Nowe recenzje - Progresywni użytkownicy
Prince of Darkness is essentially John Carpenter's Lovecraftian variation on his second film, Assault on Precinct 13. This time the characters are besieged by an ambient threat in a church instead of a police station. And while Assault was a modern version of Howard Hawks's western Rio Bravo, Prince of Darkness pays homage not only to Lovecraft but also to screenwriter Nigel Kneale, particularly his film Quatermass and the Pit. In both films, scientists discover an alien object underground that has a psychic effect on humans. Here, a group of scientists investigate an ancient canister containing a liquid alien life form discovered in the basement of a church. The film combines elements of science fiction and horror with religious themes and theories of quantum physics (which Carpenter was fascinated with at the time) in a novel way, blurring the lines between science and spirituality. One of the main characters declares: "while order DOES exist in the universe, it is not at all what we had in mind!" Good and evil are linked here with the concept of matter and antimatter, and Satan is described by the local science team as an "antigod", a cosmic force of extraterrestrial origin, a rather unusual idea. The whole film is a masterclass in building atmosphere and anticipation of impending doom, but unfortunately fails to hold the viewer's attention throughout. It tries to scare us largely intellectually and create a sense of existential dread, but after a while it gets a little boring with lengthy monotonous scenes in which a group of bland characters just stare at computer monitors and brood over what's going on. Every time something dramatic happens, the film manages to dazzle with cheesy but imaginative effects that defy the laws of Newtonian physics, but then reverts back to dry dialogue. For me, the weakest part of Carpenter's apocalyptic trilogy, but a must for fans of the director.
Wackier and more humorous than the previous films in Carpenter's loose apocalyptic trilogy (The Thing and Prince of Darkness), but more nihilistic, cynical and pessimistic. In the Mouth of Madness is an homage to H.P. Lovecraft and his tales of cosmic horror. Lovecraft often relied on a banned book as a source of unspeakable evil, and here, reading the books of a horror writer so popular that his fans profess their own "religion" induces a murderous frenzy in readers, and with it a Lovecraftian invasion of monsters. Carpenter, however, conceived this film as a meta-horror, revealing the mechanisms behind the creative process and the fan devotion that can dangerously consume you. Fiction and reality intertwine, and evil grows as people lose the ability to tell the difference between reality and fantasy. The creator of the artwork eventually takes over the world. In doing so, Carpenter subtly mocks conservative debates that reading books or watching movies can lead to violent behavior. Indeed, the entire story is deliberately absurd and ambivalent (told from the perspective of a mental patient). Sam Neill is said to have approached his role of an extremely cynical and contemptuous anti-hero as a comedic one. On the other hand, this is one of the few films that manages to bring the Lovecraftian cosmic horror of something beyond us to the screen, even if it is not an adaptation of any of Lovecraft's works. In the Mouth of Madness is one of Carpenter's most underrated, visually striking and narratively complex films, and along with the similarly self-reflexive Wes Craven's New Nightmare from the same year, it preceded the later wave of postmodern horror films kick-started by Scream.
I felt like I was watching an "old" Japanese Godzilla movie made with new technology, so I think the purpose was served. A serious-minded story with interesting characters (which is probably the biggest difference from the current American MonsterVerse) that, like all of Japan, went from pre-war crisis to post-war crisis. All of that is naturally blended with wonderfully and deliberately dumbed-down ideas, such as the plan to destroy Godzilla, that I couldn't help but be excited. The digital Godzilla looks like a man in a rubber suit, and when he starts the demolition work and the Ifukube's theme music plays, it's really something. If I were 100% objective, I might give it one less star. But I don't want to.
I've tried two seasons. Not bad, but unfortunately nothing for me. Dracula, demons, undead and the horror atmosphere are pretty good, and when it comes to action, blood is not spared, but unfortunately there is not much of it. Rather, the series focuses on the story and characters and I don't care that much about them. If it was in CGI animation, I would probably be more satisfied. More die-hard anime fans will be excited, though. 6/10.
A fun and thrilling romp from France set in one place (a huge nightclub) and a chase is for a bag full of coke. The film is well paced, the visuals are rather average, but that will be due to its age, the characters are likeable, and the fights are presented quite realistically, although there is no outright violence or rawness. It could have had an interesting twist or more substantial action, but it's fun. 6/10.
What a beauty! The animation easily surpasses Disney and Pixar combined. At times I felt like jumping into the TV and seeing everything up close. The scenery, the setting and the images are truly impressive. The action is also good, with giant Snakes instead of dragons and foxes, and it looks spectacular. I'm blown away, I enjoyed it. The only thing that bothers me a bit about Chinese animation is the lack of humour, but the other attributes make up for it beautifully. 8/10.
Ha, this is a blast!! The main character gets new pills from the doctor and starts seeing monsters (read Lovecraft). Are they hallucinations or are they really among us? Excellent psycho with perfect gore and an interesting twist. Filmed wonderfully, nothing to fault here. Really good. 8/10.
Uninteresting, not very ambitious, and actually quite useless. The Retreat is saved from being rubbish thanks to its quite decent camera work and relatively fine visuals. It’s nice that it that it doesn’t look like cheap crap from a clearance bin, but horror fans won't find anything interesting. The film focuses on an unlikeable lesbian couple who go on a relaxing getaway to have a nice weekend, only to encounter a group of militant assholes who have the desire to murder them. The central duo is unlikeable and I didn't actually care about their fate. The villains are not offensive, but there’s nothing extraordinary, the gore is mostly off-camera although they showed at least two scenes at the end when there was nothing else. There can't be any talk of tension or atmosphere, it's not entertaining either, and nothing really attractive or interesting happens there most of the time. Everything was done somewhere else and several times better, but thanks to its 80-minute runtime, it can be survived with one viewing. 4/10.
Unfuckingbelievable things comes true and I'm excited like never before! Since World War Z and Train to Busan, there hasn't been a more epic zombie flick, and if someone can't appreciate it, they're an ungrateful cold swine and have become my number one enemy! Zack Snyder evolves zombies into intelligent, fast, and organized bad ass assholes, and I swallowed it all up and sold myself to him like a €20 prostitute at a train station. Zack Snyder gets completely unleashed chains with a pumped-up opening, undoubtedly the best zombie opening in the history of cinema, followed by an entertaining introduction to the characters and the recruiting of the team members. No character is superfluous and the viewer cares about each of them. Matthias Schweighöfer may not be another Kano, but he handles the humor cleverly, the zombie make-up effects are amazing, the action is uncompromising and grand. Zack Snyder takes gore to the next level, and there may not have been a bigger carnage in horror since Evil Dead. I also have to praise the music and the occasionally unpleasant atmosphere (walking among hibernating zombies is downright beautifully horrifying, and I was reminded of Silent Hill). The fight with the tiger is the best animal attack since The Revenant! And the finale crushes balls like nothing in a long time, I was literally experiencing heart attack states. There are also plenty of interesting and innovative ideas here like zombie animals, intelligent zombies that know martial-arts, hibernating zombies, a zombie heist, pregnant zombies, and the traps in front of the vault. Of course, according to local ratings, people naively expected twists like in Game of Thrones and cry over how stupid, action-packed, brutal, and stylish it is. Well, I would prefer to lock them up in a pen among other sheep so they can watch another drama, preferably about a black lesbian, a woman of the 21st century, a vegan, a superior feminist, an influencer visiting Starbucks and swiping on Tinder in the evenings, with a son addicted to drugs and facing murder charges. Oh, that would surely be a more fulfilling experience. Hopefully, another great zombie film will come out in another six years. If Father 2 comes out before the sequel to this, I will vomit fire. 10/10.
I liked the second part the most. The animation doesn't completely take your breath away, but the setting of the castle with monsters and the humour work (with lots of horror references that I enjoyed). It’s very entertaining and the story is also fine. Decent. 8/10.
TORTURE/GORE PORN!! Twisted madness from Germany! Only for a marginal, extreme, and hardened audience! A completely unhinged Olaf Ittenbach tries to create a story about the afterlife, where the female lead is trapped in an allegory of torture and bloody slaughter to find enlightenment. The protagonist is full frontal naked for almost 80% of the film and goes through various levels (red, blue, green), where she witnesses the suffering of people around her to find her true values and learn a lesson for what she has done! The excessive and over the top gore is served here to such an extent that it will make weaker individuals feel sick. Blood flows in abundance, with limbs, male genitalia, and pieces of skin literally torn apart in great detail, it's truly unbelievable!! In one sequence, the horror resembles a perverted German porn flick, which soon turns into a brutal splatter fest! There are things I have never seen anywhere else, and those who enjoy proper uncompromising butchery will be buzzing with delight! In the end, there is even a small surprise, and it all somewhat makes sense. Definitely a decent underground affair! Olaf at its best! 7/10.
Alone at home with ghosts, or another boring cheap crap that critics overhyped! I really don't know which horror film pissed me off more this year, but Djinn can shake hands with The Vigil and The Night because all three seem equally boring, uninteresting, and pointless to me. The protagonist is a little boy who is mute, asthmatic, has a huge scar on his chest, and oddly enough, he's not autistic or in a wheelchair so that the viewer can empathize with him even more. I was hoping it would be a variation of Wishmaster, but there’s no interesting wish-fulfillment or tasks, you can forget about that straight away. The main character performs a spell from a book and wishes to regain his voice, but that summons a supernatural entity to his house and he must survive an hour with it for the spell to come true. The Djinn can take on the form of different people, so there's either disgusting black CGI smoke, which I hate, or it haunts as an ordinary guy like the father of the ain protagonist! There was even a female presence, but overall it's crap. There is almost no dialogue, not even a single jump scare! Of course, there's no gore, no body count, the plot is pointless, the atmosphere is sterile, and there's no entertainment. Last year's Come Play is really two levels above this, and if you didn't like that one, then don't waste your time with this one at all. Even with a short running time of 80 minutes, it felt like the film just didn't want to end. 3/10.