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Other Media / Re: Spike Jonze / Hip-hop / Pornhub
« Last post by jenkins on Today at 02:08:20 AM »
i'm deliberately soundboarding this. get mean, idgaf. get emotional if you wanna lol yeah right you won't. i like it. it's so inspired by feeling emotional while watching anime.



why all these original artists sharing "Lil" is like silly
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News and Theory / Re: Horror
« Last post by jenkins on Today at 01:38:50 AM »
you're picking up what's being laid down
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News and Theory / Re: Horror
« Last post by WorldForgot on Today at 01:15:27 AM »
Well cuz there's substance & cultural friction in aesthetic!

This conversation tends to worry me, usually, because it implies that horror as a genre can use aesthetic as its crutch, but having read/seen both your work, I feel this is actually appreciation of the genre's ability to craft specific drama -- that is, horror tropes operate on the emotional spectrum that exists apart from exposition. For sure this genre's tropes are the ones placed away from what language can contain. Just as aesthetic is more suggestion, association, than articulated. Wind across your neck, yeah you feel it, the shivers.
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DVD Talk / Re: Random DVD and Blu-ray announcements
« Last post by wilder on Yesterday at 11:24:39 PM »
Available Now

Joseph Cates' Who Killed Teddy Bear? (1965) on blu-ray from Network (UK)



A busboy at a disco has sexual problems related to events in his childhood. He becomes obsessed with a disc jockey at the club, leading to obscene phone calls, voyeurism, trips to the porn shop and adult movie palace, and more! A police detective is similarly obsessed with sexual materials, leading him to become personally involved in the case.

Who Killed Teddy Bear (1965) - Amazon UK













December 3, 2018

John Schlesinger’s Yanks (1979) on blu-ray from Eureka (UK)



Set in England at the end of WWII, the story concerns three American GIs and their affairs with British women of varying social status. The central romance concerns Sgt. Matt Dyson and Jean Moreton, who is the daughter of shopkeepers. He falls in love with her but she is still infatuated with her boyfriend Ken. Higher up on the class scale, the officer John has a brief extramarital affair with socialite Helen. The third pairing involves Sgt. Danny Ruffelo in a fling with Mollie. Eventually, the Americans and the Britains find themselves surrounded by racism at a New Year's Eve dance.

Yanks (1979) - Amazon UK






January 29, 2019

Penelope Spheeris’ Suburbia (1983) on blu-ray from Shout Factory



Suburbia is director Penelope Spheeris's study of the Los Angeles punk rock scene in the early 1980s. Evan and his younger brother leave their broken home in an attempt to escape their alcoholic mother. They fall in with "The Rejected" (aka T.R.), a group of punks who live as squatters in an abandoned shack by the side of the highway. With the T.R.s, the boys find a new family. But their new family will be tested when they become the target of "Citizens Against Crime," a group of unhappy suburbanites.






January 15, 2019

Stuart Heisler’s The Glass Key (1942) on blu-ray from Shout Select



This engrossing and intricate murder mystery, based on Dashiell Hammett's best-selling novel, stars Brian Donlevy, Alan Ladd and Veronica Lake. Ed Beaumont (Ladd) is the loyal right-hand man of Paul Madvig (Donlevy), a corrupt politician who is accused of murder. Hunting down the real killer, Beaumont must endure a brutal beating from gangsters, the annoying hindrance of the police and the beguiling advances of his boss's fiancée, socialite Janet Henry (Lake).



December 10, 2018

William Castle at Columbia, Volume Two (1962-1964) on limited edition blu-ray from Indicator (UK)



Renowned for his imaginative and eccentric marketing ploys, William Castle became synonymous with delivering lurid horror films backed-up by his trademark publicity gimmicks ('Illusion-O'; 'Percepto'; the 'Punishment Poll'; 'Fright Breaks', etc.). WILLIAM CASTLE AT COLUMBIA VOLUME TWO features four more weird and wonderful films from the outrageous showman's illustrious career with Columbia Pictures, all presented on Blu-ray for the very first time in the UK. Containing a wealth of new and archival extras this stunning Limited Edition Blu-ray Box Set from Indicator is strictly limited to 6,000 units.

Includes

-Zotz (1962)
-13 Frightened Girls (1963)
-The Old Dark House (1963)
-Strait-Jacket (1964)



December 10, 2018

Jim O’Connolly’s Berserk! (1967) on limited edition blu-ray from Indicator (UK)



After the huge success of Robert Aldrich's What Ever Happened to Baby Jane?(1962), Hollywood legend Joan Crawford found herself taking the lead in a series of lurid and sensational horror pictures in her later years – and Berserk was one of the best and most successful.

Crawford stars as a ruthless circus owner who exploits a series of gruesome murders for her own ends... until the killer targets her. Directed by Jim O'Connolly (Valley of Gwangi, Tower of Evil) and co-starring Diana Dors (Yield to the Night, Deep End), Michael Gough (Horror Hospital, Batman) and Judy Geeson (10 Rillington Place, Inseminoid), Berserk is a deranged slice of Great British Grand(Dame) Guignol – a bloody exploitation classic!




2019 TBD

Tony Williams’ Ozploitation classic Next of Kin (1982) on blu-ray from Second Sight (UK), from a 4K restoration



A young woman (Jackie Kerin) and her boyfriend (John Jarratt) witness strangeness in an Australian old-folks home.


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This Year In Film / Re: First Man
« Last post by putneyswipe on Yesterday at 07:24:10 PM »
after this film we can all agree that he's this generation's Ron Howard right

I really don't see that at all, Howard is known for one of the most generic, least authorial big directors out there. There's a clear line running through Whiplash, La La Land and this with the portraits of obsessive perfectionists and the conflicts that creates in their personal life, whether artistic or otherwise.

I'd say so far (he's only made four features after all) homie is a crowd-pleasing journeyman much like Howard and that's rare among millennial directors. The thematic line you've ascribed to the films isn't true of his debut, Guy and Madeline on a Park Bench, and is only kinda present in La La Land. It's in Grand Piano, yeah, but not 10 Cloverfield Lane or The Last Exorcism II. The movies all vary in tone and style too. An auteur in the classic sense, this guy is not. But a) he's still young, and b) could end up a famous journeyman pseudo-auteur like Preminger or Zinnemann or somebody.

He's also like Howard in that his films aren't the least bit cool, which I don't mean as an insult. Ron Howard is a good director. He just tends to make movies for my aunt, you know what I mean? And they're pretty good movies! So far, I feel like Chazelle is the same. This isn't a problem to me. My aunt and I need movies to see.

I didn't say he was a "classic" auteur like Bergman or something, just that there were some authorial flourishes that were distinct from the archetypical director-for-hire, which Howard literally is. Is there anyone working in the studio system today that fits that classic definition anyway? PTA would have to cancel his membership to the Auteur club by that definition as his influences seem to vary wildly from film to film. I know it was meant to be tongue in cheek but the comparison seems disingenuous just so far to say that Howard has never even directed a film from a screenplay he wrote by himself, while every film Chazelle has made before this one had been solely written by him (I don't think writer-for-hire gigs are really relevant to the body of work). But who knows, maybe this is a departure and he never writes an original screenplay again.

As for the movie itself, I thought it worked best when it was building of those themes that were present in the previous films, but you felt a tension throughout between the directorial flourishes that Chazelle seemed to be trying to create and the more formulaic biopic beats of the script. By the end, I think I was wondering if the film had really given itself a reason to exist as we see images we have seen countless times that aren't distinct enough to resonate. Seeing the process of NASA leading up to the climatic mission was enjoyable but it dragged on about a half hour too long given the substance of the material.
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This Year In Film / Re: First Man
« Last post by BigSock on Yesterday at 06:24:07 PM »
Really enjoyed this. Hits some standard notes along the way, but nothing too offensive. Where it needs to fly, it reeeeeeeally flies.

I like Chazelle enough, but view him more as an exceptional (and goddamn lucky) craftsman than artist. There isn’t much poetry to his images, just relentless craft.

See in IMAX if possible!

Pretty much this! Chazelle is a mechanical technician, not much of a storyteller. But it's ok with a journey like this, as he just latches onto Armstrong's limited and submerged mindset. But yes, this had a homemade quality that usually lacks from these films
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This Year In Film / Re: First Man
« Last post by eward on Yesterday at 04:10:36 PM »
Really enjoyed this. Hits some standard notes along the way, but nothing too offensive. Where it needs to fly, it reeeeeeeally flies.

I like Chazelle enough, but view him more as an exceptional (and goddamn lucky) craftsman than artist. There isn’t much poetry to his images, just relentless craft.

See in IMAX if possible!
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This Year In Film / Re: First Man
« Last post by BB on Yesterday at 10:55:39 AM »
after this film we can all agree that he's this generation's Ron Howard right

I really don't see that at all, Howard is known for one of the most generic, least authorial big directors out there. There's a clear line running through Whiplash, La La Land and this with the portraits of obsessive perfectionists and the conflicts that creates in their personal life, whether artistic or otherwise.

I'd say so far (he's only made four features after all) homie is a crowd-pleasing journeyman much like Howard and that's rare among millennial directors. The thematic line you've ascribed to the films isn't true of his debut, Guy and Madeline on a Park Bench, and is only kinda present in La La Land. It's in Grand Piano, yeah, but not 10 Cloverfield Lane or The Last Exorcism II. The movies all vary in tone and style too. An auteur in the classic sense, this guy is not. But a) he's still young, and b) could end up a famous journeyman pseudo-auteur like Preminger or Zinnemann or somebody.

He's also like Howard in that his films aren't the least bit cool, which I don't mean as an insult. Ron Howard is a good director. He just tends to make movies for my aunt, you know what I mean? And they're pretty good movies! So far, I feel like Chazelle is the same. This isn't a problem to me. My aunt and I need movies to see.
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News and Theory / Re: Horror
« Last post by jenkins on Yesterday at 03:46:36 AM »
and really they lost longer than a well-produced drama. how easy it is to demonstrate that with the Universal classic monsters. probably a random person could name, oh, Citizen Kane and Gone with the Wind, but could also name Frankenstein, Dracula, The Mummy, The Wolf Man, and maybe the Creature from the Black Lagoon. probably that same person would shittalk the former and appreciate the latter, re drama vs horror. something inside of them would feel a link with Frankenstein which they wouldn't feel with Citizen Kane, and that's interesting.
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News and Theory / Re: Horror
« Last post by polkablues on Yesterday at 03:37:19 AM »
I definitely agree in the case of the Conjuring films and its spinoffs. To me, the best, most lasting horror is always built off of a central metaphor, which the "horror" elements serve to give a face to, to externalize and exaggerate. The Shining has the specter of alcoholism and domestic abuse, The Descent is about grief and betrayal, Triangle is an absolute masters thesis on guilt and self-punishment. The Conjuring flicks don't really have any central metaphor (the core of their message seems to be, "There are scary things in the world, and you should always hire professionals to deal with them"), but they're still highly enjoyable, worthwhile horror films, simply on the strength of the aesthetics and the actual filmmaking craft involved. Even if you don't necessarily have anything to say, you can still make a good horror movie if the WAY you say it is strong enough.
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