#italian cult comedy movie | Explore Tumblr Posts and Blogs

medusasbush · 1 year

Text

read in february 2023

articles (ones behind a paywall are linked through webpage archive):

I'm Intersex. Here's How I Have Sex.

What Is a Nepotism Baby Anyway? (reminded me of the hollywood inbreeding 101 portion of Carrie FIsher's Wishful Drinking)

Your Stuff is Actually Worse Now: How the cult of consumerism ushered in an era of badly made products.

If You Think Tacos Aren't Healthy, We Have News for You

Deeper into Movies: What Have I Been Watching

How Dolly Parton became a secular American saint

Springtime for the Confederacy

Comedy movies rarely make it to theaters today. Here’s why.

A Short Guide to Living More Pointlessly

Another Side of Rupert Grint

What Is a Narcissist?

Videos of Police Brutality Against Black People Are a Futile Spectacle in White America

Trump proposes genocidal national ban on transgender existence if he wins 2024

The super-kinkeepers (& kinkeeping matrix)

The soothing, slightly sinister world of productivity hacks

We're Already Living in the Metaverse

Doc Filmmakers Reckon with the Industry's Murky Ethics

The Band That Best Captures the Sound of the ’70s

The Number One's: Blondie's Rapture

Meat Loaf Owned the Power Ballad

Dating apps have created a culture of entitlement

America's Dangerous Obsession with Innocence

The War on Bollywood

Restoring the Sex and Rage to Jane Austen

Modern Porn Education Is Totally Unprepared for Modern Porn

Parents Need to Talk to Their Kids About Porn

The Porn Crisis That Isn't

Why Porn Has Gotten So Rough

Memoria and the Limitations of Ebert’s Empathy Machine

Is it Possible for a Fanboy to Be a Good Critic?

The people weeding out first dates with a questionnaire

The Anxious Style of American Parenting

Big commitments loosely held

The Junkification of Amazon

The Relentlessness of Modern Parenting

From Tokyo to Paris, Parents Tell Americans to Chill

I guess this turned into a love letter

'Lord' of racism?

The Man Behind the Myth: Should We Question the Hero’s Journey?

AMC is about to make paying for theater seats more like booking an airline ticket

The mounting, undeniable Me Too backlash

Lucky girl syndrome and the endless rebranding of “The Secret”

Stuck in 2020, pretending it’s 2014

No Sex for You: Life in the metaverse will be tacky, prudish, and dull

Sarah's Day in the Life

The Last of Us: Perspectives from an epidemiologist and a plant scientist

Marriage Is Not a Replacement For the Social Safety Net

Gwen Stefani, Ariana Grande, Madonna: The Holy Trinity of Famous Italian American Culture Vultures

How Christopher Columbus Became an Italian-American Icon

Everyone Is Grotesque and No One Is Turned On

Madonna's Face is Not Subversive

The NYT Op-Ed I Just Took A Kill Fee For.

The Whale does all but "giving a voice" to fat people

I Tried Jane Fonda’s ‘80s Workout Tapes To See How They Hold Up.

De-Influencing De-Influencing

TikTok’s De-Influencers Tell You What Not to Buy

The Curious Tale of the Midsize Queen

The Tragedy of Woke Shakespeare

books

the names up on the harp: irish myth and legend by P.J. Lynch, Marie Heaney (reread)

bitten: dark erotic stories by susie bright (started)

#s #read lists #articles #did not achieve the goal of reading more books in february whoops oh well life goes on

16 notes · View notes

declanowo · 4 months

Text

Random Weekly (horror) Films - Week Five - Silent Hill

8/12/23

Silent Hill

In my early teenage years, when I was first getting into the idea of writing full novels, I fell in love with the concept of Dante’s Inferno. Simply put, it is the first part of the Italian writer's epic poem, Divine Comedy. The Inferno depicts Dante’s journey through hell, a nine circled creature. Despite never having read the poem, I became obsessed with the circles, referencing them constantly in my own work, reading about what you must endure within each circle, their relation to sin. All of it was astonishingly interesting to me. While researching for Silent Hill, I came across a few mentions of The Inferno, which brought me back to those moments where I would sit reading about it when I was younger, this in turn even reminded me of my time in sixth form, where the poem would occasionally be mentioned, and I would become infatuated once more. Still to this day, I haven’t read the poem, which illustrates the grasp it has on me. Silent Hill’s exploration into another world, one between life and death, a purgatory of sorts, alongside its heavy religious themes makes it so interesting to me, and is where much of The Inferno influence shines through. While the film starts hopefully bleak, it devolves with time, hope dwindles, and the true, grey light leads us to the realisation that there is no sanctuary lurking inside of the titular town, but only destruction, and treachery.

I was incredibly excited when I spun Silent Hill on my wheel! Based on the popular game series, the film had always intrigued me; a few months ago, I watched around three hours of the first game, and found myself curious about the story nestled beneath the gameplay which was simply uninteresting to me. However, the games still stood out, given their thick and distinctive style, an aesthetic that is carried across to the film in several ways.

To discuss my thoughts on the film, I’ve divided aspects of it into sections to discuss, however in short, I enjoyed this film. I wanted to like it more - the first act was my favourite, followed by the third, however, I found myself somewhat bored during the second, which feels too long to me, although it is more complex than this, as I will later discuss.

One of the key pieces of most narratives are characters. Silent Hill is no exception, the film grows from a small cast, creating an isolated and terrifying feeling with it, before showing that sometimes, being alone can be better, as we meet the cult. However, I feel rather mixed on most of these characters - in my mind, I am in a limbo as to whether or not I enjoy them, or instead find them bland. While watching, I definitely leaned into the latter, especially during the second act, however, upon reflection, this feels unfair, yet I can’t ignore that my brain is certainly blocking out many of the more dull moments of the movie.

Starting with our protagonist, Rose Da Silva (played by Radha Mitchell) who enters Silent Hill after her sleepwalking adoptive daughter continues whispering of the ghost town. However, after arriving, and passing out (the result of a car crash), she finds her daughter missing. Rose replaces the first game's protagonist, Harry Mason, however I believe the two are fairly similar. In fact, the reason she was written over him was because he was described as not being a very masculine character. Firstly, this is pretty disappointing to find out, writer Christophe Gans, explained that he felt the characters actions of fainting, being dizzy and talking to himself, were too feminine, so instead of altering the character, he changed the protagonist into a woman - I felt the decision could have been more so focused on the relationship between Rose and her husband, who is so against taking their daughter to Silent Hill, it feels like the gender roles here could have been an interesting topic, however, I guess instead this change was made for a pretty silly reason. I will try not to lament on this any further, but I do find it curious that these, very human and regular person traits are connected to femininity here, it feels overtly sexist in the view of femininity correlating to fragility.

Rose is a difficult character, on one hand she has a single goal, which is helping/ finding her daughter - we don’t get much shading to her character in the first act beyond this, and that worked perfectly for me, however, over time I found this to be a larger problem. Although she does talk to herself, it is often to uncover the mysteries nestled within the town rather than to develop her character, which stays fairly one note throughout - maybe this is a result of the character being based on Harry Mason, an everyman, however, when the film changes from a single person wandering, enamoured with fear and desperation, to a group searching, I feel like it lends itself to a change in dialogue and direction for the character, unveiling more about them rather than just their goals, because all I know about Rose, is that she wants to find her daughter. Once again, I stopped minding as much towards the third act, yet the second act feels so long as a result of this issue I have!

Next is Cybil Bennet, a character ripped straight from the first game. Played by Laurie Holden, the character is a police officer, who chases after Rose suspiciously, before joining her cause as the two fall victim to Silent Hill’s warped world. She acts as a foil to Rose, being far more grounded in reality. I went back and forth on whether or not I liked her, she is so abrasive and initially refuses to listen, and while somewhat annoying to watch when we know Rose isn’t lying, it does make sense, and builds up an interesting character, who grew on me across the duration of the film! Once again, the second act is an issue for her character, although less so than with Rose, however, she was great! She became an enjoyable second voice to Rose!

Finally, I shall discuss Sharon, the missing child. Her story is so interesting, the reveal in the third act brought my attention and enjoyment back to the film, and I found her to be the most interesting puzzle of the film. Her constant appearances around the town as we wander are creepy! I really enjoyed this character!

Moving onto what might be one of my favourite elements of the movie - its themes. Whenever I write these after watching a film, I am incredibly excited to delve into the themes and meaning behind it - whenever my lust isn’t sated, it can make a somewhat less than stellar review.

Religion is most evident in this film as a result of the church, alongside the cult led by Christabella. This cult is fearful, relying on the ideology of good vs evil. Their fear is the catalyst for the film, with them burning ‘witches’ to prevent any wrong coming to them; the ideal of good and evil is presented as grey when we arrive at the concept of killing (as opposed to murder), is it morally good to kill someone who is evil? Ridding the world of evil is inherently good, but by doing so, they expose themselves to evil. In the end, Alessa, the so-called witch they burnt, is neither entirely bad, nor good, there are pieces to her, good and bad, and they are what persists on. Although her evil shines through, she is still grey, rather than any absence of colour, the concept of good and evil will always overlap, and trying to fit in with a theoretical, omnipotent perception of this is inherently impossible. In the end, the evil burns within those who cannot discern that they harbour both, which is at the heart of Silent Hill - it is two sides of the same coin, neither is all that appealing.

We can see Silent Hill itself as an allusion to purgatory and hell - here we can see the inspiration from Inferno. The regular world is bleak, a constant search for Rose’s husband that he will never be able to complete, because that which he seeks is elsewhere. Yet, he never is willing enough to take a leap anywhere to escape the purgatory - for him, there is no heaven, nor hell. In contrast, Rose assimilates into hell, as she spirals to the bottom of the Silent Hill dimension, where she can live, frozen in the ice.

Next, I want to talk about the creatures that reside in Silent Hill. There is an abundance of them, so I will touch on only the most interesting few, however, before that, I want to discuss the effect the gluttony has on this film. While the game similarly uses a large array of creatures, it isn’t entirely comparable to the film, which is far shorter, and doesn’t need such a wide variety of creatures for the protagonist to fight. Regardless, I found many of them to be enjoyable, especially when they were played by professional dancers, in contrast to the CGI creatures that stick out in a way that feels perfectly 2000s. What I find so interesting about the creatures in the game, is they all appear to have purpose and meaning seeped into why they are there - they are born from established fears, Alessa’s memories and foreshadowing. In part this is still retained, which I do appreciate - however I have a specific exception. I also enjoy the fleshy and bug theme that is strung throughout these creatures!

To start on a positive, the dark nurses are very cool! Their scene is anxiety evoking, as we fear when they will move again - their movements are aided so well by the professional dancers playing them! They are a manifestation of the way Alessa viewed her nurses, which I think works well, as they are adapted from the Bubble Head Nurses from Silent Hill 2, who were not based on this. Although, it does raise the question of why the characters are designed to be so overtly sexual, while it makes sense in the games for the characters they are manifested from, here it does feel like they have simply taken the iconic character and placed them in with some altering, while still neglecting certain aspects that don’t entirely make sense. However, this isn’t too big of a problem for me, given how cool the scene is and how little they appear.

In contrast, Pyramid Head felt so out of place to me. Despite being a pseudo mascot for the franchise, the characters first appearance was in the second game (which Gan’s initially wanted to adapt, viewing the story as similar to Orpheus and Eurydice, however, the presence of the titular town is what drew him away from working on it, as there it is used as a mere backdrop) and here his working in feels rather flimsy. Although a cool design and garnering one of the most fun kills of the film, he serves no purpose being in the film, and doesn’t do much! It was pretty disappointing to me, given that the character is what I have been seeing so much of in regards to the series. Apparently in the sequel this is wrapped up better, however here his placement feels egregious!

Moving on to a problem I had with this film, being its length. Although I much prefer a ninety minute film, I won’t refuse to watch, nor find a longer movie to be unenjoyable. However the film must stay engaging for that whole period, which some do struggle to do! The greed of having such a long film is understandable to me, why cut so much that you have written and filmed? Yet, the film feels too long without much payoff for a large portion of it! Mainly, this comes down to the second act I have mentioned a few times - there is a transition from a solo wander through the town, to a group search; the two juxtapose one another, from trying to find clues, to searching downright, from focusing on atmosphere, to focusing on building mystery. This is fine, but not enough happens in the second act, I feel, to warrant it being so long!

Usually, I find anger towards the use of a grey movie - it’s so bland, and is usually a result of the focus not being on the look of the film! However, much like in Hush, it works so excellently for me here! Mostly because the dark lighting and greys come as a contrast to the natural lighting of the regular world, it makes us feel uncomfortable to be in, and it highlights the dreary tone and foggy atmosphere. Here, there is excellence in the colour grey, which I find pretty rare! The film uses it both for its atmosphere, and its bleak tone!

Maybe the most hypnotising thing about the film is its score. I doubt this is heresy to say, given that it is borrowed from the first four games. However, it fits so perfectly - composer Akira Yamaoka creates such an amazing score that is eerie, catchy and matches exactly the tone of the series. My favourite is Laura Plays the Piano, which has been stuck in my head ever since! While writing, I have been listening to the soundtrack, and I doubt it will ever leave my mind - even in my brief times with the first game, the title music is what stuck with me most.

I will touch on the film's violence briefly, through its series of kills! A few of them really made an impact - Anna especially, as we see her skin and muscles torn off by Pyramid Head, which is excellently dark and creates a terrifying point of no return! What makes it stand out so much is that we finally have someone who can freely be killed to set the stakes, without having to forfeit our protagonists so early! At this point, we grow fearful, feeling like anyone can die, which isn’t incorrect, and in such a bloody and violent way only adds to this. The other kills I enjoy all entail the barbed wire, a motif in the film! It’s such a visceral image, and it links to the crucifixion we watch begin, as Jesus wore a thorny crown, alluding to a mocking claim of authority. It also matches the gritty, survivalist feel that is laced throughout the film!

Finally, we reach the atmosphere the film builds. It would be fraud, if not to discuss that this film builds up such a dark, gritty and unfamiliar place. Fog rolls across the town, obscuring our view, as well as our protagonists, and it blends nicely with Alessa appearing sometimes! Whenever you see fog in a horror movie, we are conditioned to assume something may be lurking, and here it is no different!

Particularly, I enjoy the way the film emulates the fixed camera angles of the first game, which creates such a rigid and particular style, it is inescapable, and forces us to try to see more despite knowing we cannot! Touches like this show just how much the film meant to Gan’s, who spent five years simply trying to get the rights.

To wrap up my thoughts on this film, I enjoyed it a lot! The treachery of the setting itself is so much of what makes this film so fun, and while I found it to be held back by certain aspects, such as some of the character work, and a few somewhat incoherent plot points, I still mostly had fun with it, and it has made me consider engaging with the games! There feels like so much more built into this series than what is shown in the film, which is no criticism of the movie, however I do want to see what that is!

7/10

#horror #horror movies #creative writing #literature #reviews #review #halloween #horror film #horror movie #silent hill #silent hill movie

2 notes · View notes

lovepollution · 2 years

Photo

Luke Kirby seeks characters with ‘a heartbeat,’ whether it’s Lenny Bruce on ‘Mrs. Maisel’ or an agoraphobic sleuth in ‘Panhandle’ [x]

Like many of us, actor Luke Kirby spent much of the pandemic lockdown period watching television. Unlike the rest of us, his viewing provided some inspiration for his next TV role. “The two shows that I watched the most were ‘Columbo’ and ‘Golden Girls,’” the Hamilton-born actor said in a Zoom interview, referring to the 1970s drama starring Peter Falk as a homicide detective and the beloved 1980s comedy about four older women living together in Miami. “And I felt like playing somewhat of a gumshoe inside of Florida, it was sort of like those two worlds could merge in some way. And that would be really fun.” There is definitely fun to be had in “Panhandle,” a dramedy in which Kirby stars as eccentric amateur detective Bell Prescott. Bell has the deduction skills of a Sherlock Holmes — if Sherlock wore seersucker suits, drank a lot, had a pet alligator, was agoraphobic, set up a crime lab in a barn and talked to his dead wife. Bell crosses paths with sarcastic traffic cop Cammie Lorde (Tiana Okoye) — who’s in fact the only cop left in Boggsville, Fla., after budget cuts — when a body turns up on the estate he shares with his widowed mother (former “Cinderella” Lesley Ann Warren). Bell and Cammie make a bargain: he’ll help her flex her detective muscles on other unsolved crimes and she’ll help him try to find his wife’s killer. The odd couple partnership makes for a delightful TV pairing. Kirby said he was smitten with the character of Bell when he first read the script. “He seemed a little different from things I’m more accustomed to (and) I appreciate the profane, I appreciate silliness. But I also felt, within the story, there was a true beating heart that was pumping real human blood, especially with the community of characters.” Indeed, Bell and Cammie can be quite funny, as can the people around them, but Bell’s mental illness is treated as a serious issue. [...] This is Kirby’s first lead role in a series since the Canadian drama “Crash & Burn” (2009-10), in which he played an insurance investigator. His profile reached new heights after he won an Emmy Award in 2019 for portraying comedian Lenny Bruce in “The Marvelous Mrs. Maisel.” But he’s had plenty of other notable roles, including the gay son of Italian immigrants in movie “Mambo Italiano”; a Hollywood star turned thespian in cult TV comedy “Slings and Arrows”; the other man in Sarah Polley’s film “Take This Waltz”; the lawyer for a wrongfully convicted ex-con in acclaimed drama series “Rectify”; and a hot, rich dad in the “Gossip Girl” reboot. There’s a difference, Kirby acknowledged, in playing a fictional character like Bell and a real person like Lenny, “who was obviously not a contemporary but historically close enough. There’s a lot of recordings and a fair amount of footage that really can inform a sort of specificity of sound and physicality.” But with any character Kirby plays, “I kind of feel I have to — protect sounds too precious because there’s nobody out there trying to, you know, defame my character — but you just sort of hold it tenderly, I guess.” Asked if he feels successful, Kirby said it’s a moving target. “It’s a mercurial business. Even the kind of barometric pressure of the self that you have to contend with playing different things, you’re tracking all of these different lives … with success, it’s probably best to try to assess it as a day-to-day thing. “I like to work,” he said. “And it’s important to work for a multitude of reasons, some very practical, some a little more fanciful, some a little more dreamy … to me, it’s always been ‘Can I get a heartbeat here and can I maintain a heartbeat with a character and with a story?’ “The work itself, the kind of dreamy aspect hasn’t changed, the kind of exploring of imaginary universes: it still just feels like a very lucky thing to get to do.”

#luke kirby #panhandle #bell prescott #with every interview i just love him more 🥺

20 notes · View notes

anxiouspotatorants · 1 year

Note

I've been watching reviews of cheaply done/old horror movies that became cult classics and given how wide Rory and Lorelai's palette of movie knowledge is, I'm obsessed with the idea of Rory and Jess stumbling across these types of horror movies in video stores and try one out for Halloween, only to end up laughing more than being scared because some of these movies are truly horrendously made but really great fodder for being made fun of. I think Jess would possibly hate the giallo genre because many movies of it are all about the gore and style of the film and less about the story (plus many of them were always dubbed in English or redubbed in Italian and it was always in cheap quality, which I think he'd be annoyed by). For Rory I do wonder if she'd come to appreciate old horror classics like The Innocents or Dracula, though the latter also has some bits that are more funny than scary. I think that Jess would def like some of Mel Brooks' work, so they'd probably enjoy watching Young Frankenstein. Also, all four of them huddling together to follow a drinking game based off of an infamous horror movie would be hilarious.

Yes! They'd definitely do marathons based on movements and subgenres. Both Rory and Jess strike me as people who watch horror movies to study them, because they like learning about and understanding new and different things. Horror comedies would definitely be Jess' preferred subgenre, and I see Rory watching Cubrick and Hitchcock and lesser known wavemakers like Ganja and Hess.

And oh my god of course all four of them having movie nights where they get stuffed on snacks or do drinking games for how many tropes they spot!

#I just love the idea of this so much #honestly any headcanon where they spend time together having actual fun is what it's truly about #literati #underdog quartet #rory gilmore #jess mariano #lane kim #paris geller #gilmore girls #my headcanons #other people's headcanons #gilmore girls headcanons

12 notes · View notes

crustswamp · 1 year

Text

Italian Cinema Watch List

Open Doors 1990 (Set in Palermo in the 1930s, a judge who is morally against the death penalty is confronted with the case of a man who has murdered his wife and two colleagues in cold blood)

The Stolen Children 1992 (11-year-old Rosetta and 9-year old Luciano live with their mother in the housing projects of Milan. Internal migrants from Sicily, they face prejudice in their adopted city. TW for CSA)

Lamerica 1994 (The film Lamerica is a story of two men caught up in the startup of a scam shoe company. The main characters Gino and Spiro go on an adventure of misfortune)

The Star Maker 1995 (In 1953, Joe Morelli is traveling rural Sicily, offering to take screen tests of wannabe actors for a fee. He claims to work for big Roman film studios, but in reality he is a fraud. He meets several people who express their deepest feelings and secrets in front of the camera. At one of his stops he meets a young girl, Beata, a convent girl who becomes attached to him despite his protestations)

The First Beautiful Thing 2010 (family saga from 1970s to present through a series of flashabcks)

The Great Beauty 2013 (award-winning art film)

Human Capital 2013 (On Christmas Eve, a waiter cycling home from working at a prestigious private school gala is hit by a car. The driver flees, leaving the waiter lying in the street badly injured. The waiter is hospitalized and close to death. The next day, two well-known families' lives are connected by the incident.)

Il Vedovo (The Widower) 1959 commedia all'italiana Dark comedy about a fascist man trying to kill his wife for fortune and failing in a tragicomedic way)

Everybody Go Home 1960 (The film is set during the Allied invasion of Italy in 1943. It is one of the most famous films of the Commedia all'italiana genre)

Adua and Her Friends 1960 (The movie is about four prostitutes who start a restaurant after their brothel is shut down by the Merlin law, which made brothels illegal in Italy)

Divorce Italian Style 1961 (dark comedy film, that the american version with Dick Van Dyck is based off of)

Il sorpasso 1962 (cult comedy It is considered Risi's masterpiece and one of the best examples of the commedia all'italiana film genre)

March on Rome 1962 (comedy film by Dino Risi aimed at describing the March on Rome of Benito Mussolini's blackshirts from the point of view of two newly recruited, naïve blackshirts, very satirical exploration of fascism)

High Infidelity 1964 (4 segmented stories comedy film)

To Bed or Not to Bed 1963 (Black and white comedy that tells the story of an Italian merchant and his experiences during a visit to Sweden)

The Reunion 1963 (The film is about a group of old friends in Milan, all men in their late thirties, celebrating a chance reunion at a cinema in the suburbs (managed by one of them), and looking for encounters with women)

Se permettete parliamo di donne ( Let's Talk About Women) 1964 (The comedy film consists of nine segments)

Le bambole 1965 (Comedy film in 4 segments that all concern secrets of love and secret lovers)

Casanova 70 1965 (comedy film about a sexually dysfunctional man)

The Birds, the Bees and the Italians 1966 (Anthology sex comedy told in 3 stories)

I complessi 1965 commedia all'italiana anthology film consisting of three episodes

I Knew Her Well 1965 (Adriana is a provincial Italian young woman who moves to Rome because she wants to be a celebrity)

L'armata Brancaleone 1966 (Italian Monty Python Holy Grail-esque absurd historical comedy)

The Libertine 1968 (This is a sex comedy film about Mimi (Catherine Spaak), a young widow who discovers that her recently deceased husband kept a secret apartment for his kinky desires. Frustrated that he did not explore his sexual fantasies with her, she embarks on a quest to understand perversion and sexuality)

#italy #italian cinema #film

2 notes · View notes

lupinedreaming · 1 year

Text

I have discovered something amazingly stupid — Conservapedia, a right wing Christian fundamentalist version of Wikipedia, and its page “Worst Liberal Movies.” I looked through what they have to say about some horror films, and here are my favorite brain dead Conservapedia horror takes from that page:

Alien franchise in general: “This pro-feminist, anti-capitalist film franchise was originated by atheist Ridley Scott. The first film was proven to be alarmingly similar to the 1965 film Planet of the Vampires,[1] but since it fitted the left's agenda, they didn't care and gave it biased reviews anyway. The second film, Aliens, is an anti-Vietnam statement[2]and, just like its predecessor, copies another previous feature (in this case, the 1954 film Them![3]).”

Aliens: “The second film, Aliens, is an anti-Vietnam statement[94] and, just like its predecessor, copies another previous feature (in this case, the 1954 film Them![95]). However, liberal pundits currently denounce it as a pro-war film, and it is to be noted that despite technically pushing anti-Vietnam messaging, it unintentionally ends up being a pro-Vietnam statement at the same time, as the Vietcong stand-in for the film was the titular antagonists, the Xenomorphs, hinting at the Vietcong being depicted negatively. Motherhood is also given a neutral depiction. Although the Xenomorph Queen, who is depicted as embracing her maternal instincts, is depicted in a negative light, the film's protagonist Ellen Ripley was also shown to embrace motherly instincts as well and treated positively for it, acting as a surrogate mother to the orphan Newt and going out of her way to protect and rescue her in the film (most feminists even back then, much less today, tend to demonize the concept of motherhood).”

Night of the Living Dead: “This independent horror abomination by George A. Romero vilifies nuclear energy, as nuclear fallout from an exploding space probe in Earth's atmosphere is said to be the cause of the recently deceased becoming reanimated. In addition, it negatively portrays police officers as racist: a group of officers kills Ben, the African American protagonist, when they mistake him for one of the dead, which Romero intentionally chose to have happen to accuse the police of being behind racial lynchings. Had two sequels , Dawn of the Dead (1978 Italian) and Day of the Dead (1985).”

They Live: “Capitalists are portrayed as evil aliens planning to rule the world. The director John Carpenter also claimed in interviews that the film was anti-Ronald Reagan[31]”

Get Out: “This racist horror comedy-drama follows an African American man who discovers to his shock that his white American girlfriend's parents transplant the brains of white Americans into the bodies of African Americans as if to strip their victims of African American cultural identity. It presents a false dichotomy between black and white culture and discourages American ideals such as interracial and intercultural integration, all while accusing white Americans of wanting to eliminate instead of integrate all racial subcultures in the nation.”

Jennifer’s Body: “This film starring Megan Fox and Amanda Seyfried promotes feminism and glorifies Satanism, and contains a lesbian kiss and them making out. It was a victim of Liberal false advertising that promised audiences it would be anti feminist. Even Chris Pratt, who had a minor role as a police officer couldn’t save the film. It gained a cult following among Liberals and those who believe in the homosexual agenda.”

#horror movies #horror films #horror #I think my favorite line is ‘even Chris Pratt … couldn’t save the film’ lmfao #also it’s so damn funny that they have a beef with the xeno queen’s maternal instincts are portrayed negatively 😂#listen Conservapedia I love her too but it is also objectively true that she is a scary parasite

6 notes · View notes

slpublicity · 2 months

Text

SCREAMBOX March Streaming Line-Up Includes FOLLOWERS, BEING HUMAN, EXIT HUMANITY, ALIEN FROM THE ABYSS

SCREAMBOX has revealed the new films that are joining the horror streaming service in March, including Followers, Being Human, Exit Humanity, and Alien from the Abyss.

Inspired by the success of Alien and The Abyss, Alien from the Abyss has invaded SCREAMBOX. Newly restored in 4K by Severin Films, Charles Napier (The Silent of the Lambs) stars in the 1989 Italian knock-off.

Like You're Next for the influencer generation, SCREAMBOX Exclusive Followers streams on March 12. The home invasion thriller finds a social media influencer in the crosshairs of a relentless dark web cult.

A werewolf, a vampire, and a ghost attempt to coexist in the British supernatural comedy series Being Human. The first season hits SCREAMBOX on March 22, with the remaining four seasons dropping weekly through April 19.

Zombie period piece Exit Humanity bites into SCREAMBOX on March 22. Hailed as "not a movie, but a piece of cinema" by Fangoria, it features genre legends Dee Wallace (Cujo), Bill Moseley (The Devil's Rejects), and Stephen McHattie (Watchmen).

A treasure trove of cheesy creature features stomp onto SCREAMBOX on March 29: Mega Shark vs. Giant Octopus, Mega Shark vs. Crocosaurus, Mega Shark vs. Mecha Shark, 6-Headed Shark Attack, Megaboa, and Mega Ape.

Other March highlights include: the ninth season of Bloody Disgusting's snack-sized horror showcase Bloody Bites; the Toxic Avenger-esque splatterfest Septic Man; post-apocalyptic thriller Night Cries; throwback slasher Pillow Party Massacre; psychological nightmare The Parker Sessions; and campy indie horrors Amityville Death Toilet and Amityville Thanksgiving.

Start screaming now with SCREAMBOX on iOS, Android, Apple TV, Prime Video, Roku, YouTube TV, Samsung, Comcast, Cox, and Screambox.com.

#screambox #horror #followers #being human #bloody disgusting

1 note · View note

dankusner · 2 months

Text

TONY GANIOS

‘Porky’s’ star dead at 64

BY KARU F. DANIELS NEW YORK DAILY NEWS

NEW YORK — Brooklyn-born actor Tony Ganios, known for roles in cult movies such as Porky’s and The Wanderers, has died at the age of 64.

The actor’s fiancee, Amanda Serrano, confirmed Tuesday that Ganios died unexpectedly on Feb. 18 after falling ill days before.

In a social media post, Serrano explained that Ganios “hadn’t felt well” and “hid it” from her for several days. But on Saturday, he was taken to a hospital in New York, where he underwent emergency surgery after doctors discovered he had a “severely infected” spinal cord.

While the operation itself was successful, the ’80s film star reportedly went into cardiac arrest while en route to dialysis the following day, Serrano told TMZ.

“The last words we said to each other were ‘I love you,’” she wrote in an emotional Twitter post early Tuesday morning, accompanying a throwback photo of Ganios from his Hollywood heyday. “Love is an understatement. You are everything to me. My heart, my soul and my best friend.”

Ganios and Serrano had reportedly been together for at least nine years and were recently planning their wedding.

Born and raised in New York City, Ganios made his professional acting debut in 1979’s Philip Kaufman-helmed film The Wanderers, a coming-of-age drama about Italian teens from the Bronx circa 1963.

He went on to appear in the 1981 comedy Continental Divide starring John Belushi, before hitting his stride with Porky’s later that year.

As the character Anthony “Meat” Tuperello, Ganois became a fan favorite in the teen sex comedy that spawned two sequels — 1983’s Porky’s II: The Next Day and 1985’s Porky’s Revenge.

His other credits included small roles in Die Hard 2 and Ring of the Musketeers, as well as his final role in 1993’s Rising Sun, starring Sean Connery and Wesley Snipes.

0 notes

saipparn · 2 years

Text

Actor Fred Ward dies. He had the right stuff in movies from 'Tremors' to 'The Player

Actor Fred Ward has died, according to his publicist, Ron Hofmann.

The star, who brought gentlemanly gruffness to films that included The Right Stuff, Henry and June and The Player died Sunday, May 8 at the age of 79. No cause of death was given.

Ward brought reservoirs of tenderness to his tough guy roles, and plenty of street credibility. A former boxer, lumberjack and short-order cook who served in the U.S. Air Force, Ward went to acting school and got his start when he moved to Rome as a young man and worked as a mime, then a voice-over actor. That led to a few appearances in TV productions by Italian neorealist pioneer Roberto Rossellini. Ward made his U.S. movie debut as a convict alongside Clint Eastwood in Escape from Alcatraz in 1979.

"The unique thing about Fred Ward is that you never knew where he was going to pop up, so unpredictable were his career choices," Hofmann wrote in an email. "He could play such diverse characters as Remo Williams, a cop trained by Chiun, Master of Sinanju (Joel Grey) to become an unstoppable assassin in Remo Williams: The Adventure Begins, or Earl Bass, who, alongside Kevin Bacon, battle giant, worm-like monsters hungry for human flesh in 'cult' horror/comedy film, Tremors (1990), or a detective in the indie film Two Small Bodies (1993) directed by underground filmmaker Beth B., or a terrorist planning to blow up the Academy Awards in The Naked Gun 33 1/3: The Final Insult (1994), or the father of the lead character in Jennifer Lopez's revenge thriller Enough (2002)."

0 notes

lostgoonie1980 · 2 years

Photo

88. Caro Diário (Caro diario, 1993), dir. Nanni Moretti

2 notes · View notes

loyal-to-cinema · 3 years

Photo

“Giulietta degli spiriti” (1965) Federico Fellini

15 notes · View notes

clemsfilmdiary · 4 years

Photo

Troll 2 (1990, Claudio Fragasso as Drake Floyd)

1/3/20

3 notes · View notes

boyohazard · 2 years

Text

Book/Movie/Show Recommendations

The Southern Reach Trilogy: if you enjoyed the 2019 movie "Annihilation," you'll definitely enjoy the book it was based on and its sequels "Authority" and "Acceptance." They're quite a bit different from the movie, and obviously the sequels expand on the premise in various ways, but if you enjoyed the surrealist sci-fi horror of the film, then you've gotta read the books.

Psycho Goreman: This movie is just plain fun. It combines 80s-style practical effects with sitcom-style family humor, body horror, and Power Rangers-style action. If you go into this movie expecting to have a fun time while not having to digest super thoughtful themes and concepts, you'll have a grand old time.

Freaked!: Do you like the Bill and Ted movies? Do you like early 90s pop culture references? Do you like comic body horror, practical effects, and gross-out humor? Then watch Alex Winter's directorial debut, Freaked! It's on YouTube for free!

Neuromancer: Are you a big fan of cyberpunk? Then read the novel that started it all! So many fundamental cyberpunk concepts were originated in this book, and it weaves an absolutely fascinating and engaging narrative.

John Dies at the End series: Yes, I'm gonna beg you to read this series until the day I die. Surrealist and Eldritch horror comedy at it's finest. The movie ain't half bad, either.

Doom Patrol: Yes, another thing I will plug until the day I die. An DC/HBO Max show about a group of misfit superheroes. Expect some of the weirdest episode concepts you've ever seen. It's got Matt Bomer and Brendan Fraser in it, and LGBT rep out the wazoo, what are you waiting for?

Trust: Do you like Luca Marinelli? Do you wanna watch him play an evil 70s Italian manslut Mafia member? Yeah you do. Go watch this miniseries fictionalizing the kidnapping of John Paul Getty III. If that doesn't seal the deal for you, it's got Brendan Fraser in it!

The Ear, the Eye, and the Arm: Yes, it's technically a YA novel, but don't let that turn you off. This Afrofuturistic novel is set in 2170s Zimbabwe, where the children of a powerful general are kidnapped and it's up to a trio of detective brothers with mutant abilities to rescue them. Still waiting for it to be adapted into a streaming miniseries starring Michael B Jordan and Willow Smith. Nextflix/Hulu/HBO/Amazon Prime, where you at?

Snowpiercer: One of the few Bong Joon-Ho movies to be originally written and performed in English, this movie based on French novel is about the occupants of a train that contains all of the surviving humans after climate change causes the Earth to become an uninhabitable deep freezer. Expect a lot of the same themes about class disparity as his much more famous film, "Parasite"

Mad Max: Fury Road: Tom Hardy. Charlize Theron. Amazing stunts and practical effects. Themes of cult mentality, patriarchy, female liberation, resource scarcity, and found family all set against a backdrop of souped-up cars, suicidal devotees, fanatical warlords, and loud guitar music in a post-apocalyptic desert wasteland.

Watership Down: You know that animated film with the rabbits that scarred you horribly as a small child? Read the novel it was based on!

Prospect: A retro-futuristic Space Western with Pedro Pascal as one of the main characters. Go watch it if you're a fan of Firefly and/or Cowboy Bebop.

Attack the Block: John Boyega's film debut, before he got fucked over by Disney/Lucasfilm. Sci-fi horror comedy about an alien invasion in a tower block in London. Themes about class disparity, especially about how poor children in the urban UK are immediately assumed to be dangerous criminals.

97 notes · View notes

grigori77 · 3 years

Text

Summer 2021′s Movies - My Top Ten Favourite Films (Part 1)

The Runners-Up:

20. LUCA – I’ll admit I really wasn’t sold on Disney/Pixar’s coming-of-age fantasy comedy, which revolves around a pair of young sea monsters living off the coast of the 1950s Italian Riviera, who discover they can assume human form when they dry out and go on land on a quest of discovery. Thankfully the strong reviews convinced me to give it a chance – this is a frothy and irreverent romp through an exotically nostalgic world filled with Vespas, pasta-eating contests and found families that’s fun for kids of all ages.

19. FAST & FURIOUS 9 – the high concept action franchise may be bursting under the ever-increasing weight of its own ludicrousness, but it’s still TONS of fun, packed with stunning over-the-top action, colourful globe-trotting and a loveable bunch of misfits we’ve grown incredibly fond of over the past TWENTY YEARS. This time Dom (the irrepressible Vin Diesel) and the team are up against ruthless hi-tech mercenary Jakob (John Cena), a lethal jack-of-all-trades with a dark connection to the Toretto name.

18. REMINISCENCE – Westworld co-creator Lisa Joy’s attempt to make it on the big screen looks set to go down as one of the biggest cinematic flops of 2021, which is a shame because the feature-debuting writer-director has crafted a genuinely fascinating speculative sci-fi noir detective thriller. Set in a darkly dystopian future in which Global Warming has caused the sea levels to rise and society to start breaking down, it tells the story of Nick Bannister (Hugh Jackman), a former soldier who ekes out a living using revolutionary tech to help the idle rich relive their fondest memories, until a life-changing mystery from his own past resurfaces, threatening to tear his whole world apart. Frustratingly, it looks like most audiences are going to bypass this, which is a criminal loss.

17. FREE GUY – after a seven year hiatus, Night at the Museum director Shawn Levy returns to the big screen in fine form with this deliriously inventive fantastical comedy adventure about Guy (a typically on-fire Ryan Reynolds), an NPC in an anarchic, Grand Theft Auto style MMORPG called Free City who discovers his own sentience after falling in love with Millie (Killing Eve’s Jodie Comer), a player with a hidden agenda that puts them both at odds with the game’s nefarious creator, Antwan (a thoroughly hilarious Taika Waititi).

16. EVANGELION 3.0 + 1.01: THRICE UPON A TIME – visionary anime creator Hideaki Anno brings his long-running sci-fi saga to a close with this fourth instalment to his wildly ambitious cinematic “Rebuild” of cult TV series Neon Genesis Evangelion. It’s as frothy, melodramatic and bonkers as ever, packed full of weighty themes and crazy ideas, while the animation maintains this series’ ridiculously high levels of quality and the action is as explosive as ever, and Hideaki brings the whole mad mess to a climax that’s as rich, powerful and thoroughly befuddling as the saga deserves.

15. THOSE WHO WISH ME DEAD – Sicario writer Taylor Sheridan returns to the director’s chair (after impressive debut Wind River) with this intense and enthralling suspense thriller adapted by bestselling author Michael Koryta (along with Sheridan and Blood Diamond’s Charles Leavitt) from his own acclaimed novel. Angelina Jolie is (ahem) fiery but fallible as haunted smokejumper Hanna Faber, whose PTSD drives her to protect a desperate boy (Finn Little) who’s being hunted through the wilds of Montana by a pair of relentless assassins (Aidan Gillen and Nicholas Hoult).

14. CRUELLA – far from the clunky cash-in retcon many were predicting, Disney’s ambitious black comedy crime caper does a thoroughly admirable job in delivering this fascinating and deeply compelling reimagining of the story of rogue fashion designer Cruella de Vil (one of the best performances I’ve ever seen Emma Stone deliver, hands down), the dastardly villainess of 101 Dalmatians. She’s certainly far more complex here, no longer a raging monster, but far from a whitewashed PC apologist, either, much more of a morally grey antihero with a very wicked dark side – then again, with I, Tonya director Craig Gillespie at the helm it’s not really a surprise. Richly designed and dripping in spectacularly adventurous period detail, this is an divine romp from start to finish.

13. THE GREEN KNIGHT – the latest feature from writer director David Lowery (Ain’t Them Bodies Saits, Pete’s Dragon, The Old Man & the Gun) is as offbeat and unusual as you’d expect from a visionary filmmaker with such a wildly varied CV. Adapting the fantastical chivalric romance Sir Gawain & the Green Knight, he’s crafted what’s surely destined to be remembered as the year’s STRANGEST film, but it’s a work of aching beauty and introspective imagination that sears itself into the memory and rewards the viewer’s patience despite its leisurely pace. Dev Patel is unbearably sexy and wonderfully complex as Gawain, while Sean Harris delivers show-stopping support with stately charisma and world-weary integrity as King Arthur. This film is sure to divide opinions as well as audiences, but I think it’s a bona fide masterpiece that must be seen to be believed.

12. CANDYMAN – after watching this wildly imaginative and frequently gut-wrenching soft-reboot/sequel to Bernard Rose’s acclaimed adaptation of Clive Barker’s short story The Forbidden, I feel supremely confident about emerging writer-director Nia DaCosta’s coming MCU breakout with The Marvels. Wisely papering over the clunky previous sequels, this streamlined trailblazing deep dive into the pure horror of the legend of the righteously mad spectral killer haunting the Chicago housing ghetto of Cabrini-Green sees a daring modern artist (Aquaman’s Yahya Abdul-Mateen II) find his latest project turning into a dangerously self-destructive obsession. Writer-producer Jordan Peele’s fingerprints are all over this, but DaCosta clearly shows signs that she’s going to be a hell of a talent to watch in the future.

11. THE WITCHER: NIGHTMARE OF THE WOLF – I wouldn’t normally shout about an animated spinoff to a TV series like this, but I was SO INSANELY IMPRESSED with this brilliant prequel to Netflix’ popular fantasy show (which clearly intends to lay some origin story groundwork for the impending second season) that I just can’t help myself. Recounting the backstory of Geralt of Rivia’s own Witcher mentor Vesemir, this beautifully expands on the already compelling universe the series has created, as well as delivering some breath-taking thrills and chills through some of the most exquisite cell animation I’ve ever seen outside of the greats of anime. A must-see for Witcher fans, then, but one I’d also highly recommend to anyone who likes their animation a bit more grown-up and edgy.

#movies 2021 #luca #disney luca #fast & furious 9 #reminiscence #reminiscence movie #free guy #evangelion thrice upon a time #rebuild of evangelion 4 #those who wish me dead #those who wish me dead movie #cruella #cruella movie #the green knight #the green knight movie #candyman #candyman 2021 #the witcher nightmare of the wolf #awesome sauce

19 notes · View notes