#halloween 4 the return of michael meyers

[scarycrowsblog]

[wonderfulworldofmichaelford]

One of the reasons I think slashers are the worst subgenre of horror films is that when they become franchises, they either stick to formula to a fault or else try something new, get blasted by fans, and then revert back to formula.

Look at Halloween; 3 tried to turn it into a horror anthology series, got trashed, and then we got several decades of increasingly convoluted nonsense all so Michael Meyers could keep killing. The Nightmare series had this to a lesser extent; 2 was a bit of a radical (and homoerotic) departure from the first film, fans didn’t like it, so three went back and refined the formula of the first into the best version of itself… and then just slowly slid into the same formulaic stuff, just with goofier kills.

Even a series that somehow managed to subvert this ends up falling prey to the desire for formulaic slop. Friday the 13th ran its course after 4, so they tried to make it a “legacy killer” sequel in 5 which went over poorly. And while 6 did go back to formula, it did so while making Jason a revenant and turned the film into a self-aware black comedy. But the success of this reinvention (among other issues) led to the opposite problem, where they kept trying to innovate to diminishing returns. 7 is good if messy and 10 is a tongue-in-cheek parody, but 8 and 9 are widely seen as the low points of the franchise.

I think the only franchise that gets away with this to some extent is Scream, and that’s mainly because they’re meta commentaries on the genre, and even then it’s at the point where I really wish they’d try something different. There’s a reason the genre is dead outside of fringe cases with weird gimmicks, they’re all essentially the same film just with a different goober killing teenagers.

[tazzmanian-devil]

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[brand-upon-the-brain]

Halloween 4: The Return of Michael Meyers (Dwight H. Little, 1988)

[awesomefridayca]

Home Video: Every 'Halloween' Film and Where to Buy, Rent, or Stream them

Home Video: Every '#Halloween' Film and Where to Buy, Rent, or Stream them #HalloweenKills

This week sees the release of the latest film in the Halloween series, Halloween Kills, which is a direct sequel to the 2018 film Halloween. While it’s true that these movies ignore the entire franchise except for the first two movies, there’s still a lot of fun to be had in the rest of those sequels. Sure, some of them are bad, but many of those are delightfully bad. Either way, if you want to…

[jabberwocky1996]

@phoenixavalon​

[phoenix]

October begins at Trisk, the only way it can, with Halloween 4: The Return of Michael Meyers!

So join me by clicking the link and reading all my words about it!

[kittywriites]

so i just gotta bitch about the continuity, or lack thereof, in the fucking Halloween movies and also a little bit about my rude friend lmao

Like, Season of the Witch completely ASIDE because I actually really enjoyed that one lmao, but the fact that in 1 + 2 Michael and Laurie literally have no real connection, he just saw her bringing the key to his old house because her dad’s a realtor and he’s selling it. 

And then I loaded up Halloween 4: The Curse of Michael Meyers and in the summary it’s like “he returns to kill his niece!” and like “????????? where the fuck did he get a niece???? did he NOT just kill his only sister?? Halloween movies really said fuck continuity, lets just make a bunch of money of this linebacker with a butcher knife”

And my friend (rather condescendingly i might add!!!!) was like ‘you DO realize Laurie is Michael’s sister, right?”

Like....no. That’s my mfin point. They literally alter their own canon because in the original she is NOT his sister, and I know because I watched it less than 24 hours ago, Amanda!!!! 

So I said “Not in the original” and then regaled the EXACT, CANONICALLY ACCURATE ‘CONNECTION’ THAT MICHAEL AND LAURIE HAVE IN THE ORIGINAL HALLOWEEN

and she goes

“well yeah but it’s common knowledge among real fans that she’s his sister ”

lmfaoooooooooooooooooooooooooooooooooooooooooooooooo

first of all babe, I never claimed to be a “real fan” and quite frankly I’m less of a fan with each movie I watch lmfao. second of all THEY THREW IN the sister bit in a later movie. it’d be like if in Harry Potter and the Goblet of Fire, they were like “you know what? voldemort’s actually harry’s dad. we don’t know how or why or where james potter went but yeah, voldemort’s harry’s dad now and that’s just it, lets roll!” 

it’s shitty writing. thats just what it is lmao. it now makes total sense to me that the director and writers of the latest trilogy were like “alright, fuck everything that came out after ‘78″ because what a nightmare to try and string together such a garbled mess of 40 year old fuckery and money grabbing

i mean imma still watch em all and we all know that the love of my life Corey Cunningham wouldn’t be here without them but like....idk idk idk, the Halloween movies just weren’t made for me ig

[baronvonkrieger]

Halloween 3: An attempt to Put Halloween back in Halloween.

One film that gets a lot of hate, is a 1980s film directed by John Carpenter, that mixed Horror and Science fiction. You would think for this film to be so hated, it must be as bad as “Manos Hands of Fate” or “Exorcist 2″. Well it isn’t that bad, in fact it is a decent film effort that stands pretty well with other John Carpenter films. So why is this particular film still reviled by some? The answer here is Michael Meyers.

In 1978, a film was released about a mental patient who escaped from the facility he was being transported to, and began wreaking havoc on the small community in Ohio he once lived. The Film was all about Halloween. Children Trick or treating, Horror movie marathons, and young people getting into mischief. The guy stealing a Captain Kirk mask, and wreaking havoc, is what moves the story along. The film was a smash hit, and Michael Meyers became an iconic movie Boogey man. He developed a big  fan base. Plans to make a series of film with different Halloween stories, would be put on hold, as they decided to make a sequel which followed the events of the first movie.

What wasn’t known at the time was bringing Michael Meyers back in the second movie, made the series the Michael Meyers show. Unlike the first film, “Halloween 2″ (1981) really had little to do with Halloween. it became a film about a psycho with family issues, who was now on a mission to kill female family members, because unbeknownst to the viewers of the first movie, Laurie Strode was -bom bom bom- his his sister! This was perhaps the most startling cinematic reveal since Frau Blucher was Baron Frankenstein’s girl friend! Apparently he limits his killing of female family members to those who are under 21, because at no time is his mother at risk. If you re-watch the first film, now you have to ask why didn’t he go straight to kill his sister right away, instead of going after these other teenagers first? That’s always the problem when after the fact you decide to make characters family after the fact. In “Return of the Jedi” Darth Vader is able to learn of Princess Leia being his sister, through Luke. How come he couldn’t figure it out when he was looking right at her in “New Hope”. Why would he have ordered her immediate execution, when he could have used that against Alderaan, and maybe worked on reestablishing their familial relation ship? 

It also means that “Halloween 2″ isn’t about Halloween, but about Michael Meyers wanting to kill his sister, while killing others along the way for the LOLs. To put an end to this character, Dr. Loomis sacrifices his life by setting off an explosion which causes Michael Meyers to become like Michael Jackson. Except instead of just his head, his entire body is covered with flame. As he is engulfed in flame, the song “Sandman” is played over the closing credits. This meant those who enjoyed Michael slaughtering ruthlessly anybody who crossed his path, the sads. If Michael was really dead, how could they enjoy their favorite mass murderer killing people?

These fears were realized with the next film, “Halloween 3, Season of the Witch”(1982). This was an attempt to put Halloween back in the Halloween series. A druid is sick of the non druids appropriating a holy day of his faith, and decides to wreak vengeance on the non druids mock Samhain, by steeling a piece of Stonehenge, and sabotaging masks, to kill children wearing them at an appointed time killing Children using computer technology. Hated by some, this film has increased in popularity over the years, developing a bit of a cult following. Even fans of Michael Meyers, admit the film isn’t to bad, it just shouldn’t have been a Halloween film. However, there is a lot more about Halloween in the third installment, then you’ll find in the second installment.

“Halloween 4, The Return of Michael Meyers”, brought back Michael Meyers, and ended John Carpenters hopes for a Halloween anthology series. This also would mean that you can’t make a film called Halloween, without it being about Michael Meyers, and I honestly don’t know what else you can do with a silent killer who wears a mask. Team him up with another boogeyman, like Universal did with their monsters in the 1940s, when they began their monster team ups? Get Adam Sandler and the gang to make a comedy where they mug around as Michael Meyers plays it straight? A big complaint I keep hearing about “Halloween Ends” is how little they have of Michael Meyers, or that the killings aren’t cool enough. One thing both “Halloween” and “Halloween Ends” are are bookends to the Laurie Strode story. She is the survivor who ends the monster that brought her and her family so much grief. 

I always loved “Halloween 3, Season of the Witch” , from when I first saw it in a theater wearing a Don Post Skull mask on opening day in Hollywood. Don Post was a company that made the masks used in the films, and the Don Post mask I own, is a more personal symbol of Halloween then Michael Meyers in his Star Trek mask. Like that Mask, “Season of the Witch” is a better representation of Halloween then all those Halloween films, which are really only about Michael Meyers.  And as I write this, there are now 14 days till Halloween....Cue “London bridge” song”.......14 days till Halloween, Silver Shamrock!

[nealersegs918]

My raninking of the Halloween films(not including 2021’ Halloween kills. I haven’t got to see that yet)

11. Halloween: Resurrection- I just did not like this movie. I didn’t like the characters. I didn’t like the story. I didn’t like the effects. It was just all bad. I cannot think of one nice thing to say about it.

10. Halloween Part 6: the curse of Michael Meyers- I love Paul Rudd, but the story really held this movie back. The whole cult thing really ruined Michaels character and the whole incest situation was just a no.

9. Halloween 2(2009)- this movie is was just weird. The whole creepy ghost mom and kid Michael thing. And it was just too violent. Rob Zombie is a great director but this one just missed the mark.

8. Halloween 3: Seasoj of the witch- this one was ok. But of course there is no Michael, but as a stand alone film it does alright. The concept is a little silly but there’s nothing really terrible about it.

7. Halloween 5: the revenge of Michael Meyers- this one was alright, but it was a little too “comedic” for me. Some of the lines are just too funny and the whole bumbling cops thing. Other than that, it was a decent story not including the ending.

6. Halloween(2007)- this remake was okay, but kid Michael really annoyed me and he just ruins the film. I also don’t like how they tried to “excuse” why Michael became what he was.

5. Halloween 2(1981)- this is a good continuation to the initial film. The effects are nicely done and the setting is super creepy and it just works. I was on the edge of my seat.

4. Halloween part 4: the return of Michael Meyers- I rather enjoyed this film. Danielle Harris does such a good job as Jamie and it really showed what direction the movie could’ve taken.

3. Halloween(2018)- I really liked this film as a sequel to the original. It retconed all the following films and took us back to it just being a crazy killer stalking a babysitter. Jamie lee Curtis is great as Laurie strode. Judy Greer is great as her daughter. I really enjoyed this film and cannot wait to see the direction it takes the series.

2. Halloween: H20- okay hear me out…lol. I actually really liked this one. I enjoyed the private school setting, the characters. The buildup. I watched this film on a rainy night and it just set the whole mood. Again I love Jamie lee Curtis and josh hartnet. I feel like this is the ending the series should’ve had

1. Halloween(1978)- the original is still the best for me. It’s tense. The musical score. The effects. The setting? The characters? It’s just great. And to think of how great it is on how little it cost is amazing to me. John carpenter truly is a master director

[wonderfulworldofmichaelford]

Halloween 2018 review

The Halloween series has never really had a good break. In the forty years between the original’s release and the release of the newest film in the franchise, there has been a grand total of one good sequel… the third film, which has nothing to do with the rest of the series. The other sequels and reboots are a confusing latticework of alternate timelines and confusing plots that do little except turn Michael Meyers from a monstrous, eerie force into a bland, stereotypical vengeful slasher who just can’t be stopped. The only thing separating him from Jason Voorhees is that what little we understood about him was incredibly stupid and he never went to space.

And then along comes this film.

This film feels like a deconstruction of the failures of the franchise as a whole. The biggest problem with the movies – the Thorn timeline, the H20 timeline, and the Zombie reboots – is that they ultimately defanged Michael entirely by offering some sort of explanation for his motives, be it that he was Laurie’s brother, born with an evil curse that causes him to murder, or that he was just a white trash redneck hillbilly piece of shit in a Rob Zombie movie. Michael Meyers in the first film was ultimately as chilling as he was because his motives were entirely unknowable. We never find out why he killed his sister, or why he escaped and began killing Laurie’s friends; it was just something that happened, with no real rhyme or reason. That is ultimately what made Michael so terrifying, and what none of the later directors seemed to understand. They kept trying to rationalize Michael’s killing in a human narrative. Likewise, in this film, everyone save Laurie is trying to rationalize why Michael is the way he is. They offer all sorts of theories, all sorts of rationales, all sorts of attempts at humanizing Michael Meyers… but ultimately, the only person who truly understood Michael was Dr. Loomis. Loomis believed Michael Meyers to be nothing but pure, unadulterated evil. This, right there, is the truth of the matter, and why Michael Meyers is such an utterly terrifying villain: there is no reason to his actions, and if there is it is utterly alien and unknowable to us. He does what he does because he is simply a monstrous being, a truly irredeemable evil whose perpetual silence speaks volumes. The true failure, in universe and out, is that trying to rationalize Michael’s actions is a doomed endeavor, and these attempts at rationalizing him drive the plot, and ultimately drive Michael to a perfect place for him to begin a new killing spree. The failures of others at trying to comprehend him is what led him back to the utterly horrifying simplicity that drives him. It’s so brilliantly meta, moreso than every single one of the Scream films.

The plot is artful in its simplicity – 40 years to the day that Michael Meyers went on his original rampage, he is once again freed upon Haddonfield. This time though, Lauire is prepared, having spent the past four decades in paranoid doomsday-prepper mode… though this has alienated her daughter from her. Can Laurie survive the night and perhaps bury her demons once and for all, literally and figuratively? Or is Michael finally going to get the biggest treat of all this Halloween – Laurie’s head pierced with his knife?

This film’s greatest asset is, of course, Michael Meyers, finally returning to form. As mentioned above, gone is the convoluted backstories of the Thorn Trilogy and the Zombie films, and even the immediate sequel of the first film – back is the simple, terrifying idea that there are just people of pure evil in this world who do what they do for undefined reasons. Nick Castle returns to the role that made him famous, and returns with great gusto; his Michael may not be the mountain of a man the Zombie films made Michael into, but he is still a chilling force of savagery. And while the overtly supernatural elements of Michael’s character have been done away with, as in the first film there is some ambiguity, some doubt as to whether Michael is entirely human or perhaps something far more sinister… an ambiguity that is best kept when considering how the sequels ended up. Michael Meyers manages to take back the “scariest scene in which a killer walks at a brisk pace” from It Follows in an incredible oner scene in which, on Halloween, Michael goes from one house to the next and trick-or-treats in the way only he knows how.

But Michael would not be quite as effective if he wasn’t up against someone who could handle him. I don’t think I really need to tell you Jamie Lee Curtis does a fantastic job reprising the role that made her famous; here, Laurie has become the horror version of Sarah Connor, with all the emotional baggage, badassery, and familial alienation such a title implies. Somehow she manages to outdo Sidney Prescott in Scream 4 in terms of sheer badassery, and in some of the best subversions and homages in the film, Laurie manages to pull some of Michael’s classic moves against him. These two aside, the supporting cast is actually pretty enjoyable, with everyone getting just enough development you’ll care about what happens to them. Standouts include the charming little boy Julian who is babysat in the film, the badass and surprisingly useful Sherrif Hawkins, and a little boy who expresses a love for dancing and is the one who along with his father discovers the bus of escaped mental patients that signal’s Michael’s freedom.

Of course, none of that would matter if not for the score. John Carpenter did to the score what Michael does to teenage babysitters: he fucking killed it. All of the music is perfect, atmospheric, and amazing, and of course we get plenty of redone versions of the classic theme, as well the classic musical cues. I don’t think there could be a better horror film score than this, it is simply incredible.

If I can level any criticism at this movie, it’s that, despite a few twists and turns here and there, what you expect is pretty much what you get. This is a back-to-basics slasher film, one that doesn’t codify the genre the way the original film did but rather reaffirms what we love about it. For the most part at least it avoids a lot of the bad cliches of the genre, but there’s no denying that this is what you’d expect plot-wise. This is no bad thing, though, as even if it isn’t reinventing the wheel it is clearly a huge love letter to the entire franchise – there are references and homages to pretty much every entry in the series,  including a reappearance by the Silver Shamrock masks of the third film. It acts as a wonderful extension of the first film, and is finally a worthy sequel to one of the greatest slasher films of all time, and a worthy outing for the grandaddy of the slasher genre as we know it. Forty years of screaming teens being slaughtered by implacable monsters were spawned in the wake of Michael Meyer’s Halloween rampage back in 1978, and finally he has returned to remind us after all these years just why he was as influential as he was.

Now let’s get a sequel to Season of the Witch.

[dustedmagazine]

Dust Volume 4, Number 5

Hot Snakes

It’s time for another edition of Dust, our semi-regular short form exploration of music we might not otherwise get to.  This time Bill Meyer, Jonathan Shaw, Marc Medwin, Justin Cober-Lake,  Jennifer Kelly and Michael Rosenstein ponder basement jazz and large ensemble improvisation, French horror movie synths, Charlottesville-inspired protest and one much loved garage punk band returning to the fray after 14 years.  Enjoy.

Aalberg / Kullhammar / Zetterberg / Santos—Basement Sessions Vol. 4 (The Bali Sessions) (Clean Feed)

This combo may have started out in a basement, but at this point the recording circumstances are a matter of have governmental support. Saxophonist Jonas Kullhammar, bassist Torbjörn Zetterberg and drummer/composer Espen Aalberg first convened to play their version of traditional jazz, which is to say music rooted in the examples of Sonny Rollins in the late 1950s and John Coltrane in the early 1960s. Those elements are still evident; “Pontiac,” for example, is built around a bass line that Jimmy Garrison could have fed Coltrane at the Village Vanguard in 1962. But it seems that Aalberg’s looking farther afield for inspiration these days. On that same tune, Kullhammar and guest trumpeter Susana Santos Silva play harmonies that have more to do with 1970s-vintage Ethiopian jazz. And the session took place not in a Scandinavian basement, but in an Indonesian garden, with full access to a Balian gamelan. Those resonant, metallic sonorities give the music a shimmering quality, as though you’re hearing it through a humid heat haze.

Bill Meyer

 Carpenter Brut — Leather Teeth (No Quarter)

LEATHER TEETH by Carpenter Brut

French dark synth act Carpenter Brut announces a key influence in its name: the minimalist, evocative, synthesizer-driven soundtracks that John Carpenter scored for many of his films, including Assault on Precinct 13, Halloween, Escape from New York and They Live. As the “Brut” bit suggests, Franck Hueso, the creative force behind the project, amps up the volume and the pace of that source material. He endows the music with an intensity that reflects the affect and the themes of the films — a perverse joy in aestheticized violence, the gut-plunge one can feel when watching highly manipulated filmic experiences. And this digital LP further collapses the distinctions between media: Leather Teeth is offered as the soundtrack to an imaginary horror film, complete with plot synopsis, promo poster and the oddly spectral suggestion of the seamy, grainy, VHS-quality vibe of 1980s horror cinema. You can just about feel the voluptuous joy of the bright orange fake blood and the fluorescent glow of the final girl’s wardrobe, especially in the title track and in “Inferno Galore.” It’s a sort of feat, making music this processed and slick feel raw and dirty.

Jonathan Shaw

  Thanos Chrysakis/Chris Cundy/Peer Schlechta/Ove Volquartz — Music for Two Organs and Two Bass Clarinets (Aural Terrains)

This is one for headphone listening. Organists Thanos Chrysakis and Peer Schlechta, in collaboration with clarinetists Chris Cundy and Ove Volquartz, have created an album of morphing space and shifting textural planes. The album’s opening and closing moments are magical, as a landscape haunted by nearly recognizable shades unfolds in reverb-drenched murk. The opening of the fifth section dwells in similar half-light; organ and clarinet tones almost match, floating around each other in rhythms too wet to grasp. The recording itself is a study in contrast pitting a dead-center clarinet against one off to the side, living in a semi-spectral world where pitch relations are as fluid as pulse and meter. Each instrument has a shadow self that headphone listening renders apparent. If the motivic material itself is slightly lacking in contrast, volume, register and timbre make up for that. Chamber organ and clarinet both add layers of percussion against the lines interwoven by the other two instruments. The music justifies the label’s name.

Marc Medwin

 Elephant9 — Greatest Show on Earth (Rune Grammofon)

When your hired-gun psychedelic jazz guitarist goes missing, what do you do? In Elephant9’s case, the answer is — go maximal. There may be one fewer musicians and the tunes may be shorter, but there are a lot of notes packed into each of Greatest Show on Earth’s 36 minutes. There’s also a lot of chutzpah; what else can you call it when an organ-bass-drums trio cops an Emerson, Lake & Palmer line for the name of its record? Fortunately, they subscribe to a heavier but less bombastic lineage. If you plotted this record on graph paper, one axis would be Tony Williams’ Lifetime and the other would be late 1960s Soft Machine. The organ seethes, the mellotron freezes, the bass sprints and feints and the drums pummel hard but elaborate on themes that, if you excised the solos and added some brass, would be more than serviceable cop show tunes for the age of leaded gasoline.

Bill Meyer

 Hot Snakes — Jericho Sirens (Sub Pop)

It’s been 14 years since the last Hot Snakes album, Audit in Progress, and eight since the convergence of two post-break-up outfits, Obits and Night Marches, spawned a one-song reunion at San Diego’s Casbah. Much has shifted since the early aughts rock revival that Hot Snakes always sat at the louder, rougher, closer-to-hardcore end of, and neither Obits nor Night Marchers, for all their positive attributes matched the fire-spitting intensity of their predecessor. You might, then, look askance on this latter day revival, coming conveniently just as Sub Pop reissues the entire Hot Snakes catalogue, and yet you could only do that before you hear the songs, which are just as raw, just as spittle flecked, just as full-throttle enraged as ever. The disc’s starts in flames, with the Wipers-slashing guitar attack of “Call the Doctor,” Rick Froberg’s yowl rising in rage over a hailstorm of crashing rock propulsion. Short, manic “Why Don’t It Sink In?” bangs the hardest at Hot Snakes’ hardcore punk beginnings, while “Six Wave Hold Down,” brings in an expansive So. Cal. surfiness into the mix. “Death Camp Fantasy” ramps up a whiplash punk garage assault, with a ragged group chorus to carry it home, while “Death of a Sportsman,” finishes things off in windmilling, power-chording style. Holds barred?  I’d say none. Score one for the old(er) guys.

Jennifer Kelly

  Joy Ike — Bigger Than Your Box (self-released)

The title Bigger Than Your Box makes a statement about pianist/singer Joy Ike's personality as well as her art. The artistic angle is clear: Ike hits that sweet spot between soul, jazz and pop, and if she doesn't fit cleanly into a genre, she's fine with that. These tracks — full of bouncy piano, a few lush arrangements, and a startling amount of verve — are also about self-definition. Ike refuses to be put into any box, and her music encourages listeners to step out of their own boxes, to “stand up and walk” as she says on “You Betta'.” Across these 11 tracks, Ike rallies anyone in need of rallying. The radio-ready anthem “Hold On” reiterates that “your hope is coming.” Ike walks close to the edge of cheese; when she sings, “You will find your song” or “You are not your fear,” it could tip into eye-rolling territory, but Ike's drive carries the sentiment. She knows there are people who need this sort of song right now, and she's going to make sure they get it. The tunes are infectious, but it's Ike's heart that resonates.

Justin Cober-Lake

 Insub Meta Orchestra — Choices & Melodies (Insub)

Choices & Melodies by Insub Meta Orchestra

It’s impressive to keep a large ensemble with 50 permanent members going for eight years and running. It is particularly impressive when that ensemble focusses on the collective intersection of composition, improvisation and electro-acoustic practice. Founded by Swiss musicians Cyril Bondi and d’incise on the ideas the two describe as “experimentation, of immoderation, of exploring and pushing the limits,” somehow this group of international collaborators has not only managed to keep this project a going concern, they have managed to get together on a regular basis to perform and record. Choices & Melodies is their fifth release, recorded at the same session as their Another Timbre CD from last year (reviewed here by Justin Cober-Lake) and like that one, this LP/digital download is comprised of two pieces credited as “direction and compositions by Cyril Bondi and d'incise.” This iteration of the group is 32-strong, with eight woodwinds, five string players, three guitarists, six utilizing electronics, laptops, and synths, three percussionists, four vocalists, along with hurdy gurdy, viola da gamba and harmonium, forming a rich timbral depth.  

First up is “two choices” using the simple instructions of producing two noises per person and the possibility of a change every five seconds. What transpires over the course of the 16-and-a-half-minute piece is a beguiling, dynamic mix of subtly shifting hiss, abrasions, quavers, crackles and low-end rumbles. Eschewing any sense of tonality, the immersive layers of frictive textures engulf the listener, with constantly evolving fields of subtle nuanced vacillations and densities. One gets the sense of listening in the midst of a giant engine or the groaning hull of a ship and the recording does a great job of capturing the spatial distribution of sounds across the ensemble. The second piece, “autonomous melodies,” takes a quite different tack, utilizing kernels of three or four note free melodies which are distributed across the orchestra. Over the course of 16 minutes, it relies on a relatively loud volume to let the various threads accrue in to mercurially morphing chords and drones. Here, the music benefits from the intrinsic underpinnings of woodwinds, strings, electronics, percussion and elusive scrims of vocalizations which commingle and fragment into changeable pulses and currents. In both pieces, the collective, considered intensity of the full ensemble comes through with gripping results.  

Michael Rosenstein

  Daniel Levin/Chris Pitsiokos/Brandon Seabrook — Stomiidae (Dark Tree)

Stomiidae by Stomiidae (Daniel Levin • Chris Pitsiokos • Brandon Seabrook)

Stomiidae is a family of deep-sea fish, and each of the CD’s seven tracks is named for a genus of that family. Perhaps cellist Daniel Levin, alto saxophonist Chris Pitsiokos and guitarist Brandon Seabrook want to assert that they go deep without being too obvious about it? With their needle teeth and trailing whiskers, Stomiidae look pretty terrifying in photographs, but since they’re usually about six inches long and they prefer to live half a mile under the surface, they pose no threat. But they can handle pressure, and there are moments when this music feels like it is busting out at the seams under the influence of some great internal force. Levin is his usual adroit self, and his confident, quicksilver responsiveness exerts a powerful influence on two other musicians whom I associate more with the delivery of knockout punches than the execution of gravity-defying footwork. But the toughness of their instrumental personalities is nonetheless boiled into their playing, as each note and flinty phrase exerts the persuasiveness of a winning argument.

Bill Meyer

   Mien—Mien (Rocket Recordings)

MIEN by MIEN

Mien draws talent from an inter-continental assortment of garage psych players—Black Angels frontman Alex Maas, The Horrors’ keyboardist Tom Furse, Elephant Stone’s raga rock experimenter Rishi Dhir and The Earlies’ John-Mark Lapham — and this self-titled debut is similarly all over the map. “Earth Moon” starts with a drone-y reverie in Dhir’s sitar with sitar-psych droning (there’s more sitar on “Ropes” if that’s your thing), then picks up the kind of ramshackle propulsion and Velvet-y psych whisper that Primal Scream used to conjure. “You Dreamt” runs noisier and more electronic, layering metallic ping and clicks and rattles over abstract washes of hiss and static. “Odessey,” spelled the way the Zombies spelled it, is the sort of slanting, driving, dark-wave garage psych that you turn to Black Angels for, though leavened, a bit, by a come hither chorus. All these songs are drenched in about three coats of reverb, kludged with noise and generally smeared and obscured, so you know you’ve got a winner when “Tired of the Western Shouting” bursts through and makes a mark. Techno-ethnic Brian Jones Massacre may not sound like exactly what you were looking for, but you’d be surprised, once you get into it.

Jennifer Kelly

 Keith Morris & the Crooked Numbers — Psychopaths & Sycophants: A Message from Charlottesville (self-released)

After the 2016 US presidential election, too much of the immediate response was, “At least we'll get some good protest music out of this.” That may be small consolation to much of the population, but Charlottesville Americana musician Keith Morris turned related feelings into protest album Psychopaths & Sycophants: A Message from Charlottesville, largely guided by the work of Leonard Cohen (covers of “The Future” and “In My Secret Life” book-end the album). The title track is a reworked version of a song from a few years ago, and the changes epitomize the album. Morris's gospel and country-rock influences still come through, but he pulls the rock sound back. For the most part, Morris gives speak-sing performances that harken back to Dylan. His rage comes through regardless of tone, though. On “67%” Morris and guest vocalist Devon Sproule mix that control with rowdier backing. Some of the tracks are a little on the nose to have legs — this is protest music after all — but the album captures a certain mood from “this shattered town” quite well. With a little Randy Newman in the mix, Morris and his band make emphatic points and offer useful catharsis.

Justin Cober-Lake

 Mike Uva—Lights Coming Up (Collectible Escalator)

Everybody I knew at an online music publication that professed to “review everything” had a handful of favorites that emerged from the slush pile, artists so good and so consistently overlooked that it made made it worth while to wade, once again, into the bins of self-releases. (All the new writers complained vociferously about the taking-all-comers policy until they hit one of these; we called it the conversion experience.)  One of mine was Mike Uva, a Cleveland-based songwriter, whose 2004 album Where Have You Been sits right alongside certain GBV, The Folk Implosion and the Capstan Shafts records for smart, tuneful, lo-fi pop excellence. That was a long time ago, but every so often I get a new recording from Uva, and it’s always unassumingly excellent, and this new one Lights Coming Up[JK1]  is no exception. The clear highlight is “Waco,” a driving, slanting, amber-lit time-capsule that connects Uva’s late college years, the FBI stand-off and an acquaintance who disappeared off the grid forever (though whether to join a Waco-ish cult or farm organic vegetables is never clear). Like all of Uva’s best work, the song has an off-handed grace, as if it rhymes and scans by accident, as if he just happens to be telling you a story that fits the chords he’s playing. But of course, there’s a lot of skill behind that kind of nonchalance, a skill that shows up again in the sinuously ear-worm “Waiting to Return,” in the dreamily unhurried “Even the Highways.”  Lights Coming Up is more indie-pop and less country than Lady, Tell Me Straight, the last Mike Uva album, which came out five years ago, but just as effortless. Here’s to the guys (and girls) who do it for love, and do it well and keep at it and get better anyway, even if no one is paying much attention.

Jennifer Kelly

[hypergremlinisation]

201-300

201. Saving Private Ryan (Steven Spielberg, USA, 1998) - 9.25 202. Superstar: The Karen Carpenter Story (Todd Haynes, USA, 1987) - 7.75 203. Harlan County, USA (Barbara Kopple, USA, 1976) - 9.5 204. The Act Of Seeing With One’s Own Eyes (Stan Brakhage, USA, 1971) - 7.0 205. El Topo (Alejandro Jodorowsky, Mexico, 1970) - 9.25 206. The Princess Bride (Rob Reiner, USA, 1987) - 7.75 207. Blockers (Kay Cannon, USA, 2018) - 7.5 208. Aguirre, The Wrath Of God (Werner Herzog, West Germany, 1972) - 9.5 209. Bringing Up Baby (Howard Hawks, USA, 1938) - 7.75 210. Borat (Larry Charles, UK/USA, 2006) - 9.0

211. Brüno (Larry Charles, UK/USA, 2009) - 7.5 212. Jackass Presents: Bad Grandpa (Jeff Tremaine, USA, 2013) - 7.5 213. Akira (Katsuhiro Otomo, Japan, 1988) - 10 214. Winter Light (Ingmar Bergman, Sweden, 1963) - 8.25 215. Pink Flamingos (John Waters, USA, 1972) - 8.25 216. Twin Peaks: Fire Walk With Me (David Lynch, France/USA, 1992) - 9.25 217. The Simpsons Movie (David Silverman, USA, 2007) - 6.75 218. Jackass: The Movie (Jeff Tremaine, USA, 2002) - 8.0 219. Jackass Number Two (Jeff Tremaine, USA, 2006) - 9.0 220. Jackass 3D (Jeff Tremaine, USA, 2010) - 7.5 221. Game Over, Man! (Kyle Newacheck, USA, 2018) - 3.0 222. To All The Boys I’ve Loved Before (Susan Johnson, USA, 2018) - 8.75 223. Upgrade (Leigh Whannell, Australia/USA, 2018) - 7.5 224. Blade Runner 2049 (Denis Villeneuve, USA, 2017) - 8.75 225. Blow-Up (Michelangelo Antonioini, UK/USA/Italy, 1966) - 8.0  226. Paranormal Activity (Oren Peli, USA, 2007) - 6.5 227. Devil’s Pass (Renny Harlin, UK/Russia, 2013) - 5.0 228. Unfriended (Levan Gabriadze, USA, 2014) - 7.0 229. Ebola Syndrome (Herman Yau, Hong Kong, 1996) - 8.25 230. House On Haunted Hill (William Castle, USA, 1959) - 9.25 231. Troll 2 (Claudio Fragasso, USA/Italy, 1990) - 8.5 232. City Of The Living Dead (Lucio Fulci, Italy, 1980) - 7.75 233. Hereditary (Ari Aster, USA, 2018) - 8.5 234. Hausu (Nobuhiko Obayashi, Japan, 1977) - 9.5 235. Last House On Dead End Street (Roger Watkins, USA, 1977) - 7.0 236. Sleepaway Camp (Robert Hiltzik, USA, 1983) - 8.5 237. Mulholland Drive (David Lynch, USA/France, 2001) - 10 238. Picnic At Hanging Rock (Peter Weir, Australia, 1975) - 6.25 239. Toad Road (Jason Banker, USA, 2012) - 8.5 240. Let’s Scare Jessica To Death (John D. Hancock, USA, 1971) - 9.25

241. Carrie (Brian De Palma, USA, 1976) - 7.5 242. Blue Ruin (Jeremy Saulnier, USA, 2013) - 8.75 243. The Vanishing (George Sluizer, Netherlands/France, 1988) - 8.5 244. Caché (Michael Haneke, France/Austria/Germany/Italy, 2005) - 9.0 245. Bloody Birthday (Ed Hunt, USA, 1981) - 8.25 246. Polteregeist III (Gary Sherman, USA, 1988) - 6.5 247. Child’s Play 2 (John Lafia, USA, 1990) - 7.75 248. Phantasm 2 (Don Coscarelli, USA, 1988) - 7.5 249. The Cabinet Of Dr. Caligari (Robert Wiene, Germany, 1920) - 7.25 250. The Fly II (Chris Walas, USA, 1989) - 7.75

251. Halloween 4: The Return Of Michael Myers (Dwight H. Little, USA, 1988) -5.75 252. Train To Busan (Yeon Sang-Ho, South Korea, 2016) - 8.25 253. Who Can Kill A Child? (Narciso Ibáñez Serrador, Spain, 1976) - 8.25 254. Possession (Andrzej Żuławski, France/West Germany, 1981) - 10 255. The Haunting (Robert Wise, UK, 1963) - 8.0 256. Martyrs (Pascal Laugier, France, 2008) - 8.75 257. Eyes Without A Face (Georges Franju, France/Italy, 1960) - 9.25 258. Body Melt (Philip Brophy, Australia, 1993) - 6.25 259. Halloween (John Carpenter, USA, 1978) - 8.75 260. Halloween II (Rick Rosenthal, USA, 1981) - 7.0

261. Searching (Aneesh Chaganty, USA, 2018) - 9.0 262. Sorry To Bother You (Boots Riley, USA, 2018) - 8.75 263. Echo Park (Amanda Marsalis, USA, 2014) - 5.0 264. BlacKkKlansman (Spike Lee, USA, 2018) - 9.25 265. The Black Power Mixtape 1967-1975 (Goran Olsson, Sweden, 2011) - 8.0 266. Do The Right Thing (Spike Lee, USA, 1989) - 9.0 267. Malcolm X (Spike Lee, USA, 1992) - 8.0 268. In Echo Park (Nathaniel Lezra, USA, 2018) - 3.0 269. The Hate U Give (George Tillman Jr, USA, 2018) - 9.0 270. Never Been Kissed (Raja Gosnell, USA, 1999) - 6.5

271. Eighth Grade (Bo Burnham, USA, 2018)- 8.0 272. Manila In The Claws Of Light (Lino Brocka, Philippines, 1975) - 8.5 273. Dawn Of The Dead (George A. Romero, USA, 1978) - 9.25 274. Dawn Of The Dead (Zack Snyder, USA, 2004) - 7.25 275. Psycho (Alfred Hitchcock, USA, 1960) - 8.75 276. 78/52 (Alexandre O. Philippe, USA, 2017) - 7.5 277. Insiang (Lino Brocka, Philippines, 1976) - 9.25 278. The Power Of Nightmares (Adam Curtis, UK, 2004) - 8.25 279. Bitter Lake (Adam Curtis, UK, 2015) - 8.25 280. HyperNormalisation (Adam Curtis, UK, 2016) - 8.75 281. Nirvana: Live At The Paramount (Mark Racco, USA, 2011) - 8.75 282. Black Christmas (Bob Clark, Canada, 1974) - 8.0 283. Silent Night, Deadly Night (Charles E. Sellier, Jr, USA, 1984) - 7.75 284. Norte, The End Of History (Lav Diaz, Philippines, 2013) - 9.25 285. The Nun (Corin Hardy, USA, 2018) - 3.5 286. Live At Reading (Nirvana, USA, 2009) - 8.0 287. Bodied (Joseph Kahn, USA, 2017) - 7.25 288. Tangerine (Sean Baker, USA, 2015) - 9.5 289. The War Game (Peter Watkins, UK, 1965) - 8.5 290. The Song Remains The Same (Peter Clifton/John Massot, UK/USA, 1976) - 7.5 291. Nirvana: Unplugged In New York (Beth McCarthy-Miller, USA, 1994) - 9.75 292. Active Measures (Jack Bryan, USA, 2018) - 8/0 293. Inequality For All (Jacob Kornbluth, USA, 2013) - 7.0 294. Faster, Pussycat! Kill! Kill! (Russ Meyer, USA. 1965) - 9.25 295. Motorpsycho (Russ Meyer, USA, 1965) - 8.25 296. Drug$ (Jonathan Marshall Thompson, USA/India/UK, 2018) - 7.5 297. Roma (Alfonso Cuarón, Mexico/USA, 2018) - 9.5 298. Celebration Day (Dick Carruthers, UK, 2012) - 7.5 299. Fahrenheit 11/9 (Michael Moore, USA, 2018) - 7.75 300. Die Hard (John McTiernan, USA, 1988) - 8.75

[emmagroslot]

Extra

Halloween 4: The Return of Michael Myers

Halloween 4: The Return of Michael Myers is de 4e film van de Halloween serie. De film begint met Michael die in een soort ziekenhuis ligt.  Ze vervoeren hem met een ambulance. Tijdens de rit ontwaakt hij plots uit zijn coma wanneer hij ontdekt dat zijn zus die omkwam in een auto ongeluk, Laurie Strode, een dochter heeft, Jamie Lloyd. Hij valt de mensen aan die samen met hem in de ambulance zitten aan, en ontsnapt. Hij begint aan zijn reis naar Haddonfield om zijn nichtje te vinden. Wanneer Dr. Samuel Loomis hoort dat Michael is ontsnapt gaat hij meteen op zoek naar hem. Hij volgt hem naar een tankstation waar Michael vervolgens een werkman daar heeft vermoord en de truck van Loomis laat ontploffen en de telefoonkabels afknipt. Daardoor kan hij niet melden dat hij Meyers heeft gevonden. Meyers begint terug aan zijn reis. Het is Halloweennacht en Jamie en haar pleegzus gaan samen een kostuum kopen. Jamie past het kostuum in een paskamer en daar ziet ze Meyers voor het eerst. Daarna gaan ze ‘trick or treaten’, daar gebeurd hun volgende confrontatie met Meyers. Loomis komt ook aan in Haddonfield en waarschuwd de sherrif. Iedereen moet binnenblijven. Jamie en Rachel zitten binnen samen met de sheriff en andere politieagenten. Maar wat ze niet weten is dat Michael in het huis zit. De meisjes vluchten en Meyers achtervolgd hun. Vele dingen gebeuren nog, maar als je dat wilt weten moet je de film zelf zien.

Ik vond het wel een leuke film, maar niet zo eng. Ik ben de horrorfilms van tegenwoordig gewoon en die zijn een stukje enger. Ik vond het wel eens leuk om zo een oude film te zien en te zien wat de mensen vroeger eng vonden. Ik vond het soms wel grappig, want sommige dingen waar echt overdreven.

trailer van de film

[mattearq]

Halloween (2018) Movie Review

Finally had a chance to see the highly anticipated Blumhouse produced Halloween. The new film written by Danny McBride, Jeff Fradley, and David Gordon Green see’s the return of Jamie Lee Curtis in the titular role of Laurie Strode and also features the original film’s director John Carpenter returning to do the score for this new film as well.

Blumhouse’s Halloween is a straight continuation from the 1978 original and it ignores all of the other sequels in the Halloween franchise. To some of the older fans of the series this may be very confusing but in a way this helps simplifies the plot of the film and makes it a much easier film to newcomers of the series to get familiar with. The movie takes place 40 years after Laurie Strode (Jamie Lee Curtis) was the sole survivor of Michael Meyer’s wrath on Halloween night. The new film now taking place in 2018 see’s Laurie Strode as a much older and hardened woman. She now has both a daughter and granddaughter who are very distant from her as the only thing that’s been on Laurie’s mind is Michael Meyer’s fateful return to Haddonfield and her chance to end the nightmare that’s been haunting her for the past 40 years.

David Gordon Green’s new Halloween is a great sequel to the original while also being a great homage to the many different films in series. Green’s film does many of my favorite things that I liked about the original but gives it an updated feel that does an effective job. The iconic long takes from the original is here in this film and they are just as terrifying and entertaining as they were in the 70’s. The new film is a great sequel to the original and I could tell that McBride and Green were big fans of the original film as they honestly delivered on crafting a Halloween movie that should appease to the fans of the original but will attract newcomers to the franchise. Michael Meyers is older but just as terrifying and gruesome than he could ever be. The film doesn’t hold back on the many kills and does a good job on showcasing how evil of a monster Michael Meyer’s is. Jamie Lee Curtis performance as Laurie Strode was excellent. I really liked how her character’s past was the main backbone of the film and the aftermath from being stalked by a serial killer and losing her friends and how that has shaped her and what she must do to protect her family and everyone else from the pure evil that has returned to Haddonfield.

John Carpenter’s score was also another highlight about the new film. The original movies score is one of my favorite movie scores of all time and I really thought he and his team outdid themselves in the film as hearing the updated iconic theme in the film brought a huge smile on my face. The score really delivered in the new film and its definitely the best since the original two films in the series. The new Halloween movie was an awesome sequel/update that delivered on the scares, and tension and brings an old horror legend back into the forefront with one of the best sequels in the series. The only gripe I have about the new film is the twist at the last act to the end which I thought felt came out of nowhere and could have been fleshed out more as I really didn’t see the point of it. Compared to Halloween H20’’s ending, I felt like the new film could have ended much stronger instead of feeling rushed. Overall Halloween is my favorite horror film that I’ve seen this year in theaters and I hope everyone enjoys the updated return of Michael Meyers who helped put the slasher genre on the map.

4 Q’s out of 5

[javegar457]

P2

1)      I only have one idea that I will be working on, however if I had to create other ideas for future products I would use the website: bubbl.us. I would first make a spider diagram about the different Genre’s and pick three from the diagram and then start forming stories around those genres e.g. Sci-Fi, this story would be about a two people on their way to a new world via a classic looking naval ship, the ship then gets attacked by pirates, the crew of the space ship defeats the pirates and then the two main characters get married on the new planet.

2)      The two genre that my story are: Mystery and Horror.

a.       The Mystery genre revolves around the solution of a problem or a crime. It often focuses on the efforts of the detective, private investigator or an amateur sleuth in order to solve the very mysterious circumstances of an issue by means of discovering clues, investigating the area and clever deduction. The main characters are usually detectives who set out to solve the mystery. For example Scooby-doo and the Mystery Gang or Sherlock Holms and John Watson.

b.      The Horror genre taps into humanities deepest fears and anxieties and what is suggested is more than often frightening than what is revealed. For example the Germanic Expressionistic films of the 1920s, influenced by the English Gothic novel, were among the first examples of the Genre. The typical character of the Horror genre is a victim, rather than a hero; the antagonist, who is often manifested as a technological aberration like Frankenstein’s monster or social aberrations like Jason from the Friday the 13th movies, or Freddy from Nightmare on Elm Street or Michael Meyers from the Halloween movies; unbridled aggression and character sexuality usually plays an important role. Technology, science and scientific activity often unleash the antagonist.

3)      The conflict of my story is that there is a ghost that is haunting a house of the secondary protagonist, whose name is Shannon Moss and it is up to James to stop the poltergeist, and at the end of the animation it is revealed that the poltergeist is Shannon Mosses grandfather.

4)      My story has four acts. A standard story usually has three acts however occasionally stories have more than three acts. My story is going to have four acts because I have decided to split Act 2 into 2 acts.

a.       Act 1 introduces the viewers to the main characters and what is going to happen to them in the story.  This is my Act 1.

b.      The animation starts off with James waking up, he gets out of bed and goes to the sink; he brushes his teeth, bends down to spit, the camera pans but up to the sink’s mirror to show a ghostly face in the mirror that introduces the title of the show. He leaves the bathroom and gets dressed, he then walks down his stairs to the kitchen; he makes cheese on toast and leaves his house and travels to his work place.

c.       Act Two is the conflict of the story, this act is where the major conflict between two or more people occur or between a person and a creature of an unknown thing. This is my Act 2 which has been split into 2 sub Acts.

d.      Sub Act 2 – 1: He is ordered by his chief to go to a nearby house which has reported some very strange occurrences happening in their house. James makes his way to the house and knocks on the door, the door opens to a dishevelled looking woman, the woman asks who is it and James replies that he is Detective James Celestial and he was sent over by his Sargent. James asks if he can come in and is let in, he asks who he is talking to and the woman introduces herself as Shannon Moss, he investigates the house and doesn’t find anything, he then goes out to his van and takes out some ghost hunting equipment, he then places infrared/night vision cameras around Shannon’s house and sets up a broadcast to his home computer so he can monitor the house. He then leaves and returns to the police station to make his report. He then returns to his home and sets up his computer. He loads up the camera feed and proceeds to record the cameras. Over the night the cameras record footage but start to white screen. In the morning James check’s his computer for the camera footage and discovers that over half of the footage (between the hours of two am and six) are nothing but white static.

e.      Sub Act 2 – 2: He rewinds the footage and watches as the video starts off normal, the woman eats dinner, watches T.V and then goes up to bed. The video feed continues normally until eleven, where the T.V. in the living room turns onto a white static channel, the chairs in the dining room stack themselves, the clock beside the camera in the hallway reverses itself from the current time to five o’clock and very different things happen, James then looks at the feed in the main bed room, where Shannon was sleeping, the covers start being pulled away and a dark figure can be seen in the corner of the room. Before the camera cuts to white static James gets jump scared when a black silhouette appears in the screen and what is very creepy is that the silhouette has white pinprick eyes and a white teeth smile, feeling very creeped out James stops the recording as the recording had gone to white static. James then makes copies of the recording and goes to work. He presents his findings to his superior, James’s superior orders James to stay on the woman’s case. James then goes to Shannon’s house and is invited in, James feels as if he is not welcome in the house, and for the first time he sees the ghostly beginnings’, James then bed’s down for the night and has a restless sleep.

f.        The third and final act is usually where the story ends and has a resolution to the conflict and story, however some stories can end on a cliff-hanger. This is my act three:

g.       The next morning James wakes up on the kitchen table, the house a mess and nearly all the camera and recording equipment destroyed, hurriedly he checks the laptop, luckily the laptop is not damaged, he gets dressed and travels home, he opens the laptop and checks the video feed, nothing happens until the witching hour where everything happens and then the ghost makes its appearance and four were the ghost picks up James and take him down to the table. Then the camera cuts out. Then the camera cuts to James looking scared out of his wits, later at night time, James goes to bed, when he lays down in and closes his eyes the last shot is of the ghost appearing in his room before the screen goes to black.

5)      The two main characters of James Celestial and Shannon Moss. James is a police officer/detective and a paranormal investigator in his spare time. James is sent to Shannon’s house by his superior in response to a nose complaint. Shannon Moss is a teacher at Belfast High. In the Middle of one night Shannon is awoken by creepy sounds and her belongings being thrown around the room, eventually she is chased out of her home and one of her neighbors phones a nose compliant on her.