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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A surprisingly deep movie that's labeled as a comedy that involves dog-napping and mobsters? Martin McDonagh could have one of the only real comedies that thrill your brain with more than stupid humor that I have seen in years now, and it's appreciated on every front and only emphasized by the pure amount of fun that surrounds the characters.
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Ever wonder where calling out points for pedestrians came from? Surely most of us as young little punks who didn't know any better at one point or another blurted something stupid like "Oh, that one's worth 20 points!" without ever realizing that what we were doing was actually a movie reference. Ah, yes, but in Paul Bartel's Death Race 2000, it's not just a stupid kid thing to say, its an actual totally legit scoring method, where women's rights activists will be glad to know that they are always worth 10 points more . The real question is, how does this little cult classic feel when watched almost 40 years later by someone who just happened to have seen remakes or never heard of it at all? Keep reading, or listening, and let me fill you in.
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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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