Horror Movies :: PagalMovies.autos
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I like horror films. Horror movies, even extreme ones, function primarily by scaring us or intriguing us. Consider "Three ... Extremes" recently. "Wolf Creek" is more like the guy at the carnival sideshow who bites off chicken heads. No fun for us, no fun for the guy, no fun for the chicken. In the case of this film, it's fun for the guy.
There is a line and this movie crosses it. I don't know where the line is, but it's way north of "Wolf Creek." There is a role for violence in film, but what the hell is the purpose of this sadistic celebration of pain and cruelty? The theaters are crowded right now with wonderful, thrilling, funny, warm-hearted, dramatic, artistic, inspiring, entertaining movies. If anyone you know says this is the one they want to see, my advice is: Don't know that person no more.
A Cure for Wellness is a 2016 psychological neo-gothic horror film directed by Gore Verbinski and written by Justin Haythe, based on a story co-written by Haythe and Verbinski, who were both inspired by Thomas Mann's 1924 novel The Magic Mountain.[3] Starring Dane DeHaan, Jason Isaacs and Mia Goth, the plot follows a young executive who is sent to retrieve his company's CEO from a mysterious rehabilitation center in the Swiss Alps.
In the United States, 20th Century Fox premiered a 40-second exclusive commercial during the 51st Super Bowl on February 5, 2017, which resembled a medication advertisement.[20] An article in Vulture reviewed the television commercial, which noted: "This spot that aired during the Super Bowl tonight may have tricked you into thinking you were just watching a regular commercial for some terrible new medication, probably not approved by the FDA. But it turned out you were watching a trailer for a new supernatural horror film."[20]
Development for the film began in 2001 when it was announced Summit Entertainment and Newmarket Group teamed to produce Wrong Turn, a 1970s-style horror pic to be directed by Schmidt, while McElroy wrote the script. The film was a co-production between Summit and Constantin Film, with Stan Winston designing the creature effects and serving as a producer.
Wrong Turn was theatrically released in the United States on May 30, 2003, by 20th Century Fox. The film received mixed reviews from critics, who praised its premise, but criticized its script, underdeveloped characters and horror clichés. It grossed over $28 million worldwide against a $12 million budget.
Evan and Francine stay to watch the cars while the others go to find help. Evan disappears after he hears something from the woods, and Francine finds his ear on the ground. As she backs away in horror, barbed wire is forced into her mouth by a mysterious figure, who garrotes her with it. The remaining group find an isolated cabin and go inside to use the phone, horrified to find human body parts in the house. They are forced to hide inside when the occupants return home. Three cannibalistic inbred mountain men Three Finger (real name, Andrei), Saw Tooth (real name, Andu) and One Eye (real name, Tudor) enter the cabin with Francine's corpse and the hiding group watch as her body is dismembered and eaten.
Development for the film began in 2001 when it was announced Summit Entertainment and Newmarket Group teamed to produce Wrong Turn, a 1970s-style horror pic to be directed by Rob Schmidt. Alan McElroy ("Spawn") wrote the script.[7] The movie was a co-production, Summit Entertainment and Constantin Films, with Stan Winston designing the creature effects and serving as a producer.[8] Inking a deal with Fox-based Regency Enterprises, the co-financiers of Wrong Turn secured domestic distribution through Fox.[9] Fox reportedly had trouble securing an R-rating from the MPAA due to the film's intense violence with many of the TV spots for the film also refused approval, this is possibly one of the reasons why subsequent Wrong Turn movies were released straight to video.[10]
A one out of four stars was awarded to the film by Marc Savlov of The Austin Chronicle who wrote "This was already tired stuff when cult fave Sleepaway Camp came out in 1983, and it's downright comatose by now".[17] BBC's Nev Pierce gave the film two out of five,[18] while Anita Gates of The New York Times called it "[a] lazy would-be horror film".[19]
The Babadook is a 2014 Australian psychological horror film written and directed by Jennifer Kent in her directorial debut,[4] and produced by Kristina Ceyton and Kristian Moliere. The film stars Essie Davis, Noah Wiseman, Daniel Henshall, Hayley McElhinney, Barbara West, and Ben Winspear. It is based on Kent's 2005 short film Monster, which follows a single mother who must confront her son's fear of a monster in their home.
The film premiered at the 2014 Sundance Film Festival on 17 January,[5] and was given a limited release in Australian art house cinemas beginning on 22 May 2014, initially failing to become a commercial success in its native country.[6] However, The Babadook generated wider attention internationally, grossing $10 million worldwide against a $2 million budget. The film received critical acclaim and was the best-reviewed horror film of 2014, with critics commending its scares, creature design, story and exploration of grief. It won three of its six nominations at the AACTA Awards, including Best Film. A modern cult film,[7] it maintained following in subsequent years, partly due to becoming an internet meme.
Kent originally wanted to film solely in black-and-white, as she wanted to create a "heightened feel" that is still believable. She was also influenced by pre-1950s B-grade horror films, as they were "very theatrical", in addition to being "visually beautiful and terrifying". Kent later lost interest in the black-and-white idea and worked closely with production designer Alex Holmes and Radek to create a "very cool", "very claustrophobic" interior environment with "meticulously designed" sets.[9][11] The film's final colour scheme was achieved without the use of gels on the camera lenses or any alterations during the post-filming stage.[10] Kent cited filmmakers David Lynch and Roman Polanski as key influences during the filming stage.[12]
Glenn Kenny, writing for RogerEbert.com, called the film "the finest and most genuinely provocative horror movie to emerge in this still very-new century."[42] Dan Schindel from Movie Mezzanine said that "The Babadook is the best genre creature creation since the big black wolf-dog aliens from Attack the Block."[43] In The Guardian, Peter Bradshaw described the film as a "Freudian thriller", giving it 4 out of 5 stars and praised the performances, themes and Kent's direction. Bradshaw said that "Kent exerts a masterly control over this tense situation and the sound design is terrifically good: creating a haunted, insidiously whispery intimacy that never relies on sudden volume hikes for the scares."[44] In Variety, Scott Foundas commended the production design and direction, saying that the film "manages to deliver real, seat-grabbing jolts while also touching on more serious themes of loss, grief and other demons that can not be so easily vanquished".[45]
On 30 November 2014, William Friedkin, director of The Exorcist (1973) stated on his Twitter profile, "Psycho, Alien, Diabolique, and now THE BABADOOK."[46] Friedkin also added, "I've never seen a more terrifying film. It will scare the hell out of you as it did me."[47] Prominent British film critic Mark Kermode named The Babadook his favourite film of 2014[48] and in 2018 listed it his eighth favourite film of the decade.[49] In 2022, Samuel Murrian declared it the "best horror movie so far this century" in Parade.[50]
In subsequent years, The Babadook has been listed as a modern cult film.[51] In The Guardian, Luke Buckmaster listed it as one of the best Australian films of the 2010s.[52] Film scholar Amanda Howell argues that part of the film's critical success can be attributed to many film critics having discussed the film within the context of art-horror rather than purely as a horror film. Howell discussed the film as part of an international cycle of contemporary art-horror films alongside Pan's Labyrinth (2006), Let the Right One In (2008) and Antichrist (2009) that negotiate and blur the boundaries between art and horror.[53]
In October 2016, a Tumblr user joked that the Babadook is openly gay; in December 2016, another Tumblr user posted a viral screenshot showing the movie classified by Netflix as an LGBT film.[62][31] Despite the absence of overt references to LGBT culture in the film, fans and journalists generated interpretations of queer subtext in the film (dubbed "Babadiscourse"[62]) that were often tongue-in-cheek, but occasionally more serious, highlighting the character's dramatic persona, grotesque costume, and chaotic effect within a traditional family structure. In June 2017, The Babadook trended on Twitter and was displayed as a symbol during that year's Pride Month.[63][64] The social media response became so strong that theatres in Los Angeles took the opportunity to hold screenings of the film for charity.[65] Michael Bronski said to the Los Angeles Times: "In this moment, who better than the Babadook to represent not only queer desire, but queer antagonism, queer in-your-faceness, queer queerness?", and drew comparisons to historic connections between queerness and horror fiction such as Frankenstein and Dracula.[66]
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