I remember seeing this as a kid, and that I thought it was pretty scary at the time. Now rather grown up, I return to my childhood to see just what I was thinking - and let me tell you what, it's a lot more humorous than I recall. Heck, I can even feel for the ever-hungry little balls of fur, being a guy who's constantly on the look for some lunch myself - of course, I don't eat the entire cow in one sitting.
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To most of us in this day and age, Dracula is a tale as old as time that we all have seen in at least one of its various forms. Probably most known of the various takes is the Bram Stoker's 1992 edition with Gary Oldman, but of all the actor's to have ever played the famous character it is probably none other than Bela Lugosi who a lot of folks see as the Dracula (especially the older crowd who were raised on the old Universal Horror flicks). Imagine my excitement over getting to see a classic such as this using my already existing Netflix streaming subscription - without even having to look for it manually, as it was kind enough to place it in my "Recommended for you" section. The real question, I suppose, that anyone who hasn't been raised on the classics is probably asking is how does it hold up, so I'll stop blathering on here and get to the point.
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People really like remaking old movies. This is a very dangerous line (remakes), as on the one hand you can draw people that loved the old one - but on the other, you risk being hated for every single thing you changed. It's been seen on numerous occasions - how people reacted to other movies such as the new Superman or Total Recall wasn't as positive as I'm sure the makers had hoped. Sometimes it feels as though it was just done to cash in on the name, and everything else was just tossed out the window. So, with a bit of trepidation I proceeded forth to watch this new Fright Night (not in 3D).
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I love being pleasantly surprised by movies, and I admit that this one did a wonderful job. It was kind of like ordering a cheese pizza, and finding out that you got some bread sticks extra for free - you've got what you want, and something that you like as a bonus. In this particular case, I got what I thought was going to be a ghost story, and got a bit of a compelling depth made to hit people "in the feels" so to speak. Yes, the audio is in Chinese (we'll get that right out of the way now), but as long as you can bear to read a little, you'll probably want to hear what I have to say about this one.
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Many a movie about possessions has been born since the days of The Exorcist, but not all of them ended up being...well... good. This one thankfully doesn't follow the path of the ones worse for wear, but it does leave a few questions to be asked. Little kids and creepy voices, moths and violent behavior, all mushed into a rated pg 13 film. How effective is it really? Read on.
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Similar in spirit to films like Shaun of the Dead or Tucker and Dale, this guy has a quirky premise that I think a lot of folks feel fails to deliver on (judging by the Netflix reviews). I've never heard of it until it showed up on the new additions list, and considering the last movie I saw with Robrt Englund in it as a side part was Jack Brooks (which I thoroughly enjoyed), I figured let's roll with it and see how it is. Animal lovers beware - although shown violence against pets is rather limited, the implication that most all the furry cast becomes mole meals is pretty straight forward.
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It's
that time of the year when everything starts getting spooky, so what
better way to usher in the month of October than with a movie that's
more comedic than it is terrifying? That's right, prices aren't the
only thing to be getting slashed - Jason Voorhees returns in what is
(at the time of this writing) the final of the Jason movies (also
known to this point as the Friday the 13th series). I tell
you what, having finished my quest of watching all of these things at
long last, I can totally admit that this is in fact the most amusing
of the movies from an entertainment standpoint, but we'll let you
continue on to figure out why.
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If you happen to be a fan of anime in the more recent years, Funimation is a name you will probably recognize. Granted, this movie is not an anime, but a live action movie that for intents and purposes may as well have been rotoscoped to look like an anime, because it certainly feels like an anime. Of course, it also has vampires, but not your everyday blood suckers either - these seem to be a bit dispelled from to typical "steak in the heart" vampires us westerners are so used to these days. Well, let's just stop beating around the bush and get into it.
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This movie may not be the first of it's kind - heck, werewolf flicks are all over the place in terms or release and quality - but there something this movie has that brings it a charm no others have. Thor, the loveable canine hero of the flick. I had fully intended to watch this with a friend, but had to make sure that there was no doggy harm (as lets face it, body count means nothing in a movie to ninety percent of the human race, but as soon as any animal gets tagged that ninety percent starts burning DvDs in protest). Well, before you go any further, let me just say (to much spoilers) that Thor survives the movie.
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Sometimes, watching a lot of movies like I tend to do, you stumble across some pretty off the wall movies. Imagine me, scrolling through all these different titles, when I come across something named Jack Brooks: Monster Slayer, and see the name Rober Englund attached. Yeah, my interest was piqued. What appeared to be classic suit-based monsters, a hero who's just bursting with rage, and the Nightmare on Elm? Oh yeah, I jumped right in!
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The first movie to introduce many of us to the knockout trio of Edgar Wright, Simon Pegg, and Nick Frost in a great take on the zombie genre with a bit of british flair. Shaun of the Dead creates a goofy spin on the now humdrum zombie film, but without actually changing from those loveable Romero-esque zombies of olden days, instead using it's main cast to bring about the laughs - something it succeeds at. Considering there are zombies in it, and the requisite violence that such a creature would bring to bat, it's not one for everybody but to those who love themselves some of the shuffling flesh-hungry beasts, it's almost certain you have already seen it.
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A surprise of a movie from way back when: a time of bell-bottom jeans, afros, and funk sharing a deadly little secret. There was a lot more thought put into this story then I at first glance would have thought (I kind of figured I was getting into a generic sea critter turned monster flick), and it would no doubt still be right at home on a giant wooden drive-in backdrop. I'm going to need and use some spoiler blocks through this to not spoil the fun little twists in the film though, so just be prepared to actually have to read parts of this if you want the free spoiled-version of the opinion.
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Taking the spirit of Discovery 's Shark Week into heart, I'd like to spin you a cautionary tale of knowledge about a misunderstood creature: B-movies are a much enthused genre of movies for folks looking for all manner of fun - be it stupid and grotesque, or intellectual and unique - but made on a (normally) less-than stellar budget. Over the years, these films have developed their own set of cliches and styles, which is sometimes emulated by producers who have a bit more money to throw at it than others (such as SyFy channel's notorious strings of original movies), while still retaining the low brow humor and fun often associated with them. Many are even made mockingly of more well known of higher budget films. However, in the existence of all these films, one groups stands aside as hands down the worst movies I have ever seen (seriously, they'd be as bad as Uwe Boll if it wasn't for the fact that I think they try to be bad intentionally) - and thy name is Asylum.
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I know, I know, "Another horror movie? I hate horror movies!" Well, this is the last one for a while okay? I promise. Granted, it's not like you all are particularly making any outcries about it. I guess it's fitting at least that the last horror movie I do in a while is a proper 'scary movie' then. Last time, we had a brief chat about how horror is so diverse - well, to classify this one, we are gonna call it a ghost story. When I say ghost story, I don't mean it is entirely to do with ghosts, but more that it feels like the kind of story that you would tell around a campfire to scare the pants off of your fellow campers. You know what though? It would do a pretty good job of it!
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Horror in its own right comes in many forms, and is something that could be debated widely and hotly across countless hours of time. Let us suffice it to say that this movie focuses more on the areas of a psychological horror - one that makes you think and involves much mystery and atmosphere - than it does in other forms of horror. The tagline "Fear is a Place" aptly describes what they aimed for with their form of scare-induction, and now that you are aware of that, let us proceed into the mundane form of me elaborating to you my experiences with Session 9 .
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There's one type of movie that over the years has slowly turned into a different breed from itself, and that's the horror genre. What used to be more psychological or general trickery of the mind to imply horror slowly turned into "whore"er movies where there happens to be more T'n'A then there is actual credible scares (such as most slasher flicks). Of all the monsters out there in the cryptozoological department, the vampire has been far hit the hardest by the modern-day glam machine, going from a tragic blood thirsty creature to a sparkling pretty-boy elven equivalent in the dead-man market, and so it's not surprising that when I want to watch a vampire flick I draw from an older stash.
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In 2004, Paul W.S. Anderson took the proverbial peanut butter and jelly of two sci fi series with long running comics, novels, and even previous incredible movies and gave us a rather mediocre sandwich for our dinning pleasure. Although it wasn't by any means a terrible meal, it left a bit of a peculiar aftertaste in the mouth, one that many would call the salty flavorings of the tears of franchise lovers. We have already been over my opinions of that back here, but the more important topic is that of the sequel soon to be discussed. Is it possible that the Brothers Strause threw off the shackles of bland mediocrity as they did with the PG-13 rating, or did they feebly try and salvage what was left of a situation too scarred by its plainness to make a difference?
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