What Films Have You Seen Recently?

[Demdike@Cult Labs]

Planet of the Apes (1968)

Franklin J Schaffner's pioneering science fiction classic in which Charlton Heston and a team of astronauts land on a desolate planet where humans are dumb primitives and apes rule.

Heston is perfect as the rebellious human but it's the brilliant Kim Hunter who steals our hearts as she shines through her sublime ape make up showing compassion and humanity enough to make you forget she's a chimpanzee.

The script is clever as well as a rollicking adventure and the ending to anyone not in the know (Is there any such person) is both shocking, unforgettable and utterly awesome.

[Frankie Teardrop]

CRASH! – Nope, not that one, nor THAT one, but this one, the Charles Band one from the mid-seventies. After an accident involving an occult dog attack, a woman wakes up with amnesia. She can’t tell the doctors much about who she is, but her eyes glow red whenever a supernatural force possesses her. Meanwhile, bitter spouse Jose Ferrer is in the background playing mind games whilst a driverless car prowls the Californian turnpikes, causing one accident after another. I liked ‘Crash’. It doesn’t try hard to make sense, and in fact there’s a real random air to it. The atmosphere in places is on the trippy side of languid, although there are stretches where nothing much happens. I guess it has that classically grindhouse-era combination of wackiness and stiffness going on, which makes it a dead cert for seventies horror enthusiasts.

MANSION OF THE DOOMED – Another Full Mooner, MOTD has always been a firm fave with me. I can’t quite put my finger on what I like about it; a downer vibe, which is at the same time made somehow slightly silly (witness Richard Basehart’s pompous narration), along with the hazy feel of mid-seventies LA, all leafiness and long afternoon shadows, and then the ambience of darkened operating theatres where X-ray images glow. The plot isn’t much – it’s basically just an inversion of ‘Eyes Without A Face’, and tries to build whatever momentum it can by simply replaying the same kind of surgical encounter, but again, it’s the atmosphere that pulls me in. There’s something awful and squalid about that basement full of Basehart’s eyeless victims, it really hits a nightmarish note for me. Probably a footnote for many, but I recommend it anyway.

THE SADNESS – Wow, this one’s really going for the gore. I didn’t have any expectations when I went in, thinking “OK, another epidemic-y type zombie film – why don’t I have anything better to do?”, but I was quite surprised by what I saw. ‘The Sadness’ doesn’t say anything new or even, considering our post-pandemic slump, especially relevant, appearing content enough to take its place within the viral lunacy tradition and simply ladle on the offal. But blimey, were they serious about that offal-ladling. Some of the gore has a sleazy edge, one high point being a gross hospital orgy which relies on spilled blood and intestines by way of lubrication. After setting out such a splattery stall, the film does seem to pull back at points – come on guys, only an IMPLIED eye socket f*cking? But I’m not having a go, by and large this is pretty demented stuff, certainly for a flick considered streamable by the likes of Shudder. I would say that it’s a bit too long, and that the way it navigates between its splatter scenarios is a little stilted, with only a few recurring characters offering continuity – but in a film like this, that’s really not a problem. Hope it kickstarts a trend, it’s been fifteen, twenty years since horror movies were especially graphic. I prefer atmosphere these days, but even a hint of eye-related rogering is better than another jump scare.

[Demoncrat]

The claret is strong with that one (TS).

As always

MOTD holds a special place here also, though it may just be I like films with Mansion in the title

[MrBarlow]

Originally Posted by Frankie Teardrop

THE SADNESS – Wow, this one’s really going for the gore. I didn’t have any expectations when I went in, thinking “OK, another epidemic-y type zombie film – why don’t I have anything better to do?”, but I was quite surprised by what I saw. ‘The Sadness’ doesn’t say anything new or even, considering our post-pandemic slump, especially relevant, appearing content enough to take its place within the viral lunacy tradition and simply ladle on the offal. But blimey, were they serious about that offal-ladling. Some of the gore has a sleazy edge, one high point being a gross hospital orgy which relies on spilled blood and intestines by way of lubrication. After setting out such a splattery stall, the film does seem to pull back at points – come on guys, only an IMPLIED eye socket f*cking? But I’m not having a go, by and large this is pretty demented stuff, certainly for a flick considered streamable by the likes of Shudder. I would say that it’s a bit too long, and that the way it navigates between its splatter scenarios is a little stilted, with only a few recurring characters offering continuity – but in a film like this, that’s really not a problem. Hope it kickstarts a trend, it’s been fifteen, twenty years since horror movies were especially graphic. I prefer atmosphere these days, but even a hint of eye-related rogering is better than another jump scare.

This one i have pondered about watching on Shudder, but after this comment I will certainly check it out

[MrBarlow]

Derelict. 2017.

Three friends go on a exploration of a old Power Station that becomes a fight for survival.

A film based on the "Urban Exploration craze" that becomes Urban F@?king boredom, this film makes Chernobyl Diaries 10 times better, slooow character build up that by the end I was rooting for them just to die, the acting sucked, no tense moments, very light on the atmosphere, predictable jump scares. I want the 80 odd minutes of my life back. Honestly the Australians have gave us better horror films than this pish. Rant over with....for now

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[trebor8273]

A sequel to the land that time forgot, Doug McClure best friend who just happens to be the son of John Wayne comes looking for his friend. I actually enjoyed this a little more than than the first , a little confused as land was set some time in the second world war while this is the end of the 19th century or early 20th.


Now watching

[Demoncrat]

The Farmer (1977, David Bertlasky)

A soldier returns home to a rather dilapidated homestead. With the bank threatening foreclosure, help somes from an unusual source.
Had heard about this one and on balance it was worth it. Yes, a farmer taking on some ne'r do wells may seem rather familiar ahem, but whatever. I still love the sight of 70s movie gore with its ketchup hue just adding to the fun.
Recommended.

[iank]

Hereditary. An already grieving family is shattered by another tragic loss, but even darker and more nefarious forces seem to be swirling around them. Despite the hype I hadn't seen this before as it didn't really look like my cup of tea and I half-suspected it would be a bit of a borefest like The Babadook. Well, blow me down, this was actually pretty darn good. The first half hour is a bit slow and I was wondering if it was ever going to start getting scary, but then... well let's just say it escalates quickly. Pleasently surprised.

[Demdike@Cult Labs]

Bram Stoker's Dracula (1992)

Watched on Friday to celebrate the 125th Anniversary Of The Publication Of Bram Stoker's Dracula.

Why this version?

Director Francis Ford Coppola's Gothic masterpiece is as near to Bram Stoker's classic novel as any of the many big screen adaptations have been. The faithful screenplay from James V Hart is an imaginative if slightly self indulgent experimental affair in a film with a distinct visual flair and mood that keeps it well within reach of Coppola's own fans as well as aficionado's of classic vampire horror. The sets are superb, be it old London, or the wilds of Transylvania. CGI is apparent but never obtrusive as Coppola brings us images direct from the book which other screen versions have never dared (or technically been able to).

[Demoncrat]

The History Of Time Travel (2014, Ricky Kennedy)

Mockumentary.
This was more like it. Coming from "History TV" as it does, it relates the tale of The Indiana Project, which was started during WWII in reaction to reports of Nazi shenanigans. Really liked this one, even if it features the best fake beard since Kill Or Be Killed
It reminded me of Savageland in tone (not horror though).
Recommended.