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allthehorrormovies · 4 years ago

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A+1 - A blend of American Pie and Scream, but surprisingly better than that sounds. Outlining the plot would give away the twist, which tips its hand early on, yet ends in a gratifying manner. 4 out of 5 pumpkins. Make love, not war.

Alien - A friend remarked how this film likely wouldn’t be made today. It’s shot too dark. It’s quiet, purposefully. There’s no action for much of the first half; more a study in isolated labor and worker exploitation. And there’s not a “star,” outside of teenage dreamboat Harry Dean Stanton. Actors like Sir Ian Holm Cuthbert were selected for their ability, not their stature within Hollywood, as production took place in London. As Robert Ebert said, “These are not adventurers, but workers.” We’re lucky it was made, supposedly, in part because the success of Star Wars pushed the studio to quickly release their own space movie. 5 out of 5 pumpkins. Sigourney Weaver is the ultimate Final Girl.

Aliens - The deliberate, slow pace of Alien is replaced by James Cameron’s grandiose action, backed by four times the original budget. Like Terminator 2: Judgment Day, it’s amazing that both films avoid “the disease of more.” Cameron’s characters are too often weighed down by punch-line dialogue, but all the elements together somehow work. Ripley’s character begins to move past being a simple pilot and into a warrior woman, for better and worse. The studio originally tried to write her out of the sequel due to a contract dispute, but Cameron thankfully refused to make the film without her. There are people out there who prefer Aliens to Alien, and that’s fine. They are wrong, but that’s fine. 4 out of 5 pumpkins.

Alien³ - David Fincher has famously disowned his directorial debut, citing studio deadlines for its poor quality. Compared to the first two films, it certainly is a failure. Though gorier, the scenes with the digital alien look terrible upon re-viewing. The various writers and scripts, some potentially interesting—especially William Gibson’s version, and changing cinematographers and the insertion of Fincher late into production doomed the project from the start. All that said, the movie itself isn’t terrible—parts are even good, but what feels like a midway point in Ripley’s saga is ultimately her end, and that feels cheap. 2 out of 5 pumpkins.

Alien: Covenant - The maddening mistakes of Prometheus absent, this sequel is a tense, action-packed killer of a flick. Scott claims a third prequel is in the works that will tie everything back to Alien, which is . . . fine? It’s just that the first film was so great and everything else since then seems so unnecessary. 3 out of 5 pumpkins.

Alien Resurrection - The aliens look better than ever before, but Joss Whedon’s dialogue is simply annoying and the casting is horrible. Ripley has super powers and kills her large adult alien son. Winona Ryder decides crashing a space ship into Paris, killing untold millions, is the best way to get rid of the aliens for some reason. It’s fucking dumb and cost $70 million to make. 1 out of 5 pumpkins. In the special edition intro, director Jean-Pierre Jeunet says he didn’t change much in the re-release because he was proud of the theatrical version. Baffling.

Amer - This Belgian-French film is a tribute to the Italian tradition of giallo, a stylized, thriller told in three sections that directors like Suspiria’s Dario Argento pioneered. Mostly wordless, there’s not much plot, more a series of moments in a women’s life revolving around terrifying, sexual moments that ends in murder and madness. There are some terrific scenes, but it’s more of an art piece than movie. 3 out of 5 pumpkins.

An American Werewolf in London - Funny and scary all at once, setting the bar almost impossibly high for all that followed. Rick Baker's special effects catapult this movie into greatness. 5 out of 5 pumpkins. Ebert was right, though; it doesn’t really have an ending.

Annihilation - Perhaps more of a sci-fi thriller than a horror movie. But due to some terrifying monsters scenes, I’m going to include it. Apparently writer/director Alex Garland wrote the screenplay after reading the first book in Jeff VanderMeer’s Southern Reach trilogy, giving the movie a different overall plot. Garland’s sleek style that made Ex Machina so wonderful is replaced by “The Shimmer,” which gives the film a strange glow. The ending relies too much on digital special effects that looked more gruesome in earlier segments, detracting from its intended impact. Still, a few key scenes, especially the mutated bear, are downright terror-inducing. 4 out of 5 pumpkins. I first found the constant flashbacks unnecessary, but viewed as a refraction on Portman’s mind as well as her body make them more forgiving.

The Babadook - Creepy and nearly a perfect haunted horror movie, except for some final tense moments that too quickly try to switch to sentimental, which leaves their earnestness falling flat. 4 out of 5 pumpkins. Dook. Dook. Dook.

The Babysitter (2017) - One of Netflix’s original movies, this one pays off in gore and borrows heavily from Scott Pilgrim vs. the World-style jokes. 3 out of 5 pumpkins. Meh. It’s cheesy and cliché, but whaddaya gonna do?

Backcountry - Don’t be fooled thinking this is like Jaws “but with a bear,” as I did. Unsympathetic characters and zero tension make this movie a drag to watch. At the start, you think, “Who cares if these assholes get eaten by a bear? They wandered into bear country without a map.” By the end, you’re actively cheering for the bear to eat the boyfriend and only a little sympathetic for the lead character. 1 out of 5 pumpkins. To her credit, Missy Peregrym does a fine job of being a mostly lone protagonist.

Basket Case - Cult director Frank Henenlotter‘s debut starts as a creepy, bloody horror movie, but staggers after showing the monster too soon and then tries to fill time with unnecessary backstory and extended scenes of screams and blood that would have otherwise been eerily good if executed more subtly. Despite not being very good, it’s at least somewhat interesting and kind of impressive considering its low budget. 2 out of 5 pumpkins.

Battle Royal - I’m not convinced this is a horror movie, it’s more just a gory action flick. But hey, oh well. 3 out of 5 pumpkins. Fun, but not as great as many people seem to believe.

The Beyond - Considered one of Lucio Fulci’s greatest films, it might be a bit disappointing to newcomers of his work. Certainly the style and impressive gore are at their highest, but the muddled plot and poor dubbing distract from the overall effect. Fabio Frizzi‘s score is, for the most part, a great addition, however, certain key moments have an almost circus-like tone, which dampens what should be fear-inducing scenes. It’s easy to see why some fans absolutely love this movie while some critics absolutely hate it. In the end, it’ll please hardcore horror fans, but likely bore others. 3 out of 5 pumpkins.

Beyond the Gates - Two estranged brothers are sucked into an all-too-real game of survival after finding a mysterious VHS board game following the disappearance of their father. The plot is fun and original, but the lead actors aren’t all that engaging and the special effects look rather outdated for a 2016 release. Still, it’s an enjoyable watch. 3 out of 5 pumpkins.

Black Christmas - A slasher that starts out with potential, but never gets all that scary or gory, though it’s well made. 2 out of 5 pumpkins. Margot Kidder gets a kid drunk.

Black Sheep (2006) - A hilarious, gory take on zombie sheep. 3 out of 5 pumpkins.

Black Sunday - The Mask of Satan (aka Black Sunday) is totally my new superhero/metal band name. If you're a fan of older horror, this one is not-to-miss. 4 out of 5 pumpkins. Vengeance, vampires, Satan worship, castles, curses, and a buxom heroine, this movie is pretty damn dark for a 1960's black & white film.

The Blackcoat’s Daughter - Scores points for a couple of horrific scenes and a fairly good switcheroo, but mostly too slowly paced to capture the viewer’s attention. 3 out of 5 pumpkins. Emma Roberts continues her path to being the modern Scream Queen.

The Birds - Hithcock’s film was, by no means, the first horror movie. German, Japanese, and UK directors had explored witches, demons, and the classic monsters decades earlier. But, The Birds is a landmark film, like Psycho, for pioneering a new wave of modern horror. It was, perhaps, the first time female sexuality and ecological revenge had been combined to create an unsettling tale with an ambiguous ending. And the rather graphic scenes of found corpses, combined with a minimalist score, are nearly as shocking today as when the film was first released. 5 out of 5 pumpkins.

Braindead - It's Bill Pulman and Bill Paxton in a 1980s B-horror; what more do you need? Most people won't enjoy this campy fart of nonsense, but try pulling your TV outside and getting good and drunk. Anything's good then. 2 out of 5 pumpkins. “The universe is just a wet dream."

The Brood - No where near as polished as Scanners or Videodrome, but still a creepy, well-made film. 4 out of 5 pumpkins.

A Bucket of Blood - This black & white 1959 film from Roger Corman is more dark comedy than horror, but it’s a absurdly fun critique of beatnik culture written by Corman’s partner on Little Shop of Horrors. Dick Miller gives a great performance, and with a run time of about an horror, the pacing feels relatively quick for an older film. 3 out of 5 pumpkins.

Byzantium - The tale of two British vampires who live like wandering gypsies, setting up a low-rent brothel in a seaside town despite being immortal badasses because the all-powerful, all-male secret vampire club is trying to kill them, because . . . no girls allowed? It’s unclear. The vampires are of the more modern type—they go out during the day and receive their curse from a geological location than from one another. Still, overall the movie is better than it has to be. 3 out of 5 pumpkins.

Cabin Fever - Eli Roth’s directorial debut isn’t awful, but it certain could have been better considering Roth credits Carpenter’s The Thing as its inspiration. The homophobic jokes date the movie more than the alt-rock soundtrack and the repetitive scenes reminding viewers of how the mysterious disease spreads (at apparently differing rates depending on the character) during the conclusion end up creating a weird kind of plot hole. To his credit, some of the nods to The Thing are OK. 2 out of 5 pumpkins.

Cabin Fever 2: Spring Fever - That Ti West made this pseudo-campy and outright bad movie during the same period that he made The House of the Devil is perplexing. The style, pace, and subtly that make The House of the Devil an enjoyable film are nonexistent in this cash-grab sequel. West apparently hated the final cut and requested his name be removed from the project. That said, I kind of like this movie better than the original. I’ve always found Roth’s praise of his directorial debut to be odd, as it’s not very good. For what it’s worth, this movie isn’t trying to be anything other than what it is: a tasteless, bad horror movie. 2 out of 5 pumpkins. Retcons the plot hole in the first movie, at least.

The Cabin in the Woods - As good of a spoof of the horror genre as one could hope. Stereotypical with an O'Henry twist at every turn, this movie is good for an afternoon viewing, much like Tucker & Dale vs Evil. Without giving much away, if you think about it, The Cabin In the Woods is like a weird PSA about how marijuana will destroy all of mankind. 4 out of 5 pumpkins. Fun and gory with something for everyone.

Candyman - Decades later, it’s not as easy to see why Candyman was such a landmark movie. It’s a bit slow, stumbles in places, and some of the acting is only serviceable. However, the story itself (based on Clive Baker’s original) is—on paper at least—good. Critics at the time were rightfully hesitant to praise a movie simply for having a black villain, especially when his origin is based on racial violence, but Tony Todd’s portrayal is so terrifying it launches the character into one of the all time great horror monsters. Add in Philip Glass’s soundtrack and Candyman reigns among other classics without being a top contender. 3 out of 5 pumpkins.

Carrie - I saw this movie on TV a long time ago, but I had forgotten much of the film, especially the opening scene of slow motion nudity (aren't these girls supposed to be in high school?!). The remake of this movie is likely going to be bad, but the original is so good I'll probably go see it. What can be said? Pig's blood. Fire. Religious indoctrination. Sexual overtones. There's a reason Brain de Palma's version of Steven King's story became so culturally important. 5 out of 5 pumpkins. This movie holds up, even today.

Carrie (2013) - Though nothing is glaringly bad, and the added back-story decently pulled off by Julian Moore as the mother, almost every scene is a shadow of the original. Which is unfortunate considering that the remake of Let The Right One In managed to find a somewhat more unique tone. 2 out of 5 pumpkins. Largely unnecessary.

The Changeling - George C. Scott does a fine job as a mourning husband haunted by an unfamiliar spirit. Not the most exciting movie, but pretty decent. 3 out of 5 pumpkins. It might’ve ranked higher, but there are no half stars here. 

Cheerleader Massacre - This movie looks like someone shot it in their backyard with an earl 90s handheld camcorder . . . in high school. This is just embarrassing, for me too. The actors seem to be exotic dancers or adult film stars, who haven’t been asked back for a shift in a while. Alright, I skipped through this because the quality was so low. At around minute 41 there's a bathtub scene with three naked women, which culminates in one licking chocolate sauce off each other’s breasts. Some people die. Two of the naked women survive, I think. The house they all go to in the beginning of the movie - a ski lodge, I guess - burns down, or doesn't. Whatever. 0 out of 5 pumpkins. Just watch actual porn.

Child’s Play - While only OK, I understand how this became a franchise. Melted Chucky is terrifying. The villain can hop from vessel to vessel, unfortunately through some kind of voodoo racist bullshit. The characters are shallow, but serviceable. For such a big budget movie, it’s weird that it ends so abruptly. 3 out of 5 pumpkins.

Children of the Corn - Damn, this movie is boring. Linda Hamilton does the World's Least Sexy Birthday Striptease. The characters are joking quite a bit having just run over a child, whose dead body is rattling around in the trunk. What was the casting call like for this movie? "Wanted: Ugly children. Must look illiterate." All in all, things turn out pretty good for our protagonists. 2 out of 5 pumpkins. For something that spurred at least five other movies, this was remarkably uninspiring.

City of the Living Dead - The dialogue is awkward and the plot a bit convoluted, but the special effects hold up and the overall story is good. The first of Lucio Fulci’s Gates of Hell trilogy. Apparently when the movie was screened in L.A., Fulci was booed. 3 of 5 pumpkins. Poor Bob the Simple Pervert.

Climax - Gaspar Noé is known for making viewers feel as uncomfortable possible with his experimental style film making. Which is fine. But that discomfort rarely lands to move me outside the initial shock. Climax is, surprisingly, more like a Suspiria remake than the actual 2018 remake. That, however, doesn’t make it good. The really shocking moments aren’t all that shocking and the cultural commentary isn’t very deep. It’s not a bad movie, it’s just, well, unnecessary. The dance scenes are extraordinary, so at least it’s got that going for it. 2 out of 5 pumpkins.

Color Out of Space - An enjoyable, albiet uneven, film that does a lot with little. A head-trip type of home invasion movie that pulls you in. 4 out of 5 pumpkins.

The Conjuring - It’s easy to see why so many people love this movie. It’s well-acted, it has jump-out-of-your-seat scares, and incorporates several classic fear elements. Considering the mediocre, at best, tiredly worn horror movies that slump to torture porn for shock value coming out recently, The Conjuring stands above its peers. Still, there’s nothing original about the movie. 3 out 5 pumpkins.

The Conjuring 2 - Billed as more shocking than the original, this sequel likely lands better in theaters with it’s jump-cut scares and action flick sequences. On the home screen, however, the overly dramatic elements are too far flung to seem like a haunting based on true events. 2 out of 5 pumpkins.

Creep (2014) - Nails the P.O.V. angle without going too far down the overly-used “found footage.” Mark Duplass is terrifying and without his ability to carry the film, the entire concept could have easily fallen flat. 3 out of 5 pumpkins.

Creep 2 - Mark Duplass pleasantly surprises with a sequel that, while not as *ahem* creepy as the first, builds out the world of his serial killer in a manner that is engaging and ends with the potential for more. 3 out of 5 pumpkins.

Crimes of Passion - Technically it’s an “erotic thriller,” but given Ken Russell in the director’s chair and Anthony Perkins as the villain, I’m adding it to this list. Unfortunately, it’s not a great film. Kathleen Turner surpasses over acting in some scenes, and the rest of the cast is pretty forgettable. If the plot revolved around Perkins’s character, it might have been more of a horror flick. Instead revolves around loveless marriage and the fucked up issues of sexuality in America, attempting to say . . . something, but never really making a point. 2 out of 5 pumpkins. Russell has got an obsession with death dildos. I don’t know what to do with that information. Just an observation.

Crimson Peak - Guillermo del Toro is a complicated director. He’s created some truly remarkable films, but has also created some borderline camp. Crimson Peak splits the difference, much in the same way Pacific Rim does. If you’re a deep fan of a particular genre, in this case Victorian-era romance, then the movie can be an enjoyable addition to the category with its own voice. If you’re not, then the movie’s more eye-roll-inducing moments are less a nod to fandom and more of an uninvited addition to what could be a straight forward film. 2 out of 5 pumpkins. Beautiful, but lacking.

Cronos - This del Toro film is a must-see for any fan of his current work. 4 out of 5 pumpkins. Even if you're not usually a fan of foreign films, you'll likely appreciate this modern take on the vampire mythology.

Dagon - To be honest, I feel like I should watch this one again. It’s a bit of a jumbled mess, but there are some wacky, gory moments at the end. Similar in tone and style to Dead and Buried. 2 out of 5 pumpkins. Seriously, like the last 20 minutes cram so much plot it’s just a series of wtf moments until hitting incest and then nothing really matters.

Darling - Well shot in beautiful black and white with an excellence score, Darling really should receive a better score. However, it fails to be more than the sum of its parts. Borrowing liberally from Kubrick’s one-point perspective and Polanski’s Repulsion in nearly every other way, the film is decent, but fumbles in deciding whether to convince the audience of a clear plot, leaving viewers with closure, yet unsatisfied. Still, worth viewing. 3 out of 5 pumpkins.

Daughters of Darkness - A Belgian/French erotic vampire film that isn’t as erotic or vampiric as one might hope. Still, legend Delphine Seyrig shines so brightly, it’s catapults are relatively boring film into near greatness. 3 out of 5 pumpkins.

Dawn of the Dead - The best zombie movie ever made. 5 out of 5 pumpkins.

Day of the Dead - George A. Romero’s end to a near-perfect trilogy isn’t as good as its predecessors, but it’s gorier and somehow more depressing, even with the ending. 4 out of 5 pumpkins.

Dead and Burried - Starts with a bang, but lags in the middle. The ending tries too hard to surprise you, yet, by the time it’s over you kind of don’t care. Surprisingly well acted and good, creepy tale. Might not be everyone’s bag, but if you’re a tried-and-true horror fan, you’ll enjoy the movie. 3 out of 5 pumpkins. Fun fact: The movie was written by Dan O’Bannon, famed for writing Alien. O’Bannon worked with John Carpenter on a short in film school, quit being a computer animator on Star Wars to be a screenwriter, and became broke and homeless after attaching himself to Jodorowsky’s doomed Dune. He later went on to direct The Return of The Living Dead and write Total Recall.

Dead Snow - A Nazi zombie bites off a dude's dick. Do you really need any other details? 3 out of 5 pumpkins. Germans be crazy.

Dead Snow 2: Red vs Dead - Not as good as its predecessor, but still fun. Plus, more children die. 3 out of 5 pumpkins. Why all the gay jokes, though?

Death Bed: The Bed That Eats - OK, my first nit-pick is that the bed doesn’t eat people so much as it dissolves people. But it still makes chewing sounds? Whatever. A bizarre concept that swings for seriousness and utterly fails due to its lack of plot and extremely low budget. Kinda of weird, but ultimately pretty boring. 1 out of 5 pumpkins.

Death Spa - Hilariously bad. Super 80s. I can’t say this is a good film, but I would recommend watching it for the kitsch value. What if a ghost haunted a gym? Instant money maker. 2 out of 5 pumpkins. Fun fact: the project came about due to shepherding from Walter Shenson, who got rich producing A Hard Day’s Night and Help!, and the lead actor, who plays a gym manager, was an actual gym manager in L.A. at the time.

Deathgasm - Imagine if Scott Pilgrim vs. the World was about a New Zealand metal band and not as good, but still pretty OK. 3 out of 5 pumpkins.

Deep Red (aka Profondo Rosso, aka The Hatchet Murders) - Dario Argento’s 1975 film is more polished than 1977′s Suspiria, which is a bit surprising. However, that doesn’t necessarily make it a better film. Where Suspirira’s fever dream colors and superior soundtrack, also by Goblin, shines, Deep Red doesn’t quite land. The camera work here is better, though, as is much of acting. But there’s a lot of let downs, such as the opening psychic bowing out and never really coming up again, the boorish male lead and oddly timed humor, and the final reveal, which is anti-climatic. Still, an overall great horror movie. 4 out of 5 pumpkins.

Def by Tempation - I really enjoyed this film, despite it not being the most skillful directed or the most incredible script. The plot is compelling, the jokes are pretty funny, and the angles and lighting are really well done despite the limited budget. 4 out of 5 pumpkins. Admittedly, Kadeem Hardison nostalgia helps.

Demons - Multiple people recommended this to me, and I can see why considering the Dario Argento connection. Unfortunately, the premise is more exciting than the execution. Poorly acted and poorly dubbed, the gore doesn’t do enough to hold one’s attention. There’s a scene where a guy rides around on a dirt bike killing demons with a samurai sword. At least that happens. 2 out of 5 pumpkins. Is the ticket-taker in on it? She works in the demon theater, right? So, why is she being hunted? Also, where the fuck did the helicopter come from?

The Descent - Some of Earth’s hottest, most fit women embark on a spelunking adventure with a recently traumatized friend. Aside from a couple of lazy devices that put the team in greater peril than necessary, the movie quickly and cleverly puts the cavers into a horrifying survival scenario that few others in the genre have matched. 4 out of 5 pumpkins. Without giving too much away, be sure you get the original, unrated cut before watching this flick.

The Devil’s Backbone - Though del Toro’s debut, Cronos, is more original and imaginative, this is much more honed. Not necessarily frightening, but tense and dreadful through out, laying open the horror war inflicts on all it touches. 4 out of 5 pumpkins.

The Devil’s Candy - More of a serial killer thriller than a horror, but the supernatural elements raise this movie to better-than-average heights. 3 out of 5 pumpkins. The real lesson is this movie is that cops won’t save you, ONLY METAL CAN SAVE YOU!

Don't Be Afraid of the Dark - The biggest upside to this movie is that it was produced by Guillermo del Toro. The biggest downside is that it's not directed by Guillermo del Toro. Still, the director gets credit for making a child the main character; never an easy task. To the little girl's credit, she's a better actor than Katie Holmes, no surprise, and Guy Pierce. 3 out of 5 pumpkins. With a bit more gore and stylistic pauses, this could have been a 4. This movie proves why killing kids is more fun than kids who kill, and also that every male protagonist in every horror movie is dumb dick.

Don’t Look Now - Well-acted and interesting, Nicolas Roeg’s adaptation is a high-water mark of the 1970s premier horror. The only real complaint is that the ending—while good and obviously ties it all together—is nonsensical. 4 out of 5 pumpkins. Donald Sutherland fucks.

Event Horizon - “This ship is fucked.” “Fuck this ship!” “Where we’re going, we don’t need eyes to see.” These are quotes from, and also the plot of, Event Horizon. 2 out of 5 pumpkins. The most disturbing part of the whole production might be Sam Neil’s attempt to be a sexual icon.

The Evil Dead - Though The Shining is the best horror movie ever made, The Evil Dead is my favorite. Funny, creepy, well-shot on a shoestring budget, it's the foundation for most modern horror flicks, more so than Night of the Living Dead in some fashions. See it immediately, if you haven't. 5 out of 5 pumpkins. Bruce fuckin' Campbell.

Evil Dead (2013) - Not entirely bad, and even takes the original plot in more realistic places, like the character having to detox. But is that what we really need? The fun of the original is its low budget, odd humor, and DIY grit. I guess if you really want a “darker” version, it’s this. 2 out of 5 pumpkins. Better than The Texas Chainsaw Massacre remake, about as good as the Carrie remake, I guess.

Evil Dead II - I have to respect Sam Raimi because it’s like he got more budget and did everything possible to try and make this movie suck just as a fuck you to the studio. All the creepy parts of the original are over-the-top, there’s zero character development—just faces on a stage, and it’s seemingly a crash-grab to set up Army of Darkness more than anything else. That said, it’s kind of boring outside of a couple gory scenes. It’s fun, but not that funny. It’s scary, but more gauche than anything. An exercise in excess, yet a decent one somehow. My biggest complaint is that Evil Dead is great with Bruce Campbell, but would have been good with almost anyone; whereas Evil Dead II is only good because it’s Bruce Campbell. 3 out of 5 pumpkins.

Elvira: Mistress of the Dark - This movie is nothing but puns and tit jokes. But clever ones! Pretty okay with that. Or maybe it's a statement on third-wave feminism in spoof form? Probably not. At one point an old people orgy breaks out at a small town morality picnic, but it's a PG-13 movie so it doesn't get very fun. 4 out of 5 pumpkins. Boooooooooobs.

Elvira's Haunted Hills - A pretty disappointing follow-up to what was a fun, 1980s romp. Instead of poking fun at uptight Protestants, Elvira’s just kind of a dick to her servant. 2 out of 5 pumpkins. Even the boob jokes are flat.

The Endless - More sci-fi than horror, and not the most deftly produced, still an original concept that’s pulled off well. 3 out 5 pumpkins. Maybe this should get a higher ranking. It’s good! Not exactly scary, but good.

Equinox - Decided to give another older Criterion Collection film a try. Though there are some clever tricks in the movie, especially for its time -- like an extended cave scene that's just a black screen -- the poor sound, monsters that look children's toys, and general bad acting drag this movie down to nothing but background noise that's easy to ignore. 1 out of 5 pumpkins. Whatever contributions this movie may have made to the industry, its not worth your time unless studying for a film class.

Excision - Less of an outright horror movie and more of a disturbing tale of a young necrophiliac, the film tries its best to summon the agnst of being a teen, but falls short of better takes, like Teeth. Still, pretty good. Traci Lords is great and John Waters plays a priest. 3 out of 5 pumpkins.

The Exorcist - The slow pace and attention to character backstory is more moving than the shocking scenes you've no doubt heard about, even if you haven't seen the film. The pacing is slow compared to most movies today, but the drawn out scenes, like in Rosemary's Baby, help convey the sense of dread. 5 out of 5 pumpkins. Believe.

Eyes Without a Face - One of the more remarkable things about this French 1960′s near-masterpiece is how carefully it walked the line between gore and taboo topics in order to pass European standards. The villain isn’t exactly sympathetic, but carries at least some humanity, giving the story a more realistic, and therefore more frightening quality. The only, only thing that holds this film back is the carnivalesque soundtrack that could have been foreboding. 4 out of 5 pumpkins. A must watch for any horror fan.

The Fly - Cronenberg's fan-favorite film is delightful, though it’s not as great as Scanners or Videodrome, in my humble opinion. Jeff Goldblum is, of course, terrific. If you haven’t seen it, see it! 4 out of 5 pumpkins. Where’d he get the monkey, though? Seems like it’d be hard to just order a monkey. The 80s were wild, man.

The Fog - A rare miss for John Carpenter’s earlier work. There’s nothing outright wrong or bad about this movie, but it’s not particularly scary and the plot is rather slow. That said, it’s soundly directed. 2 out of 5 pumpkins. If you’re a Carpenter fan, it’s still worth watching.

Forbidden World - Another Roger Corman cult classic, this one made immediately after the much larger budget Galaxy of Terror, mostly because Corman had spent so much on the first set (designed by James Cameron) and thought of a way to make another low-budget flick with a much smaller cast and recycled footage from Battle Beyond the Stars. Even more of a complete rip-off of Alien, with some Star Wars and 2001: A Space Odyssey bit sprinkled in. Perhaps because it’s far less serious and revels in its pulp, it’s somehow better than Galaxy of Terror, which is more ambitious—you know, for a Corman b-movie. 3 out of 5 pumpkins. No worm sex scene, though.

Frankenhooker - Frank Henenlotter‘s 1990 black comedy is over-the-top in almost every way, perhaps best encapsulated by the introduction of Super Crack that makes sex workers, and one hamster, explode. But with a title like Frankenhooker, you get what you expect. Hell, it even manages to sneak in an argument for legalizing prostitution. If you’re a fan of zany, exploitation in the vein of Re-Animator, you’ll enjoy it. 3 out of 5 pumpkins.

Friday the 13th - Terrifically balanced between campy and creepy, with a soundtrack that’s twice as good as it needs to be. 4 out of 5 pumpkins. Worth watching every year.

The Frighteners - Michael J. Fox, everyone! Robert Zemeckis & Peter Jackson - ugh. It didn't even take 20 minutes for the racial stereotypes to kick in. Unlike the trope of youth in most horror movies, everyone in this movie looks old. Holy shit, did anyone else remember Frank Busey was in this movie? Michael J. Fox is a bad driver in this movie. He was also in a car accident that gave him supernatural sense. Jokes. Apparently they tried to make it look like this movie was shot in the Midwestern United States, but it was filmed in New Zealand. It's clearly a coastal or water based mountain town, in like dozens of shots. 3 out of 5 pumpkins. Cheesy without being completely campy, it's also family friendly. If this were any other genre, this would likely be a two.

From Beyond - Stewart Gordon’s follow-up to Re-Animator isn’t as fun, even with some impressively gory special effects. Viewers are throw into a story with little regard for character, which doesn’t really matter, but is still a bit of a left down when you find yourself wondering how a BDSM-inclined psychiatrist builds a bomb from scratch. 2 out of 5 pumpkins. It’ll stimulate your pineal gland!

Funny Games (2007) - A fairly straightforward home invasion horror achieves greatness thanks to Michael Haneke‘s apt directing and powerful performances by Naomi Watts and Michael Pitt. Like with Psycho, some of the most horrifying parts are what comes after. 4 out of 5 pumpkins. The fourth wall breaking is an odd touch, but thankfully and surprisingly doesn’t distract.

The Fury - Brian De Palma’s follow-up to Carrie is a major let down. Despite a fairly charismatic Kirk Douglas and score by John Williams, the two-hour run time drags and drags. Attempting to combine horror and an action-thriller, the film waffles between genres without ever rising above either. 1 out of 5 pumpkins. It’s not explicitly bad; just a bore to watch.

Galaxy of Terror - Roger Corman produced this movie as was to try and capitalize off the success of Alien, but even with that shallow motivation it’s better than it needed to be. Staring Erin Moran of Happy Days fame and celebrated actor Ray Walston, Galaxy of Terror has an uneven cast, made all the more puzzling by Sid Haig. Though “the worm sex scene” is likely the reason it achieved cult status, James Cameron’s production is top-notch and was clearly the foundation for his work on Aliens. The ending even hints at the future of Annihilation. Does all this make it a good movie? Not really, but it’s not terrible either. 2 out of 5 pumpkins.

Get Out - A marvelous debut for Jordan Peele, who—given his comedy background—was able to land some downright chilling moments alongside some mostly well-timed jokes. Unfortunately, not all of them as well timed, especially the drop-in moments with the lead character’s TSA buddy. Peele originally had the film end less optimistically, but wanted audiences to ultimately walk away feeling good. Maybe not the most artistic choice, but certainly the smart one given the film’s acclaim. It’s easy to see why Get Out has cemented itself alongside The Stepford Wives as a smart, “in these times” commentary about society, but it’s also just a really well-paced, well-shot, well-acted film. With two other horror projects immediately set, it’ll be exciting to see just how much Peele will add to the genre. 4 out of 5 pumpkins. America’s worst movie critic, Armond White, said Get Out was “an Obama movie for Tarantino fans” as if that was a bad thing. Idiot.

Ginger Snaps - A delightfully playful but still painful reminder of what it was like being a teenager while still being a gore-fest. A must for anyone who was emo. 4 out of 5 pumpkins. Out by sixteen or dead on the scene.

A Girl Walks Home Alone at Night - An almost flawless picture. 5 out of 5 pumpkins. Bonus: nearly everyone in this movie is insanely hot.

Green Room - Surviving a white supremacist rally in the Pacific Northwest is no joke. The region is the unfortunate home to violently racist gangs, clinging to the last shreds of ignorant hate. Though fading, some of the movements mentioned in the movie, like the SHARPs, are grounded in recent history. Mainly a gory survival-flick, the movie sneaks in some surprisingly tone-appropriate humor. 3 out of 5 pumpkins. No one’s island band should be Misfits.

A Ghost Story (2017) - Yes, this isn’t a horror. It’s a drama. Don’t care; including it anyway. It’s unnerving in the way that it makes you consider your own mortality and the lives of the people who you’ve touched, and how all of that won’t last as long as an unfeeling piece of furniture or the wreckage of home soon forgot. 3 out of 5 pumpkins.

Ghostbusters (1984) - “It’s true. This man has no dick.” 4 out of 5 pumpkins.

Halloween (1978) - One of the best openings of any horror film. John Carpenter is a genius. 5 out of 5 pumpkins.

Halloween (2018) - Eh. 3 out of 5 pumpkins.

Hardware - A very unhelpful Marine brings home some post-apocalyptic trash that tries to kill him and his girlfriend, who could absolutely do better than him. Horribly shot and nonsensical, it doesn’t push the boundaries of filth or gore its cult fans adore. 1 out of 5 pumpkins. Do not recommend.

The Haunting (1963) - Not exactly the scariest of movies, but damn well made and just dripping with gay undertones. 4 out of 5 pumpkins. Theo is queen femme daddy and we are all here for it.

Haunting on Fraternity Row - The acting is surprisingly decent, but the supernatural elements don’t even start until halfway into the movie, which begins as a sort of handheld, POV style conceit and then abandons all pretense of that set up. 1 out of 5 pumpkins. Not at all scary, but maybe it will make you nostalgic for frat parties, cocaine, and failed threesomes. So.

The Haunting of Julia - Apparently parents in 1970s Britain didn't receive proper Hymlic maneuver treatment, which perhaps made for an epidemic of dead children. As promising as that premise might be, an hour into this movie and there hasn't been any actual haunting. There's a stylish gay best friend (he owns a furniture store) and a dumb dick of an ex-husband, a scene of library research, mistaken visions, etc. All the standards are here, except for the haunting parts. 2 out of 5 pumpkins. Well shot but absolutely boring, this is more about a woman's struggle with depression than a horror flick.

Head Count - A great premises that falters in key moments, making the sum of its parts less than its promising potential. For example, there’s no reason to show a CGI monster when you’ve already established its a shape-shifter, the scariest part is that they could be anybody! 2 out of 5 pumpkins.

Hellbound: Hellraiser II - I really dislike this movie, not because it’s especially bad, but because it’s a lazy continuation of the first film. Yes, there are a couple of scenes that are squeamishly good, but it spends too much time rehashing the plot of the first and then ending in some grandiose other dimension that has not real impact. Part of the terrifying elements of the first is that the horror is confined to one room in one house. 3 out of 5 pumpkins. It really only gets this many pumpkins because of the mattress scene.

Hellraiser - Truly the stuff nightmares are made of. It’s easy to see why this film became a cult-classic and continues to horrify audiences. That said, the plot is a bit simplistic. Not that the plot is the heart of the film; the objective is for viewers to experience squeamish body mutilation and overall dread, and in that regard it truly delivers. 4 out of 5 pumpkins.

Hereditary - Toni Collette is a treasure in this dramatic horror about family and loss. Though the truly terrifying bits take too long to ramp up, resulting in a jumbled conclusion, the film is engrossing. 4 out of 5 pumpkins.

Hocus Pocus - Admittedly, this movie isn’t very good. But its nostalgic charm and constant virgin jokes earns it a higher ranking that it deserves. 3 out of 5 pumpkins. “Max likes your yabbos. In fact, he loves them.”

Honeymoon - Often described as a modern twist on Rosemary’s Baby, this debut from promising director Leigh Janiak takes its time before getting truly creepy. Though there are some gruesome moments, the tense feeling is bound to the two leads, who are able to keep a lingering sense of dread alive without much else to play off. 3 out of 5 pumpkins.

The Host - I was skeptical of this Korean movie based on the sub-par visual affects, but the script, actors, and cinematography were all much better than expected. A genre-bender, as my friend who recommended it described, you'll laugh, you'll cry, you'll cringe. 4 out of 5 pumpkins. If you're a fan of movies like Slither, you'll love this movie.

Hot Fuzz - Second in Three Flavours Cornetto and probably the worst, but still a great movie that gets better on repeat viewing. 4 out of 5 pumpkins.

House - A part of the Critereon Collection, this 1977 Japanese movie is a trip and a half that follows the untimely demise of some school girls going to visit their friend's aunt, who turns out to be a witch who eats unwed women. One of the girls is named Kung-Fu and spiritually kicks a demon cat painting until blood pours out everywhere. I guess this is kind of a spoiler, but the movie is such a madcap, magna-influenced experiment there's nothing that can really ruin the experience. Like most anime, this movie also ends with an unnecessary song that drags on for far too long. 2 out of 5 pumpkins. I guess this movie influenced a lot of future work, which make sense. Still, most people would consider this a 1 as it's nearly impossible to follow.

The House at the End of the Street - I only decided to watch this movie because Jennifer Lawrence is in it. This isn't even a real horror movie. It's a serial killer movie with a few thriller moments. My standards are low at this point. 2 out of 5 pumpkins. It's a PG-13 movie, so instead of outright showing you some boobs there's just long, awkwardly placed frames of Jennifer Lawrence in a white tank-top. Oh, America.

The House of the Devil - Though an on-the-nose homage to 70s satanic slow-burns, this Ti West feature moves at a decent pace toward the slasher-like ending, making it better than most of movies it pays tribute to. 4 out of 5 pumpkins.

The House on Sorority Row - A cookie-cutter college slasher that ends abruptly for no real reason considering how long it sets up its premise. Nothing awful, but nothing original. 2 out of 5 pumpkins.

Housebound - A fun, Kiwi flick that nicely balances a bit of horror with humor with a strong performance by Morgana O'Reilly. Though the plot takes a couple unnecessary twits towards the end, the gore kicks up and leaves you with a satisfying ending. 3 out of 5 pumpkins.

The Howling - Released the same year as American Werewolf in London, this movie isn’t very good, but it is entertaining. Apparently audiences and critics thought it was funny. Maybe because it makes fun of that Big Sur lifestyle? I dunno. Dick Miller is the best thing in this movie, outside of the special effects. No idea why it spawned several follow ups. 2 out of 5 pumpkins. Honestly, why not just lean into The Gift and join The Colony—nice surroundings, sultry nympho, regeneration ability. Some people can’t appreciate nice things.

Humanoids from the Deep - A cult favorite from the Roger Corman camp that borrows heavily from Creature from the Black Lagoon and a bit from Jaws. Initially very well done by director Barbara Peeters, but ultimately released much to her distaste. Peeters shot grisly murder scenes of the men, but used off camera and shadows to show the creatures raping the women. Corman and the editor didn’t think there was enough campy nudity. So they tapped Jimmy T. Murakami and second unit director James Sbardellati to reshoot those scenes, unknown to the cast, and then spliced the more exploitative elements back in for the final version, including a shower scene where it’s abundantly clear a new, more busty actress stands in for actual character. It’s unfortunate Peeters’ creation was essentially stolen from her, as it could have been a more respected film. I mean, how many horror flicks could weave in the economic struggle of small town bigots against a young native man trying save salmon populations? That said, the cut we got is pervy romp that’s still a boat-load of b-movie fun. 3 out of 5 pumpkins. James Horner on the score.

The Hunger - First off, David fucking Bowie. Not to be outdone, Susan Sarandon and Catherine Deneuve are absolute knock-outs. Horror stories are often rooted in the erotic, often the unknown or shameful aspects of ingrained morality manifested in the grotesque and deadly. When done positively and well, it can be a powerful device. It’s a shame more recent horror movies don’t move beyond the teen-to-college-year characters for their sexual icons, too often used as sacrificial lambs, because mature sexuality can be far more haunting. As we age our connections to the meaning of love grow deeper and more complex; immorality does not offer the same luster. 4 out of 5 pumpkins. Damn impressive for a first major film. Fun fact: Tony Scott wanted to adapt Interview with the Vampire, but MGM gave him The Hunger instead. It bombed and he went back to making commercials. Then Jerry Bruckheimer got him to direct Top Gun, which made $350M.

Hush - Though the masked stranger, home invasion plot is well-worn, this movies provides just enough shifts to keep things interesting and frightening. 4 out of 5 pumpkins. Watch out, Hot John!

I Am the Pretty Thing that Lives in the House - With only an hour and a half run time, this film still drags. Part of that is deliberate. The foundation of the film is its atmosphere and the lingering uneasiness that it wishes audiences to dwell in. But by the end, you’re left with nothing more than a simple, sad story. It’s similar to the feeling of overpaying for a nice-looking appetizer and never getting a full meal. 2 out of 5 pumpkins.

The Initiation - This movie has every 80s hour cliché necessary: minimalist synth soundtrack, naked co-eds, looming POV shots, hunky Graduate professor, escaped psychiatric patients, prophecy nightmares, and creepy a child. Yes, everything but actual horror. An hour into the horror movie and only one person has died. 2 out of 5 pumpkins. There is no point to this movie, unless you're a huge fan of the princess in Space Balls.

The Innkeepers - The second of Ti West’s two well-received horror originals before he set out for TV and found-footage anthologies, The Innkeepers may not get as much love as The House of the Devil, but should. The dual-leads (Sara Paxton and Pat Healy) are more fun to watch than Jocelin Donahue‘s performance and the tone more even-set throughout the film. 4 out of 5 pumpkins.

The Innocents - Reportedly Martin Scorsese’s favorite horror movie, it’s easy to see how big of an impact it had on the genre (especially The Others) with sweeping camera angles, slow but still haunting pace, and remarkable sound design. Perhaps it’s not as well-received by modern viewers, but it’s no doubt a classic. 4 out of 5 pumpkins.

Intruder (1989) - An enjoyable slasher flick from long-time Sam Raimi collaborator Scott Spiegel that takes places in a grocery store after hours that doesn’t try to do too much or take itself too seriously and features some over-the-top gore. 3 out of 5 pumpkins. “I’m just crazy about this store!”

Invasion of the Body Snatchers (1956) - A terrific example of how to build paranoid fear. That its political allegory can be interpreted on both sides of McCarthyism makes it all the better. 5 out of 5 pumpkins. Original ending, ftw.

Invasion of the Body Snatchers (1978) - A rare remake that’s almost as good as the original. Terrific use of San Fransisco as a setting, Goldblum Goldblum’ing it up, solid pacing—great film! 4 out of 5 pumpkins. Plus, nudity!

The Invitation - More of a tense drama until the final moments, this film deserves praise for holding viewers’ attention for so long before the horror tipping point. Further details could spoil the story, but like many tales in the genre the lesson here is always trust your gut. 3 out of 5 pumpkins. Ugh, Californians.

It (2017) - Stephen King’s nearly 1,200 page 1986 national bestseller captures the attention of readers for a number of reason: it’s coming-of-age story is horrific even without supernatural elements, it’s cast of characters resemble classic American archetypes from many of King’s other works, and its adaptation into a four hour mini-series staring Tim Curry as Pennywise in 1990 has haunted the imaginations of children for decades. Unfortunately, like the mini-series, the movie fails to deliver the long, unsettling moments that make the novel so thrilling. King’s story is a cocaine-fueled disaster that throws everything and the kitchen sink at viewers when compressed onto the screen. The truly terrifying elements of the book lose their impact when delivered one after another without time to feel personally connected to each character. The genius of It is the paranormal evil��s ability to hone in on a person’s darkest fears. Without deep empathy for all of The Losers, the individualized psychological torture is muted when reduced to jump-cuts. For what it’s worth, the film does its best with a jumble of sub-plots and the Pennywise origin story, but as the tone bounces from wide shots of small town Maine and the painful trauma of abuse to titled zooms of CGI monsters and an over-the-top soundtrack, something is lost. 3 out of 5 pumpkins. Publishing office, 1985: “So, wait. The kids fuck?” the editor asks, disgusted. King vacuums another white rail into his nasal cavity. “Huh?! Oh. Yeah, sure. I guess. Does that happen? Jesus, I’m so fucked up right now. What day is it? What were you saying? Yeah, yeah, yeah. It’s like, love is the opposite of fear, bridge to adulthood or something. Do you have any booze around here?”

It Comes At Night - More utterly depressing than terrifying and a reminder that the greatest horror we’ll likely ever face is simply the limits of our own humanity. 3 out of 5 pumpkins.

It Follows - An uncomfortable and honest take on how sexuality is intertwined with the horror myth. One for the ages. 4 out of 5 pumpkins. The real terror is HPV.

Jaws - A masterpiece that’s too easily remembered for its cultural impact than artist merit. 5 out of 5 pumpkins. R.I.P. Chrissie Watkins, you were a free spirit as wild as the wind.

The Killing of a Sacred Deer - Yorgos Lanthimos‘s follow up to The Lobster isn’t as well done, but the wide shots, odd lines, and increasingly bizzare build-up are all present. The finale is near perfect, but takes a bit too long to reach. I’d really like to give this film a higher score, but alas: 3 out of 5 pumpkins. There’s nothing wrong, yet something is missing.

Kiss of the Damned - There are handful of potential interesting scenes and the internal drama of a vampire family is a potentially the foundation for a good film. Despite this, Xan Cassavetes’s film never manages to actually be all that interesting. 2 out of 5 pumpkins. There’s nothing terrible here, but also nothing remarkable.

Knock Knock - Two hotties do my man Keanu dirty. 2 out of 5 pumpkins. Eli Roth is a better actor than director.

The Lair of the White Worm - A campy demon flick from Altered States director Ken Russell. Staring Hugh Grant, Peter Capaldi, and Amanda Donohoe, the plot is loosely based on Bram Stroker’s last novel, which has a few similarities to H. P. Lovecraft's novella The Shadow Over Innsmouth, which was made into the Spanish film Dagon. Very British all around, a bit like Hot Fuzz meets Clue, this could have been played straight and potentially been scary, but Russell didn’t intend to be serious. A topless snake demon wearing a death strap-on to sacrafice a virgin can’t be taken as *cinema* after all. 3 out of 5 pumpkins. Not great film by any stretch, but pretty fun!

Lake Mungo - Presented as a made-for-TV type of mystery documentary, this could have really turned out poorly. Despite some unnecessary plot additions, this movie really stuck with me. 3 out of 5 pumpkins. Sadder than you might expect.

The Langoliers - Balki Bartokomous is the villain in this made-for-TV special. He is terrible and the rest of the cast is packed with 90s no-name actors and a child actor that might as well be the blind version of a kid Liz Lemon. You know how Stephen King writes himself into every. single. story? In this case it's not even as a plot device, it's just a character to fill space like an obvious oracle. In the book, the character tearing paper is a subtle, unsettling mannerism you assume happens quietly in the background, but because television writers treat their audiences like distracted five year-olds, this action becomes a reoccurring focus with no point or context. One of the best parts about the book was imagining the wide, empty space of the Denver airport. Of course, shutting down an entire airport would be expensive, so most of the interactions take place in a single terminal, which is just as boring as being stuck at the airport yourself. Two 1994-era Windows screen savers eat Balki at the end, then, like, all of reality, maaaaaaaan. The more I think about it, this story might have been the unconscious basis for a strong Salvia freak out I once had. 1 out of 5 pumpkins. Dear male, white writers, we all know that no one actually fucks writers in real life - that's why you're all so angry. Stop creating these protagonists equipped with impossible pussy-magnets. Stop. Staaaaaaaahp.

The Last House of the Left - Wes Craven’s debut isn’t much of a horror, but a revenge tale that contains no build up or sense of dread, but an immediate and unrelenting assault of its characters and the audience. It’s well-made, and the rape revenge tale is older than Titus Andronicus, but that doesn’t mean it’s something worth viewing. There’s no joy; it’s Pink Flamingos without the camp. 4 out of 5 pumpkins. No doubt impactful, but really best viewed as a piece of history with a critical eye and not for entertainment.

The Legend of Hell House - A well made haunted house film that holds up forty years later. Pamela Franklin, playing a medium, carries much of the movie. Her foil, the physicist, is a strange character. He apparently believes people, and even dead bodies, can manifest surreal, electromagnetic energies, but not in “surviving personalities.” Yet, he still orders this giant “reverse energy” machine to “drain” the house of its evil before they even set out to research house. 3 out of 5 pumpkins. Dangerous diner parties, the insatiable Mrs. Barret, mirrored ceilings and kick ass Satan statues everywhere - this house seems pretty great, actually.

The Legend of the 7 Golden Vampires - A blast to watch, but not truly great. Unfortunately, I’ve only seen the edited version (The 7 Brothers Meet Dracula) that mixes up the beginning for no real reason and wonder how much better the original cut might be. Still, vampires! Kung Fu! Peter Cushing! 3 out of 5 pumpkins. 

Let the Right One In - Beautiful and terribly haunting. 5 out of 5 pumpkins. Likely the best horror movie this generation will get.

Let Me In - Surprising good. Unnecessary, yes. But still good. 4 out of 5 pumpkins. Fun fact: I once watched an *ahem* found copy of Matt Reeves‘s Dawn of the Planet of the Apes without the ape subtitles and thought it was a brave choice to make the audience sympathize with the common humanity among our species. I was also pretty high.

Life After Beth - Jeff Baena‘s horror comedy features a terrific Aubrey Plaza, but Dane DeHaan’s character leaves a lot to be desired. It seems like the film is trying to save something about life, love, and family, but never finds its voice. A fine, funny movie to watch on a rainy afternoon. 2 out of 5 pumpkins.

Lifeforce - Directed by Tobe Hooper (The Texas Chainsaw Massacre) and written by Dan O'Bannon (Alien) is a film the suffers from “the disease of more.” The entire concept of space vampires is rad as hell, but a $25 million budget and a 70 mm production couldn’t save what ends up being a boring trod and a jumbled ending that somehow makes major city destruction tiring. Though, to be fair, this was well before Independence Day. Colin Wilson, author of the original source material, said it was the worst movie he has ever seen. I wouldn’t go that far, but during a special 70 mm screening, the theater host chastised the audience in advance to not make fun of the movie during the showing because it was “a great film.” Reader, it is not. But Mathilda May looks real good naked and there are a couple cool, gory shots. So, there’s that. I guess. 2 out of 5 pumpkins. Patrick Stewart is in this for all of like 10 minutes, but is still listed as a main character.

The Lighthouse - From The Witch’s Robert Eggers, this film is objectively a great work of art. Brooding, stark, and compelling performances from Willem Dafoe and Robert Pattinson—all the elements add up into a unique and disturbing experience. 4 out of 5 pumpkins. All that said, in the same way I consider Death Spa a 2 pumpkin movie you should see, this is a 4 pumpkin movie you could probably skip. It’s not entertaining in the traditional sense, and likely not one you’d want to really ever see again. The Eggers brothers made something weirdly niche and it’s fine if it stays that way.

Little Evil - A serviceable comedy that isn’t all that scary or even gory, which is a disappointment considering Eli Craig’s Tucker & Dale vs. Evil was so good. There are a few nods to famous horror movies that make a handful of scene enjoyable, but otherwise it’s purely background material. 2 out of 5 pumpkins.

Little Monsters - A Hulu original that’s pretty fun, if ultimately standing on the shoulders of giants like George A. Romero and Edgar Wright. 3 out of 5 pumpkins.

A Lizard in a Woman's Skin - Lucio Fulci’s erotic mystery starts out with groovy sex parties and hallucinations, but quickly gets dull in the middle with extended scenes of psychological assessment, only to wind up where we all started. 2 out of 5 pumpkins.

The Lodge - A good exercise in isolation horror that, while a bit slow, ratchets up the tension and horror with each act. 4 out of 5 pumpkins. Damn kids.

The Lost Boys - A fun, campy 80s vampire flick you’ve likely heard of or even seen. I get why it’s cemented in popular culture, but at the end of the day it’s a Joel Schumacher film with a silly plot. 2 out of 5 pumpkins.

The Love Witch - Somewhere between earnest satire and homage, The Love Witch is a well-crafted throwback to 1960s schlock. Weaving in contemporary gender critique, the film is more than just a rehash of its sexual fore-bearers. 4 out of 5 pumpkins.

Mandy (2018) - Like watching a bad trip from afar, Beyond the Black Rainbow director Panos Cosmatos (son of the Tombstone director) pulls off a trippy, dreadful film that starts out with story that follows logic and consequence before giving over to the full weirdness of Nicholas Cage’s uniquely unhinged style of acting. 4 out of 5 pumpkins. Jóhann Jóhannsson’s score is superb.

Midsommar - Though not as good as Aster’s Hereditary, Midsommar sticks with you longer. Eerie throughout and disturbing, but not frightening in the traditional sense, it’s no surprise this film seems to split viewers into devoted fans and downright haters. Florence Pugh’s performance is wonderful and the scenes of drugged-out dread are far better than what was attempted in Climax. Some critics have called the film muddled and shallow, and certainly the “Ugly American” character fits in the later, but I found it to be a remarkably clear vision compared to the jumbled ending of Hereditary. That said, it’s not a scary movie, it’s simply unnerving. Should a male director and writer be the one to tell this tale? Probably not. But it’s not wholly unredemptive. 4 out of 5 pumpkins. I first gave this film 3 pumpkins, but the more I think about it, the more it lingers. That counts for something. One more pumpkin to be exact.

Mimic - Without del Toro’s name attached, perhaps this movie wouldn’t be judged so harshly. Yet, though the shadowy, lingering shots he’s know for give a real sense of darkness to the picture, it’s a chore to sit through and is especially frustrating toward the end. 2 out of 5 pumpkins.

The Mist - Watch the black and white version, which adds an ol’ timey feel to this Lovecraftian tale from Steven King and makes always-outdated CGI a bit more palpable. 4 out of 5 pumpkins.

The Monster (2016) - From The Strangers Bryan Bertino, this monster movie that ties in a trouble mother/daughter relationship doesn’t ever overcome its limitations and poor character decisions that get protagonists in deeper trouble. Zoe Kazan does what she can to carry the role. Not bad, but not much below the surface. 2 out of 5 pumpkins.

Monsters (2010) - A slow-burn that relies on its actors to push the suspense of a road-trip-style plot, leaving the special effects for subtle and beautiful moments. Arguably more of a sci-fi thriller than a true horror flick, it’s still worth viewing if you’re looking for something spooky. 4 out of 5 pumpkins.

mother! - Like many of Aronosky’s films, mother! is difficult to define by genre. Though not a typical haunted house film, the bloody, unsettling aspects make it more than a typical psychological thriller. Haunting in a similar fashion of Black Swan, yet broader in theme like The Fountain, this movie is challenging, disturbing and frustrating in the sense that, as a mere viewer, you’re left feeling like there’s something you’ll never fully understand despite being beaten over the head. An not-so-subtle allegory about love, death, creation, mankind, god, and the brutality women must endure, it’s a hideous reminder that, upon even the briefest reflection, life’s cosmic journey is macabre. 4 out of 5 pumpkins.

Ms. 45 - Ahead of its time, especially considering the unfortunate “rape revenge” sub-genre that seemed to cater to male fantasy than female empowerment. Still, it’s slow build and random scenes toward the finale leave it wanting. 2 out of 5 pumpkins. Oh, the knife is a dick. I get it.

Murder Party - A bit like Tucker and Dale vs. Evil, but for New York art kids. Even for being a horror comedy, there’s only like 20 minutes of horror, which is too bad as there’s material to mine instead of a prolonged rooftop chase scene. If this was a studio production, it’d probably just get 2 pumpkins, but given it’s $200k budget and at-the-time unknown cast, it’s a solid first feature for Jeremy Saulnier and Macon Blair, who went on to make some truly great films. 3 out of 5 pumpkins.

National Lampoon’s Class Reunion - Flat out awful; neither a comedy nor a horror. Writer John Hughes claims he was fired from production, though that doesn’t hold much water considering he’s credited as “Girl with bag on head” and went on to write several other Lampoon movies. Director Michael Miller didn’t make another feature film for almost thirty years, which wasn’t long enough. 0 out of 5 pumpkins.

Near Dark - Kathryn Bigelow‘s sophomore film is hampered by its ultimate ending, but the story is original and well produced. Even Bill Paxton’s over-the-top performance is enjoyable. 3 out of 5 pumpkins. Worst. Vampire. Ever.

The Neon Demon - A spiritual successor to Suspiria, this film from Drive director Nicolas Winding Refn is beautifully shot, but ultimately empty. While both Jena Malone and Keanu Reeves breathe life into their small roles, the cast of models rarely shine. The horrific ending goes a step too far without lingering long enough to truly shock. Though much better than the extremely similar Starry Eyes, it’s difficult to give this film a higher rating. 3 out of 5 pumpkins. Worth watching for a couple standout scenes.

Night of the Living Dead - Viewed today the film seems almost tame, but in 1968 it was lambasted for being too gorey and sparked calls for censorship. And to its credit, there wasn’t anything else like it at the time. Romero’s incredibly small budget, Duane Jones‘s great performance, and the film’s unintended symbolism make its success all the more impressive. Kudos to MoMA and The Film Foundation for restoring this important piece of cinema history. 4 out of 5 pumpkins. I argue this is a sci-fi film, if you think about it.

A Night to Dismember (The "Lost" Version) - This version appeared on YouTube in the summer of 2018, decades after it was originally filmed. The version that was released in 1989 on VHS, and later in 2001 on DVD, was entirely re-shot with adult film actress Samantha Fox after a disgruntled processing employee destroyed the original negatives. The re-shoot gave the released version of movie its “sexplotation” vibe that director Doris Wishman was know for producing, but he original version is more of a straight-forward psychotic slasher movie with only a scene of campy nudity and stars Diana Cummings, instead of Fox. Gone is the striptease, sex hallucinations, detective character, and asylum plot that were slapped together in the released version, leaving a still somewhat jumbled story of a young woman who goes on a killing spree after becoming possessed by her dead mother, who died in pregnancy, leaving her an orphan. 2 out of 5 pumpkins. Poor Mary. Poor Vicki.

Nightmare on Elm Street - Why this movie sparked a generations-long series is almost as puzzling as how Children of the Corn pulled it off as well. The movie flat out ignores basic storytelling devices. Recalling the overall plot, you’re not even sure if the main character is better off alive or dead, given the horrifying reality she already exists within. Consider this: Her father is an authoritarian cop leading the world’s worse police force and her mother is a drunk, possessive vigilante arsonist. University doctors are so inept they focus solely on Colonial-era medicine to the point of ignoring a metaphysical phenomenon, believing teenage girls are attention-starved enough to smuggle hats embroidered with a dead child-killer’s name inside their vaginas to a sleep deprivation study. 3 out of 5 pumpkins. So much for the classics. At least this gave us the future gift of inspiring Home Alone-style defense antics.

Not of This Earth (1988) - This film, and I mean that artistically, was made because the director, Jim Wynorskin, bet he could remake the original on the same inflation-adjusted budget and schedule as the 1957 version by Roger Corman. Traci Lords makes her non-adult film debut and is a better actor than the rest of the cast combined. The gem isn’t so bad it’s good, it’s so godawful it’s incredible. 4 out of 5 pumpkins. I was looking for the trashiest horror movie on Netflix, and I believe I have found it.

One Cut of the Dead - Know as little as possible going into this one. 4 out of 5 pumpkins. It’s impossible to not enjoy this film.

One Dark Night - Starts out interesting, but quickly gets forgetable even with the central location of a haunted cemetery. Worth putting on the background. 2 out of 5 pumpkins. Aaaaaadddaaaammmm Weeeeessssst.

The Others - Well-paced, nicely shot, superior acting by Nicole Kidman, ominous tone through out, great ending. 5 out of 5 pumpkins. One of my personal favorites.

Pan's Labyrinth - del Torro’s best work, combining the tinges of war dread and the fantastical elements that would go on to be a key part of his other films. Pale Man is one of the creepiest monsters to ever be captured on screen. Perhaps the biggest horror is that though you’ll cheer for the anarchists, the historical fact is that the Nationalists won and established a dictatorship for nearly forty years. 5 out of 5 pumpkins. No god, no country, no master.

The People Under the Stairs - When the main character of a horror movie would be better placed in a zany after-school sitcom, the entire story is bound to fail. Little did I know how far. Twin Peaks actors aside, the rest of the this movie is so convoluted and poorly explained that it made me hate Panic Room somewhat less. They can't all be winners. 1 out of 5 pumpkins. At the end of this movie, a house explodes and money rains down on poor, mostly black people. Thanks, Wes Craven!

Pet Sematary (2019) - Uninspiring, uneven, and mostly uneventful. 1 out of 5 pumpkins.

Poltergeist - If you haven't seen this Steven Speilberg produced & written, but not directed horror movie, it's worth a modern viewing. Original, yet tinged with all the classic elements of fear, this movie manages to tug on the heartstrings like a family-friendly drama while still being creepy as hell. 4 out of 5 pumpkins. The best, most expensive Holiday Inn commercial ever made.

Pontypool - Good, but not as great as hyped. Characters are introduced haphazardly and the explanation for the horror barely tries to make sense. Still, not bad for a movie with essentially three characters stuck in a single location. 3 out of 5 pumpkins.

Possession (1981) - Described by some die-hard horror fans as a “must see,” I guess I agree. It’s by no means a masterpiece, but it’s bizarre enough to take the time to check out. It’s a sort of Cold War psychological horror as if written by Clive Barker and directed by David Cronenberg. Of course that comparison is necessary for American readers, but Polish director Andrzej Żuławski is an art-house favorite, whose second film was banned by his home government, causing him to move to France. Often panned for “over acting,” Isabelle Adjani actually won best actress at Cannes in 1981. Though, you may find one particular scene as if Shelley Duvall is having a bad acid trip. Part of the appeal of seeing this film is the difficulty in finding a copy. The DVD is out of print, and the new Mondo Blu-ray is limited to 2,000 copies at $70 a piece. Good luck. 3 out of 5 pumpkins. If you’re looking for something weird and very European, seek it out.

Prometheus - Perhaps because Ridley Scott’s return the franchise was expected to be such a welcome refresher after the abysmal failures of others in the series, this one was a pretty big let down. Though there are some cool concepts and frightening scenes, there are anger-inducing plot mistakes and zero sympathetic characters. Michael Fassbender’s performance is terrific, yet not enjoy to be an enjoyable view. 2 out of 5 pumpkins.

Psycho - Not as great at The Birds, but still one of the best. The superb shots, painfully slow clean up of the first kill, it’s no wonder why the film is landmark for horror. Anthony Perkins is tremendous. 5 out of 5 pumpkins. Remember when Gus Van Sant remade this shot-for-shot for literally no reason and lost $30 million? It’s like he has to make one really terrible bomb after each critical hit and then crawl back again.

Pumpkinhead - The production quality of this 80s horror flick is surprisingly high, especially the Henson-like monster. Long story short - asshole dude bro accidentally kills hick kid, hick father calls up demon to seek revenge. All in all, not a bad movie. 3 out of 5 pumpkins. Given the title, the monster's head in this movie is shockingly not very pumpkin-like. Boo.

A Quiet Place - John Krasinski gets a lot of credit for playing a well-intentioned father, which is an easier bridge to his well-known character from The Office, rather than a military member, like in many of his other projects. Emily Blunt is wonderful as is Millicent Simmonds. The creatures are scary, reminiscent of The Demogorgon in Stranger Things, and the plot is decent, even without much of an ending. I’ll be honest, I didn’t really want to enjoy this film as much as I did. It seemed too “mainstream.” And, it is. But it’s also a well-executed, well-acted, well-produced product, which is much more difficult to pull off than it sounds. 4 out of 5 pumpkins. Worth recommending to friends who aren’t even horror fans.

Rabid - No where near the level of Cronenberg’s best or even his subsequent film The Brood, but still very good. Apparently Cronenberg wanted Sissy Spacek to play the lead, but was shot down by the producers. Obviously Marilyn Chambers was selected to play up the porn star angle in the hopes of greater marketing for the indie, horror film out of Canada, but she does a great job in her first mainstream role. If you like any Cronenberg has done, you should watch this one. 3 out of 5 pumpkins.

Raw - A terrific coming-of-age, sexual-awakening, body-horror film that manages to retain its heart even as it pushes the limits. One of the best horror movies of the last decade. 5 out of 5 pumpkins. Nom-nom.

Re-Animator - Creepy actor Jeffrey Combs is also in The Frighteners, which makes it a good nod in that flick. "Say hello to these, Michael!" When you see it, you'll get it. What can be said of this movie? It's crazy. It's great. 4 out of 5 pumpkins. Gory, campy, funny and scary all at once, a definite classic.

Ready or Not - I wouldn’t go so far as to call this movie “clever,” but it’s certainly better than its absurd premise. Samara Weaving’s performance is really the only thing that keeps people watching. 2 out of 5 pumpkins. Killing all the attractive help is played off as a joke, but . . . it’s not? At least rich people die.

Repulsion - After having to listen to her sister being drilled by some limey prick night after night in their shared apartment and a series of unwanted street advances triggers her past trauma, a young woman rightfully kills a stalker turned home intruder and her rapist landlord. 4 out of 5 pumpkins.

The Return of The Living Dead - This movie doesn’t give a wink and nod to horror tropes, it reaches out of the fourth wall to slap you in the face to create new ones. There’s an entire character that is just naked the whole movie. I understand that just because it’s a joke it doesn’t mean it’s not still sexist. But, also, you know, boobs. 4 out 5 pumpkins. What was created as camp became the foundation for modern zombies.

Return of the Living Dead III - A love story of sorts that takes a more series turn than the original. At first, I didn’t enjoy the uneven balance of camp and earnestness, but it oddly grows on you. 3 out of 5 pumpkins. Worth watching to see what you think.

The Ritual - A Netflix original that is better than it needs to be about regret, trauma, and fear that gets right into the action and wraps fairly satisfying. 3 out of 5 pumpkins.

Rosemary's Baby - If you're looking for a sure party killer this October, put on this number and watch your guests fall asleep! Often forgot, the beginning and end of Rosemary's Baby are terrifying, expertly filmed scenes of dread, but the middle is a two-hour wink to the film's conclusion revolving around an expectant mother. Still, few other films can capture fear the way Polanski's does; all the more impressive that it stands up today. 5 out of 5 pumpkins. If you haven't seen this film, you owe it to yourself to watch it this season.

Scanners - Cronenberg’s 1981 film feels like a much more successful version of what De Palma attempted with The Fury. Dark, paranoid, and ultra-gory in key scenes, Scanners isn’t quite the perfect sci-fi horror, but it’s damn close. 4 out of 5 pumpkins.

Scream - For a movie that birthed an annoying amount of sequels and spoofs, it's sort of sad that Wes Craven's meta-parody ended up creating a culture of the very movies he was trying to rail against. 4 out of 5 pumpkins. Worth watching again, even if you saw it last year.

Sea Fever - A good, but not great, tense thriller on sea. Plus, an important lesson in quarantine. Ultimately, it doesn’t go far enough to present its horror. A well-made, and even well-paced film with a limited cast and sparse special effects, though. There’s nothing explicitly “wrong” as the movie progresses, but a tighter script and bigger ratcheting of the horror could have made it a classic. The ending is kinda cheesy the more I think about it. 3 out of 5 pumpkins. Could’ve used a sex scene with some impending doom is all I’m saying!

The Sentinel - I really wanted to love this one. Downstairs lesbians! Birthday parties for cats! Late 70s New York! Alas, its shaky plot and just baffling lack of appropriate cues make it mostly a jumbled mess only worth watching if that slow-burn 70s horror aesthetic is your thing. 2 out of 5 pumpkins.

The Shallows - Mostly a vehicle for Blake Lively’s launch from TV to the big screen, this movies isn’t particularly good or bad. 3 out of 5 pumpkins. The shark has a powerful vendetta against Lively. What did she do?!

Shaun of the Dead - First in Three Flavours Cornetto, some of the jokes don’t land as well as they did in 2004, but still a great spin on the zombie genre with loads of laughs and a bit of heart. 4 out of 5 pumpkins.

The Shining - The pinnacle of the form. 5 out of 5 pumpkins. "So why don't you start now and get the fuck outta here!" Harsh, but come on, Wendy kinda sucks.

Shivers - Cronenberg’s 1975 shocker flick is . . . fine. You certainly get to see how some of his body horror themes started. Cronenberg himself seems to see it as more of a film to watch to understand what not to do as a young director. If you’re a completist, definitely check it out. Otherwise just skip to 1977′s Rabid, if you’re looking for Cronenberg’s earlier work. 2 out of 5 pumpkins. Not bad considering it was shot in two weeks.

Silent Night, Deadly Night - Whoo, boy. This one’s a ride. A decidedly anti-PC flick that caused calls for boycotts when it was first released, this movie is full of assault and uncomfortable situations. It’s also hilarious, gory, and worth watching in a large group. 3 out of 5 pumpkins. Punish.

Sleepaway Camp - I must be missing something, because like Children of the Corn, I can’t understand why this movie became a cult-classic. A guy who openly talks about wanting to rape children is gruesomely maimed, so there’s that? I guess. A couple of these “kids” are definitely 34, while others are 14. Is this the basis for Wet Hot American Summer? I don’t know or care. 2 out 5 pumpkins. Just watch Friday the 13th.

Slither - Almost on the level of other spoofs, but with a few groan-worthy moments. Definitely one to watch if looking for something fun. 3 out of 5 pumpkins. Not for the bug fearing.

The Slumber Party Massacre - Rita Mae Brown wrote this movie as a parody of the slasher genre that spawned so many Halloween copycats. It’s a bit unfortunate that we didn’t get her version. Author of pioneering lesbian novel Rubyfruit Jungle, Brown’s script was turned into a more straight-forward flick, giving the movie some baffling humor, like when one of the girls decides to eat the pizza from the dead delivery boy, and some untended humor, like the Sylvester Stallone issue of Playgirl. Lesbians undertones still prevail, as do lingering shots of gratuitous nudity, and enough phallic symbolism to write a paper about. All in all, a fun, albeit uneven movie with pretty decent dialogue. 3 out of 5 pumpkins. Fun fact: Director Amy Holden Jones got her start as an assistant on Taxi Driver, passed on editing E.T. after Roger Corman offered to finance early filming for her directorial debut, and later went on to write Mystic Pizza, Beethoven, Indecent Proposal, and The Relic. Bonus fact: Playgirl was able to get nude photos of Stallone based on his first movie The Party at Kitty and Stud’s (aka The Italian Stallion), for which Stallone was reportedly paid $200 to star in during a period in his life when he was desperate and sleeping in a New York bus station.

The Slumber Party Massacre II - If the first movie was a knock-off of Halloween, this is a bizarre rip-off of The Nightmare on Elm Street with a rockabilly twist. It’s hard to tell if this is a parody or a sort of musical vehicle for the Driller Killer, who—to his credit—is somehow almost charismatic enough to it pull off. 1 out of 5 pumpkins. Somehow the weirdest movie I’ve ever watched.

The Slumber Party Massacre III - A return to form, in some respects. All the elements of the original are there: a slumber party, gratuitous nudity, a drill. But the driller killer’s poor-man’s Patrick Bateman character quickly becomes tired. Not terrible for a slasher flick, but not very good either. 2 out of 5 pumpkins. How many lamps to the head can Ken take?

Species - If I asked you to name a movie staring Sir Benjamin Kingsley, Alfred Molina, Forest Whitaker and Michelle Williams, would you guess Species? No, no you fucking wouldn't. We all know Species, but I, like most, erased it from my memory. This was helpful for two reasons: first because for about the first half of the movie, you think there might be a decent flick happening - baring some obvious flaws of a blockbuster. Second because - holy shit - you get to see a ton of naked breasts in this movie, like way more than I remember. Unfortunately, about halfway through Species someone must have come in and realized having the B-squad Scully & Mulder be one step behind every instinct killing was boring as shit, and flashing tits every 20 mins wasn't going to hack it. Whatever Hollywood dickbag crafted this turd failed to realize the casting of the actor forever known as Bud from Kill Bill is the only white, macho-postering character that morons want to root for. And so we get a squint-faced protagonist getting blow jobs from a coworker scientist and an ending dumber than the boob tentacles he should have been strangled with. 2 out of 5 pumpkins. There are worse horror movies, but there are also much better ones.

Starry Eyes - A thinly-veiled critique on Hollywood’s abusive history with actresses, the movie starts out well, but lags in the third act before a gruesome finale. Sort of a low-rent Mulholland Drive. 3 out of 5 pumpkins. Watch out for that barbell, Ashley.

The Stuff - Odd, mostly because of its uneven tone. Like if The Blob, The Live, and Canadian Bacon raised a baby and that disappointed its parents, like all babies eventually do. There are some good horror and comedic moments, but none of which make it great. The sound editing is remarkably bad, and the poor cuts make no sense given its scope. Oh well. 3 out of 5 pumpkins.

Suspiria - More of a focus on set, sound, and color than characters, Suspiria is reminiscent of the Japanese classic House, but with a more straightforward story. The Italian director, English language, and German setting make for an interesting, offbeat feel that adds to the overall weirdness of the movie. One cringe worthy scene in particular makes up for its immediate lack of logic, and the soundtrack by Goblin stands up on its own. 5 out of 5 pumpkins. Sexist note: there’s a shocking lack of boobs given the subject matter.

Suspiria (2018) - Another in a long line of unnecessary remakes, though technically more of an homage. Luca Guadagnino’s version was supposedly developed for years alongside Tilda Swinton, who plays three different characters. Truthfully, without any attachment to the original, this could have been a muddled, but remarkable film. Thom Yorke’s score is perfect in certain scenes, yet detracting in others. The plot is similar in this manner. Some scenes are haunting and dense, but others needlessly detailed. The dance scenes are terrific, but weighed down by the larger war themes. The ending’s gore-fest is hampered by too much CGI, but still demonically fun. Fans of the original won’t find the weird, colorful elements to love, but it’s a good movie, albeit thirty minutes too long. 4 out of 5 pumpkins.

The Taking of Deborah Logan - Good premise; found footage in the vein of Blair Witch Project of a demon possession disguised as Alzheimer’s disease. But, the movie can’t decide if it wants to stick to its foundation of a student documentary or veer into the studio-style editing and affects of theatrical release. Which is unfortunate as the former would have made it stand-out among a pack of mediocre ghost stories, while the later distracts from the setting it seeks to establish. 2 out of 5 pumpkins.

Teeth - A movie about the myth of vagina dentata could have been absolutely deplorable, but with the bar so low, Teeth does a pretty good job. Jess Weixler is a functional actress, not necessarily stand-out, but certainly far better than the role requires. Trying to tightrope walk between comedy and horror is never a task a creator should set out upon without a clear vision. Unfortunately, this one seems a bit blurry. One its release, Boston Globe said the movie “runs on a kind of angry distrust toward boys.” Not bad advice. 3 out of 5 pumpkins.

Terrifier - Do you want to see a naked woman hung upside down and sawed from gash to forehead? Then this is the movie for you. That’s it. There’s not much else here. Gino Cafarelli is good as the pizza guy. 2 out of 5 pumpkins. The clown is scary, though.

The Terror - A classic haunted throwback from Roger Corman, but without the nudity and gore his later work is infamous for. A young Jack Nicholson proves he was always kind of a prick. Boris Karloff does his best. The plot is pretty boring, but it’s a decent movie that you might stumble upon on a lazy afternoon on cable TV. 2 out of 5 pumpkins.

The Texas Chainsaw Massacre - Tobe Hooper’s 1974 persuasive argument for vegetarianism is just as terrifying today as it was when it was released. Just as Halloween launched a thousand imitators, the hues and low angles in this film set the standard for horror for years and, unfortunately, laid the groundwork for more exploitative movies offered referred to as “torture porn.” Though gory, The Texas Chainsaw Massacre’s sense of weird dread is established well before the chainsaw rips, and though many have tried to follow in its footsteps, none have captured the lighting that adds to the overall queasy moments of the film. There’s a kind of simplistic beauty to such unexplained brutality, and perhaps because it was first, all others since haven’t seemed as artistically valuable. 4 out of 5 pumpkins. So, umm, what do you think happened to the Black Maria truck driver?

The Texas Chainsaw Massacre (2003) - The only decent carry over from this remake is John Larroquette as the narrator. Over-washed tones, over-the-top gore and unsympathetic characters make this film more than unnecessary, placing among the worst horror remakes of all time. Robert Ebert gave it one of his rare 0 stars, reserved for works he found genuinely appalling such as I Spit On Your Grave, The Human Centipede 2, and most infamously John Waters’s Pink Flamingos. 1 out of 5 pumpkins.

They Live - “I have come here to chew bubblegum and kick ass… And I'm all out of bubblegum." 4 out of 5 pumpkins.

The Thing - Trying to give this film an honest review is almost impossible. Cast out on its release for being too bizarre and gory, Carpenter’s nihilist tale has since come to be seen as a masterpiece for its special effects, bleak tone, and lasting impact on other creators. Is it perfect? No, but it’s damn close. 5 out of 5 pumpkins. MacReady’s assimilated. Deal with it.

Train to Busan - A bit too predictable, but a solid, well-paced zombie action flick that’s smarter than most American blockbusters from Korean director Yeon Sang-ho, who is better known for his semi-autobiographical animated features. 4 out of 5 pumpkins.

Tucker & Dale vs. Evil - I really didn't expect much out of this movie, but it's actually really, really funny and a really gory spoof. Not quite on the scale of The Cabin in the Woods, but still pretty damn great. 4 out of 5 pumpkins. If you don't think people getting hacked up by a chainsaw in certain contexts can be funny, then this probably ain't your bag.

Twins of Evil - An enjoyable, somewhat smutty vampire movie from the famous British studio Hammer Films, staring Peter Cushing and Playboy Playmates the Collinson twins. Directed by John Hough, who also directed The Legend of Hell House, the film doesn’t break any new ground and is loaded with over-acting, but it’s well-paced, wonderfully set, and generally fun to watch, where the Puritan witchfinders are just as horrible as the vampires. Not as great as Black Sunday, but still worth viewing. 3 out of 5 pumpkins. Let Joachim speak, you racists.

Under the Skin - Mesmerizing and haunting. The less you know going into this film the better. 4 out of 5 pumpkins. Quite possibly Scarlett Johansson’s best work.

Under the Silver Lake - Technically a “comedic neo-noir,” whatever the fuck that means; in any case David Robert Mitchell (It Follows) tries to do too much over too long of a run time. Andrew Garfield gives a decent performance, especially considering he’s in almost every frame of the film. But the edge-of-subtly that made It Follows so modern and terrifying is replaced by a silk, wandering, and heavy-handed stroll through the powerful Los Angeles entertainment Illuminati. Certainly there’s material there, but instead of being a radical stab at the very real institutions of pop-culture that treat young women as nothing more than disposable meat, we drift in and out of a young man’s lust that revels in objectification without the sleazy charm of exploitation flicks or the critical eye of outright satire. Even the eerily presence of the Owl Woman can’t level-up what is an exercise in arrested development for hipsters. 2 out of 5 pumpkins. Despite this negative review, Mitchell still has plenty of potential to make another great film. Whether he deserves that chance is different question.

Us - Jordan Peele’s second film is even better than his great debut. Us isn’t perfect, but hints at what Peele could create in the future. Unnecessary explanation and slightly oddly timed humor are present, like in Get Out, but more restrained. Peele’s talent for making modern horror accessible to the widest audience is laudable. Still, I can’t wait to see what he makes two or three films down the road. I suspect more than one could come close to equaling that of Kubrik’s The Shinning. 4 out of 5 pumpkins.

Vampire’s Kiss - Is it a horror? Is it a comedy? Is it a parody? Drama? This movie truly defies genre due to the inexplicable acting choices made by Nicholas Cage. His odd affectation doesn’t change from sentence to sentence, but word to word. It’s like he’s trying to play three different characters across three different acts all at once. Is it good? Not really. But, I mean, see it. 2 out of 5 pumpkins.

Vampyros Lesbos - After vigorous encouragement from my academic colleagues, I decided to watch this 1971 Spanish-German film for, umm, science. Shot in Turkey and staring the tragic Soledad Miranda, Jesús Franco’s softcore horror jumps right into full-frontal nudity and attempts a sort of story involving Count Dracula that moves forward through uninteresting monologues and shaky camera work. It’s not awful, but there’s no reason to watch it. If it was playing in the background at a dive bar, it might have a tinge of charm. Other than some close moments of near-unapologetic queer sex, despite being created almost entirely for the male gaze, it’s just another in the pile of European exploitation. Still, it’s fun to daydream about Istanbul being ruled by a dark-haired demonic lesbian; beats the hell out of what we have in our reality. 1 out of 5 pumpkins. Fun fact: The soundtrack found renewed fame in 1990′s Britain, causing it to finally find distribution into America.

The Vault - A serviceable, but ultimately boring horror take on a bank heist that tries to hard to end with a twist. 2 out of 5 pumpkins.

V/H/S - Every review I've seen for this movie is generally positive, but that only reaffirms my belief that most people are easily pleased by unintelligent, unoriginal bullshit. A Blair Witch-style story-within-a-story collection of shorts, I couldn't get past the first borderline date-rape, little-girl, sexually confused, monster story. Fuck this trope. Fuck this movie. The much delayed glorification of grisly murder of the offending male villains is hardly radical and only further supports the stereotypes of patriarchy much as it attempts to subvert a worn genre. 0 out of 5 pumpkins. I hate the world.

Videodrome - Cronenberg’s best film. James Woods’s best role; it’s a shame that he’s total piece of shit in real life. 5 out of 5 pumpkins. Long live the new flesh.

The Wailing - Despite clocking in at over two and half hours, this part zombie/part demon horror movie from Korean director Na Hong-jin isn’t a slow burn, but rather an intriguing maze of twists and turns as the main character (and audience) struggles to find the truth about a mysterious, murderous diseases sweeping through a small village. Actor Do-won Kwak gives an especially captivating performance. Though the ending packs a powerful punch, the overlapping lies and half-truths told over the course of the film makes it a bit difficult to suss out the evil roots. 4 out of 5 pumpkins.

We Are Still Here - What sets out as a slowly paced ghost story turns into something of a gore-fest towards the ends, which doesn’t make it bad so much out of place. 3 out fo 5 pumpkins. Could’ve been a contender.

We Are What We Are - A remake of Jorge Michel Grau’s 2010 film, the American version takes its time getting to the horror before going a step too far at the end. Still, the ever-present knowledge that you’re watching a cannibal film makes some of predictable moments all-the-more horrifying. 3 out of 5 pumpkins.

Wes Craven’s New Nightmare - The novel charm of Craven’s meta Freddy saga has worn with age. Heather Langernkamp is passable, but not enough to carry the film and Robert Englund out of makeup shatters the pure evil illusion of his character. Interesting to see some of the ideas that would later synthesize in Scream, but otherwise kind of a bore. 2 out of 5 pumpkins.

The Witch: A New-England Folktale - A deeply unsettling period-piece that reflects on American religion and its violent fear of feminine power. 5 out of 5 pumpkins. Trust no goat.

The Witches - Roald Dahl’s story is ultimately crushed by a changed ending, however, Nicolas Roeg‘s adaptation up to that point is a fun, creepy movie people of any age can enjoy. 4 out of 5 pumpkins. It’s really a shame the original ending was changed.

Wolfcop - When a movie’s title promises so much, maybe it’s not fair to judge. But there’s so much campy potential in a werewolf cop picture that it’s kind of a bummer to see it executed at level that makes you wonder if it wasn’t made by high school kids whose favorite movie is Super Troopers. 1 out of 5 pumpkins. God, the movie’s horrible.

The World’s End - The final chapter in the Three Flavours Cornetto and the best, showcasing a wealth of talent at the top of their game. 4 out of 5 pumpkins.

XX - Admittedly, I don’t care much for the recent spring of short horror anthologies. Rarely do they have enough time to build the necessary suspense horror movies require. Still, two of the shorts are OK, one is pretty good, and one is bad. So, not a total loss. 2 out of 5 pumpkins.

You’re Next - Home-invasion horror as never been my cup of hippie tea as it feeds into the 2nd Amendment hero fantasy of American males. That said, this dark-comedy take on it isn't bad. Some things don’t really add up. For example: Are you telling me that the deep woods home of a former defense corporation employee doesn’t have a single gun stashed somewhere? Bullshit. Anyway, who doesn’t want to see a rich family’s bickering dinner interrupted by a gang of psycho killers? 3 out of 5 pumpkins. Bonus rating: 6 out of 10 would fuck in front of their dead mother. (Sorry, mom.)

Zombeavers - No one would say this is a good movie, but it also doesn’t take itself too seriously. Not at funny as Tucker & Dale vs. Evil, and certainly more formulaic, this one’s only worth watching if you’re bored. 2 out of 5 pumpkins.

Zombi 2 - Lucio Fulci’s unofficial sequel to Dawn of the Dead is one of his best films. But even though Fulci crafted some of the best zombies to ever appear on screen—filmed in the bright, Caribbean sun, the film suffers, as most of his do, from some unnecessary, borderline confusing plot points and poor dubbing. Still, well worth watching on a lazy day, especially for the final act, when the protaganists fight off a zombie hoard inside a burning church. 3 out of 5 pumpkins. Bonus: topless scuba diving zombie shark fight, which is also my new DJ name.

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comicteaparty · 4 years ago

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July 20th-July 26th, 2020 CTP Archive

The archive for the Comic Tea Party week long chat that occurred from July 20th, 2020 to July 26th, 2020. The chat focused on Ring Spell by Artem Ficta.

Featured Comment:

Chat:

Comic Tea Party

BOOK CLUB START!

Hello and welcome everyone to Comic Tea Party’s Book Club~! This week we’ll be focusing on Ring Spell by Artem Ficta~! (http://ring-spell.com/)

You are free to read and comment about the comic all week at your own pace until July 26th, so stop on by whenever it suits your schedule! Discussions are freeform, but we do offer discussion prompts in the pins for those who’d like to have them. Additionally, remember that while constructive criticism is allowed, our focus is to have fun and appreciate the comic! Whether you finish the comic or can only read a few pages, everyone is welcome to join and chat with us!

DISCUSSION PROMPTS – PART 1

1. What did you like about the beginning of the comic?

2. What has been your favorite moment in the comic (so far)?

3. Who is your favorite character?

4. Which characters do like seeing interact the most?

5. What is something you like about the art? If you have a favorite illustration, please share it!

6. What is a theme you like that the comic explores?

7. What do you like about the comic’s story or overall related content?

8. Overall, what do you think the comic’s strengths are?

Don’t feel inspired by the prompts? Feel free to discuss anything else that interested you!

Feather J. Fern

1. What did you like about the beginning of the comic? I like how it seems lighthearted at first, but knowing Artem it's going to drop the ball on us really soon haha.(edited)

Also I always love how the backgrounds are, they look great.

Artem Ficta (Ring Spell)

Hahah, it's a shame I didn't get one more update up XD Thank you so much, Feather~!

snuffysam (Super Galaxy Knights)

well, the CTP is gonna run for the rest of the week...

Artem Ficta (Ring Spell)

I can't finish the next 8 pages by then XD

My guess is they'll be up the week after next

RebelVampire

For the beginning, I'm with Feather and I like how quickly the comic transitions from just lalala happy school to oh wait there's weird shit going on. I really like stories where the status quo is quickly ripped out from under your feet. My favorite moment in the comic so far is probably the most recent scene when we get to see Lyall's apartment and ya know, Claire starts dropping all these bombshells on us. The scene is the epitome of "Well that escalated quickly" and its just loaded with so much info to unpack. My favorite character right now is Claire. One because she seems the most sensible and mysterious, and two because I love Claire's hair so much and I'm so jealous and want such floof beautiful hair. ;3; As for characters I like see interacting the most, probably Claire and Lyall and they have some really good banter and a relationship, insofar, that's just kind of hilarious in its brutal honesty. A close second for me is Claire and Tasha as it quickly switches from happy smiles to probably most likely to have a catfight in the hallway.

Artem Ficta (Ring Spell)

Catfight in the hallway, lolol. Makes me want to draw them dressed like cat girls XD

RebelVampire

No not that sort of catfight

probably

O_O

Artem Ficta (Ring Spell)

comic turns into a catgirl fetish comic

Artem Ficta (Ring Spell)

1. I like how the first word is Zenchav which was the title of the comic this is a hard reboot of XD 2. My favorite moment was Lyall sticking his hands up Damon's shirt XD I really like how it was drawn and it's the most Lyall thing ever to do. 3. My favorite character overall is Damon, although it's probably Lyall at this point in the story. But I like them all of course XD 4. Damon and anybody, lol. I like when I get to draw him XD 5. I've been trying out a new shading style with this since I almost exclusively just hard shaded before, so it's nice to be branching out a bit and trying some new things. The Intro page is probably my favorite atm.

snuffysam (Super Galaxy Knights)

Theory: Lyall sticking his cold hands up Damon's shirt is how he drains Damon's energy, because secretly he's the witch.

mariah (rainy day dreams)

Oh no! XD that would be a twist!

Artem Ficta (Ring Spell)

Oh snap!

mathtans

Hmmm, so we ship Claire and Tasha then?

Artem Ficta (Ring Spell)

I don't not ship Tasha and Claire >v>

Artem Ficta (Ring Spell)

Drew that picture of them

RebelVampire

We should indeed all suspect Lyall. I mean no parents, lives alone, yet somehow affords everything? That's witchery.

Artem Ficta (Ring Spell)

How does he afford all that stuff

does he sell drugs on the side or something XD it is suspicious

mathtans

1. I'll mostly echo everyone else here in terms of the start seems pretty straightforward and makes one wonder how the teaser page fits into it all. I'll add a remark on the subtle details of world building, like you've got your digital alarm... and dude straight up has a TAIL, and it's like, no comment, that's normal too.

2. Favourite moment was probably recruiting Claire into the cosplay skit. It's like, hello new person, oh you want to associate with us? Then you need the proper accessories, and Claire's all 'Um, I'm not sure... prop weapons? Uh, okay then...' Cosplay is a force to be reckoned with. (nods)

3. Fave character... yeah, may have to echo Rebel here and go with Claire. Possibly because she's the first chapter name, and like the reader is coming into this new situation, so can get behind her trying to figure it out... but also because I'm big on the time/space bureau stuff and that sounds like a cool job to get.

Damon has a cool cane and has the mysterious ailment afflicting his cosplay though, so he's my fave guy at the moment. (Werewolf blood? Moon thing? Dunno.)

4. I honestly do like the Tasha/Claire interactions the most, because each of them seems to have something to hide, and so you're kind of wondering if and when one of them might slip up. The other girl interrupting with the paint was classic, and I felt it helped break tension. The ship picture (which I imagine won't show in the log) is kind of representative of that with the chessboard too, like they're making moves against the other (though I'm not yet convinced that one is a witch, could be a setup).

Of course, I'm very biased towards the yuri, so grain of salt for my opinions and all. And while the ship was a humour comment at first, I think I'm more into it after seeing a "catfight" could play out.

All that said, the Lyall/Damon interactions are equally good. Lyall's perversion sometimes saying the quiet part out loud.

5. I recognize the art style, have read some of the work before (under different name). Always find the hair impressive, like here you get the impression of each individual strand except that's not actually what's drawn... you can still see the neat ears, Claire having some strands that fall in front of her too. The shading is really good too, like definitely shades of grey, not just black and white.

Kind of echoing the author there, but I can see it.

I'm so bad with themes and need to charge computer, will be back later. o.o

Artem Ficta (Ring Spell)

I love all this input Math, thank you ;3;/

RebelVampire

@mathtans You have no idea how happy I am that someone noticed the tail that nobody seemed to comment on.

RebelVampire

What I like about the art is how clean and crisp everything is cause mmmm that sexy lineart you can just paint bucket when needed. <3 I like that the comic explores the idea of having someone you've known your entire life possibly be evil. Cause it opens up a lot of questions. Like should you doubt? Should you trust? And at which point have you hit the point of betrayal? So I'm glad we'll get to see a bit of this tackled as Lyall and Claire look for evidence. As for the overall story, I like that there's just lots of questions going on. It's a theorists dream. But I find the more mysteries a comic has, the more engaging it is. Because even when you know the answer, it's interesting everytime to see the characters reach that answer. As for the comic's strengths, see the above and the art. It's super pretty and clean to look at, has some fantastic emotive faces during the more comedic moments, and there's just lots to theorize and look forward too. ;3;

Now I will proceed to weep as someone who beta read the script and actually can't theorize cause I just know .

mathtans

Others may have noticed but not been sure what to say? (Does the tail turn into the cane?)

6. Ok, themes... could be a theme of belonging in there. Like Claire being accepted into the group, like Lyall wondering if she's only talking to him to get to Damon, that sort of thing? Then there's the idea Rebel raised of thinking you know someone but not necessarily knowing them.

Of course, there's also credibility, like maybe Claire is simply an escaped mental patient with really good hacking skills to get herself in the school and apartment. Because that's quite the tale she spins. (Though Lyall had heard of the organization? Or he's pranking her, bit hard to know for sure.)

7/8. The story's been setting up a number of things in the background, I feel. Which can be a strength, as we're learning more character items first. Though Claire's latest revelation I'm really jazzed about, because the idea of time travel (times when demons weren't supposed to be) and personification (Earth as a female entity) are right up my alley. So that's cool.

Also Lyall apparently has a strange aura to go with Tasha's strange energy? Maybe the witch is jumping bodies. Maybe we should ship Lyall/Tasha.

Artem Ficta (Ring Spell)

Oh my gosh, loving these ideas!

I don't want to give spoilers but I think I'll answer the tail thing cause I never really meant for it to be a mystery It's just tucked into his pants when he's in public is all. That's why he's wearing the track suit for the school and not the standard school uniform, cause the pants are looser.

although it turning into the cane could have been hella cool(edited)

now I'm a little bummed I never thought of that

But the cane has other purposes

mathtans

I didn't really think it was a big mystery, and that explanation makes sense. (So I suppose it could be not normal, only normal for Damon's friends... demon prejudice otherwise?) Ok, so the cane is where he hides his stimulants to keep awake until the full moon.

Comic Tea Party

DISCUSSION PROMPTS – PART 2

9. What are your theories about Damon’s past? Why is he concerned about when the full moon is? Additionally, what do you think was meant about Damon and Xerfonos being the same age but not being twins?

10. Do you think Claire is right that Tasha is the witch Cadence? If so, how will she prove it? If not, who else could it be? Also, what might this all have to do with Tasha’s concern about Claire being the mysterious Draco’s student?

11. What do you think Cadence ultimately wants from Damon? Why would this compel the Earth, and by extension Apus, to protect him? Also, even if the characters find Cadence, can she actually be stopped?

12. Why do you think Lyall reacted so strangely to Claire mentioning Apus, and why do you think he’s so sure Apus wouldn’t care about protecting Damon? Do you think Lyall can trust Claire even for the long term?

Don’t feel inspired by the prompts? Feel free to discuss anything else that interested you!

mathtans

9. I mean, Damon seems to be a demon, but he's cool with being in our world, so... maybe he was born of a human/demon pairing? Or he was adopted by humans when he was a baby and simply given the same birthday as Xerfonos. I'm guessing the full moon has more significance than merely to werewolves (unless Damon needs to bite a werewolf to regain strength idk) and so it would help him.

I will say that initially the "same age" thing didn't phase me because there's more than 9 months in a year, plenty of time for having a second kid born in the same year. But now that I'm debating the adoption angle, maybe there's more to it.

They're not twins... they're TRIPLETS! Dun dun dun. Anyway.

snuffysam (Super Galaxy Knights)

they could also just not be twins due to a date technicality like one was born right before midnight and one was born right after

but yeah the adoption angle would explain a lot

mathtans

10. I don't think she's right about Tasha, or if she's right, not in the way she thinks. Because we've seen some from Tasha's perspective and she didn't seem to be the person in charge of whatever. In terms of proof, I guess she could see if Tasha would cosplay as a witch? And if the shoe fits? But yeah, maybe the witch is jumping between people like I mentioned earlier, or is not actually there yet, like APUS got the date wrong or something. Maybe Tasha's also trying to protect Damon from the witch (hence trying to give him that new name) but it's a rival organization?

I mean, technically still twins in that case, just not having the same birthday. (If Feb 29th enters into it, it gets even weirder.)

Actually, why wouldn't Claire use Damon's given name? Maybe her organization doesn't know everything it thinks it does?

Anyway, just had time for some random thoughts. Back later tonight.

mathtans

11. Cadence may just want him to keep living so that she can keep siphoning off energy. (Thus perhaps APUS wants him dead, it's not about protection?!) Or maybe Cadence wants a sweet cosplay. (Probably not.) Of course, it might be that if she's a free floating witch, she wants his body. Maybe she can't be stopped, but could be redirected?

The Earth aspect is one I haven't really been able to figure out yet. (Are pavonis a type of pasta?) But maybe there's a destiny or something that Damon needs to fulfil first.

12. Lyall could have been pranking, but maybe he knows a different organization like that... or maybe that's the name of some mystery file on his computer that he hasn't been able to open because the Cadence inside him hasn't revealed the password, oooh. I think Lyall can trust Claire (assuming she's not a raving lunatic) and she might even need him to provide better cover (she didn't seem to even know what apartment she was in)... but that's short term. Long term is another question, if she starts getting Apus directives saying to do things he wouldn't agree with.

Artem Ficta (Ring Spell)

This is all so interesting ;3;

Pavonis as a type of pasta, lolol

mathtans

I'm glad it's more interesting than rambly.

Artem Ficta (Ring Spell)

Nah, I love it XD I'm afraid I'd give spoilers if I said anymore lmao

RebelVampire

My theories about Damon's past are that he's a werewolf. And that something about being a werewolf has changed how he ages compared to Xerfonos - thus why they're the same age but not twins. Granted I guess they could also just be half brothers who have a shared father who said, "Man I should knock two girls up at once." But werewolf sounds more interesting. No I think we've established Lyall is clearly the witch. He is too suspicious. Tasha probably is a super secret agent or something, hence the suspicion. Maybe Apus is into some shady shit that Tasha knows about, especially Draco, so she doesn't want them jumping in on everything. As for how proof, she won't. Cadence will reveal she's Lyall when the most damage can be caused and Claire will weep her career as a detective is through. Cadence might just think Damon is hot. Although I think Damon has a grand destiny ahead of him, and Cadence wants to interfere with that destiny while also bulking up on some of that tasty werewolf energy. Also, can Cadence be stopped? Probably. But definitely not by these chumps right now. XD Lyall reacted strangely cause that was the Cadence in him going oh shit and kind of taking over. And sure, Lyall can trust Claire to never figure out its him. Sorry Claire, you hot, but clearly aren't noticing some stuff.

mathtans

I hadn't considered the "same father different mothers" angle. O.o Maybe it was a sperm donation sort of thing though?

As to Claire, maybe Tasha will be nice enough to buy Claire ice cream and give her snuggles once she realizes the error of her ways.

Artem Ficta (Ring Spell)

Tasha and Claire will get to snuggling at some point I'm sure XD

The same father with different mothers sounds most probable

of what's been mentioned at least

mathtans

I mean, time travel could also be involved. What with Apus.

Maybe Claire is Damon's daughter and she's trying to protect her own existence.

Artem Ficta (Ring Spell)

Maybe Claire is Xerfonos' mother

Wait, I don't think that'd work out lmao

Daughter would be way more probable

Comic Tea Party

DISCUSSION PROMPTS – PART 3

13. What are you most looking forward to seeing in regards to the comic?

14. Any final words of encouragement for the comic?

Don’t feel inspired by the prompts? Feel free to discuss anything else that interested you!

Artem Ficta (Ring Spell)

I look forward to getting a bit further into the story XD it's still pretty early on atm and there's a lot of really good scenes later. I don't feel like we've really gotten to know Damon yet either

RebelVampire

I am looking forward to seeing people's theories as the story continues and pieces fall into place. It will be interesting to see the routes people take with the ideas of what the answers are going to be. My final words are just read the comic. O_O

mariah (rainy day dreams)

I didn't end up having any brain power to write responses over the week, but I really enjoyed Ring Spell. Damon and his brother are cuties, Claire seems very capable, and I can't wait to find out what Tasha's motives are. I'm real excited to see how the themes of magical marital vows come to the forefront :3

Artem Ficta (Ring Spell)

Thank you~!

mathtans

Busy weekend was busy. Looking forward to seeing how the Apus thing fits in, like is Claire even from their time period? Will Lyall spill all the secrets? Will the ships happen? I'm so behind in all my reading but I've flagged it to check back when I can.

There was also the bit at the start implying knowing people from other lives, but the time travel possibilities make that weird. And I guess there's also the question of whether a Ring will have a Spell on it. Like, maybe the witch doesn't know she's the witch while she's wearing a ring? Or they have to get her to wear a ring? Here I am guessing again. ^^

14. To conclude, all the best with it, looks like a good setup. I do enjoy the art style too.

Also I guess congrats on being the finale CTP? Nice that you got it in there. Good initiative.

Artem Ficta (Ring Spell)

Thank you so much Math~!

Comic Tea Party

BOOK CLUB END!

Thank you everyone so much for reading and chatting about Ring Spell this week! Please also give a special thank you to Artem Ficta for volunteering the comic and creating it! If you liked Ring Spell, make sure to continue to support it via some of the links below!

Read and Comment: http://ring-spell.com/

Artem Ficta’s Ko-fi: https://ko-fi.com/artemficta

Artem Ficta’s Twitter: https://twitter.com/ArtemFicta

#ctparchive #webcomics #indie comics #comics #comic chat #comic discussion #book club #bookclub #webcomic bookclub #webcomic book club #comic tea party #ctp #ring spell #artem ficta

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cruddyborderlandstheories · 5 years ago

Text

“So Happy Together” Analysis

i don’t sleep

tl;dr: tbh not much to go off on about. i think we see a new skin for Iron Bear, one with some stripes. amara smiles, i do talk a little bit about little sisters in bioshock but tbh i think this was all just a stylistic choice lol. oh and handsome jack’s masks- probably Mount Jackmore. i don’t want to get to freaked out over jack returning, but damn gearbox lol u had me there for a second. im pretty sure it’s just a reused cut quest from bl2 that they never got to implement.

EDIT: here’s all the cut content in bl2 (plus all the non-cut content as well for funsies). you can go to the cut quests and see the audio files for claptrap’s jackmore quest

holy shit can i just vomit all my emotions rn, they’re all good so imma do that so im rational when i start analyzing stuff okay? okay!

holy shit that was fucking great and im really glad i tempered my expectations to something smaller than i thought because i feel bad for people expecting something huge, i was under the assumption we’d be getting a new mechanic that was like ‘choose ur +1 and they’ll be able to play the game with you if you’re both online even if they don’t have the game’ which was what someone said on reddit. altho im sure the poor company is gonna get spammed now with hate like ‘WTF YOU SHOULDN’T HAVE BUILT THIS UP AAAA’. not to lie, i was slightly disappointed it wasn’t a longer stream, but i mean if they’ve got nothing to announce, they’ve got nothing to announce and HEY! new trailer!!! gonna be combing thru on the assumption this has some easter eggs like the MoM trailer did, just in case. i thought it was a cute trailer, gearbox never explicitly said what it was gonna be, a lot people all just assumed what was gonna happen was a demo/beta which sucks so i hope this doesn’t negatively impact people’s perspective of the game. im staying off reddit for now bc when i first checked it people were pretty pissed and i dun need that negativity lmao

okay! emotions are LOCKED behind closed doors. i am shifting into study mode. here we go boys/girls/those of us who know better. haven’t done one of these in a while, let’s see if im rusty at all.

claptrap! and the skull on the chair which reminds me of tyreen’s “favorite skull”.

tv says “we are under attack, please stand by”

and afaik claptrap is near the beginning of the game, you can see part of the recruitment center behind him when the camera pans.

im thinking there might be something in the roses, specifically the hand-drawn roses later on in the trailer. will be keeping an eye open for that.

this is specifically a jakobs brand chest. i really like the see-through aesthetic of it

intro area of the game again. possible hint to the opening cutscene? tbh i was worried that’s what we were about to get because i haven’t finished the roughs of my mock up lol

so what i didn’t notice my first time through is that you can then see claptrap, also being shown in the chest

waving up at the camera. that’s not trippy at all or anything lol

this car in the foreground (with no one driving it, mind you)

randomly combusts, looking quite like elpis in that one shot of the claptrap presents pandora trailer. wonder if that means it’s gonna ‘splode.

ohhh it spins. please no spin imma get motion sick blech

shot of some cultists. one appears to have a jetpack near the bottom right there

another explosion to the beat

the shock wave!!!! that’s awesome

shock nomads cultists are back. f in chat for our shields

another cultist seconds before he gets blown to bits

it cuts to black for a secco as it moves thru said explosion

another cultist, i assume a psycho

finally some good fucking angles

heh.

idk what i expected from someone who’s first action skill line i ever heard was them shouting MAGIC WALL!!! TAAAADAAAAAAAAH

as a side note

who is shooting those lasers

we see them coming from behind the VHs, but

there’s nothing there

SPOOKY~

they’re coming from... the wall???

tfw u shot urself in the foot on accident

amara is not amused

`is this some human custom i don’t understand yet`

also i hate that i’ve done this exact dance before when i took dance classes as a kid

with less style of course, i was like 7

moze is into it, hell yeah

this reminds me a lot of Kingsman. where all the blood is like fireworks and stuff. i wonder if that has anything to do with the psycho brainwashing. like little sisters in bioshock. they see roses instead of blood, right? maybe there’s something like that going on with the psychos

i’d certainly hope our vault hunters aren’t brainwashed, anyway.

this dude looking SHOCKED to see that tho, lmfao

i relate to this man on a spiritual level i stg

man he looks pissed

omfg lol

“um”

“i guess this is okay”

the body language in this is gold i am just having the time of my life

adsfdgfhgjhgfk

this is so cute

also in retrospect, i think this is one of the turrets we see on promethea. i wonder what it’s doing here!

moze u ok?

oh nvm she’s into it, look at her! she’s dancing! She’s Dancin’!

oooo one of the robots from the we are mayhem trailer! okay you can totally see why i think they’re jakobs, RIGHT???

iirc this is a maliwan soldier

man this is a crossover event, isn’t it?

i get it now. togetherness. i gotchu gearbox.

some maliwan ships in the sky. possibly sanc-iii on the right? or a ship of the same model as sanc-iii!

this is a magitek dropship, change my mind

eh, they both start with M, fuck it.

no idea what fl4k is doing here

mayyyybe shielding themselves from the ‘firework’/confetti shower

i like that the confetti explosions are backed up by purple, you know like eridium/slag/siren powers. seriously, maybe this is just how to cultists see us Vault Hunters and the mass murder.

at the very least, the psychos.

fl4k’s into it. i wish we knew the name of their skag, if it has one. i hope it does.

well now the lasers are coming from the other side! what the hell

moving on

i think this is the HBC from the speakers, plus im pretty sure that skull and the stained glass are the entrance to mouthpiece’s arena

we also get a different colored explosion. im paranoid jack is somehow making a return (please god no), so i’ll just note it’s the same color as his eyes.

AND the chests are vomiting out gold guns, which i think, gold-plated gear, is the cult’s way of signifying standing. which im sure is a tongue-in-cheek commentary as gearbox gives out a gold weapon pack as a pre-order bonus. no, like, it even shows up as an ad on the video

smh gearbox lmao

oh, also, the cultists are doing fuckin flying impressions

im not saying its a reference to the cultist with rakk wings on the cover, buuuut

bitch it might be lol

it’s an upside-down vault symbol! ive been trying to figure out what that is in those screens for the longest time!

back on promethea and we get to see fl4k’s spiderant in action

their skag, too, of course

the jabbermon in the back there, too! i wonder if they’re going to be shock or cryo. i would imagine shock given how they’re glowing

also i love the way the flowers look in contrast to the character models

moze is so happy aw

i love the way fl4k’s skag comes flying in and slides to a stop. such a good doggo ;-;

this is beautiful, i want it as a wallpaper

moze skipping? holy shit

100% verified the best thing i’ve ever seen

i lied. this is.

is this the fast travel station effect?

also! IB is looking a bit different

i wonder if this is a redesign or if IB is wearing a new skin moze picked out

pan over to zane who clearly doesn’t notice the being of darkness and horror in the doorway

oh also, we’re on eden-6 now. which would explain the fast travel effect

psychos dancing on the rooftops lol

oh god my eyes

nothing to really say here, i just like this screenshot

pink shields booyah

this is so fucking cute

we also get a better look at that one facility on eden-6

is that... red i see? >w> i won’t say it i won’t i won’t say it i swear i just- ATLAS

fuck

i like that zane’s clone spawns with his melee attachment

not AS excited as the real life version though

GB pls let this be a zane emote

is that a varkid? on eden-6?

wtf is a varkid doing on eden-6???

more shots of the facility btw. reminds me a lot of sanc-iii so maybe this actually is the supamax mfg construction facility like i originally thought. hmmmmmmm

ah yes, of course

holy shit what is this a reference to?

im told it’s the sex pistols

the back of the bullet turns into Athenas

pans in

amara!

enemy with a top hat on. some variation of/upgraded gravedigger? it’s like a psycho but recolored with blue pants and a top hat. you can see it fall off when amara shoots him

y’know, these guys

some rakk in the background

i am hoping bc this is a celebration of togetherness we’re seeing all enemies everywhere, not that the planets don’t have their own unique fauna.

she’s so happy omfg

oh, you want some?

Uhhh then there’s THIS sequence

they’re doing the flying thing again lmao

there’s also whatever that black blob is on the left. a spaceship maybe?

car wheel

all their eyes started glowing red. uh oh gamers

also another fast travel effect

hmmmm... zarpedon is that you??

back on pandora.

“super 87 racetrack”, maybe this is near that motorcade fast travel we saw?

huzzah! rainbows!

i do believe that’s sanctuary-iii

another ship. drop ship?

elpis is looking nice this time of year. definitely not explode-y. yet.

pret-ty sure that’s iron bear. moze is standing atop the tower lmao

also! back to it’s old paint scheme. looks like moze was using a skin or smth

we also have this. are my eyes failing me or is that a big cross on the left? could be where jack was buried.

also i know there was cut content in bl2 about Mount Jackmore! and this looks like a Mount Jackmore to me. it’s a cut quest where claptrap asks you to basically ruin the thing. but since the quest was cut, it’s still here in bl3. maybe they’ll reintegrate the quest lol

i can’t imagine it being roland’s gravesite. because it looks like the below.

i do know we’re going to roland’s grave in bl3, but the statues don’t really match up. maybe it is and the statues were broken, or ruined or something and replaced by a cross. could be then that the gravesite was defaced with, well, the guy that killed him.

im really hoping jack doesn’t make a return. im fine with dealing with what he set in motion, and his influence, and probably even some ECHO logs and movie trailers, but please, for the love of god, don’t actually bring him back, AI or otherwise. im really excited for the calypso twins, i’d really hate to see the focus shift back to that guy. he’s had his fingers in every borderlands game. it’s time to let him go.

idk what this is exactly. it looks like maybe that weird eye bot troy stands next to in the intro for the behind closed doors panel?

goodbye mr magical jakobs chest, it’s been real

the RC now has red drapes going down it. have those always been there? i don’t remember those

hmmmmmmmmm maybe we’re looking at it from the back 🤔

anyway, that’s all she wrote. i haven’t see any hidden morse code messages or anything yet, but if something surfaces, i’ll be sure to add it here.

#borderlands #bl3 #borderlands 3 #so happy together trailer #oof #tumblr fought me on posting this like 7 times

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all-the-kookies-fall · 7 years ago

Text

A THEORY: Linear Timeline of reputation

This is going to be a very long read; but it may just include unlocking the 15 Taylor's from the LWYMMD MV so read on if you dare…

(OK it totally includes the theory, please read and tell me what you think!)

An Introduction:

I've been a casual fan of Taylor Swift since she started. Loved all her radio singles, listened to her albums (at my leisure upon release), and admired her platform and brand image. I guess I became a huge fan after 1989, but around the release of reputation, I realized just how much this woman's music has been there throughout my life and decided to fully stan her. As I fell down the rabbit hole of learning everything I could about TS as an artist, I became completely enamored with her wits & charms. However, the more I learned to love about her, the more I could feel just a slight inauthenticity; I was constantly thinking of the hypocrisy of how she "never names who her songs about" yet she created this scavenger hunt with her liner notes that seemed to point in an obvious direction of one of her "ex-boyfriends." It didn't align with how she presented herself in every other aspect. Then, I felldowntherabbithole for real and found all of the incredibly documented and organized realm of the Kaylor's, and everything was literally in screaming color.

reputation made even more sense with fresh Kaylor eyes and once I read this Taylor Swift quote:

reputation, in my mind, is an album that is very linear in it’s timeline. Meaning that it kind of starts out where I was when I first started making the record. The album ends more where I am now in my life. So this is more towards the end of the album, it’s called ‘Call It What You Want.’

my mind became OBSESSED with cracking this code. I had combed through all the kaylor blogs and while I had read everything I could, I still couldn't place it within any timeline. Then, Delicate came out and the code started to crack; I could peek inside and make sense of something, but was still unsure what it was. I put together a loose concept which had some plot holes, but it was when I remembered to revisit the 15 Taylor theory that everything completely revealed itself.

I would like to start with a disclaimer: I have never, ever actively participated more than lurking or even posted anything on Tumblr. I would like to fully acknowledge that there is a huge, fat chance none of this makes sense to anyone but me, but my husband was really getting fed up with me talking about it and I just needed to share. THANK YOUS to the Kaylor blogs I frequented with incredible analysis and POV of Tay in the media and her music- @all-my-possessions @howyougetthenerd @jennyboom21 @karlitakloss @kaydar @kaylorrepdetective @larrienation @out-of-the-klosset @paradisekisses @tallcurlygirl @taytaysbeard @that-curly-haired-lesbian @thoseflashinggreeneyes @whaler13bg to name a few. (Sorry, tumblr is not letting me tag a few of you.)

A lot of the information I am providing is not new and connects the dots from the amazing posts from this community. I tried as best as I could to cite all relevant posts - you can definitely let me know if I've made any errors. Please feel free to edit//contribute//comment because I have a feeling that a more seasoned eye would be able to expound on so many more clues and easter eggs!

Let the Games Begin!

Overall Concept/Themes

There are truly some insightful analysis of the overarching themes and concepts of the album already. Secrecy, partners in crime, forbidden love… In general there's a complex theme of Duality to the album; conflicting feelings, Brand vs Self, bad vs good, truth vs reputation etc. I think it's most important to note is that any analysis that views these tracks differently than listed below, can still be correct. Our Queen is a lyrical master plus there's that added layer of intentional dualities in her story telling; there's always at least 3 different meanings to her songs and that's one of the reasons we admire her wordsmith ways.

The Timeline!!!

…Ready For It? - So It Goes… 2012* - 2014

This has long been inferred in every side of the fandom to indicate this is Part 1 of the Story, implied by the ellipses as the beginning and end of the track names. All the timelines I've previously read started at either the introduction of 1989 or even later beginning with 2016/2017 events, but it didn't make sense applied to the album as a whole. Once Delicate MV came out, I began to notice that all of the nods to RED in all these MV's were not just for nostalgia. She is literally telling us that this part of the story was about the end of RED era leading into 1989 - not quite 1989 era just yet. ;)

*2012 is an estimate based on the beginning of the Delicate video; it's possible that TS & KK met before Swiftgron was officially over but who will ever know? Karlie's buzz cut was December 2011 (x). The first half of the album is difficult to theorize specific dates within this period because we really have no idea when KK & TS met.

LWYMMD - New Year's Day 2014 - 2017 (NYD)

I gotta tell you - immediately after reading this, go watch LWYMMD. It was (is?) literally hiding there in plain sight; it's a GENIUS video walking you through EXACTLY what she did (you could say from a satirical standpoint more how the media/GP thought she did) to prepare for this era! When she refers to the "Old Taylor," she's using the term in the exact way her fans have been using: to refer to Country Taylor. She is officially Pop; Look What We Made Her Do when RED, a pop-country album, "a patchwork of songs," didn't win the Grammy. She went full POP princess. This post in particular helped me remember that these songs are not fresh in regards to her life even though they are brand new to us. Part 2 of the story more clearly follows the events of the 1989 era through just before rep's release.

Track by Track // 15 Taylors

…Ready For It? Intro

I believe this is an introduction of what's to come, an overview of the story. Yes, she's definitely asking herself if she's ready to come out of the closet (x/x), if Karlie is ready to glass closet (x), is her beard ready for the consequences(x), and most specifically, are we, her fans, the GP, are we ready for her to come out and live her truth unapologetically? It's her laying the groundwork to prepare for 1989; her literally coming up with the concept for the whole era which is why we see the references to her 1989 MV's in the glass room. This post cites the connection to the Dykes on Bikes; are we ready to accept Taylor to not only come out, but be a strong voice and activist of the LGBTQ+ community?

End Game April 2013 - June 2014

I KNOW Taylor is singing to KK about them first meeting - and I KNOW we think they just met before VSFS 2013 (even though there are rumors that say they met sooner…) But, hear me out because this lines up way too easily with the information we get from the MV (x/x). Remind yourself… Who opened for Taylor's RED tour? That’s right, our favorite ginger. It's a nice additional nod with the callback of Everything Has Changed duet with Ed Sheeran. Miami (shoutout to my hometown even though I have no inkling to its significance) tour dates were 04/10/13, London was 02/01/14 (Did she really show us their first NYE together?!), and Tokyo was 06/01/14.

Irrelevant now but important for later (LWYMMD): And I bury hatchets, but I keep maps of where I put ‘em. This post highlights a cool interpretation of the line that applies to this whole post!

I’ve been doing some digging to try and somehow link Miami in this mix, and this is pure speculation but I feel like Future represents her bearding with Harry Styles. Karlie’s “buzz cut” was in December 2012, and shortly thereafter she was in Miami for a photo shoot. 1/4/12 marks the official break up of Haylor in the US Virgin Islands… it’s a stretch and I’m totally grasping at straws but they are geographically close and it’s all I got for now.

"Me, I was a robber first time that (s)he saw me…"

I Did Something Bad early 2013

So, I have to admit… IDSB and DBM were the two songs I was having the most trouble placing within the linear timeline; my initial thought was this must have been a metaphor for her confessing her "sins" a.k.a. bearding, to Karlie when they first started dating. This was the song that clicked once I looked through the lenses of the 15 Taylors and reaffirmed my thoughts with the visuals of this Taylor on the cross in LWYMMD. In digging a little deeper, I found a Vanity Fair article - one of the only cover stories found online about TS during 2013. I'm not as confident about my perspective on the linear timeline with this track, however I feel like it's a good start especially considering the next holy church track.

In regards to the "light me up" lyric, and clear visual reference in the …RFI MV as well as the crucifixion of Taylor in LWYMMD, I thought this answer she gave the 73 Questions With Taylor Swift | Vogue video was also interesting to note. The question was what is the one thing she wishes she would have known at age 19 (8:03)?

"Hey, you're going to date just like a normal 20-something should be allowed to, but you're going to be a national lightning rod for slut-shaming."

I'll leave this quote from the April 2013 Vanity Fair interview right here:

"But nobody calls them the kinds of names that get thrown at Swift. “They’re ‘playboys,’ ” Swift says wryly. “They’re ‘having fun.’ ”

By the way, in the Vanity Fair article there's an "authorized source" giving insight to what "really happened" to Haylor aka probably lies.

Every lie I tell them, they tell me three

Don't Blame Me early - mid 2014

I can really only hypothesize through the lyrics and the Taylor line up that this may be a reference to how the RED "media" circus (as quoted from the VF article cited above) literally made her do crazy things - maybe how her past experiences had caused her to react a certain way in an undefined relationship, maybe how the media circus in general had her guarding her heart, and of course the religious context of the song leads me to believe of course it is connected in that aspect to the confessing of her actions in the previous track. Big Sur trip also falls within this timeline. (x/x/x)

I once was poison ivy, but now I'm your daisy…

Delicate 2013 - 2014

I think this one has so many beautiful analysis with the music video that syncs perfectly with this time line with no need for additional explanation, and I think it's especially apparent why this Taylor represents TraKK 5 in the line up. (x/x)

It's interesting that Fearless Taylor and Red Taylor were the ones actually fighting on Taylor Mountain in the LWYMMD MV; this may be a reference to her insecurities and headspace during the RED media circus//break up anxieties fighting contrasting to her want to just dance in her best dress Fearless with KK with no inhibitions.

Dancing in my best dress, fearless

LWYMMD End of 2014

Has anyone noticed the crows in the beginning? It literally hit me as I was finishing this post - a group of crows is called a murder.

We see her Driving a new Maserati (well, car with significant meaning) down a dead end street and then crashes into the pole. (x) She literally killed the "Old Taylor" to get the Grammy - as well as set up clever disguises as red herrings* so that we missed the most obvious clue that this is about the release of 1989. I think even cleverer, how she walks away from the crash unscathed at the end of the MV to imply she rose up from the dead, she does it all the time (with each era release). (x/x/x/x)

*Red herring: something, especially a clue, that is or is intended to be misleading or distracting. In reference to the post regarding hatchets in End Game, she's definitely sending us on the hunt… remember that post above I asked you to note?

Then of course another hint to the timeline is in the lyrics and MV (look at the date of the tweet...)

I've got a list of names and yours is in red underlined

So It Goes… October/November 2014

This was definitely the most challenging to figure out, but there's definitely two clear ideas that are represented here - the linear timeline alludes to the HOT KINKY SEX our girls probably had after VSFS '14 (x/x/x) and the death of her 'innocence.' Coincidentally, I had read Slaughterhouse Five for the first time earlier last year and lurking around the Reddit TS community where they spent so much time trying to figure out how they could circle this back to Vonnegut. Unluckily for them, it is the most heteronormative//homophobic community where even Kaylor posts are censored/deleted/ridiculed etc so they weren't ever going to get it. This song represents a toxic relationship with CH in their eyes, and I can see that perspective… another Salute to the American Queen of Wordplay.

Anyway, here is a quote from a NY Times (https://www.nytimes.com/2011/12/18/books/review/and-so-it-goes.html)

That is, the constant repetition of “So it goes” makes readers ask themselves about the meaning of death (or its lack of meaning) and the incalculable human costs of war.

The 2009 VMA's Taylor is the epitome of everything her art, brand and music spoke to prior to 1989; and with the Pop princess she was no longer the relatable girl next door. She had gone full big-city, celebrity friends, glitz and glam - feeling so Gatsby for that whole year. With 1989, represented by the LWYMMD music video, that image was shattered, it was the death of her reputation but the true beginning of laying the groundwork for her and KK's future and she truly felt alive.

Not to mention a song about kinky sex is a huge step away from that image.

So it goes...

And so it goes, now Part 1 of our story is done.

Gorgeous Met Ball 2015

Part 2 moves into the 1989 era starting with the Met Gala. (x/x) I read a great analysis using the lyrics to prove why this song is not about someone you just met because of the intense conflicting feelings. (I have scoured Tumblr to find it and link it but can't rediscover it… sorry I explained I've been a noob and a lurker and I never liked or reblogged anything, I'll update with a link if I ever find it again!) That made me reevaluate my original thoughts of this track being Enchanted 2.0 and representing her meeting Karlie for the first time. This was the first public event Kaylor attended together; it must have been strong conflicting feelings of joy & giddiness of the relationship quickly overtaken by nerves, fear, and anger that she would be found out and/or couldn’t show any outward PDA towards KK at the event. I would imagine there was a lot of drinking that night to cope, thus the “drunk” perspective.

PS she probably didn’t go home alone that night (DING)😉

'Cause you're so gorgeous it actually hurts

Getaway Car May - August 2016

There are great analysis looking at this song from two main POV's- 1. the bearding CH-TH circus(x/x) and 2. a reflection of Swiftgron in hindsight (x). For the sake of the timeline/15 taylor line up, it was too coincidental that this was the Taylor snapping at the beards in I <3 TS shirts and from that perspective, fits perfectly into the linear timeline. It is suspect that TS went against her management in anger of how the "break up" with CH unfolded, and so it would make sense to be a little apologetic towards TH -- the one beard aftermath she may have regretted but that is just pure speculation.

And a circus ain't a love story, and now we're both sorry

*I JUST NOTICED! She POPS HER LEG for the 7th boyfriend in line - AKA CH. She is SO EXTRA!

King of My Heart August 2016

The below quote and Taylor line up don't need further explanation.

"I think it’s very interesting when people talk about their love stories. Like when you guys blog about, “my and my husband, me and my boyfriend” or just anyone talking about how they fell in love.

There seem to be these very definitive phases. It doesn’t matter how long that phase lasts. There seems to be a moment where you know it transitioned to the next phase. People will be like, “Oh my God, we were friends for six years and there was this moment and we knew and then it changed. Then there was a moment and it got even deeper. Then there was a moment and we knew” or like “I saw this person and there was this moment and we knew.” Everyone has a different story with how they connect with someone else and what i find interesting is the moment where it switches. You always hope that switch is going to move forward and not backwards because it can happen either way. I always wanted to structure the song where each individual section of the song sounded like a move forward in the relationship but still being listenable. So I wanted the verse to seem like it’s own phase of a relationship, the pre-chorus to sound like it’s own phase of a relationship, and the chorus to sound like it’s own phase of a relationship. I wanted them to all have their own identity but seem like they were getting deeper and more fast paced as the song went on. So finally I was able to achieve that in a song.”

Here’s a couple of my favorite analysis regarding this song. (x/x)

Up on the roof with a school girl crush

Dancing With Our Hands Tied Mid - End 2016

This analysis really explains the lyrics and matches the allusion of the Zombie Taylor to make it seem like it is a hindsight song about Swiftgron; however Out of the Woods is the last MV of 1989 era released the end of 2015 (aside from New Romantics your video) and this can perhaps be expressing the death of Taylor’s 1989 reputation after the slew of public feuds. It can also be interpreted as a hindsight song in regards to Kissgate in 12/2014(x/x); how she had found herself coming into 1989, but was a zombie version of that because she had to beard with CH and TH and it perhaps made her feel dead inside. Maybe she’s implying that she would have just taken the fall from grace then put herself through another (particularly long and grueling) fake relationship.

I had a bad feeling

Dress October 2016

Not only is Dress pretty frequently analysed, it's also the most obvious and blatant within the theory. I thought it was very cute that this was represented by the Ballerina in the line up as a not so subtle nod to Karlie. October 2016 was the infamous Golden Tattoos at Drake's birthday party. (x/x/x)

Made your mark on me, a golden tattoo.

Sorry I couldn’t help myself with this gif :P

TIWWCHNT November 2016

Originally, I thought this was the easiest one- yes, the Snake Queen is sipping and serving tea on her infamous feuds however it just didn't fit in the more transparent timeline of the second half. There's been a few posts that hint the track may be a slight diss to her fans. Once it hit me she was alluding to herself as our (the fans) American *dream* Queen, I realized: this song is not a slight diss - it is harshly directed to us, all of us. Hear me out: Just like KOMH is about a love that reflects back on different periods in life, this track also calls to a couple different conflicts with the relationship of TS and her fans. She's never enough for either aspect of the fandom.

I thought it was curious that she would have the "ET TU BRUTE" (x) as a reference to Kanye because let's be honest, she probably never trusted him after 2009 and rightfully so. "Et tu, Brute?" is a Shakespeare reference and a phrase that is now used to describe a friend stabbing you in the back. This would be more applicable to us, her fans. V1:

It was so nice throwing big parties

Jumping to the pool from the balcony

Everyone swimming in a champagne sea

And there are no rules when you show up here

Bass beat rattling the chandelier

Feeling so Gatsby for that whole year

This easily refers to 12/2014 - Kissgate. Feeling so gatsby for that whole year; throwing big parties. She had to close the gate before she was outed prematurely by the fans watching her during the concert. We were the last ones she ever expected having to protect herself from; she had been so open, glass-closeting, but the fans took it too far and crossed the line of her privacy. She was surprised by the network that had expanded to track her every move. A couple years pass, V2:

It was so nice being friends again

There I was giving you a second chance

Think back to the election of 2016; Taylor being back in the media and more open again with her life wasn't enough at this point. America had reached a boiling point and everyone had to pick a side; even Taylor's most dedicated fans were constantly expressing their disappointment at her so she changed her priorities and went into hiding.

As @paradisekisses once posted, “Not everything is about Kanye.”

Salute to you, our American Queen of Red Herrings

Because you break them, I had to take them away.

Call It What You Want End of 2016

The lyrics all harken to 1989 (x) and this is when her reputation has never been worse (again), but she’s stronger this time and it didn’t break her as much as post RED era. Not to mention, she’s madly in love and found her end game so nothing else really matters to her; her priorities have been shifted and she knows what truly matters in her life.

Call her what you want, she is Karlie's Partner in Crime. it's an obvious call to the gold cage, hostage to my feelings; she will jail herself once more with this ((hopefully)) last beard and that will be the official death of (2.0? 6.0?) Old Taylor. The best part is the BTS video showing how much fun she was actually having in the gold cage. There are beautiful analysis of this song (x/x/x/x/x) , and to me it's just the most real/pure love song. Love isn't just about all the good times, it's how your partner and you navigate the bad. Sometimes the worst moments in life show us just how strong our relationships are and bring us closer together.

Karlie what you want, call her what you want to (I can't unhear this in the background now <3)

New Year's Day January 1, 2017

This Taylor is hidden from us because she will probably never be as open with the GP, media, or her fans ever again. Who knows what to come in the future, but she actively tells us "don't read the last page" and to "hold onto the memories." Ugh, this is making me tear up -- I just officially joined the fandom!! Don’t tell me this is it already... (x/x/x)

This post highlighted the importance of the sunshine necklace with Taylor's obvious sarcasm in the BTS in saying “It’s really important to wear subtle jewelry in music videos, I’ve learned.” (If anyone can forward the gif I’d love to add it to the post :))

Sidenote: technically, isn't this another closet she's in during the rep era?

Wear you like a necklace…

And I will hold on to you...

I had so much fun putting this together and being inspired by all the amazing perspectives the Kaylor fandom has been churning! Hope you like it :) Let me know your thoughts!

#kaylor #gaylor swift #reputationtimeline

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cabinboy100 · 7 years ago

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BABY DRIVER: Take a Ride w/Edgar Wright's Rockin' Wheelman

Thanks to the Brattle Theatre and the Independent Film Festival of Boston, I got to watch BABY DRIVER at an advance screening last week!

It is a gorgeous musical roller coaster ride of a film. Writer and director Edgar Wright supercharges another beloved cinematic icon-slash-genre—the Wheelman or Driver—with his remarkable style, vision, wit, and rhythm. While not *a* musical, per se, BABY DRIVER is very musical, delivering snappy dialogue, sharp looks, slick moves, death-defying driving, and brutal gunplay, all choreographed to a soundtrack beautifully interwoven with the film…

There's not a lot more to say, really, beyond additional superlatives upon superlatives, and I don't want to go into scenes or characters too deeply and give up any of the fun. I think I'll just let one of the trailers do the talking…

youtube

Bottom line—GO SEE THIS MOVIE! And see it IN THE THEATER!

[rant] And for Space Pope's sake, do NOT take your phone out for any reason while the movie is running. You just paid $10 to $20 for this amazing experience! We live in an age of wonder that allows you to ignore a movie for free at home. Save the spacebooking, twitting, and txting for later. Or if you're gonna do that, or even look at a message on your annoyingly-bright-in-a-darkened-theater phone, get out of your seat, walk to an exit, behind a barrier, or *maybe* the back wall, out of anyone's view, and then have a look, respond if you must, and get back to the show. If you're waiting on your wife to finish delivering, or the funeral parlor's supposed to call about Pop's arrangements, or you're expecting a call from the doctor with those test results—WTF are you doing at the movies? If your phone lights up and you can see it, believe me, everyone next to and behind you can see it. Keep it in your pocket. If you see someone next to or near you futzing w/a screen, do everyone a favor, be your own (and my) hero, and ask them to put it away or take it outside. [/rant]

Beware, beyond this point, I'm gonna start lobbing spoilers into my rambling. So, exit pursued by a bear now if you haven't seen BABY DRIVER already!

CRITS (oh-so-minor, probably more like backhanded compliments).

I don't feel the heart in this that I do in the Cornetto films. Those films—SHAUN OF THE DEAD, HOT FUZZ, THE WORLD'S END—had relationships at their centers. But I have to say that my not feeling that with BABY DRIVER is very fair and true to the driver genre. You don't get the warm fuzzies thinking about BULLITT, THE BLUES BROTHERS, or THE FRENCH CONNECTION, right? Well, okay, maybe THE BLUES BROTHERS. =)

The characters tend to be flat and archetypal, taking a back seat *sorry-not-sorry* to the action and style. Wright does get me rooting for some of the baddies along the way, because of their professionalism, circumstance, charisma, and, well, moral relativism. And while they may be flat, they own their two dimensions and are memorable, essential, love- and hate-able in their own ways.

Of course, we know who we're rooting for—our Baby on board.

Maybe this isn't fair to BABY DRIVER, but I'd *just* seen Walter Hill's THE DRIVER, right before it, and was so frickin' impressed with its style and tension and story-slash-chase-telling cinematography. I found myself wanting more from the final car-v-car showdown in BABY. I feel like both Wright's BABY DRIVER and Refn's DRIVE put their tightest and tautest chase set piece at the start of their films. They are a-ma-zing intros to each film experience, but greedy me, I want even higher peaks in the middle and the end.

Oh, don't get me wrong—there ARE more peaks, gorgeously choreographed, executed, shot, and edited peaks, throughout. It's been a week now and I still feel my thoughts are vibrating from the experience.

I'm gonna see it again, so maybe I'll revisit this notion of the "starting with dessert" problem, if that's what it is. Maybe it was having THE DRIVER on my palate affecting my perspective…

LOVES.

I love the reason that Baby is always listening to his music. I don't know which movie or story first used music as a way to time and count off the steps to a heist—at the moment I can only think of HUDSON HAWK =) —but I was almost surprised that that seemed to be what was happening with Baby's character in the film's opening chase scene (w/Buddy, Darling, and Griff). It almost seemed too, well, easy…y'know, for Edgar Wright. But it *is* Edgar Wright, so we know he's gonna do something brilliant with it.

Yeah, I know. Sometimes I wish I could watch a movie with my 9-yo brain, and not think so much.

Then we see Baby on his apparently regular walk to Octane coffee, and in a beautiful "Harlem Shuffle" music video starring Baby against the graffiti of Atlanta streets, we learn that music permeates every moment of Baby's life. Man, when Debora walks by outside the shop in front of the rainbow heart—so simply perfect. =)

And I'm pretty sure that when he retraces his steps, "Shake Shake" has been added to a column or wall that had "Right" on the way in.

Later we learn that there's more method to Baby's madness for music. Doc explains that he suffers from tinnitus, and music helps keep the ringing in his ears at bay. Later still, we learn that he has a habit of recording much of what he hears, using the audio as samples in musical creations of his own. I really wish we'd been able to see him create some more of those, and/or hear more from his extensive library.

WRIGHTS.

Some little bits of fun that I feel are somehow Wright-ian, whether intended by the director or not. =)

J.D., of Bats's crew, is given a simple assignment—pick up three HALLOWEEN Michael Myers masks for use in the robbery. What does he show up with? Three Mike Myers (as Austin Powers) Halloween masks. When questioned about his cluelessness, one of the gang tries to clarify—The Bad Guy from HALLOWEEN, the movie! To which he replies—Oh! You mean Jason! And hey—What's Buddy's real name? Jason! As in Jason from FRIDAY THE 13th? As in the guy who keeps getting killed by never dies?

(This exchange inspired me to goof a BABY DRIVER: Halloween the 13th meta-mashup poster = )

And what's Baby's real name? M I L E S of course!

Hrm…Good thing Wright didn't make this movie on the continent somewhere or in Canada or his name would've been Kilometers! *groan*

Bananas! Doc reveals that's the phone call confirmation code word he receives from his contacts after a successful interaction. Darling reacts to the playing of one of Baby's tapes—"Is he slow?"—with B-A-N-A-N-A-S. When the Butcher's Atlanta PD colleagues show up for revenge on Doc, they give him the code word—"Bananas!"—along with some hot lead.

The invisible camera returns! In WORLD'S END, Wright shoots a scene between Simon Pegg and Rosamund Pike in the restroom of a pub with the camera pointed squarely at the mirror on the wall. Sure, it could be digital magic, but I can't help but wonder if Wright has pulled off some practical magic. Just the right lighting combined with a glass plate at the correct complementary angle or something? Well, whatever he did then, he does again in…I want to say at least two shots—maybe three, with reflections in a car exterior?—in BABY DRIVER. My lame brain is now only recalling one, tho, in a pan across the washing machines of a laundromat, a sweet bit of Courtship, American Style.

Yeah, probably some "simple" digital trickery…But maybe only for the last 10% that some Houdini-like stage magic couldn't quite cover? I want to know but don't want to. =)

And speaking of courtship—I kind of adore how Baby sharing his earbuds with Debora physically connects them while they're moving around the laundromat and talking. It turns their conversation into a sweet dance number. A bit of Wright magic.

Becky & Ella? In the elevator down to P1, P2, and P3 after the first job, Buddy promises to take Darling to Bacchanalia, for the best wining and dining around, or something to that effect. When Debora presses Baby for an idea on where they'll go out, he tells her what sounds like "Becky and Ella" for the best wining and dining around. NB: Found out Bacchanalia *is* an actual ATL restaurant, but I don't believe we ever see its name or signage on screen.

I WONDER…

About the "Spirit of 85" or whatever it was called. Doc mentions it to help establish Baby's cred. Apparently Baby tied the Atlanta PD in knots on what sounded like a crazy prolonged chase involving a cloverleaf interchange of highways. I think the word "spaghetti" was used? No doubt native Atlantans will appreciate the description of the feat. Baby's Kessel Run? =)

Oh, man! Who is responsible for Baby's wardrobe? For half if not most of the film, he is strategically yet uncannily decked out in duds that scream "Han Solo" to me. I'm talking A NEW HOPE—black vest over white shirt with dark pants.

(Baby’s taste in clothes—as well as his backstory and talents—inspired this BABY DRIVER: Nerf Herder mashup… =)

After the film, I was told that our Baby, Ansel Elgort, had been on the short list for the young Han Solo film. I honestly had no idea as I did and do my best to block that sort of "news" as much as possible when it comes to films I'm looking forward to.

Was this Wright, Elgort, or another member or members of the crew expressing their support for HANsel? I have no idea how the timelines of young Solo casting and BABY DRIVER shooting line up. But if the decision was made before shooting, maybe Ansel’s turn as Baby becomes a kind of what-could-have-been/what-you-missed strutting? =)

When I heard about the LEGO MOVIE directors being dismissed from the project, I thought that maybe they'd seen BABY DRIVER and realized that Edgar Wright had already made the movie—what's the point now? =)

And in the Hollywood minute before Ron Howard was announced, I wondered if maybe BABY DRIVER might possibly be the perfect proof of capabilities for Wright as the new director. Alas—*sigh*—not to be.

I wonder just what the heck happened with Disney/Marvel/ANT-MAN and Wright.

CINEMA SERENDIPITY…

I love it when my experience of films and shows connect in little unexpected ways…

Last week, I got to see Edgar Wright's amazing action jukebox, BABY DRIVER. The next night, I caught Kumail Nanjani and Emily Gordon's hilarious, heart-warming and -punching rom-coma-com, THE BIG SICK. And tonight, a week later, experienced Bong Joon Ho's OKJA on the big screen before it streams on Netflix.

Yeah, none of that connects on paper, but in my head it's a different story… =)

In THE BIG SICK, Kumail and Emily's non-dating dates reveal his obsession with cricket and appreciation of zombies, which of course would logically add up to a SHAUN OF THE DEAD poster on his bedroom wall. That's some solid math, and reminded me that I've followed some twitter exchanges between them about movies (about ROGUE ONE, Riz Ahmed, representation, and a buddy heist film).

The content of OKJA does not directly connect to anything Wrightian (as far as I could tell on a first viewing), but Bong Joon Ho's previous film, the must-see sci-fi fable SNOWPIERCER, features Jamie Bell as a character named Edgar, apparently named for Wright. That note, plus the fact that Edgar was best buddy of Chris Evans's Curtis, inspired a couple of mashup posters, one of them a meta-mashup starring SCOTT PILGRIM's Lucas Lee.

Yeah, like I said…it's all in my head.

Why do I have a feeling like this will be read back to me in court at a later date?

BABY DRIVER AT AN ADVANCE SCREENING…?

Oh—how did I get to see all these films in the theater? And before their wide release dates? The Brattle Theatre and the Independent Film Festival of Boston are my enablers-slash-suppliers. If you're Boston-local and love moviegoing, I *highly* recommend you check their schedules and membership privileges, join/donate/support either or both, and see some amazing movies!

Allright, enough a-ramblin'. If you made it this far, I'm sorry and thanks much. Now, get thee to the theater and BABY DRIVER up!

Keep on keepin’ on~

#BABY DRIVER #Edgar Wright #movie #ramble #review #THE BIG SICK #OKJA #Brattle Theatre #Independent Film Festival of Boston #Ansel Elgort #Han Solo #Mike Myers #Michael Myers #HALLOWEEN #FRIDAY THE 13TH #Edgar eggs #easter eggs

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tumblunni · 6 years ago

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Baron omatsuri and the secret island traumatizes me yet again, hooray!

Ok wow that was a nostalgia blast! Finally goddamn have a physical copy of this thing to own. Its never been dubbed and the only way to get it was this weird manga UK licensed reprint of a bunch of (i think) hong kong english subtitles. The style of the subtitles looks like that, at least. Its all weird and grainy and very very old fashioned early days of subtitling style, which contrasts completely with the modern dvd menus and box and stuff. And its also a weird combination disc of four different movies, it seems they just bought out a licensing package deal or something? And just baked it onto the disc without checking or editing anything. Its not really a funny sort of bad subtitles though, its just awkward phrasings of thibgs that are hard to understand or random typos or whatever, no legendarily hilarious stuff. I kinda dislike it more when subtitles are like this, when theyre like...actually written by a guy who speaks fluent english but he just never watched the actual movie so theres a bunch of rookie mistakes. Also has a strange case of what you usually only see on fansubs- the obsession with leaving everything in japanese to Sound Cool. Nah we cant call them the Tea Party Pirates we have to say the japanese word for that. Nah we cant have this man say mustache when he's doing the mustache pose and talking about his crew of entirely mustache men who all do this mustache pose NO it has to be Chobehige because its somehow deep and edgy to not understand the word for mustache. Like i feel if i was watching this sub first i would have no idea what was happening! At least its not as bad as that older sub i saw where they insisted on translating friends as "crew", even when it was llike..a singular. This one man is my crew and here are all my other crews! Like i feel like that subber probably originally did that dumb old fandom thing of INSISTING that you had to say Nakama in japanese and Capitalized and it was a Very Important japanese word for specifically pirate friends that was Impossible To Translate. And then they just did a ctrl + F replace on the whole thing and made an incomprehensible mess. Also for some reason sanji just yells DOCTOR out of nowhere (chopper wasnt even in the scene) and baron omatsuri's one syllable "oh" is translated as some long string of what seems to be baseball jargon..?

But ANYWAY the movie is still fuckin awesome and i actually noticed EVEN MORE dark shit and subtle storytelling that i missed when i was a kid! The whole 'small child zombie stares blankly at the place where a sword stabbed through his chest and cant understand why he got back up' scene is EVEN MORE emotionally destructuve than i thought! Cos the subtlety of the voiceacting seems to make the poor kid sound so tired and resigned to it? He's desperately asking and his father figure feeds him the same old lies he's done a million times about how he's totally still alive and everything is fine. Like wow i missed that inplication that this has happened before! And then he kinda sounds like he's actually aware that Baron is lying and he's just pretending to believe him to make him feel better. And then he starts turning back into a corpse and he doesnt panic like muchigoro or not realize whats happening like the grandpas do. He just looks straight at his hand falling apart and tries to lie to Baron to make him feel better. *long shot of him from behind before you see whats happened* "I'm just feeling dizzy again. I've got used to it." *him staring blankly at his body falling apart, not even capable of feeling sad about it anymore* "Don't worry...i've got used to it." *thud*

Like FUCKING HELL this film is the best damn existential horror thing ever and why the FUCK did they market it as a fun happy kids film? it probably would have been way more successful if the twist wasnt kept all twisty, honestly.

And also WOW YEAH theres a lot of stuff thats the subtlest goddamn storytelling in the universe and youd never notice unless you watched this film a million times like i did! Like during the intro when everythibg still seems all fun and cute and normal, the advert for the Totally Innocent Not A Trap Super Secret Island Resort is being read over some random shots of waves and stuff. But then right near the end you see those same shots again and it becomes clear that it was literally the view from Baron's eyes as he was falling from the ship and drowning, desperately trying to keep his head above water and strain his eyes to see if anyone else had survived. All the moments that just looked like camera cuts were actually when his head fell beneath the waves. Thats fuckin amaizng you straight up showed the ending in the beginning and we didnt notice????

Oh and also right before THE FUCKIN TERRIFYING MUCHIGORO DEATH SCENE you see him casually mention being 'sleepy' a few scenes earlier. It just passes by without notice and you think that he's just drunk until he suddenly starts going from comedic slurring to fucking asphixiating and the SKIN ON HIS FINGERS PEELING OFF. Oh hey! Another thing i didnt notice before! FUCKING THAT. A fun game for you on your rewatch! Looking out to find the secret finger horror! Ha ha ha...ha...

Also MAN OH WOW all the subtle signs of Baron getting more desparate throughout the movie and how it seems the time limit for the zombies was almost up and he had to kill these specific pirates right now because he couldnt spare even a few more hours. In retrospect it makes sense how he was slipping up and leaving evidence for the heroes to figure him out. And its just so subtly offputting and strange how he goes from making a big fun performance about the festival early on and then starts subtky rushing through the formalities faster. Like you dont eveb conciously notice the tone is changing until suddenly BAM the full change happens and you realise you missed all those signs! And aaaa its so fuckin sad how you see him come running when muchigoro drops dead and he's like fuckin GET OUT OF THE WAY DAMMIT and kneels down next to the body and theb he just..turns emotionless again and goes ITS TIME FOR THE NEXT CHALLENGE. It is time. Its now. Shut the fuck up and do it, i dont have time to deal with this shit, just die so i can bring my friend back. (Tho of course you dont know thats why at the time) And then whats most jarring about the whole scene to me is how he's like "okay fuck it theres no more fun theres no more attractions, if youre not gonna play along then the final game is just i shoot your damn head off" WHILE YKNOW STILL STANDING OVER THE CORPSE OF HIS FRIEND AND STARING DAGGERS INTO THEM LIKE ITS THEIR FAULT FOR DARING TO CLING ONTO LIFE and then a fuckin half finished hapoy fun carnival game sign pops up in the backgroubd and everyone walks past it. Why was that somehow both hilarious and terrifying????? Just fuckin 'whoops we had this thing ready to go but alright its murder time i guess' and everyone IS SUDDENLY PACKING HEAT AND RIDDLING OUR HEROES WITH BULLETS???

And also even more subtly Baron just?? Stays with muchigoro?? Like notice how the entirety of the endgame takes place around where the dude dropped dead. And how when mustache pirate guy saves luffy you see Baron just walking in circles around the same area angrily shooting arrows at nothing in complete desperation even though the dude is gone and itd make more sense to run after him. No he stays standing right there and actually looks really damn relieved when luffy comes back, he's like 'holy shit you really were stupid enough to walk right into my trap jesus christ im so glad but also youre a dumbass'. And he fights entirely using arrows at this point so you might not even notice that he barely walks more than just circling a two meter radius of fuckin DEAD BEST FRIEND CORPSE. Which btw blends intonthe shadows for this entire scene and they only draw attention it again after Baron wibs and muchigoro comes back to life. And UGH MY HEART you see him smile genuinely for the firstvtime and he's like 'im so glad youre okay' and muchigoro is like 'haha im more than okay i can do somersaults!' and generally being a FUCKING TREASURE and this poor fuckin horrible evil man is hugging his buddy and gently leading him away from the battlefield so he doesnt norice he was just fuckin murdering some dudes to ressurect him. God the scariest damn thing about this film is how the zombies dont know theyre zombies and honestky they probably wouldnt even agree with their boss's plan to kill people to keep them alive. They justvthink they live a perfectly normal happy life on hapoy festival island, and he wants them to stay that way and never feel pain again :(

Aaaaand then yeah the infamous scene of revealing this horrifying intestines flower is growing out of the flesh on his back and all the corpses its digesting are pushed against the undulating flesh of its throat like a snake devouring its prey. And its cutesy fake flower face grows infinate eyes as it just keeps laughing and laughing. And then it gets graphically blown apart and the poor goddamn parasite host tries to shove the bloody instestines back into its body, knowing that without this horrifying monster chewing on his goddamn veins all his friends will go back to being dead.

THE END

THE FUCKING END

God it ends so abruptly seriously

I still cry my eyes out every time at the ending monologue of Baron dying and meeting all the souls of his dead friends and theyre crying telling him he shouldnt be here, they wish he'd been able to find another reason to live without him...

And then THE END

JAUNTY MUSIC OVER THE CREDITS

THE FUCKIN END I GUESS

What a great but very oddly executed movie. Seriously i feel it could have worked better if it was given space to breathe and more deeply explore the dark themes rather than the weirdness of trying to fool the audience into thinking it was cheerful and innocent. Like all of this shit happens in the last 30 minutes of the movie! They spend 60 minutes on the fun carnival games! What a strange sense of priorities!!

I WOULD DEVOUR A MILLION HOURS MORE OF DEEP SAD ZOMBIE CONTENT

I am like the Lily of fanfics

Oh yeah btw the horrifying deadly elder god spine parasite thing is named Lily and it looks pretty much exactly like flowey from undertale. This film kinda spoiled me for that game LOL ive never trusted a single talking flower ever since!

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hemcountry · 7 years ago

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MUNDY TALKS "BEING KINDER TO THE IDEAS" 21 YEARS ON FROM 'JELLY LEGS' DEBUT

I can still recall the excitement of realising that a guy from Offaly who wrote his own songs, was not only having them played on national radio, but had one of those songs included on a Hollywood blockbuster! It seemed unreal, like the sort of thing a lot of people would have tried to tell you couldn’t happen. But there he was, Mundy, one Edmund Enright from Birr, right in the heart of the midlands, with ‘To You I Bestow’ on the soundtrack to ‘Romeo And Juliet’, staring Leonardo DiCaprio and Clare Danes. And what was more, ‘To You I Bestow’ was from Mundy’s debut album, ‘Jelly Legs.’ Album number one and a track on a Hollywood hit! The big lesson I learned from that (and I carry it with me to this day) is that a lot of people often have no clue what they’re talking about, or what can and can’t happen. I also learned, of course, that Mundy’s ‘Jelly Legs’ collection was about far more than one song. ‘Life’s A Cinch’, ‘Gin & Tonic Sky’, ‘Arrow of Gold’, they all became trusted travelling companions for times of trouble, celebration, torment, and elation through the nineties and beyond for me. Me, and most of Ireland. And this year ‘Jelly Legs’ celebrates its 21st anniversary.

Jelly Legs – Mundy

Now to many, Mundy will be known first and foremost as a rocker. But as seems to be the case with so many great rockers, an appreciation for country music is never too far away. And the same is true for Mundy. In fact, on his ‘Shuffle’ album, Mundy’s tribute to the songwriters who inspired him, he covers work from some songwriters who are nothing short of icons in country music: Hank Williams, John Prine, Lucinda Williams, and Jimmie Rodgers. Most people would also think of Foo Fighters guitarist Chris Shiflett as an out-and-out rocker, but yet he released his third Americana album, the glorious ‘West Coast Town’, earlier this year. So, when I sat down with Mundy recently, I asked him what is it about country songs that seems to attract and appeal to guys like Chris and himself?

“There’s an honesty in country music. And hey, not everybody’s from the city. I think there’s an honesty about where you’ve grown up, a rawness, a loneliness, and a starkness, and an abandonment there. There’s a lot of people in the music business who grew up in those kind of ‘one-horse’ towns, ya know. People that had to leave somewhere to get to the next place. I think country music – the right type of country music, at least – is raw, and vulnerable, and makes no qualms about saying what it wants to say. I think that’s probably what it is.”

Mundy

Mundy, like all of us, has of course grown and changed as an individual during the twenty-one years between ‘Jelly Legs’ and today. But what about his songwriting? Has his style or process in that regard changed much over the years, or does it all happen in pretty much the same way?

“It’s getting harder for me to find the time, to be honest. When I do find the time, I have an idea of what I want to do and where to start. But the one big thing for me is just letting go. Forgetting about the end product, and just let the show begin! As in let the words come out, and let as many of them as possible come out. There’s a very bad habit where you can just ‘break-the-skeleton’ [of the song] before it’s even finished, and just throw it away. Like, I’ve had a good bit of success in the last twenty-one years, and you’re kind of always expecting the beginning of a song to get somewhere [to progress] very quickly. But when it doesn’t, you just throw it in the bin. And that’s the wrong thing to do. You have to nurture some of these ideas. Stay with them, and let them stay with you a little bit longer. So I’m tryin’ to be less critical, because it’s a bad habit to get into, ya know. And I’ve gotten a bit like that, killing an idea before it even has a chance to form. So, I’m trying to be kinder to the ideas, that’s exactly what I’m trying to do!”

Mundy

Returning to the fabulous collection of songs on ‘Shuffle’, another of those writers to whom Mundy was paying tribute was Bob Dylan, who picked up (finally) the Nobel Prize for Literature in 2016. As a Dylan fan, and as a songwriter himself, what did Mundy make of that news?

“I thought, well that makes sense to me! I mean, he’s written a lot of great songs. And a lot of long songs. He labours over his words in a big way and I think he’s a master of turning a phrase. I can see why some people might have got angry, because it wasn’t exactly ….[a book? I suggested] Well, ya know what, ‘Chronicles’ is one of the best books I’ve ever read. But I’d say there’s a big hierarchy there in the world of literature who are goin’ through it with a fine-comb, and sayin’, ‘But this doesn’t make sense?!’ [laughs]. And I’m sure Dylan was probably sayin’ to himself, o.k, so I’ve received this even though I wasn’t lookin’ for it…..So I don’t know if he even knew himself what way to accept it. But yeah, why not, ya know. He’s definitely brought literature into music for the likes of myself. I wouldn’t have heard of Arthur Rimbaud or Kafka, or any of these people if it wasn’t for Dylan. So he’s certainly opened up that door.”

Mundy

As mentioned, somehow, in that way time does, twenty-one years have passed since ‘Jelly Legs’ took its first steps upon the landscape of Irish music. Twenty-one years on, and it’s still standing strong. When we spoke, Mundy had just begun a tour celebrating the album’s 21st anniversary, and with the original band line-up from back in the day, too.I wondered if it all felt like twenty-one years ago, first of all? But also, did Mundy ever imagine back then that twenty-one years on so many people would still be so excited about listening to the songs on ‘Jelly Legs’?

“Well, that’s a good question. I never thought twenty-one years ahead back then. I was only livin’ day-to-day and song-to-song, to the next album, ya know. But lookin’ back, it doesn’t feel like twenty-one years, no. But there’s a lot of it that I kinda had forgotten about, cos’ it is a long time ago, I suppose. I reformed the band that played on the album – we hadn’t played with each other in nearly…had to be the guts of eighteen years – so that was kinda nerve-racking. I was hoping we still had ‘it’, ya know. I mean, the lads have all still carried on with their own musical careers, so thankfully there was none of us all over the place, like if we were starting all over again! [laughs]. And ironically we started off with what was is, I guess, the first song on ‘Jelly Legs’, a song called ‘Reunion.’ We played that one first, and it and it’s not the easiest of songs, but it was awesome. It just sounded really, really good. So we’ve had some great rehearsals and we’ve got three gigs behind us now, and another five left to go.”

Mundy

So what had fans been getting at these shows? Had Mundy been playing the album straight-through, like it’s tracklisted, as is often the case for occasions like these?

“More or less, yeah. We have an intro tune, then we walk on, we play the first six songs of the album. Then we do a B-side from one of the singles, a rare song that we never really played ‘live’, but it’s probably a song that should have been on the album. Then we go back and play another bunch of songs from the album, then a cover, a few more rockers, then an encore. So yeah, we kinda mix it up. I do a couple of other oldies as well, because there are people coming to the gigs – and it always happens, even when you tell people what you’re celebrating or doing – they want to hear some of the other songs, so I’m throwin’ in a few solo ones like that. And I have a new song that’s basically like an autobiography up to now of my musical career, so that’s quite appropriate, I think. It’s called ‘Sometimes I Thought I Was You.’ ”

Mundy

Everybody knows and remembers the big songs from ‘Jelly Legs’, tracks such as ‘Gin And Tonic Sky’, ‘Life’s A Cinch’ (one of my own all-time favourites!), and of course, ‘To You I Bestow’. But what I wondered if there was a song, or maybe songs, on the album that Mundy felt might never have received the attention they deserved?

“Well, it’s weird, I mean they’re three really good songs. But there’s a load of other really good songs on it which I forgot about! The one song I’m really excited about singing, that I feel is very much in my heart now, is ‘Springtown’, which is a song about Birr. It’s quite a melancholy, bitter-sweet ballad, really. There’s three or four other upbeat rockers on it, there’s a song called ‘Thanks For The Stones’, (‘The Stone’) which would have been one of the first songs I wrote on the album, a really upbeat, grungy thing! Then there’s a song called ‘Sisters’ that’s in that vein, too. There’s an energy there, let me put it this way, that only a twenty year old could have, ya know.”

Mundy

Was he surprised that ‘Springtown’, a song he wrote so long ago and when he was so young, had come to mean so much to him at this particular time in his life?

“Well, like I was sayin’, it is quite bittersweet, and I suppose I was a bit…kind of afraid, of a few things that I said in it. But I wrote it without editing it too much because I suppose I had that belief in what I was sayin’. But now, I’m kinda listenin’ to it and goin’, ya know what…it’s kinda quite poetic. It’s actually very poetic, in its own way, so I’m proud of it, yeah, very proud of my words. It was a sub-conscious honesty, ya know.”

Mundy

‘To You I Bestow’ was the song that really catapulted Mundy before an international audience. Looking back on it now, that really was such a monster achievement, having a song from his debut album make the soundtrack to such a massive movie, ‘Romeo And Juliet.’ Could he still remember how it all unfolded at the time?

“Oh yeah, yeah. Basically I got a phone call about it one day. I always used to ring my manager over in England and go, any good news, any bad news, any whatever, ya know [laughs]. And she said to me that Sony had been approached by this guy called Nellee Hooper regarding a couple of songs for a new movie that was coming out, and it was going to be a big blockbuster, fingers crossed we’d get one on it. So I was like, what songs did you send and she told me ‘Gin And Tonic Sky’ and ‘To You I Bestow.’ Now, we didn’t think we had a chance because other bands had been mentioned like Radiohead, and The Cardigans. So then when it happened, it was like, oh my God! Things are gonna change now.”

Mundy

One of the hugely positive developments in the music industry over the last few years has been the resurgence of interest in vinyl, because, as anybody in the industry will tell you, it’s an actual, physical, tangible, tactile product that fans want. And now, of course, and for the first time, ‘Jelly Legs’ is on vinyl, too! What was it like for Mundy to finally get a copy in his own hands?

“It was pretty incredible! And the thing is, all of the singles [from the album] came out on vinyl, so I never understood why they did that but never put the whole album out on vinyl. And I didn’t think I had a relationship left with Sony, to be honest. But me and a friend of mine called in and we said, look, this is what we’re doing, and we’ll be going out on a tour as well…is there anything ye think that ye could get involved in with a reissue of the album? Because it isn’t available physically anymore. And they were like, we’ll do a double-vinyl of it. And I was like….Are you kidding me?! [laughs]. So they sent it to me anyway, and it’s way more impressive than the cd, ya know. You’re pulling two big, heavy vinyls out of two big, massive pictures of me and the band, and you have all the lyrics written on the back, all the credits. Ya know, it’s not all squashed down. Because when I actually hand-wrote all the lyrics for the cd, then everything was brought down to scale rather than left at the scale it was written at. But yeah, I’m very impressed with it. I have it at home, and it sounds great on the record player. Every home should have one! [laughs].”

Mundy

The Jelly Legs Anniversary Tour is scheduled to finish up in Birr, or ‘Springtown’, on October 29th. Now Mundy has obviously played many’s a hometown gig over the years, but this time, given the occasion, I felt it would be something a little bit extra-special for him. Was I right, though?

“It will, absolutely. I was putting this tour together, I don’t know, eight or nine months ago, and I was looking around at what dates were around the country, what venues were available and all of that, and Birr was definitely going to be one of them. But it was due to their calendar that we’re playing on the 29th, it was the date they had left. And I just thought, well this is perfect, it’s the very last night of the tour. I mean, I didn’t even realise that it wasn’t a school night [laughs]. Myself and the lads are going to stay down in Birr and have a hooley! And it looks like there might be some gigs coming over in the UK as well. Sure it’s twenty-one [the album] for a whole year, that’s the way I look at it!”

Mundy

Keeping Mundy and his band company on this tour are the North Carolina outfit, Happy Abandon.

“There’s a pal of mine, Stephen Judge, who’s from North Carolina, where he has a little record label and a well-known record shop. He had a wedding party and the band, Happy Abandon, were playing at it and they were really, really good. Then he asked me if I was interested in having them along for support, and I said yeah. They’re really worth hearing, they’re pretty awesome. It’s a three-piece band, but they make a BIG sound.”

Happy Abandon Band

While he made it to Screggan for the National Ploughing Championships recently, he’s also been back over in the States and in Finland of late. Now here at home, I’ve seen it with my own eyes, nights where Mundy can barely get to say hello before there’s some bright spark screaming for ‘Galway Girl’! But when he’s overseas, does he find that it’s a very different set of songs that fans most often request?

“Yeah, I just played Finland, right, and nobody really knows anything about me there, but I had a couple of really great gigs. But when people hear that you’re Irish they do associate you with Irish music. So I’ve found that I’ve thrown about four Irish ballads into my set, plus ‘Galway Girl’, you kind of have to embrace where you’re from in situations like that. And there’s nothing wrong with it. Like I keep telling people too, ya know I’ve written all my own songs and they’re Irish as well cos’ I’m Irish [laughs]. Even though they probably don’t ‘sound’ like what people expect Irish songs to ‘sound’ like, ya know. But yeah, sometimes you just embrace your heritage and throw in a few songs that will keep the flag flyin’. I rarely have to do that, mind you, but I don’t mind doin’ it when it makes sense to do it.”

* Mundy’s ‘Jelly Legs’ 21st Anniversary Tour wraps up in Birr on October 29th. And, not surprisingly, the ‘Full House’ sign is already set to hang on the front door that night as the show is a complete sell-out.

** Fear not, though, because some tickets are still available for his shows in Monroe’s of Galway on October 27th, and The Academy in Dublin on October 28th.

MUNDY TALKS “BEING KINDER TO THE IDEAS” 21 YEARS ON FROM ‘JELLY LEGS’ DEBUT was originally published on HEM COUNTRY

#Interview #Mundy #countrymusic #countrynews. IrishCountry #UKCountry

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comicteaparty · 7 years ago

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September 28th, 2017 CTP Archive

The archive for the Comic Tea Party chat that occurred on September 28th, 2017, from 5PM - 7PM PDT. The chat focused on Radio Silence by Vanessa Stefaniuk.

Featured Comment:

Chat:

RebelVampire

Good day everyone~! This week’s Comic Tea Party is now officially beginning. Today we are discussing Radio Silence by Vanessa Stefaniuk~! (http://www.radiosilencecomic.com/) For those new to CTP, discussions about the comic are freeform, so please feel free to bring up whatever you wish. However, every 30 minutes I will be dropping in a discussion question to help those who would like a prompt. These questions are totally OPTIONAL to answer so pay them no mind if you wish~! Remember, constructive criticism is allowed, but the primary focus here is to have fun and appreciate the amazing comics that the community makes~! Each chat a top comment will be picked and featured on an ad for this chat, so let’s have a great discussion~! With that said, let us begin with this first question~!

QUESTION 1. What is your favorite scene in the comic so far and why?

wishjacked

YAYYYY, the Radio Silence chat!! Full disclosure I didn't get the chance to read it this week, so I'm a little rusty on the early chapters, but it's been one of my favorites for a good while and I'm so excited to talk about it!!!

This comic has such a good sense of pacing-- it feels a little weird to say ALL the scenes are my favorite, but honestly the entire comic is fantastic scene after fantastic scene, so it's really hard to choose!!

RebelVampire

im glad you enjoy it. i personally find the pacing harder to get into. not that i think its bad or anything persay, cause its a really well-made comic. i find it really borderlines between being paced as if its a story and paced if its a documentary. so for me its a bit hard at times cause i cant decide what its trying to be. but thats one of the few critical things id have to say about it

MathTans

Hellooooo. Favourite scene is tricky, but I'm going to go with the one where Wren insists she's staying in the same room with the band, rather than going with Liz. Feels like it shows the group dynamic, while also hinting at Wren having some sort of relationship (even abandonment?) issues.

wishjacked

That makes sense!! Especially with the video narration of the prologue, I agree that the narrative framing does feel a liiiiil disjointed at times.

MathTans

One thing I'll say I'm impressed with is how, while some characters do seem to be a bit more central, there's time devoted to all of the band members. That's a balancing act that I don't think I'd be able to pull off.

wishjacked

And hello, MathTans!! That's a good favorite scene, I wouldn't have thought of that

RebelVampire

@math ah yeah that was a nice scene. it kind of resonated with me a bit cause ive been in wren's position of having mostly male friends. and sometimes you just want to hang with the bros and forget about the teensy tiny detail youre female

MathTans

I thought the prologue was clever, but I can see where you're coming from. Like, Shy was having issues dealing with graduating and the band... and then there's a bit of a time skip and they're celebrating the fact that he's finished. Which is fine, guess I just thought more might happen with that. I'm not sure what more, but it felt bigger somehow.

My mind works different sometimes. ^.^ That's cool, Rebel, seeing it from that perspective.

RebelVampire

yeah i do like how the prologue was. it may give me mixed feelings on how the story is paced and framed, but i thought it was an ingenius way to throw out exposition stuff about the band's history without it seeming weird(edited)

wishjacked

I really really love "how the team met" prologues so honestly whatever the narrative dissonance it might cause it is so worth it to me as a reader. I love all its little backstory hints, and I think it gives a lovely introduction to each of the characters!!

MathTans

Starting with Brent's hair being cut too is kind of clever, when they flash back his hair is longer again so you can tell when that's a thing. ^.^

wishjacked

And YEAH, REBEL, SAME HERE. if all my bros are hanging out I want to be included too!!!!!!!!

RebelVampire

one thing i also like about the prologue is you can get some quick sense of all the characters. for a lot of comics that start with a sizeable cast like that, you either usually gotta take a long time for intros or you get bombarded and have to work at it to keep all the characters straight. but i never really felt overwhelmed in this comic. like the prologue was just long enough for me to get a sense of each character and their role without it feeling it dragged. so when it starts jumping into the rest of the story, i felt like i had a good grasp on at least why each person was there. so even if i didnt remember a name at first, i could be like "oh yeah thats the bassist, and thats the etc."

MathTans

That's true. Seeing them in the order they appeared helped with that also, clever that Shy (the last one) was used as narrator as well. Something else that I found interesting... I don't really have a favourite. Like, with a band there's the tendency to say "that's my favourite member" but for me they all have their points, going both ways.

wishjacked

Yes, I agree!! I think it also really helps that the character designs and artist's style make it easy to visually differentiate between folks

MathTans

I probably relate closest to Shy, but then there's the piercings, and no. I get Wren's tendency to have difficulty letting go of the past, but she's also high energy, which is not me. Matt's cool in standing up for people and looking out for the group dynamic, but he's also doing that in a leadership role, and so forth. It's interesting. No real fave. All just well rounded.

RebelVampire

yeah i do like that, that every person in the comic is visually very distinct. like even all the guys have different hair styles which is a boon to me cause when it comes to male characters i tend to find its easy to make the hairstyles too similar and thus all the guys blend.

MathTans

Matt's beard took a few strips for me to get used to.

RebelVampire

i really like the contrast between shy being, well, shy yet being bold enough to get non standard piercings. like i really like this comic went out of its way to portray an introvert as something other than a dorky, shutin

MathTans

Good point, nice that they're not just trotting out stereotypes.

Wren seems bisexual. That's an interesting angle too.

It was done really clever, kind of in the background of the prologue with her and that female member of the Sirens. Then we have the more "traditional" m-f relationship being teased at, but that history was still there, able to come forwards without being out of left field.(edited)

In my opinion anyway.

RebelVampire

yeah. in the case of wren in particular i like how smartly her past is incorporated with how her character is portrayed. so even though she is who she is, theres small details like the insomnia that you can really tell are caused by stuff that happened in the past and shaped who she is today

QUESTION 2. While a lot of the focus is given to Shy, the other characters aren’t without their mysteries or pasts. Wren has hints of a life filled with abuse, Matt has a mysterious video call with someone, etc. Which character’s past are you most interested in uncovering? Do you think it’ll be uncovered or will it forever be a secret? Do you have theories on their pasts or how they’ll affect the story later on?

MathTans

I think Wren's is going to come out, probably sooner rather than later, what with her visualizing Sirens Girl (I suck at names) and it morphing into someone from her past (which was a neat effect). I'm of two minds about that, I'm interested, but I wonder how much it will change her character dynamic with the others for them to know about it, and I kind of like the dynamic how it is. I think they'll do a good job with it though.

RebelVampire

i do think wren's past is gonna come out to at least shy. idk if i think itll be soon though. i think shell continue to avoid it for a while longer.

MathTans

I think some of the Brent and Willow past stuff has been referenced, but might come more to the forefront later, now that she's around them more. Colbie seems to have family issues, including his mother passing, though I'll admit I'm less interested there - in part because I find myself shaking my head sometimes at his character (dude, pay attention to time, and it's not all about Wren-dating). Matt somehow makes things interesting no matter what he's doing.

Yeah, in particular because Shy's kind of oblivious. "Wren's crying? Oh, here, I just gotta take this call."

So I shake my head at more than Colbie. Like, don't get me wrong, it's great and makes them human, and it's probably good that it gets me invested. I've even shaken my head at Wren (the piercing). Just, oy, priorities Shy.

wishjacked

Ahaha, I was actually going to say I was most interested in Colbie!!

RebelVampire

the only time i felt myself truly shaking my head is when brent pulled the "im disappoint in you" thing with shy. cause i just felt for someone so close to shy, he still doesnt quite get what an introvert means when they talk about a relationship being draining.

MathTans

To each our own. I can see Colbie being set up for later plot, with the money chats too.

wishjacked

I felt like both Brent and Shy were understanding that conversation completely differently.

RebelVampire

yeah i have to say colbie is one of the characters im a bit more intrigued by cause hes the one who has the least past hints. like brent has willow, wren has these abusive things, shy has the sammy stuff. but colbie (and matt too to a degree), have slight hints but then its just left sitting as plot threads to focus on shy and/or wren

wishjacked

Yeah! I just like Colbie to be fair, he's a goof

MathTans

I can see that, Rebel. At the same time, it needs to be someone close to Shy who pushes him. But I wasn't really sure about Brent's shipping. (I'm still not. I think Colbie might have a thing for Wren, and the only reason he's not putting it out there is because of how they're in the band together. Which might be a problem if Wren and Shy do get together.)

Colbie needs to be more self aware, in my opinion. Whereas Shy's the reverse, he doesn't get other people too well.

RebelVampire

yeah the wren/shy shipping thing im not sure where its going. like wren did get sort of jealous about sammy, but why? does she like shy? does she just want shy to only be close to her as a friend cause she needs that? or is this gonna develop into some sort of toxic, co-dependent thing because of wren's past abuse where she clings to shy cause she feels hes safe

so many ways it could go

yeah i agree colbie's character flaw is hes not really that aware.

which i really liked that scene where him and matt were talking about money

and it just didnt click with colbie that ppl would feel indebted to him despite him saying "nah bro its cool"

MathTans

I'm not sure if it was jealousy? Like, Shy showed her a picture and said Sammy was somewhere that Wren knew she wasn't, so was it all, 'Is Shy playing me? Is Sammy playing Shy? Why am I even doing this to myself?' Like, I don't think she's in a good place where relationships are (boundaries need to be clear, though I don't think she's the type) but yeah, could go a few ways.

Truth. Money, much like politics, is the way to start arguments without trying.

RebelVampire

yeah. which in this case its sad cause its not even like colbie wants to be vindictive about it. just wants them to have some cool band stuff.

tbh of all the characters i want to know wtf is going on is matt

cause of that video call

cause he clearly has something secret

and i feel like its one thats gonna tear the band apart

like whoops surprise hes dying or something

MathTans

I thought maybe that was just another call to his relative in the US? Could be I'm misremembering.

RebelVampire

it could be. i was unsure what their relationship was

but either where there are secrets to be had cause she did ask him if hed said anything or something like that

MathTans

Gotcha. Guess I wasn't focussed closely on it. I mean, I have a suspicion that there will be some sort of falling out, after that which might be when Matt brings up some secret - though maybe that will help to pull them together?(edited)

RebelVampire

okay description says she's matt's cousin and apparently its a crossover with another comic of some sort?

http://www.radiosilencecomic.com/comic/104

ah yeah its the page after that

where she asks if matt told them and hes like "you crazy of course i ahvent"

RebelVampire

QUESTION 3. The comic puts a lot of emphasis on navigating relationships. Given that the main characters are in a band together, this puts extra pressure on them to have harmonious relationships while practically living on top of each other. Do you think the group will be able to maintain cordial relationships and succeed as a band? Will the band’s success affect their relationships positively or negatively? Are there other ways you think their work as a band will be affected by their relationships or changes in them?

MathTans

Riiiight. Now I follow.

RebelVampire

idk. i mean i could see the secret being nothing too. it was just the one mystery that gave me pause

MathTans

Heh, "harmonious" relationships. I see what you did there.

We all read different things into it, that's what makes it good!

I do feel like something's going to drive a wedge. Whether it's the characters' pasts, Shy-When-Colbie, or something external, I'm not sure, but something, and Matt will have his hands full as Brent is sad about it. But maybe they'll pull together after that?

RebelVampire

right now im considering that maybe ego gets to someone. cause even tho they all seem down to earth to a degree, a lot of bands break up cause someone gets too big of a head once their fame starts taking off.

or something could happen

like say for instance someone is like "we wanna sign matt for a record deal but just matt"

and matt is like no but the others are like no matt you should do it, its a great opportunity

cue all dem tensions

MathTans

Yeah, that's possible, if a bit cliche. Pretty sure Matt wouldn't go for it though.

Unless he's got that terminal disease or something. ^.^

Speaking of the band though - OMG. Actual written music in the comic during concerts? Audio tracks to listen to on the side? Thematic music as well? Daaaamn, that can't be easy. (Can it?) Like, whoa, talk about extra workload.

RebelVampire

nah i was honestly just mentally comparing radio silence to nana which is also about a band and as much as i love nana, it does not portray written music that well. even in the anime they kind of cheat it which is sad.

this comic went all out with the music

http://www.radiosilencecomic.com/cast

i appreciate that the cast page even has little playlists for each character

MathTans

Gotcha. Yeah, I'm not as well read in terms of other things out there. ^.^ But I do have a music minor so I have a sense of things. Also, yeah, noticed that on the cast page. Lots of extra thought there that I wouldn't have even considered. Much kudos.

I wonder if the characters came first, inspiring the writing of music, or if it was the other way around. Or some combination.

RebelVampire

id assume some combination.

hard to say tho

MathTans

Probable.

Like, there was even a guitar riff recording at one point.

RebelVampire

it really depends on how the development for the story played about. but usually its a symbiotic thing. so theyll usually tangle up where say the characters coming first influences the music which influences the characters which influences the music and so on

MathTans

Well, points for authenticity or whatnot.

Also, mouse rollovers. These things take time to think of, I know. ^.^

RebelVampire

yeah. it a really detailed comic. although i think the music aspects i think its good they took the time for that.

since thats pretty integral to the story

that the band part of it feels legit

MathTans

yis. Adds credibility too, towards knowing the genre you're writing in.

I wonder if anyone doing the writing/drawing were in a band, or know someone who is?

RebelVampire

ah according to the about page a family member composes the music for the comic

so they know someone who at least knows about music

MathTans

I think I rememer reading in the below-comic remarks that it was original music. Impressive.

Also, the languages! (I keep tangenting here, but...) I don't know from German or Scottish but it's cool that the characters speak it, and that it's translated in the below-comic remarks.

RebelVampire

yeah i like that they kept the theme of diff languages considering theyre in europe and closer to where ppl speak those languages

i took german in college so shy was kind of nostalgic to a degree when he spoke it

MathTans

More of that authenticity angle.

RebelVampire

i have to say i really liked that touch that the barista or w/e at the counter replied to shy in english instead of german. cause this is actually a discerning cultural phenomenon in germany atm where english is becoming super widely used in business instead of german

MathTans

Really? I didn't know that. I thought maybe the counter person was just used to speaking to tourists or something. Neat.

(I was in Germany years ago for a relative's wedding. I let my wife do all the talking and just smiled hopefully.)

RebelVampire

it might have just been a tourist thing. i cant say for sure the comic knew this culture thing. but even if it was unintentional i thought it was a nice touch. not to say for sure i know how widespread it is either. i just know from taking german that its a concern thats going on.

which to be fair its easy to mix the languages cause german and english both have the same germanic roots

MathTans

That's fair. Also, truth.

Maybe if they get Sammy to say something to show she's not German that'll cause her house of cards to fall.

RebelVampire

QUESTIONS 4. In the most recent events of the comic, Shy is rekindling a relationship with an old friend named Sammy. However, the rest of the band is clearly suspicious of Sammy’s intentions, which the comic shows is a well-founded suspicion. What do you think Sammy’s end game is by getting close to the band? Do you think Shy will eventually see the light? Or, is this going to be an issue that causes a rift in the band for a while?

MathTans

makes marks on his segue sheet

Seems like she wants to get close to Matt, for some reason, since he's the leader. Maybe she hopes to take his money or get free meals? Real tough to say. She doesn't seem the brightest bulb, but she can think on her feet, which makes her dangerous.(edited)

I think Shy will be forced to see the light, meaning confronting the fact that his childhood actually sucked because the one person he thought he could count on was horrible, and he'll withdraw, and that's what will force Wren's childhood issues into the light, and they might either bond over it, or it'll be a huge wrench between them. Possibly Brent gets them to heal each other.

RebelVampire

it could be sammy just thinks matt is hot and wants to date him. is just a matt fangirl in disguise. she definitely isnt the brightest bulb cause i think to anyone with eyes its clear what shes up to by flirting with matt. unless youre shy. then its just a friend being a friend

personally i dont think wren will be able to do much for shy cause i just dont think shes emotionally fit at the moment to handle it. but i dont think shy is gonna be that crushed and if anything, i think the rest of the band will remind him that theyre his friends now

his really cool friends

wishjacked

Ahaha, sorry, had to head out for a bit.

MathTans

I suppose that's possible, yes. And yeah, Wren wouldn't really make a good psychologist, I was thinking more in terms of levels. Like, it's bad for Shy, but bad in a different way (or worse?) for her.

Yay for friends. ^.^ wb, wj.

wishjacked

Sammy has been a very strange addition the the story, her intensions are still so... Vague?? Like it seems like she's lying about a lot of things that aren't necessary for any kind of plot... why would it matter that she lives in Germany, for example? Why would she need to specify that false detail? It's just... what? Sammy, whY?????????

MathTans

Because Sammy wants to be someone she's not.

Heh, maybe she's been playing some guitar? And wants to make music with Matt?

RebelVampire

yeah i have to admit if shes just trying to get close to the band, theres no reason to lie about being in germany

LOL omg

this is some elaborate plot so she can give them her demo tape XD

/crack theory

MathTans

Maybe not so crazy. She read up on all the members.

wishjacked

And I feel really bad for when Shy inevitably uncovers the truth about her, but it's a relief to me that the majority of the rest of the team easily sees through her act. I think that'll make it much easier for them to all bounce back-- you can already tell that a lot of the band is already protecting anyone from being more hurt by her than necessary.

I love that crack theory and I accept it

MathTans

Yeah, that's true. Matt definitely stands up for the others, he's good people. Awkward that it's happening the same time as Wren's issues.

RebelVampire

tbh tho i think that trait of matt's will create conflict. if not now, then later. cause while its nice he wants to protect his friends, he may be a bit overly aggressive about it. which for wren is okay, but for someone like shy i think thats gonna come off in a bad way

MathTans

I can see that.

Also, quick aside about Liz? What was the deal with her and that woman with the Sirens?

She may have things going on too.

RebelVampire

oh man, that moment really bugged me. wanted to slap that woman (i think here name was pandora?) so hard. cause the business person in me was like "this is so unprofessional what are you doing @_@"

yeah its pandora

MathTans

Yeah, like wtf. I wasn't sure, was she implying she and Liz were an item? Or was she being flirty just to prove a point somehow.

Like, to get even more under Liz's nerves.

RebelVampire

i got the feeling they were an item but just guessing. they clearly had a past relationship of sorts

wishjacked

I read it as a power play-- Liz seemed disgusted by Pandora, and Pandora seemed to both know and relish the effect she was having on her.

MathTans

Hm. I also wonder a bit about having Wren be bisexual and Liz be either lesbian or bisexual too. Though I suppose there's Willow. Maybe I'm just worried because there's lots of guys in the cast who seem straight.

Could've been a power thing too.

wishjacked

oh, I do know that the author has said Liz is aro/ace.

MathTans

Poor Liz though. Has to deal with all the bookings and venues, and then the interpersonal things on top of that.

RebelVampire

maybe they were business rivals in the past

MathTans

OH! Gotcha. That's interesting then, and different from Wren (I gather). Still wonder about it being the females who go against the norm, but aro is good for representation that you don't see a lot of.

Maybe. There's that past coming up again.

Also, I hate myself for saying "the norm". Like, I'm too into mainstream or something. Blah. Must be tired.

The tourism stuff coming up could be interesting. I won't know if Sammy's lying, I know so little about the area. ^_^

RebelVampire

to be honest i dont know how sammy being a bad tourist guide proves much XD if someone said "hey rebel, show me the landmarks around town" id be like "there are landmarks here?"

MathTans

Maybe she does too good a job, that's how they know. No person who lives here knows about that stuff.

Matt's cunning though, I like that. Also, his fondness for symmetry.

RebelVampire

theyre like "wow its like you read wikipedia"

MathTans

(Shy's asymmetry could bother me too. ^.^ )

RebelVampire

Unfortunately, the scheduled Comic Tea Party is now complete~! Thank you everyone so much for joining this week’s chat~! That being said, if you would like to continue discussing the comic, we encourage you to do so~! We want to give a big thank you to Vanessa Stefaniuk, as well, for volunteering Radio Silence for our reading queue. If you liked the comic, please be sure to support Vanessa Stefaniuk’s efforts. If you have questions, concerns, or suggestions about CTP, please feel free to PM me, or e-mail me at [email protected].

With that said, next week’s Comic Tea Party will focus on Galebound by Respheal. Please use this week to read as much of the comic as you would like. Hope to see you next Thursday (October 5th) from 5PM to 7PM PDT~! Until then~! Comic: http://www.galebound.com/

#ctparchive #comics #webcomics #indie comics #comic tea party #ctp #comicteaparty #start faire #startfaire #comic chat #comic discussion #comic bookclub #bookclub #radio silence #Vanessa Stefaniuk

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