An incredibly interesting story told well. Well paced does not drag out the romantic entanglement to the point of distraction from the overall scenario and covers a pretty brutal subject at a very brutal time in Chile's history. Tap dances around the gravest issues which is why I don't rate it higher but the performances are believable and the artistic license taken by the filmakers does not entirely kill the plot.
Gotta say it looks really hokey from that trailer - basically a 3 minute montage of horror cliches: psychic twins, lost in a forest, bad things happen, something's behind you, picture break-up, yada yada yada. I suspect the only way you'd enjoy this is if you'd never seen a horror movie before
Gotta say it looks really hokey from that trailer - basically a 3 minute montage of horror cliches: psychic twins, lost in a forest, bad things happen, something's behind you, picture break-up, yada yada yada. I suspect the only way you'd enjoy this is if you'd never seen a horror movie before
I'm guessing there is a Japanese movie about the place? I need to find it. But yes, it's a cookie-cut movie by the rule book, which does work for the youngens.
Come to think about it much of the modern day horror movies are very boring. They are doing what they have always done, but media with live video of real life has moved on and created media which is more powerful.
There is no answer for the genre, it can get more graphic but that only goes so far. It needs to get back to basics and reinvestgate how it used to work using atmosphere, and good writing, maybe?
I'm guessing there is a Japanese movie about the place? I need to find it. But yes, it's a cookie-cut movie by the rule book, which does work for the youngens.
Come to think about it much of the modern day horror movies are very boring. They are doing what they have always done, but media with live video of real life has moved on and created media which is more powerful.
There is no answer for the genre, it can get more graphic but that only goes so far. It needs to get back to basics and reinvestgate how it used to work using atmosphere, and good writing, maybe?
Good writing is key IMO - it doesn't have to be mega original, just a little bit more intelligent than trotting out the same old tropes with no imagination. I don't think the genre is in crisis though - I go to Fright Fest every year and out of 25 films, all premiers, I'd say there are always at least half a dozen really good films (some of which get distribution, some don't).
It's been this way for a long time - not just in horror but other genres too: you get the safe cookie cutter blockbusters and then you get more imaginative fare at the margins. I'm pretty sure it wasn't always this way though. There was a time when the bigger budget horror films were actually good. Going back to the 80s - The Shining, Hellraiser, Nightmare On Elm Street to name just a few. It's a long time since I saw a mainstream release in the genre that was up there. Instead you get hopelessly derivative stuff like The Pact, The Conjuring and now, apparently, The Forest.
Good writing is key IMO - it doesn't have to be mega original, just a little bit more intelligent than trotting out the same old tropes with no imagination. I don't think the genre is in crisis though - I go to Fright Fest every year and out of 25 films, all premiers, I'd say there are always at least half a dozen really good films (some of which get distribution, some don't).
It's been this way for a long time - not just in horror but other genres too: you get the safe cookie cutter blockbusters and then you get more imaginative fare at the margins. I'm pretty sure it wasn't always this way though. There was a time when the bigger budget horror films were actually good. Going back to the 80s - The Shining, Hellraiser, Nightmare On Elm Street to name just a few. It's a long time since I saw a mainstream release in the genre that was up there. Instead you get hopelessly derivative stuff like The Pact, The Conjuring and now, apparently, The Forest.
Good writing is key IMO - it doesn't have to be mega original, just a little bit more intelligent than trotting out the same old tropes with no imagination. I don't think the genre is in crisis though - I go to Fright Fest every year and out of 25 films, all premiers, I'd say there are always at least half a dozen really good films (some of which get distribution, some don't).
It's been this way for a long time - not just in horror but other genres too: you get the safe cookie cutter blockbusters and then you get more imaginative fare at the margins. I'm pretty sure it wasn't always this way though. There was a time when the bigger budget horror films were actually good. Going back to the 80s - The Shining, Hellraiser, Nightmare On Elm Street to name just a few. It's a long time since I saw a mainstream release in the genre that was up there. Instead you get hopelessly derivative stuff like The Pact, The Conjuring and now, apparently, The Forest.
We may not see a movie about the place homemade as the Japanese seem to be a little shy about bringing any dark personal themes based on history or reality to light?
They seem to always save face in the media from what I gather. Part of my issue too is I'm a little desensitized. Seeing young relatives around getting spooked by the simplest of tricks reminds you, the genre can keep it standard and win.
Just someone like me who has seen it all, does not get tricked or scared that easy but keeps looking at the genre. Anymore I'm more into the novelty of older movies and still amazed at the left field of them all. It seems the genre could end up being a vehicle for any crazy idea, that could not find a home anywhere else in culture. Then there is the world icons like Coffin Joe, who were just deranged showmen who were able to put some money together and make their dreams/nightmares come true.
Interesting. I'm guessing the film had no international release at all given that it was out over 3 years ago and is still awaiting 5 ratings! I guess we only get to see a fraction of Japan's output every year in the West. Miike Takashi is one of the better known contemporary directors and I'm pretty sure half of his (huge) filmography has only ever been released domestically.
We may not see a movie about the place homemade as the Japanese seem to be a little shy about bringing any dark personal themes based on history or reality to light?
They seem to always save face in the media from what I gather. Part of my issue to is I'm a little desensitized. See young relatives around getting spooked by the simplest of tricks reminds you, the genre can keep it standard and win. Just someone like me who has seen it all, keeps looking. Anymore I'm more into the novelty of older movies and still amazed at the left field of them all. It seems the genre could end up being a vehicle for any crazy idea, that could not find a home anywhere else in culture. Then there is the world icons like Coffin Joe, who were just deranged showmen who were able to scape some money together and make their dreams/nightmares come true.
Yeah, right on with that sentiment - I think you're spot on.
On the Japanese thing, perhaps it takes an outsider to tackle these things head on. Has anyone seen Mark Cousins's Atomic yet? I'd be interested to hear any thoughts on it. There are plenty of recent Japanese films I've seen where the crisis of identity is dealt with, but usually in quite an oblique way - thinking of films like Blue Spring, Suicide Club, Visitor Q. In fact I'd say it's something of an obsession for a lot of contemporary Japanese directors.
Interesting. I'm guessing the film had no international release at all given that it was out over 3 years ago and is still awaiting 5 ratings! I guess we only get to see a fraction of Japan's output every year in the West. Miike Takashi is one of the better known contemporary directors and I'm pretty sure half of his (huge) filmography has only ever been released domestically.
Yeah, right on with that sentiment - I think you're spot on.
On the Japanese thing, perhaps it takes an outsider to tackle these things head on. Has anyone seen Mark Cousins's Atomic yet? I'd be interested to hear any thoughts on it. There are plenty of recent Japanese films I've seen where the crisis of identity is dealt with, but usually in quite an oblique way - thinking of films like Blue Spring, Suicide Club, Visitor Q. In fact I'd say it's something of an obsession for a lot of contemporary Japanese directors.
Isn't just that Hollywood are so quick on the draw when ripping off J-Horror that it seems simultaneous?
Ju-On still predates The Grudge (US version) by a good 5 years. There were several different versions of that film even in Japan! As a TV movie in '98, then Ju-On: The Curse + Ju-On The Curse 2 were V Cinema releases before Ju-On: The Grudge - a kind of amalgam of the two - came out as a feature film, swiftly followed by the American remake.
Isn't just that Hollywood are so quick on the draw when ripping off J-Horror that it seems simultaneous? Ju-On still predates The Grudge (US version) by a good 5 years. There were several different versions of that film even in Japan! As a TV movie in '98, then Ju-On: The Curse + Ju-On The Curse 2 were V Cinema releases before Ju-On: The Grudge - a kind of amalgam of the two - came out as a feature film, swiftly followed by the American remake.
Interesting. I'm guessing the film had no international release at all given that it was out over 3 years ago and is still awaiting 5 ratings! I guess we only get to see a fraction of Japan's output every year in the West. Miike Takashi is one of the better known contemporary directors and I'm pretty sure half of his (huge) filmography has only ever been released domestically.
Yeah, right on with that sentiment - I think you're spot on.
On the Japanese thing, perhaps it takes an outsider to tackle these things head on. Has anyone seen Mark Cousins's Atomic yet? I'd be interested to hear any thoughts on it. There are plenty of recent Japanese films I've seen where the crisis of identity is dealt with, but usually in quite an oblique way - thinking of films like Blue Spring, Suicide Club, Visitor Q. In fact I'd say it's something of an obsession for a lot of contemporary Japanese directors.
More than likely it never made it out of Asia. Same goes for literature. Yukikaze sold like hotcakes among the Scifi crowd and yet the authors other works go untranslated and unpublished outside of Japan. I am hoping someday for fan translations to become more prevalent and perhaps that might force the studios and publishers to up their game.
I read a lot of first hand accounts of the two nuclear bombings and they were really horrific (one young girl describing a group of soldiers leading each other hand in hand along a wall as there eyes had melted still haunts the devil out of me.) I tend to stay away from the visual mediums there.
The duality/crises of identity is present all through the literature and manga and anime of present day Japan. Ajin being the latest attempt in anime with Mayoiga running possibly in the class currently. A lot of social science types work through that to try and understand what is going on there. A lot of theories rely on the two bombings as being a major CULTURAL upheaval trigger (remember the opening sequence and song from Paranoia Agent). Coupled with the long American occupation and still dependance on the U.S. for defence. Japan has traditionally identified itself from within by era's with the Showa period lasting longest from 1926 through to 1989, unprecedented in Japanese history. Traumatic would be the understatement of all time there as going from feudal rule to totalitarianism, to first and only occupation of Japan by a foreign power, renunciation of Hirohitos birthright as a divine entity, subsequent economic rise to power on the world stage and now seeing what was envisioned by Japan as the East Asia Co Prosperity Sphere (largely their reason for going to war) emerge with not Japan but China at the reigns. This on top of prior to Hirohito in the First World War, Japan was an ally, their destruction of the Russian Fleet before it could fall into Red hands and tying down of Red troops during the revolution was instrumental to allied success. The British were more than happy to cede parts of China to Japan in order to eliminate German influence there and "granted" Japan rights to any German colonial holdings they captured while eliminating the German Navy from the Pacific. Then afterward the game changed and tensions with America increased over who was going to rape China best, resulting in all the former allies kicking Japan to the curb.
Enter the Mao, and everything got cocked up. Now Japan the conquered, becomes essentially an aircraft carrier for America to fight in Korea and then Vietnam (both areas they occupied previously) fighting Chinese and Russian communism by proxy which, in the memory of those who survived the Second World War would have never been an issue it they had been left in charge.
Well that's bound to eff a body up a little.
It would be like being removed from your parents on a farm and sent study at a monastery that supports /practices crusade type religious zeal.only to have that burned down by foreign invaders who did not want to be converted, who tell you everything they taught you there was a lie, then train you to solder well and design circuits only to have you found something like Sony and become a billionaire. Then when your kids are in their teens they start buying all the cheap new electronics that competes with you from some country your monastery had previously crusaded against and converted. Just how would one raise their kids and what on earth would you tell them?
A landmark of Sci-Fi and a pretty remarkable film to come out of Britain in 1936; you have to give Wells credit for predicting the outbreak of WW2 here (although maybe not so much its duration!) as well as the conquest of the stars. There are some spectacular set pieces, especially given the age of this film, but also some sequences that seem to drag somewhat. The best is saved for 2036, with a streamlined, neo-classical vision of the future, recalling Plato as a blueprint for a kind of functioning version of the UN. I wish there was more of that; comparatively too long is spent in the post-war "dark ages" where high melodrama is the order of the day and the direction feels a little flat.
Like 2001, Things To Come is as much a meditation on human history as it is its future - Wells (who adapted the screenplay from his own novel) pits science against war, reason against tribalism and shows how man is chained by his colonial instinct to endless cycles of progress and atavism. The dialogue is none too subtle but Massey et al really throw themselves into their parts and the end result is still stirring and thought-provoking, especially in the last act as it builds to a crescendo with the firing of the 'Space Gun' - a foreshadowing of both the shuttle launch and man's nuclear future.
How was the print quality on that? The last I saw it was ages ago and it was like watching the film through an aquarium. I had heard all the original negatives were lost and that it could never be restored. Did that change?
How was the print quality on that? The last I saw it was ages ago and it was like watching the film through an aquarium. I had heard all the original negatives were lost and that it could never be restored. Did that change?
Not sure - I watched this one on YouTube. Some of the uploads seem worse than others though whether that's down to the original print on the upload quality I couldn't say; first one I tried looked pretty aquatic yeah, but this one was watchable. Maybe should have gone for YT's pay-per-view version but I'm a cheapskate
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Ju-On still predates The Grudge (US version) by a good 5 years. There were several different versions of that film even in Japan! As a TV movie in '98, then Ju-On: The Curse + Ju-On The Curse 2 were V Cinema releases before Ju-On: The Grudge - a kind of amalgam of the two - came out as a feature film, swiftly followed by the American remake.
