An earlier adaptation of the same ghost story told in Pee Mak, Nang Nak forgoes all comedy and delivers a rich and moving ghost story.
I won’t give away too much of the plot but I did just want to touch on the authenticity of the filmmaking. It’s set in Thailand and it really seems to plunge you into that thick jungle. Nang Nak oftentimes feels like a journey through that part of the country, which is refreshing. Also, the lighting, especially towards the ends, is really impressive amidst this natural landscape.
I definitely recommend this one, seems somewhat obscure but I’d go so far as to say it’s a staple in Thai horror.
Argento was still very early in his career when he made this film and while it doesn’t deliver the fever dream that his most known film Suspiria does, it remains a very competent Giallo film.
This movie was a good example of how Argento really got a strong grasp on sound effects and how they can be used to boost up effects, especially with the limited capabilities of the early 70’s.
Other than that, I really this it’s almost best appreciated by people that are already fans of his work. While structured like a typical Giallo, you can definitely pick up on some subtle and not so subtle stylistic decisions. I think my favorite was the work done during a particular strangulation scene with specific close up shots. These specific moments of brutality are what keep the story fresh and engaging.
There’s plenty to be praised here, highly recommend not skipping over this one if you’re working through Argento’s filmography.
I appreciate that this was just as much an Invisible Man sequel as it was an Abbott and Costello movie.
It’s the usual funny, quirky flick you’d expect. The last boxing sequence is kind of drawn out and leaves something to be desired. As a whole though, very watchable and entertaining.
I’m going to keep this one quick but Bound to Vengeance is basically an amateurish execution of a solid storyline.
It’s a good revenge horror underneath the surface but unfortunately, it’s bogged down by terrible acting. Even more so though, the fucking lighting is atrocious. Every goddamn kid out of film school thinks putting neon lights in his film is the next step to Sundance and it’s slowly becoming a new nails-on-chalkboard type thing for me.
Some brutality and solid pacing kept me entertained enough to think this might appeal to someone else. If you’d like to check it out, it’s currently on Netflix.
I caught the first showing of this today at 11am and it’s been on my mind ever since. It sometimes baffles me how reviewers can exclaim a film to be meaningless when I just got so much out of it, seemingly too much to even fully comprehend through a single viewing.
Mother! is an incredibly conscientious statement on the nature of humanity, steeped in religious allegory. Unfortunately, it’s likely to fall on deaf ears for many, given that Aronofsky’s message isn’t exactly spelled out. I don’t mean that in a pretentious way, the film just works through such a slow burn, which isn’t always the best way to feed the impatient.
The last 30 min or so makes up for any weariness over the pacing. It’s one of the most intense, impressive sequences I’ve seen in a horror film in the last decade. The absolute perfect icing on the cake for what is such a masterful dip into surrealism.
I don’t believe Mother! is for the casual moviegoer. However, if you’re willing to keep an open mind and devote your full attention, you may just treat yourself to one of the best horror films of 2017.
I really love how they set up this sequel. It’s a fresh change of pace from Universals usual method of resurrection.
A young Vincent Price plays our perp this time and he’s excellent as always. It’s not paced exactly as intensely as the original but I enjoyed the steady decent into madness.
The effects for 1940 are also impressive. I’m assuming the last shot was done through animation but even so, it’s fucking awesome.
I really found it to be a successful sequel with a solid original script. Watching these old Universal films really makes the thought of an action based Dark Universe all the more sickening. These monsters are just begging for an actual, modern horror revival.
Welcome to the old school, slightly more adult version of Hocus Pocus, at least in its approach.
The Witches of Eastwick is really fun though. Nicholson absolutely kills it and the girls have awesome chemistry as well. It’s produced and shot incredibly well but the dude who did….uhh, Happy Feet and the new Mad Max movies.
To be fair to the Max films, there is a dope car chase scene that’s impressively shot here. This one is an 80’s Jack gem and a great one to watch in a group. It’s easy, breezy, covergirl. Sorry, I wish I had more to say.