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2020 HORROR MOVIES


Dolfan in NYC

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Just finished Scream, Queen! 

Fuck, that was powerful. 

I had no idea what Patton went through and it felt like each next layer that peeled back of the onion was even more devastating. And despite all of that he still has asshead Sholder basically saying "you know, this is your problem and not ours". At least he finally got some vindication.

Mark deserves a medal for this movie and the work he does. 

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One other thing I just remembered: HOW COOL was that opening montage of film scenes?! Shudder must've told the editor "hey here's our entire library, make the most badass series of horror sequences you possibly can". It was Terror in the Aisles-level quality.

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The interesting thing to me about Scream, Queen is that Mark Patton seemed to have found some kind of peace in Mexico before finding out about Nightmare 2’s reappraisal and the homophobic internet commentary. He eventually gets a second career out of it and finds some closure to be sure, but it’s also a reminder that staring into the void online can be harmful.

I really liked his description of having to play the role of a star at cons, which is something I’ve often thought about when it came to the actors on that circuit. 
 
And Sholder was a total shithead; good on Chaskin for not getting defensive and shutting down their discussion. 

 

 

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For the folks that don't have Shudder.  AMC Networks (the owners of Shudder) have put the episodes of Creepshow available on demand for free.  The episodes have the F-Bombs edited out since these episodes were carved up for viewing on AMC, but the gore is still there.

My daughter and I watched the first two episodes on Father's Day, but we did not watch Father's Day from the first Creepshow movie.  I thought it was somewhat inappropriate since I am not a murderous undead asshole and my kid is nothing like Bedilia.

Edited by J.T.
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I always thought that segment struck the wrong tone because EC stories in that format always had one positive character, namely the revenge-seeking dead person. In this case there was not a single person that was not reprehensible. You feel for Bedelia but she was still a murderer. And Grantham was a killer bootlegger murderer haha. Definitely a twist on the old mold with that one. 

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I vote with Mark.  Near Dark is arguably the better story but The Lost Boys was more fun and had the more iconic looking vampires.

Kiefer Sutherland's David is forever etched in everyone's memory.

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I also give Lost Boys points for having a better soundtrack of incidental music.  Echo & The Bunnymen's cover of People Are Strange by The Doors and Cry, Little Sister by Gerald McMann are both awesome songs.

Edited by J.T.
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CRAWL is on Hulu now and I watched it yesterday. It's the Alexandre Aja gator movie.

It's a good quick 87 minute with some pretty fun moments. I was actually surprised a few times because I had a specific idea of the general problem in the film, and the problem changed a couple of times. 

My biggest problem with the flick was the dog. 

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I have never heard of Near Dark. Someone please tell me about it and where I might be able to possibly catch it.

15 hours ago, (BP) said:

Not trying to be cute; I watched this much, much more than Near Dark or The Lost Boys as a kid, and it has David Warner: Vampire Hunter. 
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not sure if I caught this or Batman TAS first, but this always has some love from me specifically for David Warner. That said, as far as 80s Vampire movies go Lost Boys is my favorite and the one I've seen the most. After it maybe Once Bitten?

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1 hour ago, Eivion said:

I have never heard of Near Dark. Someone please tell me about it and where I might be able to possibly catch it.

 

Near Dark was Kathryn Bigelow's (Point Break, The Hurt Locker, etc.) second film. It's a story about a young cowboy who gets roped into the clutches of a clan of wandering vampires by their similarly-aged female member who he falls in love with. The vampires are a murderer's row of great character actors: Lance Henriksen, Bill Paxton, Jenette Goldstein (Vasquez in Aliens), even Joshua John Miller who was the little brother in River's Edge. At first they want to kill him but Jenny Wright makes them give him a test drive as a vampire to see if he can be one of them, resulting in a wild west rampage. It's seriously hard boiled, full of great lines and characters, and is flat out awesome. It also has the best bar scene in film history. 

As far as where it's at, Netflix is out, and it might be on Prime but mine is acting up right now so I'll have to find out later. Let you know.

EDIT: It's on Prime but the internet says it's not available in my area? I won't really know until they fix it on my TV... hopefully I don't have to troubleshoot. 

EDIT II: Yeah it's not on Prime... but Lost Boys is. So that's the one I'll be watching tonight. Well actually I may be watching both but Near Dark will be found elsewhere

Edited by Curt McGirt
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Found Near Dark last night and watched it again. It remains as great as ever. The line about how old Jessie is while he holds up that rather un-antiquated piece of armament is still great, as is the bar scene. Only bar scene off the top of my head that might beat it would be the one in Mean Streets, or maybe the entirety of Barfly. One thought about the film though: 

Spoiler

If you can cure a vampire from a blood transfusion I wonder if given the option at least Homer would have taken it so he could grow up. Maybe it's too late for vampires that are too old. And if that was a thing you'd think it might run through the vampire pipeline and they'd know about it. Just wild speculation anyway. 

I don't really need to see Lost Boys again, though I'm gonna see if I don't have a DVD of it secreted in the stacks somewhere; the Prime version is a rental-or-buy situation. My verdict though is gonna be a split decision exactly like Mark's: Lost Boys is more fun, Near Dark might be technically better. 

In my heart it's Lost Boys though. Nothing beats that last line.

Edited by Curt McGirt
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On 6/22/2020 at 11:52 AM, Curt McGirt said:

I always thought that segment struck the wrong tone because EC stories in that format always had one positive character, namely the revenge-seeking dead person. In this case there was not a single person that was not reprehensible. You feel for Bedelia but she was still a murderer. And Grantham was a killer bootlegger murderer haha. Definitely a twist on the old mold with that one. 

Not to be pedantic, but one must remember that pre-Code EC had dozens of imitators that totally missed the morality play aspect of EC and just went straight for mayhem. Joe Bob Briggs would have been proud as the operative philosophies were 1. "The innocent must suffer!" and 2. "Anyone can die at any moment!" My mid-nineties third rule (If you get nekkid you get dead!) did not apply as even pre-code horror did not have anyone actually getting nekkid...

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I caught a bit of the Cryptkeeper cartoon from the nineties on Pluto tonight, and he’s actively terrorizing children for not sharing toys and cutting class. But at least the morality play aspect there applies to kids, as opposed to the classic EC format that’s pretty much always, “Don’t murder your business partner/spouse/relative for money or you’ll meet some ironic gruesome end, or maybe they’ll just come back decomposed and eat you.” 

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5 hours ago, J.T. said:

I love you like family but you are a horrible person.

My wife says the same thing.

----------------------------------------------

I forgot to mention I also rewatched THE DEVIL'S REJECTS. For those not keeping up with my watching habits(hopefully that's everyone) I watched 3 From Hell a couple of months ago, and a week or so ago rewatched House of a 1000 Corpses. It seemed natural to just finish off the trilogy.

Like Corpses, I hadn't watched Rejects since it came out. At the time, I remember liking Devil's Rejects in general thinking Zombie had proved he could direct with nasty throw back of exploitation filmmaking.. Now after rewatching both, I like Corpses MORE and Devil's Rejects LESS. It's weirdly because of technique. To me Corpses takes a plot(Texas Chainsaw Massacre) and then puts it through a Rob Zombie grinder. It's messy and wild and unapologetic that way. Devil's Rejects feels like it's wearing it's cinephilia on its sleeve , like it's a response to people thinking this musician guy is a hack and how dare he step into our world. "Hey guys it's cool! Watch me stylistically quote the Wild Bunch climax for the opening of my movie."

So maybe the debate between the two comes down to plot vs. style.

I feel like I'm gearing up to write a book on Rob Zombie cinema.

This is what COVID-19 has done to us.

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