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blessmycottonsocks

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Quite an eye-opener! Thankfully, the largest wind farms are offshore (and I'm in the Hampshire area, pretty well bereft of wind farms).
According to Wiki "The total offshore wind power capacity installed in the United Kingdom as of February 2019 is 8,183 MW, the largest in the world. The United Kingdom became the world leader of offshore wind power generation in October 2008 when it overtook Denmark.[50] In 2013 the 175-turbine London Arraywind farm, located off the Kent coast became the largest offshore wind farm in the world; this was surpassed in 2018 by the Walney 3 Extension."

If more movies like "Turbines" latch onto the theme of potential adverse effects though, then public opposition to wind farm developments near residential areas could grow.

https://www.britflicks.com/blog/pos...Igor-Breakenbacks-Australian-Horror-TURBINES/
 

brownmane

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Quite an eye-opener! Thankfully, the largest wind farms are offshore (and I'm in the Hampshire area, pretty well bereft of wind farms).
According to Wiki "The total offshore wind power capacity installed in the United Kingdom as of February 2019 is 8,183 MW, the largest in the world. The United Kingdom became the world leader of offshore wind power generation in October 2008 when it overtook Denmark.[50] In 2013 the 175-turbine London Arraywind farm, located off the Kent coast became the largest offshore wind farm in the world; this was surpassed in 2018 by the Walney 3 Extension."

If more movies like "Turbines" latch onto the theme of potential adverse effects though, then public opposition to wind farm developments near residential areas could grow.

https://www.britflicks.com/blog/pos...Igor-Breakenbacks-Australian-Horror-TURBINES/
We already have that happening in Ontario
 
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Bedeviled: Another APP horror Film but this one is more reminiscent of A.M.I. rather than Countdown. A girl is frightened to death by the manifestation of an app she has downloaded, Mr Bedevil, which appears as an evil leering ventriloquist's Dummy (think Tony Blair). Her friends then get an invite from her phone to download this app, which they do even though they know she's dead! Teenagers! Life becomes Hell for them as Mr Bedevil insults them and then moves on to making them see the dead, we get a Ring type ghost, basically anything they are scared of. Ordinary people even take on aspects of Mr Bedevil, his app icon appears on their bodies. There is little humour in this film apart from attacks by a teddy bear but even then the laughter will die in your throat. A few good jump scares but nothing extraordinary or innovative. Written and Directed by the Yang Brothers. 6/10. On Netflix.
 
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Trash Fire: a Black Comedy which morphs into Horror. Owen is subject to seizures and suffers from depression, he blames himself for a fire which resulted in the death of his parents and his sister suffering burns on 80% of her body. His relationship with his partner Isabel is on the slide and his own juvenile attitude doesn't help. Isabel becomes pregnant and persuades Owen to re-establish contact with his grandmother and sister. Isabel then sets off with Owen to meet the family. This is a tale of strained relationships, of toxic families, of judgmental "Christians". Isabel's brother and Owens grandmother are both sanctimonious sociopaths, completely devoid of empathy and compassion. Some very dark scenes occur when the film flips over into horror, plenty of red herrings also thrown in (as well as a snake). The humour never reaches the laugh out loud level but it is constant. Expect to be disturbed, this odd film will not be to everyone's taste. Writer/Director Richard Bates Jr delivers a solid Horror Comedy. 7/10. On Netflix.
 
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The Void: A motley crew come under siege in a semi-derelict hospital. It is surrounded by cultists dressed in white robes with black triangles on their hoods, they stab anyone who try to escape but inside the hospital things get even worse as the dead rise and transform into strange monsters. Elements of Hellraiser, The Thing, Rosemary's Baby and The Mist combine to create a film which has it's own Lovecraftian horrors. Necromancy, a mad doctor, reanimation, a fight with a monster under flickering lights, people stabbed, shot, wounded and then burned to death. eaten alive by monsters. Not a film for the squeamish or fainthearted. Written and directed by Steven Kostanski and Jeremy Gillespie. 7/10. Showing again on the Horror Channel: Saturday 11th January at 12.40 AM
 
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Humanoids from the Deep: Films like this got Doug McClure mocked as Troy McClure in The Simpsons. Strange things happen at a fishing village in California. Dogs and people get eaten by strange creatures. These fishfolk even mate with humans! There is also a subplot about racism towards Amerindians. Oh and a fish canning company has carried out "scientific" experiments in the area. Some shocks and a few scenes which might have been disturbing but the monsters in the rubber suits make them rather humorous instead. It's hokum but watchable hokum. It even has Roger Corman as an executive producer. 6/10 (for laughs).
 

GNC

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The Humanoids director Barbara Peeters complained Corman had added the rapes to her film without her knowledge. He denied it and said they were always in the script. Makes it more difficult to enjoy, assuming you enjoy monster rapists.
 
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The Humanoids director Barbara Peeters complained Corman had added the rapes to her film without her knowledge. He denied it and said they were always in the script. Makes it more difficult to enjoy, assuming you enjoy monster rapists.
I doubt if any sane person would take those scenes seriously, guys in risible rubber suits wrestling with bikini models.
 
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Hollow Man 2000: Still solid after all those years. An updated version of The Invisible Man which strays into horror territory. Kevin Bacon is the hubristic scientist who tries out a treatment on himself. Trapped in the invisible state he goes crazy as his worse qualities come to the fore. Some savage scenes and shocks. Truly a mad scientist at work. 7/10. Showing again on the Horror Channel on Friday 24th January - 12.35 AM.
 
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I think it fits in here.

Parasite: A con-artist family preys on an upper-class couple and their children. That's the bare bones of this film but it is a multi-layered black comedy thriller which heaps the satire on with a trowel but never falters as the brilliant script and direction by Bong Joon-ho keeps things going at a brisk canter. A tale of class war as the condescension shown to the servants is all too obvious, there is a line which must never be crossed by the hired help. The way the Kim family inveigle their way into the wealthy Park's home is a joy to observe. First the son as an English tutor then the daughter as an art therapist followed by the father and mother as chauffeur and housekeeper, the existing servants just cast aside. Something odd then happens which would be a spoiler if revealed but it alters the tone of the film. Things proceed towards a dark climax which ventures into the area of quotidian horror. Another masterpiece by Bong Joon-ho which he (partially) based on his own experiences as a maths tutor to the son of a well off family. 9/10.
 
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The Turning: Not at all as bad as some critics suggest but not a a particularly good film either. Perhaps too many jump shocks, some of which are inserted for no discernible purpose as they don't advance the narrative. It's the non-supernatural which work best, an angry horse and a trapdoor spider. MacKenzie Davis is good as the new governess Kate and it's not really her fault that the script makes her ignore all of the warnings. Even a Terminator would have difficulties with the children, Brooklynn Prince as Flora cuts the heads off dolls and takes advice from a special doll; Finn Wolfhard is Miles, a truculent teen, he likes spiders and knows what Kate dreams about and has a friend who lives in a mirror. Barbara Marten is the creepy housekeeper, Mrs Grose. The house itself is rambling but less so than the screenplay. This is a just about watchable horror film with a confusing ending or perhaps two endings. Directed by Floria Sigismondi from a script by Carey and chad Hayes, adapted from The Turn Of The Screw by Henry James. 5/10.
 

Jim

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"The Other Side of the Door" an interesting horror movie. A family moves into a new home. Their son explores the nearby woods and finds a weird little boxy structure which is thoroughly chained up. The wife gets word of it and thinks the door to the structure is an antique and decides to remove it, refinish it and install it in their new home. Lets just say a very bad move. The door is the gateway to an entity that has been taking children for decades. A Shaman is called in. I'll leave the rest to those interested in seeing it.
 

blessmycottonsocks

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Watched the 2019 remake of Cronenberg's "Rabid" last night.
Make-up and other special effects have obviously advanced a fair bit since 1977 and the body horror elements are suitably disgusting.
Worth a look and the whole contagion premise is particularly topical at present.
Great mixture of classical and rock music on the soundtrack too.
 

GNC

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Love the Soska Sisters in theory, but I don't think they've reached their full potential yet. I did read disappointing views on their Rabid remake, particularly how it looked as if their budget was far too low for their ambitions, but maybe I should make up my own mind and give it a try. It can't be as bad as that Dean Cain thriller they made, can it?
 
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The Grudge (2020): More of an inbetweenquel than a reboot, set around and at 90 degrees to the The Grudge and it's sequels. 2004,The Grudge is brought to the US from Japan by Fiona Landers, she murders her family and The Grudge takes residence in their home. The film unfolds in a non-linear manner with several story-lines, ending up in a confused hodge-podge. 2006, Detective Muldoon (Andrea Riseborough) moves to a new town, with her partner Detective Goodman (Demian Bicher) she investigates a decaying body found in a car in the woods. It is linked to the Landers address, there Muldoon finds another body and a crazed woman. Flashbacks then ensue which confuse rather than provide exposition. Too many jump scares, some work, some are laughable others npt even that. There are some disturbing scenes though. The best scenes involve Muldoon Goodman and his (now deranged) ex-partner Wilson (William Sadler) which show this had the potential to be a good film if some of the jaded/derivative sub plots had been dropped. Written and directed by Nicolas Pesce, it's just about watchable but wait until it turns up on TV. 5/10.
 
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The Lighthouse: Filmed in a monochrome which produces many shades of grey as does the film itself. The cameras and film stock are of the type used in the early 20th century which results in an aged looking print. At times the island is drenched in sun and a sparkling black and white results but more often it is the grey of rain and storms while the indoors are dark, small sections barely lit by lamps. But it is the lighting of the faces which result in the opening of the terror, the senior keeper Willem Dafoe's visage seeming deranged as he tells his tall tales before it twists with manic rage as he abuses and orders Robert Pattinson about. Pattinson's countenance is at first meek, then resentful and gradually anger builds. Dafoe ranges from the comical like the Captain from The Simpsons to frightening Shakespearian soliloquys.

Though Cinematographer Jarin Blaschke does a great job it is Director Robert Eggers set up of shots which make this film, an eye staring through a hole in the shingles, the ship disappearing into the fog, tentacles wrapping around Pattison, a stand off with a seagull. Pattinson's feud with a seagull is central to the development of the narrative. As is his exploitation by Dafoe, he ends up doing all of the back breaking manual work, stoking the furnaces, hauling coal in all weather, while Dafoe tends the lamp.

A tale of madness due to isolation, alcohol abuse, being stranded by a storm; as well as a building sense of resentment on the part of Pattinson. But is Pattinson a reliable narrator, or is Dafoe really gaslighting him? Pattinson also has visions of a Mermaid she eventually seems to actually appear and they make love. Elements of a quandry or what is real and what is imaginary emerge just as they did in Eggers' The Witch. A masterpiece of psychological horror which is leavened with disturbing scenes and some extreme violence. Co-written by Robert and Max Eggers. 9/10.
 

brownmane

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The Grudge (2020): More of an inbetweenquel than a reboot, set around and at 90 degrees to the The Grudge and it's sequels. 2004,The Grudge is brought to the US from Japan by Fiona Landers, she murders her family and The Grudge takes residence in their home. The film unfolds in a non-linear manner with several story-lines, ending up in a confused hodge-podge. 2006, Detective Muldoon (Andrea Riseborough) moves to a new town, with her partner Detective Goodman (Demian Bicher) she investigates a decaying body found in a car in the woods. It is linked to the Landers address, there Muldoon finds another body and a crazed woman. Flashbacks then ensue which confuse rather than provide exposition. Too many jump scares, some work, some are laughable others npt even that. There are some disturbing scenes though. The best scenes involve Muldoon Goodman and his (now deranged) ex-partner Wilson (William Sadler) which show this had the potential to be a good film if some of the jaded/derivative sub plots had been dropped. Written and directed by Nicolas Pesce, it's just about watchable but wait until it turns up on TV. 5/10.
I have difficulty understanding the Japanese "grudge"theme. As with many different cultures' folklore and beliefs and languages, the ideas are not easily translated (for want of a better word) to English. As I understand the word "grudge" is the closest English word to the Japanese word, but the symbolic meaning is not.

Some of Asian folklore stories speak of hungry ghosts and I think that this may be part of what "The Grudge" movies are trying to convey. But an Anglicized version of an Asian folklore theme often misses the mark quite a bit.

I watched both "The Ring" and "Ringu". Ringu is by far the better movie and makes much more sense than the American version.

I am interested in what water symbolizes in Asian folklore. Most of the Asian horror movies (I have only seen ones released in North America) that I've seen always have water as a theme - either dripping, leaking pipes, constant rain, waves etc.
 

skinny

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I am interested in what water symbolizes in Asian folklore. Most of the Asian horror movies (I have only seen ones released in North America) that I've seen always have water as a theme - either dripping, leaking pipes, constant rain, waves etc.
Japan has the island thing of course, along with the tsunami, but yeah it's there in a lot of mainland work too. Water has always had a huge influence even in the earliest stories, such as Gilgamesh and Noah. The animist response to water as an uncontrollable force is everywhere in cultures throughout time and space. The ancient Sumerians even worshiped Enkidu as the god of the waters. It's our defining element, in a way. So little wonder, I guess.
I watched both "The Ring" and "Ringu". Ringu is by far the better movie and makes much more sense than the American version.
100%
 

brownmane

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Japan has the island thing of course, along with the tsunami, but yeah it's there in a lot of mainland work too. Water has always had a huge influence even in the earliest stories, such as Gilgamesh and Noah. The animist response to water as an uncontrollable force is everywhere in cultures
The part that I am missing when watching an Asian horror movie is what is the underlying fear/horror that the water symbolizes? It does not inspire fear nor dread in me because I don't understand the symbolism. I feel that my enjoyment of the story is limited because of this.
 
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Underwater: Far better than some critics suggest if a tad derivative, this is a good Horror/SF film. Deep underwater there is constant pressure on those in Kepler Station, physical, mental and then that of 6.7 miles of water itself. As Norah (Kristen Stewart) is musing on life water drops on her head, then doors explode as a seemingly an earthquake strikes. She reaches safety along with others but at cost of sealing off some to die behind bulkheads. In the control room Captain Lucien (Vincent Cassel) informs them that all escape pods are gone, their only hope is to don pressure suits and walk through station corridors and along the seabed to possible safety at another facility.

And so the trek begins, one fraught with danger of crashing elevators, jammed hatches, failing pressure suits. The inevitable happens as a suit is breached and an implosion occurs, resulting in terrifying gore. But there are also more exotic threats to be faced, strange creatures ranging from young Alien types to huge monsters of The Cthuhlu variety attack. Convincing in design these provide some good jump shocks. The corridors and control room/facilities do give a feel of the Alien films, especially the retro look of some of the instruments. Good acting from Stewart and Cassel along with the maintained tension of the underwater journey keeps the interest going. Not particularly original but Director William Eubank (working from a script by Brian Duffield and Adam Cozad) delivers an entertaining horror thriller. 7/0.
 
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The Lost Boys: Still great fun and a treat to see it in the cinema again, it needs a big screen. Such a great mixture of sharp comedy and genuine horror. Great kills by the vampires as they swoop from above, ripping cartops off, carrying their victims away. Hilarity at the problem od being a newly made vampire when you wake up on the ceiling The Lost Boys' lair in a wrecked resort has Munster and Jim Morrison posters on the wall and the comic bookstore brothers are superb. I'd forgotten how good this is. 9/10.
 

tuco

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I love this film, bought the dvd in a charity shop last year and watched it for the first time in 20 years, still fresh, and the frog brother characters are just perfect. So sad what happened to the two Coreys in real life.
 
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Polaroid: A bit like the recent possessed APPs films but this time it's an old Polaroid camera. It turns up in boxes, in garage sales, each time claiming new victims. If a snapshot is taken of you then you're doomed. You'll be dragged up into an attic, thrown down basement stairs, neck broken, head turned around Exorcist style. Don't try and burn the photos or those in them will burst into flames ala Spontaneous Human Combustion! Average teen horror film which delivers a few thrills and shocks. Directed by Lars Klevberg (based on his short film Polaroid) wityh the screenplay by Blair Butler. 6/10. On Netflix.
 
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Nightbreed, I like the creature designs and the fact the monsters aren't evil - though many of the humans are but the themes aren't really explored and it all feels a little by the numbers and simultaneously rough around the edges. I don't expect everything to be explained but would have liked a little more about both the psychiatrist's and protagonist's connection to Midian.
 
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