, but I don't regret watching it. I might check out the sequel in theatres.
Nicktoberfest has begun! Gonna try watching horror flicks I haven't seen this month. I have a few others in mind, but this one came to mind when I saw a sequel was coming out. I heard good things about it when it came out.
And it's...okay. It relies way too heavily on cheap, predictable jump scares. Some of the mind tricks are fun, but they get old after awhile. You never really get what the monster's motivation is outside of "torture the human," which is dull. The building drama and insanity with the main character is fun, although there was a weirdly long length of time during her "research" where she didn't have a single encounter with monster. No scares, no mind tricks, nothing. Late in the movie, it does a trick similar to IT: Chapter Two where they figured "monster gets inhumanly big means scary, right?" and it wasn't. It just looked cartoonish.
Still, for all my gripes, it was fun for what it was and I was engaged enough to see where it went. Probably not something I'll ever revisit, but I don't regret watching it. I might check out the sequel in theatres.
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A jukebox musical, yes.
Every review I've seen has said the same thing. I liked the first joker movie, but I don't think it's the high art that a lot of chuds seem to think it is, he basically just aped a Scorsese movie. But lots of edgelords told him he was a genius and he started to believe them.
LTTP: So I loved D&D Honor Among Thieves and I expected to not really like it. The whole cast absolutely smashed it out of the park and all the very tiny nods to actual D&D gameplay was wonderful. Xenk being just a straight DM character there for a session to help out for example. I am legitimately shocked how hard the failed illusion spell scene made me laugh amongst other things. All of the magic in general being straight out of the PHB. Just going with actual Forgotten Realms lore was not something I was expecting, like just having red wizards and naming their lich king and such. Also, kind of a spoiler here, but was that Elminster in Simon's attunement trial? Also, Sofina? My kind of lady, both hot and absolutely horrifying. Also, for being like a level 17 or 18 wizard AT LEAST, she really sucked at meteor swarm. Then doesn't even use her lich powers. Hugh Grant? Effortless prick. What a boss. I again can't say enough about the cast.
I also had to check the last few pages of this thread because I feel like I've already posted about this recently.
I'm adding this in later, but how good is it to watch something that has a competent (if not absolutely simple) story? Like it has foreshadowing and heart on top of being actually funny. That it kinda failed is such a bummer. I wish I'd seen it sooner.
I also had to check the last few pages of this thread because I feel like I've already posted about this recently.
I'm adding this in later, but how good is it to watch something that has a competent (if not absolutely simple) story? Like it has foreshadowing and heart on top of being actually funny. That it kinda failed is such a bummer. I wish I'd seen it sooner.
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Frankenweenie (2012)
A love letter to classic monster movies by way of a black & white re-telling of 1931's Frankenstein, all done in a glorious stop-motion animation. It's not one of Burton's best, but its style and animation are still worth watching. The homages are heavy, but some, like how the "Bride of Frankenstein" is introduced, got a chuckle of out of me.
The style, aesthetics, and story felt similar in ways to movies like Monster House and Paranorman, and I mean that in a good way. It's a good little story, even if it doesn't necessarily tread any new ground.
I had a lot of fun with this and I'm a little sorry it took me twelve years to finally sit down and watch.
The Howling (1981)
I grew up on Joe Dante's Gremlins 1 & 2. They're two of my favourite movies. I also love his other work like Matinee, The Burbs, and Small Soldiers. So I'm surprised by myself that I never sat down and watched this before.
And it's...not bad. It takes awhile to really get going, but once it does, it ramps up fast. Rob Bottin's effects are the best part of the movie. The werewolf transformation sequences are as detailed as they are disturbing. The character's flesh bubbles and ripples throughout the transformation to the point it's almost sickening to watch. Great stuff.
The acting is pretty stiff, even surprisingly from a young Robert Picardo (who I didn't even recognize under all that hair). And Dick Miller, a recurring actor in Dante's films, is always a pleasure to see, even if it was brief.
Overall, it really feels like early Joe Dante, who is still honing his director skills at this point. It's not great, but I'm glad I finally watched it.
A love letter to classic monster movies by way of a black & white re-telling of 1931's Frankenstein, all done in a glorious stop-motion animation. It's not one of Burton's best, but its style and animation are still worth watching. The homages are heavy, but some, like how the "Bride of Frankenstein" is introduced, got a chuckle of out of me.
The style, aesthetics, and story felt similar in ways to movies like Monster House and Paranorman, and I mean that in a good way. It's a good little story, even if it doesn't necessarily tread any new ground.
I had a lot of fun with this and I'm a little sorry it took me twelve years to finally sit down and watch.
The Howling (1981)
I grew up on Joe Dante's Gremlins 1 & 2. They're two of my favourite movies. I also love his other work like Matinee, The Burbs, and Small Soldiers. So I'm surprised by myself that I never sat down and watched this before.
And it's...not bad. It takes awhile to really get going, but once it does, it ramps up fast. Rob Bottin's effects are the best part of the movie. The werewolf transformation sequences are as detailed as they are disturbing. The character's flesh bubbles and ripples throughout the transformation to the point it's almost sickening to watch. Great stuff.
The acting is pretty stiff, even surprisingly from a young Robert Picardo (who I didn't even recognize under all that hair). And Dick Miller, a recurring actor in Dante's films, is always a pleasure to see, even if it was brief.
Overall, it really feels like early Joe Dante, who is still honing his director skills at this point. It's not great, but I'm glad I finally watched it.
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I've seen the original, live-action film, but I haven't yet seen the stop-motion remake. Maybe someday I'll compare the two.
I wasn't allowed to see the movie, but nothing kept me from reading the book. When I finally saw the movie many years later, I remember thinking there were quite a few differences, but the movie wasn't bad...except for how they softened/tragedified that final scene.
--Patrick
The Substance (2024)
Just got back from seeing this in theaters. It's The Picture of Dorian Grey by way of Cronenbergian body horror. Probably one of the most gloriously disgusting movies I've seen in my life. Absolutely not for those with weak stomachs. I've learned recently about myself that body horror doesn't bother me because, like a magic show, I'm constantly figuring out the filmmaking logistics of how they pulled it off. I'll admit, though, there were moments in this that made me cringe or wince from how disgusting it was.
If Demi Moore doesn't at least get an Oscar nomination for this, I'll be very disappointed. Margaret Qualley is great, too, but this is more Moore's showing.
It's somewhat of a dark comedy, with a bit of Tales From the Crypt or Sam Raimi style camp to it. It basically wears the satire on its sleeve. Some of the characters - especially the males - are almost cartoonishly over the top. And as the movie ramps up, the body horror and gore gets more and more ridiculous. Plus, just when you think the movie is done, it keeps going for another 15-20 minutes. Which...I'm not sure if it was necessary. While it ties things together thematically, the final bit of Cronenbergian body horror is a sight to behold, and one of the last disgusting bits of body horror is a punchline set up early in the movie, I kind of wish it'd ended before that final chapter. I think the ending maybe went a little TOO far and I was wondering when the hell it was going to end.
Also, I questioned the logistics of the other identity's creation, like how she got paid or if she had a separate social insurance number. But that's not what this movie is about and it's best to just look past logistics like that.
Still, I was glued to my seat on this one. It has a lot to say about body image, self-image, celebrity, It's as obsessed with reflections as it is with showing off everyone's butts. Definitely one to check out if you have the stomach for body horror style movies.
Just got back from seeing this in theaters. It's The Picture of Dorian Grey by way of Cronenbergian body horror. Probably one of the most gloriously disgusting movies I've seen in my life. Absolutely not for those with weak stomachs. I've learned recently about myself that body horror doesn't bother me because, like a magic show, I'm constantly figuring out the filmmaking logistics of how they pulled it off. I'll admit, though, there were moments in this that made me cringe or wince from how disgusting it was.
If Demi Moore doesn't at least get an Oscar nomination for this, I'll be very disappointed. Margaret Qualley is great, too, but this is more Moore's showing.
It's somewhat of a dark comedy, with a bit of Tales From the Crypt or Sam Raimi style camp to it. It basically wears the satire on its sleeve. Some of the characters - especially the males - are almost cartoonishly over the top. And as the movie ramps up, the body horror and gore gets more and more ridiculous. Plus, just when you think the movie is done, it keeps going for another 15-20 minutes. Which...I'm not sure if it was necessary. While it ties things together thematically, the final bit of Cronenbergian body horror is a sight to behold, and one of the last disgusting bits of body horror is a punchline set up early in the movie, I kind of wish it'd ended before that final chapter. I think the ending maybe went a little TOO far and I was wondering when the hell it was going to end.
Also, I questioned the logistics of the other identity's creation, like how she got paid or if she had a separate social insurance number. But that's not what this movie is about and it's best to just look past logistics like that.
Still, I was glued to my seat on this one. It has a lot to say about body image, self-image, celebrity, It's as obsessed with reflections as it is with showing off everyone's butts. Definitely one to check out if you have the stomach for body horror style movies.
V/H/S Beyond
I like the VHS anthologies for what they are most times. I can appreciate giving filmmakers a chance to tell short, self-contained stories in an anthology format. As with most anthologies, though, each story is often hit and miss. Individually, some stories are top notch and unforgettable. But I wouldn't rank any of the movies as a whole high on my list.
This one? Ehhhhhhhhh. It missed way more than hit for me. The "Stork" story was the only one I liked as a whole. The others had interesting ideas, some interesting shots, and great effects (except the shoddy CGI on the aliens in "Live & Let Die").
But because so many scenes were deliberately poorly shot to give it the found footage feeling, it often misses key details of what's actually going on in the shot. For example, there was a great opportunity for body horror in "Stowaway," but it's missed because I couldn't see a damn thing. Great idea in theory, but poorly executed. There was often WAY too much "shaky cam" in all the stories that just made me dizzy rather than feel any kind of excitement.
The documentary in between each story doesn't really amount to anything, either. The final scene that the documentary was building to is so short to, it barely registered for me.
So yeah, this one disappointed me. I thought previous entries in the series were better.
I like the VHS anthologies for what they are most times. I can appreciate giving filmmakers a chance to tell short, self-contained stories in an anthology format. As with most anthologies, though, each story is often hit and miss. Individually, some stories are top notch and unforgettable. But I wouldn't rank any of the movies as a whole high on my list.
This one? Ehhhhhhhhh. It missed way more than hit for me. The "Stork" story was the only one I liked as a whole. The others had interesting ideas, some interesting shots, and great effects (except the shoddy CGI on the aliens in "Live & Let Die").
But because so many scenes were deliberately poorly shot to give it the found footage feeling, it often misses key details of what's actually going on in the shot. For example, there was a great opportunity for body horror in "Stowaway," but it's missed because I couldn't see a damn thing. Great idea in theory, but poorly executed. There was often WAY too much "shaky cam" in all the stories that just made me dizzy rather than feel any kind of excitement.
The documentary in between each story doesn't really amount to anything, either. The final scene that the documentary was building to is so short to, it barely registered for me.
So yeah, this one disappointed me. I thought previous entries in the series were better.
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I like a good kill in a horror movie, but the Terrifier series is all about making kills just mean spirited and vile.
While I've been watching a horror flick almost every evening, I've been neglecting to post reviews. I actually started posting these on Letterboxd, too, in case you're interested.
Since I got kinda wordy on these, I'll put each one behind a spoiler to save on page space.
The Blob (1958)
Young Frankenstein (1972)
Terrifier (2016)
Terrifier 2 (2022)
The Mummy (1959)
Halloween III: Season of the Witch (1982)
Abigail (2024)
Since I got kinda wordy on these, I'll put each one behind a spoiler to save on page space.
The Blob (1958)
A horror movie made with technicolor was a rarity back in these days, apparently, but the filmmakers wanted the red ooze of the titular Blob to really shine, and it works. The bright colors on EVERYTHING pop, honestly, from the shirts to the cars and of course, The Blob.
It's funny watching this now, for the first time, as I realized one of my favourite horror movies, KILLER KLOWNS FROM OUTER SPACE (1988), blatantly parodied this. Both movies start in an almost exact similar fashion: a couple spot a shooting star while making out in their car and go to investigate, an old man (and his dog) find the crash site, a new horror emerges to terrorize a small town, and the main characters run amok with the police who don't believe them until it's too late.
In this case, the focus is on not just teen rebellion, but showing that teens aren't as bad as the media made them out to be at the time. If anything, they're the saviours. There's a surprisingly large amount of time dedicated to the teens, but especially to the "Boy Who Cried Wolf" kind of scenario where breakout star Steve McQueen fights with the police to believe him. There's long stretches of the movie focusing on this rather than The Blob's rampage.
While they're dated in retrospect, the effects for its time are outstanding. The acting is...stilted for the most part, but it's fine. But it's a classic, nonetheless, and I'm glad I finally watched it.
It's funny watching this now, for the first time, as I realized one of my favourite horror movies, KILLER KLOWNS FROM OUTER SPACE (1988), blatantly parodied this. Both movies start in an almost exact similar fashion: a couple spot a shooting star while making out in their car and go to investigate, an old man (and his dog) find the crash site, a new horror emerges to terrorize a small town, and the main characters run amok with the police who don't believe them until it's too late.
In this case, the focus is on not just teen rebellion, but showing that teens aren't as bad as the media made them out to be at the time. If anything, they're the saviours. There's a surprisingly large amount of time dedicated to the teens, but especially to the "Boy Who Cried Wolf" kind of scenario where breakout star Steve McQueen fights with the police to believe him. There's long stretches of the movie focusing on this rather than The Blob's rampage.
While they're dated in retrospect, the effects for its time are outstanding. The acting is...stilted for the most part, but it's fine. But it's a classic, nonetheless, and I'm glad I finally watched it.
Young Frankenstein (1972)
One of many movies I've wanted to watch for years, but I'd never gotten around to it. Frankenstein is one of my favourite books and I love Mel Brooks' work. I'm glad I finally watched this, as it wasn't just non-stop hilarious, but a glorious love letter to both Frankenstein and classic Universal Monster movies of its time.
It's almost painstakingly made in a similar style to the old Universal Monster movies, with elaborate sets, cinematography, props, and music that feels like it's straight out of the 30s (in fact, some props WERE the original props!), and all filmed in glorious black and white.
The gags are non-stop, as one expects from Mel Brooks, with constant running jokes that keep popping up when you least expect it (and many that you would expect, which is almost as funny!).
While it's a glorious love letter to the original 1931 film, I find it interesting in that it sets apart this Doctor Frankenstein from his predecessors: he TRIES to be a good father for the monster. The story of Frankenstein is in some ways about parental abandonment and that is largely, surprisingly absent in this version. It's a unique and welcome re-interpretation.
It's almost painstakingly made in a similar style to the old Universal Monster movies, with elaborate sets, cinematography, props, and music that feels like it's straight out of the 30s (in fact, some props WERE the original props!), and all filmed in glorious black and white.
The gags are non-stop, as one expects from Mel Brooks, with constant running jokes that keep popping up when you least expect it (and many that you would expect, which is almost as funny!).
While it's a glorious love letter to the original 1931 film, I find it interesting in that it sets apart this Doctor Frankenstein from his predecessors: he TRIES to be a good father for the monster. The story of Frankenstein is in some ways about parental abandonment and that is largely, surprisingly absent in this version. It's a unique and welcome re-interpretation.
Terrifier (2016)
Slashers are some of favourite horror flicks, like the iconic Nightmare on Elm St, Child's Play, or Friday the 13th. So while I'm late to the party, I wanted to check out this one that's been getting increasing buzz with each new entry.
And it's...ehhhhh, I don't know.
David Howard Thornton is terrific in the role of the mime-like Art the Clown. While never uttering a single line, he's both hilariously emotive and terrifyingly menacing.
The practical gore effects are outstanding, some of the best I've seen, which is surprising for something on a relatively low budget. I've realized recently that I don't get shocked or grossed out by most gore because I appreciate it as an art form and love trying to figure out how they pulled it off. Some effects here are blatantly obvious, like when the actor is replaced by a squishy dummy. But for the most part, it's very effective.
That said, I have to wonder if writer/director Damien Leone has an issue with women. While the gender equality in the number of kills leans more toward men, it's the brutality towards women that concerns me. There are several kills where the brutality is specifically about a woman's anatomy. There's one kill that is so unnecessarily brutal and yet specific in how it begins that I made me uncomfortable not for the gore, but the misogyny.
The writing is fine, but it's nothing you wouldn't see from any other horror movie.
Honestly, if it wasn't for the deeply unsettling misogyny in the movie, I probably would have liked this more.
And it's...ehhhhh, I don't know.
David Howard Thornton is terrific in the role of the mime-like Art the Clown. While never uttering a single line, he's both hilariously emotive and terrifyingly menacing.
The practical gore effects are outstanding, some of the best I've seen, which is surprising for something on a relatively low budget. I've realized recently that I don't get shocked or grossed out by most gore because I appreciate it as an art form and love trying to figure out how they pulled it off. Some effects here are blatantly obvious, like when the actor is replaced by a squishy dummy. But for the most part, it's very effective.
That said, I have to wonder if writer/director Damien Leone has an issue with women. While the gender equality in the number of kills leans more toward men, it's the brutality towards women that concerns me. There are several kills where the brutality is specifically about a woman's anatomy. There's one kill that is so unnecessarily brutal and yet specific in how it begins that I made me uncomfortable not for the gore, but the misogyny.
The writing is fine, but it's nothing you wouldn't see from any other horror movie.
Honestly, if it wasn't for the deeply unsettling misogyny in the movie, I probably would have liked this more.
Terrifier 2 (2022)
Outside of the outstanding practical gore effects and performance by David Howard Thornton, I didn't care much for the first Terrifier. While the kills were as inventive as they were brutal, I was uncomfortable with the level of misogyny and mutilation targeted towards the female characters.
This...wasn't much better. It's FAR too long, clocking in over 2 hours, which is far too long for most movies, let alone a slasher. They add lore to Art the Clown, but it's seemingly devoid of any meaningful justification. And once again, the most brutal kills are devoted to the female characters.
I will admit that Lauren LaVera's Sierra character is an interesting addition to the series. She's effective protagonist against the demonic Art, joining the ranks of Jamie Lee Curtis and Sigourney Weaver as badass women who fight monsters (and arguably my personal favourite, Lisa Wilcox from Nightmare On Elm St 4 and 5). Unfortunately, rather than being a plucky "final girl" who has the tenacity to fight back, she's hampered by a cliche "chosen one" narrative like a bad young adult novel.
Still, despite the run time and the continuing misogynistic kills, I will say this one is a hair better than the first. Not by much, though.
This...wasn't much better. It's FAR too long, clocking in over 2 hours, which is far too long for most movies, let alone a slasher. They add lore to Art the Clown, but it's seemingly devoid of any meaningful justification. And once again, the most brutal kills are devoted to the female characters.
I will admit that Lauren LaVera's Sierra character is an interesting addition to the series. She's effective protagonist against the demonic Art, joining the ranks of Jamie Lee Curtis and Sigourney Weaver as badass women who fight monsters (and arguably my personal favourite, Lisa Wilcox from Nightmare On Elm St 4 and 5). Unfortunately, rather than being a plucky "final girl" who has the tenacity to fight back, she's hampered by a cliche "chosen one" narrative like a bad young adult novel.
Still, despite the run time and the continuing misogynistic kills, I will say this one is a hair better than the first. Not by much, though.
The Mummy (1959)
Despite being a big horror buff, I've surprisingly never seen a single Hammer Horror film. I'm not sure if they were ever available on cable or at my local video stores.
But I'm glad I finally watched this, as it's top notch. The effects and cinematography are great for its time. There's maybe a bit too much exposition and time spent in an extended flashback to ancient Egypt. But I do like how the movie is kind of a murder mystery, with someone else clearly controlling the titular Mummy for his own purposes.
I'll definitely have to check out more Hammer films now.
But I'm glad I finally watched this, as it's top notch. The effects and cinematography are great for its time. There's maybe a bit too much exposition and time spent in an extended flashback to ancient Egypt. But I do like how the movie is kind of a murder mystery, with someone else clearly controlling the titular Mummy for his own purposes.
I'll definitely have to check out more Hammer films now.
Halloween III: Season of the Witch (1982)
While I grew up on the Halloween movies, I always skipped this one. Not necessarily out of disinterest, but I'd always hear it was "the bad one" in the franchise. The one that could be skipped because he has no relation to the other movies features Michael Myers.
After finally seeing it, I...honestly understand why it's kind of the black sheep of the franchise.
It's not bad, necessarily, but it's not great, either. It's fine, at best. Perhaps if it had been its own separate thing, away from the Halloween franchise, and let to survive on its own, it'd be mildly more accepted. As it is, it feels less like a slasher or even supernatural horror, and more like a sci-fi story.
The villain's plan is non-sensical at best, doesn't really work under most scrutiny, and their end goal is not very clear. The effects are fine, though often feel cheap, even for its time.
I understand this is seeing some re-evaluation in recent years and some are saying it's not that bad. And yeah, I've seen worse movies, but I've seen a lot better ones, too.
After finally seeing it, I...honestly understand why it's kind of the black sheep of the franchise.
It's not bad, necessarily, but it's not great, either. It's fine, at best. Perhaps if it had been its own separate thing, away from the Halloween franchise, and let to survive on its own, it'd be mildly more accepted. As it is, it feels less like a slasher or even supernatural horror, and more like a sci-fi story.
The villain's plan is non-sensical at best, doesn't really work under most scrutiny, and their end goal is not very clear. The effects are fine, though often feel cheap, even for its time.
I understand this is seeing some re-evaluation in recent years and some are saying it's not that bad. And yeah, I've seen worse movies, but I've seen a lot better ones, too.
Abigail (2024)
I LOVED this. My favourite horror movies are the ones that take a concept and just have fun with it. This gave me similar vibes to, say, READY OR NOT (2019) or TALES FROM THE CRYPT: DEMON KNIGHT (1995), the latter of which is one of my favourite horror movies.
I had a feeling I'd have fun watching this, but I didn't expect it to be this much fun. The cast of characters hired to kidnap the little girl are fun and diverse, so much so that I was a little disappointed as they were killed off (and kind of wish we got to know the "real" them as we do with the survivors late in the movie).
It's not a movie that does anything really original or break the mold as far as vampires are concerned. It's a little wishy-washy with its own rules. And I wasn't crazy about how vampires die in this (though it's still fun). Honestly, any criticisms I have are minor, at best.
It's not any kind of spectacular, award-winning movie, but it's fun as hell. It will probably take multiple re-watches, but I could see this becoming one of my new favourite horror flicks.
I had a feeling I'd have fun watching this, but I didn't expect it to be this much fun. The cast of characters hired to kidnap the little girl are fun and diverse, so much so that I was a little disappointed as they were killed off (and kind of wish we got to know the "real" them as we do with the survivors late in the movie).
It's not a movie that does anything really original or break the mold as far as vampires are concerned. It's a little wishy-washy with its own rules. And I wasn't crazy about how vampires die in this (though it's still fun). Honestly, any criticisms I have are minor, at best.
It's not any kind of spectacular, award-winning movie, but it's fun as hell. It will probably take multiple re-watches, but I could see this becoming one of my new favourite horror flicks.
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Let me know if you ever watch The Legend of the 7 Golden Vampires.
It's one I haven't seen, but after reading the description, now I feel like I have to.
--Patrick
Yo Nick. Your reviews are very well written. I enjoyed reading them.
Aw, thank you. Most of them are just written on the fly, so I thought I was spewing a bunch of gobbledygook.
I really love Young Frankenstein. It's one of my all time favorites. It really is a love letter to the OG horror.
Marty Feldman is so silly and brilliant. I had such a crush on Teri Garr. Gene Wilder is reserved and then so amazingly manic; he schtick that got a little old in some later roles, but was great here.
Everytime I watched Everybody Loves Raymond, I would think of this movie when Peter Boyle was on screen.
By far my favorite Mel Brooks film.
I recently realized that I haven't seen some of Brooks' classics. I saw Spaceballs and Robin Hood: Men in Tights when I was younger, but I've never sat down and watched Blazing Saddles, Young Frankenstein (until last week), History of the World, High Anxiety, The Producers, etc. I saw the REMAKE of The Producers, but not the original. I'm going to try fixing that soon.
I wrote a huge reply and I somehow lost it.
Anyhow, definitely check those out.
Blazing Saddles is a must. It's my #2 Brooks.
History of the world is fun and silly.
Silent movie is pretty good too.
High Anxiety is a Hitchcock send up. So it has more flavor if you are familiar with Vertigo, Rear Window, NbyNW etc.
I like The Producers intellectually but I don't return to it often.
Have fun! Eager to hear what you think of Blazing Saddles. I grew up watching westerns with my dad, so it hits a lot of great tropes.
Blazing Saddles is literally both a touchstone and cornerstone of Cinema. It somehow manages to be both vulgar and woke at the same time, and it makes a great complement to Young Frankenstein. Both have Gene Wilder, both came out in 1974 (and were filmed at the same time?), and each one is an exquisite send-up of their respective genre. But YF's humo(u)r is aimed more towards the intellectual, thinking viewer, while BS' appeal is more towards those one might describe as "Salt of the Earth." Both carry social commentary, but while YF presents that commentary in a more formal and polite manner, BS flings it at you like manure through a wood chipper.
--Patrick
--Patrick
You know... morons.
I literally went and looked up the clip of this scene immediately after reading @PatrThom 's post.