ok lets all shit our pants to something new: post 2005 horror film thread

RED is absolutely fantastic, havent gotten to the lost yet, but the girl next door was def no fun to watch.

triangle fans should all see timecrimes which is a much more well done and nuanced version of the same basic trope.

also "the thing 2011" should pretty much be avoided by everybody

so wait is the oregonian good or

i have no idea! 'It was an experience'. It's aggressively nightmarish. I felt trapped and hopeless in it. There are some hacky LOL Lynch/i has a surrealism moments but it's so single-minded that it really gets to you.

holy fuck @ "The Girl Next Door"

its a light hearted romp!

oh no wait it is actually the opposite of that my bad

I really want to watch it based on how much i've dug the other films based on Ketchum books but man, I might not have the spine.

Oh yeah jjj did you see Roman? It has the Mckee/Bettis parts of the mix though no Ketchum. I liked it a lot.

Triangle IS NOT A TIME TRAVEL MOVIE, thus not the same basic trope.

oh shit you are right i guess? my memory of triangle is a little limited tbh

I'm still bitter about Triangle. Watched it up til 15 minutes from the end. Wife came home, so I left the finale for later. A few busy days elapsed. A free hour emerged, logged on, no longer available on streaming. ARGH.

Got kind of nostalgic buzz from finding out Fangoria a) still exists, and b) still does their Chainsaw Awards. This year's nominees:

BEST WIDE-RELEASE FILM
DON’T BE AFRAID OF THE DARK
DRIVE ANGRY
FINAL DESTINATION 5
FRIGHT NIGHT
INSIDIOUS
PARANORMAL ACTIVITY 3

BEST LIMITED-RELEASE/DIRECT-TO-DVD FILM
ATTACK THE BLOCK
BLACK DEATH
THE HUMAN CENTIPEDE II (FULL SEQUENCE)
RED WHITE & BLUE
STAKE LAND
TUCKER AND DALE VS. EVIL

BEST FOREIGN-LANGUAGE FILM
AMER
I SAW THE DEVIL
KIDNAPPED
A SERBIAN FILM
THE SKIN I LIVE IN
THE TROLL HUNTER

BEST ACTOR
Antonio Banderas, THE SKIN I LIVE IN
Sean Bean, BLACK DEATH
Choi Min-sik, I SAW THE DEVIL
Nick Damici, STAKE LAND
Tyler Labine, TUCKER AND DALE VS. EVIL
Noah Taylor, RED WHITE & BLUE

BEST ACTRESS
Tabrett Bethell, THE CLINIC
Rose Byrne, INSIDIOUS
Amanda Fuller, RED WHITE & BLUE
Josie Ho, DREAM HOME
Bailee Madison, DON’T BE AFRAID OF THE DARK
Pollyanna McIntosh, THE WOMAN
BEST SUPPORTING ACTOR
William Fichtner, DRIVE ANGRY
Michael Parks, RED STATE
Eddie Redmayne, BLACK DEATH
Marc Senter, RED WHITE & BLUE
Alexander Skarsgård, STRAW DOGS
Timothy Spall, WAKE WOOD

BEST SUPPORTING ACTRESS
Elena Anaya, THE SKIN I LIVE IN
Katrina Bowden, TUCKER AND DALE VS. EVIL
Danielle Harris, STAKE LAND
Lin Shaye, INSIDIOUS
Carice van Houten, BLACK DEATH
Jodie Whittaker, ATTACK THE BLOCK

BEST SCREENPLAY
Joe Cornish, ATTACK THE BLOCK
Dario Poloni, BLACK DEATH
Simon Rumley, RED WHITE & BLUE
Pedro Almodóvar, Agustín Almodóvar, THE SKIN I LIVE IN
Nick Damici, Jim Mickle, STAKE LAND
Eli Craig, Morgen Jurgenson, TUCKER AND DALE VS. EVIL

BEST SCORE
Steven Price, Basement Jaxx, ATTACK THE BLOCK
Christian Henson, BLACK DEATH
Cliff Martinez, CONTAGION
Joseph Bishara, INSIDIOUS
Jeff Grace, STAKE LAND
Michael Convertino, WAKE WOOD

BEST MAKEUP/CREATURE FX
Mike Elizalde, Spectral Motion, Paul Hyett, ATTACK THE BLOCK
Robert Hall, CHROMESKULL: LAID TO REST 2
Max Van De Banks, Dan Rickard, THE DEAD
Brian Spears, Peter Gerner, STAKE LAND
Kristi Boul, Marcus Koch, Mike Oliver, SWEATSHOP
Robert Kurtzman, Anthony Pepe, THE WOMAN

Triangle IS NOT A TIME TRAVEL MOVIE, thus not the same basic trope.

uh, what is it then?

Is Groundhog Day a time travel movie?

It's a retelling of the Sisyphus myth.

Trying not to spoil the hell out of it, but I will if you insist.

no, it's cool. leave it there. i had the same reservations.

The Cabin in the Woods ends up pretty awesome after a fake-out start.

Actually, I'm still buzzing off it. Hoping not to spoil it in saying that it's sort of the ultimate meta dead-teen movie that winds up moving in an entirely 'nother direction.

Actually, it might be salient in the "enjoying horror movies" thread, but it's gotten tl;dr.

The best Jack Ketchum-related flick (to call back to the initial thread bump) is The Woman, IMO.

Cautiously optimistic about Cabin in the Woods.

the woman shows up tomorrow, pretty excited to see it because when mckee is on, hes really on

How gross is The Cabin In The Woods?

Gross enough.

I enjoyed The Oregonian. I think a lot will depend on the setting and frame of mind you see it in. Watching it on a sunny Sunday morning, as i did, is going to detract from the experience and it probably wasn't as effective as i wanted it to be. Certainly worth seeing.

The Thing (remake/prequel) - Okay, has some good-to-great monster effects, but inevitably disappointing.

The Human Centipede 2 - Insanely revolting, kind of shoddy and pointless, but ambitious and even clever in its way.

1408 - I have no idea why i watched this, other than they had it at the library. Terrible.

Vanishing On 7th Street - Another library movie. I suspect that this will not be the consensus opinion, but it thought it was pretty okay. Loved the idea of shadows as a monster, loved what they represented even more, and while the dumb Christian allegory behind The Mechanic ruined that film for me, here it only ruined the ending. Kind of want to go back and rewatch Session 9 now, cuz I figure there has to be a big, stupid "DO YOU SEE?!?" metaphor behind that one, too.

Black Death - Did not like this movie. Interesting concept and a good cast, but a dully obvious result. Was also bothered by the constant stressing of Christian heroism and virtue in opposition to obviously evil paganism. The coda tried but failed to subvert this. It's like making a movie about a tribe of demonic Jews who capture and torture a bunch of heroic Nazis. (Oh yeah, right, Tarantino did that...)

Amer - Started watching this last night, but was far too sleeby, so I'm gonna try again today. Looks kind of amazing...

Oh yeah, and thanks for the reminder abt The Woman, Simon. Need to see that & The Skin I Live In.

Damn, that Fangoria list makes "Wide-Release Films" seem incredibly shitty, doesn't it? There isn't a single film in that first group that holds a candle to the likes of Attack the Block, Tucker and Dale vs. Evil and I Saw the Devil. TBF, I haven't seen the remakes of Don't Be Afraid of the Dark and Fright Night.

Plus I need to see Kidnapped, too.

The Fright Night remake was pretty good, but almost entirely due to Colin Farrell's perf. So for the movie to get nominated but not him is ??

Comments on the rest of Fangoria's "Chainsaw Award" nominees:

BEST WIDE-RELEASE FILM:
Drive Angry - I genuinely hated this movie. One of the worst films of 2011, IMO.
Final Destination 5 - Haven't seen it, don't particularly care to.
Insidious - I didn't hate it like I hated Drive Angry but didn't much like it either. Has a few entertainingly old-fashioned "haunted house" moments, a good score and a great villain's lair, but it lazily rips Poltergeist and Paranormal Activity (itself a child of Poltergeist) without improving on either.
Paranormal Activity 3 - Haven't seen it. I liked the original OK, but haven't felt compelled to follow the sequels. Same deal w/ the Final Destination franchise.

BEST LIMITED-RELEASE/DIRECT-TO-DVD FILM:
Attack the Block - LOVE THIS MOVIE! See the dedicated ATB thread for details.
Red White & Blue - News to me. Anyone seen this?
Stake Land - Wasn't paying full attention, but disliked this. Like The Road with vampire things and way too much tough-guy posturing for my taste.
Tucker and Dale vs. Evil - Fun!

BEST FOREIGN-LANGUAGE FILM"
Amer - Watching this tonight.
I Saw the Devil - I've got a few reservations, but this was pretty damn great.
A Serbian Film - I drew a line in the sand with this one, but am lately thinking that since I watched The Human Centipede 2, I might as well go there...
The Troll Hunter - Good times. Would put in the same category as Attack the Block and Tucker and Dale.

In the Best Score category, not giving a mention to Conrad Pope's for The Presence is foolish. It was one of 2011's best film scores of any category. Will cosign the nod for Christian Henson's Black Death music though. Great score.

okay, so amer was pretty great. more than a little trying in its paradoxically retro experimentalism, but beautiful, sensual and richly atmospheric. it's usually described as a giallo homage, and it is, but that description suggests something much more narratively traditional than what amer delivers. it's nearly wordless, unflaggingly surreal, and prone to extended passages of abstract image and sound. in addition to the giallo in general and certain dario argento films in particular, i'd say that it owes a substantial debt to maya deren's meshes of the afternoon, jaromil jires' valerie and her week of wonders, and the trashier excesses of the 70s "art film". in the present moment, it's similar in style and content to recent videos by nicolas mendez (scissor siters' "invisible light" and el guincho's "bombay"), sharing with them a winking affection for yesterday's avant-garde. suspect that a lot of people would view it as a flashy but tedious exercise in vacant style, but i loved it and had a great time puzzling out what the torrent of bizarre yet evocative images might signify.

Yes, it's very good. I saw it with a group of friends who didn't really dig the lack of narrative or the heavy reliance on giallo tropes. I loved it. It is one of the most fetishistic films I have ever seen. Every object or movement is treated to such extraordinary scrutiny. It is like Argento's approach to bleck leather gloves applied to everything. The end result is disorientating and surreal.

yeah, when I initially saw dvd reviews of amer I thought it was some obscure giallo film somebody had dredged up, I mean look at the poster

http://twitchfilm.com/galleries/Amer.jpg

It is one of the most fetishistic films I have ever seen. Every object or movement is treated to such extraordinary scrutiny. It is like Argento's approach to bleck leather gloves applied to everything.

otm, and i love that poster

KIDNAPPED (2010, d. Miguel Ángel Vivas)

[contains some mild spoilers, just so's you know]

Okay, so I'm using that Fango "Chainsaw Awards" list to catch up on films that I'd heard about over the last year or so but forgotten or never managed to get around to. The Human Centipede 2 was first up, followed by Amer and now this. The first thing I should probably say is that Kidnapped (original Spanish title: Secuestrados) is an extremely efficient and suspenseful low-budget thriller with excellent performances, consistently impressive photographic choreography, and splendid execution of a clever central conceit: the whole thing is done in just 12 unbroken, real-time shots. It's gripping, brutal, edge-of-your-seat stuff, but it's also an despicably sadistic exercise in the cinema of pure torture. Due to its relative realism and apparent sincerity of purpose, I hated it far more than the much more cartoonishly repulsive Human Centipede 2.

Kidnapped is a simple film concerning a wealthy Spanish family whose beautiful and obviously expensive new home is invaded by a trio of vicious Eastern European thugs on the night that they first move in. Jaime, husband to Marta and father to Isa, is abducted by the leader of the small gang and taken into town where he is forced to withdraw money from his various accounts. Meanwhile, his wife and daughter are mercilessly tormented by the two remaining goons, with the stakes quickly rising from verbal abuse to beatings, torture and eventually graphic child rape. For a good deal of the film's running time, the soundtrack consists of nothing but the women's pleading, weeping, screaming and whimpering. I found the whole thing to be a hideous, pointless and ultimately infuriating endurance test. It has no seeming point other than the presumably "thrilling" spectacle of brutality, rape-threat and rape itself. That and the ever-helpful lesson that you should probably kill the bad guys when you have a chance.

Again I was reminded of the role that dehumanization plays in such films. Not dehumanization of the external sort that fails to recognize the people it perceives as real human beings, but dehumanization that through application of prolonged torture reduces human beings to a helpless, desperate, animal state in which basic perception and cognition become all but impossible. This process is essential to the mechanics of the contemporary torture-thriller, and it's probably my least favorite device in all of popular cinema. Fuck this movie.

[rewriting yesterday's amer review, cuz it was hard to read and wth]

AMER (2009, d. Hélène Cattet and Bruno Forzani)

First things first: Amer is one of the best and most distinctive contemporary horror movies I've seen in the last few years. What I want out of a horror film is a nightmare worth having, and that's exactly what this film delivers. Amer is usually described as an homage to the Italian giallo genre, and while that's certainly an accurate description, it suggests something much more narratively traditional than what this film actually delivers. Amer is nearly wordless, genuinely surreal, and prone to repetitive extended passages of abstract image and sound. At times I found the film more than a little trying in its unflagging dedication to retro-stylized "experimental" gestures, but was carried through by its sensuality, richly creepy atmosphere, wonderful period music and formal beauty.

In addition to giallo as a genre and certain Dario Argento films in particular, I'd say that Amer owes a substantial debt to Maya Deren's Meshes of the Afternoon, Jaromil Jires' Valerie and Her Week of Wonders and the trashier excesses of the 70s "European art film". In terms of present-day contemporaries, it's strongly similar in style and content to recent music videos by Nicolas Mendez, sharing with them a winking affection for the campier aspects of yesterday's avant-garde (check youtube for Scissor Sisters' "Invisible Light" and El Guincho's "Bombay", both stunning). I was also reminded of David Lynch from time to time, especially in the obscure dream logic, emphasis on suggestion and fetishistic focus on mysterious totem objects.

It's basically an allegorical point-of-view journey through a young woman's sexual coming of age, visiting her as a girl, a young woman and an adult, and while much of the symbolism is quite obvious, it ultimately leaves the cumulative significance up to the viewer's interpretation. I enjoyed this strategy a great deal, especially in that the subject is retro-appropriate to the formal approach. I suspect that many viewers will see Amer as a flashy but tedious exercise in vacant style, but i loved it and had a great time puzzling out what the torrent of bizarre yet evocative images might signify.

lucky mckee's the woman is up next, though i'm not sure why, as from what i've heard, i'll probably hate it. i'm hoping for something less completely repellent than kidnapped, cuz i loved both may and the woods.

the woman is great, more later on...

man we are mirroring each others netflix queues, i just watched the woman yesterday as well.

pretty mixed here, i dig mckees sorta off kilter way of dealing with stuff like characterization, its a lot more wacky but also thoughtful than most horror stuff, and not afraid to use the somewhat ott and ridiculous to establish somebodies internal monologue. the soundtrack is a bit of a problem, there a couple points where it works, but hiring one dude to do all of the songs was a bad choice. the bigger issue for me is that this is a weirdly similar movie to ketchums earlier work the girl next door, and almost seems like a rewrite to me (although with some much more bizarro moments). i think its ok, but def loses any of the fun or lightness that mckees earlier work can achieve (the woods in particular). my thoughts are still a bit up in the air on a final verdict. better than HC2 tho!

the Wikipedia entry for The Woman is not very good

The Woman (2011, d. Lucky McKee)

I'd been dreading this one, as due to some wiener's very public freakout at Sundance last year, it's been both hyped & condemned as the last word in the ultra-brutal, rape-happy cinema of punishment. Happily, it's nothing of the sort. The Woman comes dressed (or is that undressed?) as textbook torture porn, but it's actually a subversive feminist interrogation of the genre, dressed up as a two-fisted assault on American-style patriarchy. As in his career-making debut, May, McKee's style here is a hybrid of indie and horror approaches, mixing bright pop music, clever irony and offbeat family drama with escalating psychosis and gruesome violence.

The titular character is a woods-dwelling, at seemingly feral woman who is captured and imprisoned in a makeshift dungeon by all-American family man Chris Cleek after he first spies her on a hunting expedition. Though Chris's motives are mixed at best, he pretends to his family and himself that he intends only to "help" his captive by "civilizing" her. This apparently involves shackling her to a wall and bullying her into submission. Chris's family attempts as best it can to adjust to this bizarre scheme, but begins to fragment under the stress. As the film progresses, we come to understand that they has suffered Chris's abuse for years, and that his treatment of "The Woman" is hardly a novel aberration.

Though the film does feature scenes of torture and even rape, it is never anywhere near as exploitative or sadistic as most films of this genre. I won't deny that it is at times quite graphic and disturbing, but for the most part, it implies the worst of its horrors, never stooping to wallow in suffering for its own sake. I spoke earlier about the role that "dehumanization" plays in many survival horror films, and one of the most interesting things about The Woman is how aggressively and comprehensively it subverts the genre's standard dynamics. From the outset, The Woman visually resembles the icon of the "dehumanized victim" so common to this genre: she is dirty and hunched, her hair matted, her face dark with filth. Her wide, bright eyes shine out from that darkness like those of a trapped animal. But crucially, she is never less than human. She is smarter than her captor, always thinking, always defiant, always in control of herself if not her situation. She is the return of the repressed, female identity unmaimed by male dominance, and while Chris tries to break her, to make her an appropriately subservient part of the world he imagines he has mastered, she cannot be tamed.

I suppose that all of this sounds didactic and not a little bit ridiculous. It is. The Woman is an unapologetically polemical film, and the characters are largely symbolic. It has many flaws, not the least (as jjj mentioned a few posts back), a crushing overreliance on an upbeat soundtrack consisting almost entirely of good but oddly inappropriate power-pop songs by Sean Spillane. I loved it because I like feminist horror films, allegorical horror films, political horror films, genre cinema that has something worthwhile to say. For all the terrible trials it puts its characters through, it's ultimately quite humane, respectful of identity and courage, hopeful about the possibility of resistance and change. And The Woman just kicks ass.

sorry for long. perhaps i oughtta "get a blog" or post this stuff on imdb, but i like it here, so this is what you guys get for being cool.

(and, jeez, looking back i realize that i really need to spend more time reading over this stuff before posting it. so so many wrongs.)

Fuck this movie.

YES thank you that is exactly how I felt about Kidnapped, too. What a hateful, cynical waste of considerable time, technical skill, and effort.

also, Lucky McKee is probably the nicest filmmaker I've ever met.

What a hateful, cynical waste of considerable time, technical skill, and effort.

this. most galling thing about it is how fucking brilliant it is, from a technical standpoint. one of the most skillful pieces of cinematic suspense engineering i've seen in ages ... unfortunately put in service of the worst sort of cheap, sadistic nihilism.

Totally. I knew people who admired it for that reason but it was so objectionable on every other level that I pretty much thought they were nuts.

Contenderizer, have you seen THE LOST? (Mckee produced and written, based on Ketchum)

no. curious. any good? (haven't seen red either, dunno why.)

The Skin I Live In (2011, d. Pedro Almodóvar)

By far the most self-assured and visually striking of the horror-ballpark films I've watched recently, I also had more fun with Almodóvar's latest than with any of the others. It's a strange hybrid of overheated melodrama, slow-building mystery and clinically creepy medical horror, served up with enough oddball twists and turns to keep the audience in a more-or-less constant state of gobsmacked befuddlement. Antonio Banderas plays Robert Ledgard, a renowned though reclusive surgeon and medical researcher who has developed, by means not quite entirely legal, a new kind of transgenic skin replacement tissue. Unbeknownst to the rest of the world, he keeps a lovely young woman named Vera (Elena Anaya) imprisoned in his gorgeous though jarringly eclectic art and design museum of a house, and it is through experimenting on her that he seems to have perfected his invention. As the film progresses, we learn that Robert's life has been marked by tragedy, his greatest loves undone by a pair of ghastly betrayals. The puzzle pieces are doled out slowly, in an elliptically time-jumping fashion and with plenty of red herrings, so that for most of the film's running time, we're unsure of what really happened and how it all relates to the mad doctor and his strange "patient".

Though engaging, the film has a strange, herky-jerky quality, the product of jarring tonal inconsistencies, suddenly abandoned plot threads and a wildly swerving narrative arc. The Skin I Live In is an adaptation of a popular novel, penned by the director with assistance from his brother, Augustín, and I suspect that many of these qualities are the product of an awkward transition from page to screen. I wasn't much bothered by the somewhat bumpy ride, as even the most seemingly pointless digressions and revelations are at the very least colorfully bizarre. I was, on the other hand, somewhat bothered by Almodóvar's heavy reliance on rape as a plot device. It's one that the director has employed frequently in the past but seldom in such a gratuitously nasty fashion as he does here. Nonetheless, given its subject matter, this is a much less grisly film than it could be, its darkest horrors more psychological than physical.

Many reviewers have faulted The Skin I Live In for its coldly unpleasant tone and credulity-stretching plot developments. I can see some merit in such complaints, as the conclusion seems to reach for an emotional crescendo that the film hasn't otherwise earned. I'm willing to forgive this. The combination of mystery, suspense, vivid grotesquerie and Almodovar's trademark visual flair kept me happily (if queasily) engaged throughout. The performances, sets, costumes and music are all wonderful, reason enough to recommend the film on their own. It may not be "100% medically accurate", or even all that plausible, but The Skin I Live In never fails to entertain.