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#I do want this film to get more love

tinalbion · 2 years

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Why You Should Check Out Joy Ride (2001)

Well, hey guys! This isn’t my normal thing to write but I was easily convinced by the amazing people in the Freddy/Slasher discord I’m in, and I got someone else into Rusty Nail, too. I figured it was the LEAST I could do since I’ve been super into these films the past while now, if you couldn’t tell.

**I will happily make a post as to why you should watch Joy Ride 2 Dead Ahead, my personal favorite, in a separate post here!

Joy Ride (2001) is a horror thriller film that stars the late Paul Walker as Lewis Thomas, Steve Zahn as Fuller Thomas, and Leelee Sobieski as Venna Wilcox, Lewis’s childhood crush.

While traveling from California to Colorado to pick up his childhood friend and crush, Venna, Lewis is guilt-tripped into making a stop in Salt Lake City on the way after he learns his estranged older brother Fuller has been arrested yet again. Lewis bails him out and Fuller tags along for the trip. At a gas station, Fuller has a CB radio installed in Lewis' car as ‘an olive branch’ and the two begin listening in on truckers' chatter. Fuller coaxes Lewis into playing a prank on a truck driver that goes by the CB handle Rusty Nail, telling him to pretend to be a woman named Candy Cane.

Now you can SEE where this is going to get rough, this poor guy is just minding his own business and getting catfished by bored brothers on a road trip, which makes you feel bad that this trucker was pulled into this situation in the first place. It’s a slow build and really pulls you in with the voice of Rusty Nail, who is voiced by Ted Levine, who also plays Buffalo Bill from ‘Silence of the Lambs’ which was a nice touch because his voice is iconic and really draws you in. His actual body actor is Matthew Kimbrough.

It’s intense and really keeps you on the edge of your seat as you get sucked into the story of these guys really making Rusty look like an absolute fool, and how he’s going to deal with it.

So, they set up a meeting with Rusty Nail in a motel where Lewis and Fuller are spending the night; they tell Rusty Nail that Candy Cane will be in room 17, the room of an asshole of a businessman with whom Fuller had an unpleasant encounter at the check in desk, and the brothers listen from room 18. When Rusty Nail arrives, an argument and sounds of a scuffle are briefly heard.

The next morning, Lewis and Fuller learn that the police found the businessman on the highway, with his lower jaw ripped off. Lewis admits they were involved and Sheriff Ritter accosts them for their role in the incident, but lets them go. Back on the road, Rusty Nail is heard again on the CB radio looking for Candy Cane. Lewis reveals to him that he is Candy Cane and they were just having a laugh, so Rusty demands an apology, but Fuller just blatantly insults him instead. Rusty Nail then notes they should get their taillight fixed, indicating he is following behind them.

Already this demonstrates the realistic fear of pissing off the wrong people with the right connections, and you can already feel the unease you get when you’re driving too close to a semi, what if that was amped up ten fold when you’re target by a semi driver who’s been wronged and made to look like a joke. You wouldn’t wanna be driving on that highway anymore.

Rusty Nail then shows up in his truck and, as he slowly crushes Lewis's car against a tree, Fuller hysterically apologizes. Rusty Nail drives away, declaring his actions to be simply a joke.

“Funny, I was just messing with YOU.”

Believing themselves safe, the brothers arrive at the University of Colorado and pick up Venna. They stop at a motel and, as Lewis falls asleep, Rusty Nail calls his room, revealing he has noticed Venna has joined them.

It has some fun misdirection, which if you’re an avid horror movie fan, you can pick up on early on, but it’s still a super fun film to watch either on your own or with friends. It’s got some funny lines said by the main characters and our beloved driver, Rusty.

It’s really fun to add to the mystery since you never see the driver’s identity until the last ten minutes of the movie, and even then they tried their best to cover his features with shadows and lighting. I love the way they went with this and it adds so much to the viewing like it could be anyone in any truck! You never know!

The first one is on Hulu right now, but otherwise, you can buy/ rent them on YouTube if all else fails. It is 100% worth it!

I don’t wanna give too much away, all I can say is you should definitely watch it for yourself and see how you like it!

It’s one of those early 2000′s films that did well enough but a lot of people hadn’t picked up on, but it’s criminally underrated and a super fun time!

#Joy Ride 2001 #Tina Reccs #Tinalbion Reccs #I do want this film to get more love #Rusty Nail #I love this film series so much and I wanna scream about it #ted levine #paul walker #steve zahn

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ghost-in-the-corner · 11 months

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Everytime I see a new trailer or anything for Barbie I am so much more convinced that Ken (Ryan Gosling) is gonna be the ultimate antagonist.

My favorite way of showing this is through his outfits, though there are others.

So he starts off looking like what we'd expect of Ken. In a blue outfit, open shirt, and the way he acts at this point is just head over heels for Barbie. This photo takes place before he asks to spend the night in Barbie's Dreamhouse ("not Ken's Dreamhouse")

Then when they move onto the real world, he matches Barbie almost exactly.

He's in pink and practically everything Barbie's wearing, nothing that looks like his earlier more neutral outfits. He's as out of place as she is in the real world; his place is next to Barbie. But after spending time in the real world?

He's in all black. A completely not-Barbie color. Hell, in the right picture he looks downright angry, as if he's threatening the person he's looking at. And he's back in Barbieland.

Kinda gets me thinking about the theme of the movie. Greta Gerwig is not one to hold back, so I'm thinking we'll see both Barbie and Ken realizing what it means to be human, specifically in our society, a society where there has always been a severe disadvantage between men and women. Barbie is upset that this is what the real world is, what being a human woman is, but Ken? This is what he wants, a world where men are in power, where he's more than 'Just Ken', where he gets a Dreamhouse too.

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onlyzhuyilong · 25 days

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“I don’t have anything planned right now actually. I have always followed my heart, & I never said I wanted switch from making dramas to films, or make a “so called transition from dramas to films”, and have a career transformation. I make films simply because I love movies. I love how they’re made, the ways they are made, the energy around creating a film, and exploring different artistic expressions.” - Zhu YiLong

#zhu yilong #朱一龙 #朱一龍 #주일룡 #translations #quotes #text posts #maybe because he’s getting more attention the press is saying omg he wants to be a movie star now like I think he just wants to be an actor #and act in whatever comes his way that he likes #this is true he does love movies like a lot and he does like to hop from film to drama and back again so it tracks #and take his time and go with the flow (something Ma Zhe didn’t do lmafo)#please stand by for the queue

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devilsskettle · 11 months

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don’t worry darling is like. unnecessarily trying to reinvent the stepford wives however it is inch resting to me that this movie got so buried by whatever was going on with the cast drama when it’s a movie that speaks to delusional radicalized incel bullshit + the stake that men have in controlling women’s lives and bodies + power dynamics etc etc which idk i just feel like even otherwise progressive people are so quick to completely shut down media with feminist themes if it’s too in-your-face about it and they’ll come up with a bunch of excuses about why it’s cringe. i’ve seen so many people be like “don’t even bother to watch the film, it probably sucks, the drama during production is way more entertaining” like whatever, it’s not a revolutionary movie, i liked it though and i think we still need explicitly feminist films and i have concerns about dismissing a film without even knowing the basic premise because of (what seem to me to be low stakes) interpersonal issues among the cast

#don’t worry darling #the reveal was both extremely obvious and pretty disturbing to me #i also think it was very appealing visually and of course florence pugh was very very good #also retro-futurist sci-fi will always get me. love that shit #it’s definitely unoriginal and there are some glaring flaws with the script but like.#it’s more interesting than anything marvel has put out in the last 7 years #and people are still all over that shit #idk it’s like the target audience for these types of films are also the people who are going to judge it the most harshly #which of course we should be critical etc but like. do we want ANY mainstream movies that don’t pander to the conservative ethos or what #anyway that’s just my onion about it

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jaydee1818 · 2 years

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Long post about a movie up ahead…

You know what it was for me about the new Hellraiser? There was no romance in it.

There was no passion. No sweat. No grime. The desperation rang hollow. There was no dirt. There was no seduction. There was no appreciation for the beauty of filth and ugliness. It was just beautiful.

I feel like, nowadays, people are so concerned about people taking horror ‘seriously’ that any love that might have gone into it falls to the wayside. There used to be a visceral love for horror- not just the heightened aesthetics, but for the grossness. The getting dirty. The true disturbing quality of the human body as an object. The wetness, the juiciness, the blood, the grease, the fat, the flesh. People falling apart, hair undone, eyes wild, covered in sweat and tears. There’s a romance in that. A romance in the base form of humanity. In desperation. In fear.

No amount of beautifully made, consistency-accurate, color-accurate fake blood will match the way Kirsty looks in 1987 screaming “You want it? Fucking have it!” She is raw. She is frightened. She is angry and undone and she wants to fight. She looks like an animal.

That is the franchise. That. The human animal. When you watch Hellraiser 1987, it’s so clear that the people making the movie understood what they were making. Understood the beauty of the horrific. And yeah, that’s probably not a fair comparison, as the literal author Clive Barker was at the helm of the project. But that does even further disservice to 2022. And even with all the beauty 2022 captured, a clean, modern, painfully clinical beauty though it may be, there is nothing luscious or lurid about it. Nothing about the Cenobites seems particularly ‘forbidden,’ because they look like pieces of modern art. They have no enticement. I felt like I observed them with the same appraising eye one might cast upon a particularly lovely sculpture. I didn’t want to take a closer look, a grave and fatal feeling for a franchise like Hellraiser. I mean my god, when people talk about ‘sexy’ horror, Candyman and Hellraiser are often the first two names that get called out. This movie was not sexy. Not at all.

The surreal and fantastical were left to the wayside in favor of brutalism and realism. It leaves wonder behind, supplanting it with rote fear. The character’s lack of understanding is devoid of genuine curiosity. It seems the filmmakers fundamentally misunderstood that you can be filled with awe and wonder both in a positive way, and in a negative way. There’s no temptation. There are no trances. No dreams. You’ll never see anything like the premonition Kirsty had in 1987. Or the flashback romance scenes between Frank and Julia. That visual style of storytelling is gone.

The concepts behind 2022 were good. They had an interesting take on the lore, and to include a ritual to the Configuration was smart, and well done. But that eventually served only in detriment as well, as the entirety of the movie then rang like a ‘deal with the devil’ morality tale. It’s confusing in that way, as one of the iconic lines spoken by the original Priest (Pinhead) when asked who the Cenobites are is “Demons to some; Angels to others.” There’s an attractiveness to that. To them.

How is it possible, then, that the filmmakers seemed to forgo the angelic part of that quote? The 2022 Cenobites were beautifully designed, meticulously created creatures. The were beautiful. But the christian bible, and indeed many faiths across time all understand that to see something beautiful can be terrifying and frightening. One of the most commonly known snippets of the Bible, at least in the western world, comes from Luke 2:10, “But the angel said to them, ‘Do not be afraid […]’.” An angel, and the first words spoken are “Do not be afraid.” If one cast their eyes upon the unobstructed form of Zeus’ beauty, they would die. If one saw Anubis walk into a room, jackal head and all, it would be impossible to look away, but also frightening to the core. To see a god, any god, in the flesh is to be both terrified and excited. Those two feelings are inextricable.

Why is it, then, that no one is seeking the Cenobites out? Why does not one hunt for the Configuration? The very promise of the appearance of the Cenobites is the promise to take you to the furthest reaches of experience and sensation, when pleasure and pain can no longer be separated. To experience that which you could never dream of. To push the boundaries to breaking, until you exist only as a being of feeling, beyond and above even consciousness. So why does no one want to see the Cenobites?

The issue falls to the framing device, which needn’t have been used to such ill effect. When you reduce those claimed by the Cenobites to sacrifices, you reduce the Cenobites to nothing more than pretty weapons. The lives the Cenobites take are offerings, stepping stones to an end goal. While the Cenobites may enjoy in their activities, there is no one seeking out to touch them. To reach them. Not the entity behind them. Those who wish to receive a gift from the Cenobites never truly interact with them. The gift is no longer the visit in and of itself. What sights have they to show us, when they are nothing but glorified weapons of their god, instead of gods in their own right?

And don’t even get me started on the coloring. Look, I know it’s very en vogue for things to be monochromatic and dark in movies these days, but my god where was the color?! Where was it!! The glimpses we got were not enough when 1987 is just so bright. And then, to make things worse, the Cenobites were shown almost entirely without obstruction. Just out there in the open, for the most part, albeit in the distance and shown briefly. No illusory quality to them. I know I don’t want a closer look when I can see every detail of them the first time. That’s a person with pins in her head, that one doesn’t have eyes or a face, that one’s neck is one huge gash, that one’s in a skin straight jacket. I know because I can see it. I’d surely run if I could see that right off the top. Gone is the sense of ‘oh my god, oh my god, what was that?’ I get your designs are strong, and really very well made, but don’t just give it to me. Let me want it a bit first. Tease me with it. With them.

On top of that, the reds aren’t as red. The blues aren’t as blue. The color shift felt virtually nonexistent between the Hellworld and the real one, and neither reality is particularly vibrant. You’ll never see as intense a contrast as you hope to see. People being stabbed, ripped apart, torn by chains, flayed, all these things look wonderful, but just too real. Why do I care if your red is tone-accurate when your reference looks like a technicolor nightmare in the best possible way?

The drama! The unrealism! The intensity! The Cenobites are not of this earth. We call their realm ‘hell,’ but you could just as easily call it a parallel or alternate dimension. They simply exist. There are so few properties with a strong enough foundation for the only limit to be your imagination, and unfortunately it felt like this new Hellraiser was want of any. I don’t want your anatomically correct muscles and perfectly researched disfigurements, I want unreality. Give me fantasy, or don’t bother.

I say all this with the heaviest of hearts. The Priest was well designed. The Cenobites, and there were quite a few of them, all had potential to induce desire. They just…didn’t. It just felt like no one understood. Like no one would think twice about whether they wanted to see the Priest- of course the wouldn’t! And god, did that show. I think at least someone working on a Hellraiser property should be able to see the desirability of the Cenobites, the tantalizing nature of the taboo, the socially outcast.

Clive Barker was a gay man who released The Hellbound Heart in the 1986, and the original Hellraiser film in 1987. This was the height of the AIDS epidemic, when gay men were seen as disease, not just carrying disease. Monsters. Predators. Animals. They were laughed at and scorned, and treated as so much less than human. Treated like they deserved their fate. Their tragedy was the butt of everyone’s joke. Yet, those very people were still wanted under the cover of night. Still desired. How is it possible this new team missed the mark so entirely? How could they not understand that when one’s very desires are deemed deviant, when your nature is seen as repugnant, unnatural, criminal, one eventually comes to a place where those words become badges of pride? Of a way to differentiate yourself from those who would wish you dead? That idea didn’t make its way to Hellraiser 2022.

We never got to a place that said, Yes. Yes they are deviant, and repugnant, and criminal and damned. They will drag you down with them into endless agonies. Not a single person will be able to save you. You think even touching them will kill you. And you still want them.

All the makings of an excellent new Hellraiser were there, but nothing was enough. Colors, editing, acting, story, beauty, fear, dirtiness, sexiness (jesus god there was no sexiness), it all came up short. They weren’t brave enough to explore the further regions of experience.

Clinical and devoid of passion, Hellraiser 2022 gets a heartbreaking 1/5*

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