#humor argento

[giveamadeuschohisownmovie]

Pitch for a Dark Pictures Anthology game:

1) The title

FOUNTAIN OF YOUTH

2) The prologue

In 16th Century Florida, Spanish missionary Juan Garcia (false protagonist 1) joins a group led by real life conquistador Juan Ponce de León. The group - guided by indigenous tracker Micco (false protagonist 2) - are on the hunt for the mysterious Fountain of Youth, a location where the water supposedly restores a person’s youth. De Leon believes that his predecessor found the Fountain before they went missing.

The group does eventually find the Fountain, but De Leon is forced to return to his base after receiving an urgent message. To ensure that no one else can claim the Fountain, De Leon orders a few members of the group to stay behind.

The following night, the group is attacked by a mysterious faction. Only Juan Garcia and Micco survive the initial attack. However, their survival is short-lived when the two end up back at the Fountain…and find themselves surrounded by a group of hooded cultists. They try to fight back, but are eventually killed.

The cultists then gather all the corpses and begin to drain their blood in the Fountain…

/

/

/

(Cue the Curator’s entrance)

/

/

/

3) The main story (and the main protagonists)

In present day Florida, the area where the Fountain of Youth was found is now the location of the Romero-Argento Correctional Institution. It is one of Florida’s most notorious prisons as it houses the worst of the worst. We follow 4 death row inmates:

* Jackson Te Wiata (AGGRESSIVE, INSECURE): A Māori-American former MMA fighter who was sentenced to death for killing his cheating wife and the guy she was sleeping with. Despite his tough, aggressive, “manly” front, Jackson is deeply insecure and fragile. Jackson is also the most fearful of his pending execution, having not accepted the consequences of his actions.

* Javier Ortega (REMORSEFUL, COMPLEX): A high-ranking member of a Mexican gang who was sentenced to death for killing five rival gang members, as well as two innocent people who were caught in the crossfire. During his time in prison, Javier has changed his ways and now spends his time writing books about the dangers of gang life.

* Kasim Greene (FOOLHARDY, HUMOROUS): An African-American former security guard who was sentenced to death for killing his heroin dealer, unaware that he was actually an undercover cop. Kasim is the most light-hearted member of the group, having already accepted his pending execution and wanting to enjoy his last years.

* Spencer Ward (INTOLERANT, COMMANDING): A white supremacist/Neo-Nazi leader who was sentenced to death for numerous offenses, namely murder, rape, and various hate crimes. He’s the least repentant of the 4 death row inmates, believing that he was justified in what he did. That being said, he’s willing to work with the others out of self-preservation.

In addition to the 4 inmates, we also follow 1 correctional officer:

* Jesse Cruz (ANXIOUS, UNDERSTANDING): A rookie correctional officer who recently transferred to Romero-Argento. Jesse is the least cynical of her coworkers, believing that all people are worthy of redemption. She also strongly opposes the death penalty. Because of this, her coworkers believe she’s too “soft” for this line of work.

The story is that, on the eve of the execution of a prisoner named Tre Phillips, the protagonists start hearing rumors of strange activities happening after an execution is carried out. Rumors of the bodies of the deceased being taken to the basement of the prison. It’s also noted that the basement is restricted to both the inmates and the correctional officers.

The chaos officially begins when a massive prison riot breaks out, sending the prison into lockdown. Most of Act I is centered on the 5 protagonists trying to survive the riot as the prisoners take over the prison. Because the riot occurred, the real villains are forced to take drastic action, leading into Act II and Act III.

The big reveal is that the basement is where the Fountain of Youth is being maintained. In order to use the Fountain’s regenerative capabilities, the users must fill the fountain with human blood and bathe in it. The villains are actually the Spanish search party that had initially found the Fountain (the ones before Ponce de Leon). Thanks to centuries of human sacrifices, the villains are still alive in the present day.

When the prison was built over the Fountain, the villains came up with the idea of using the death row inmates as their human sacrifices. No one would suspect a thing, especially since they were already condemned by the state. However, their latest ritual was ruined thanks to the prison riot. So now, they’ve revealed themselves in order to complete the blood ritual.

As the protagonists, it’ll be up to the players to determine whether or not they escape the prison…or end up being the latest victims of the Fountain. (Side note: Players can also determine whether the prisoner protagonists can become fugitives or be re-incarcerated).

4) Casting / Face models of the protagonists

* Jackson Te Wiata: Played by the celebrity guest star, Cliff Curtis

* Javier Ortega: Same face model as Merwin from House of Ashes

* Kasim Greene: Same face model as Olson from Man of Medan

* Spencer Ward: Same face model as Jeff Whitman from The Devil in Me

* Jesse Cruz: New face model, couldn’t think of anyone (maybe Erin Keenan from The Devil in Me? I’m only hesitant since TDIM just came out)

* Juan Garcia: Same face model as Salim Othman from House of Ashes

* Micco: New face model, couldn’t think of anyone

[90sbee]

Que Dios me perdone, pero si, efectivamente publiqué Leon x Argentinian!Reader jsjsjsjs 🇦🇷. (Perdón, hace falta más Leon x Latina).

Todo SFW, fluff e intentos de humor por ahora. Un (crack)fic para relajar un poco y reírse, más que nada. Solo en ao3.

Fem!reader

En la entrega de hoy, recibis el Año Nuevo con Leon y lo haces bailar cuarteto. That's it, that's todo el primer capítulo, jaja.

Escrito en argento.

Habrá más entregas en el futuro.

Dividers by @/saradika

[sullustangin]

Fluffy February Day 22: Sacrifice

A/N: Ok, so Day 21 and Day 23 will be tomorrow, and I'll be caught up.

SWTOR

Time: Between 7.2 and 7.3 (29 ATC)

Pairing: Theron Shan/Eva Corolastor

CW: Eva is a pregnant person in this fic. There is talk of the imminent arrival of Argento Shan (alias, "yet-to-be-named baby boy.") All is well, and Dr. Oggurobb's journal article is progressing nicely.

~~

“Are you sure?”

Theron looked over at Eva.  “Yes.  It was meant to be used, after all.”  He looked down at the item in his hand.  “I just don’t know why it was kept.  I mean, I wasn’t supposed to have children anyway, as a Jedi.”

“Well, Jedi do the sentimental value thing, once in awhile, right?” Eva offered.  “For little things that won’t affect the fate of the galaxy, of course.”

Theron let out a small, short laugh.  “Well, the person it should have had sentimental value for left it behind, when the Jedi at Haashimut went to the caves…”  Theron’s voice trailed off as he considered the fabric in his hands with a critical eye.

Eva held her breath.

Theron had happy memories of his childhood…as long as he didn’t think of the end.

He was thinking about the end.

And abruptly he wasn’t.  “Time to put it to the test.  Pass me that flour.”

Eva exhaled and raised an eyebrow as Theron started rigging up the baby wrap – his baby wrap.

 The one Master Zho had used to carry Theron around the galaxy when he was an infant, then a toddler.    

It… it was one of those things he kept in his former quarters, now his office… things he didn’t bring onto Virtue’s Thief to “clutter” their life together.  Sort of like his old SIS dress uniform – only broken out when necessary.

Eva hadn’t even known the wrap even existed until about fifteen minutes ago, right after the latest development scans with Dr. O had gone well; the good doctor was utterly thrilled about the progress of his journal article on the matter. 

Eva slid the five-pound bag across the counter to him.  “Dr. O said that’s just what the kid weighs now.  He’s probably going to be a few pounds heavier.”  At the movement, Eva felt the yet-to-be-named baby boy roll over.  Quarters were getting tight in these last six weeks. 

Theron finished arranging the yards of fabric, probably according to a cross-comparison of at least fifteen different schematics he’d looked up on the Holonet. 

“Well, we’ll find out whether this can even handle five pounds, let alone a bay---”

RIIIIIIIIIIIP

A massive POOF rose up from the floor, coating Theron, Eva, and the galley with a mist of flour. 

“--bee.”  Theron looked down at the floor, a large swath of torn fabric pinned under the weight of the bag.   His expression was unreadable.

“…well, it was a lot to expect for a forty-something year-old baby sling.”  Eva wiped the flour off her face. 

Still nothing from Theron.

And then… “…and isn’t it a good thing we tested it before we put a real baby in there?”  A small smile was working its way onto Theron’s face, but the eyes were already sparking in good humor. 

A giggle escaped Eva.  “A worthy sacrifice to the child safety gods?” she ventured.

Theron nodded.  “It did its job in keeping me safe.  New baby, new sling.”   

All tension in the galley escaped… especially when Theron ran a hand back through his hair, but none of the flour budged: his pomade acted as adhesive.  “Sneak preview of ten years from now,” he joked, pointing at his now whiter hair.

“More like five, at the rate you’re going!” 

~~

@fluffyfebruary

[tina-aumont]

Tina Aumont interview 7

And the actor who played Casanova, Leonard Whiting?

I haven't seen him since. He had shot a Zeffirelli before, I think. He was initially a stage actor, like many English people. I guess he's still playing. Comencini's film sometimes resembles Watteau's paintings.

Yes, although he often hesitates between humor, tenderness and sordidness.

Of course. You remember the episode of the surgery which was fatal to his father. Surgery which the good bourgeois attend like a show. The miracles of science.

70 is also the time when I filmed in “Corbari” by Valentino Orsini. This is the story of a resistance fighter in Cologne. A true story. I myself play the role of a resistance fighter. We are all shot. I would love to see it again. I can't say anything special about Corbari other than the fact that I have good memories of both the film and Giuliano Gemma. Coming back to fantasy, do you know that Dario Argento asked me to play in Suspiria? Unfortunately, I was not free.

Following that, you played in Necropilis by Franco Brocani.

Yes, it's a thriller where I play the role of a witch. There are plenty of references in this film to Bava, for example. It's pretty much the only thriller film I've made. Ah, there is "Lifespan" also in 75. But in 71, I play the fortune teller in "Arcana" by Giulio Questi. Again, a film that I am proud of. There is also "Bianco, Rosso e..." by Alberto Lattuada. It's a parody starring Sophia Loren. The story of a star who, following a car accident, finds herself in a suburban hospital, and she asks for her pedicurist, her astrologer... In it, Sophia Loren is a nun and Adriano Celentano is a patient. Me, the victim of my car accident, all plastered in my bed, someone gives me a slap to calm me down. It was very funny to play the role of a pain in the ass. It's a story inspired by Gina Lollobrigida's car accident. The same year, I filmed in “Il Sergente Klems” by Sergio Grieco with Peter Straus who had just filmed in “Soldat Bleu”. It was a shoot that lasted months and months, deep in the desert in Tunisia.

Tina interviewed by Antoine Cervero in 2001. Published in January/June 2002 Cine Zine Zone number 134.

Very special thanks to @74paris for sharing this gem.

[watchmorecinema]

I've loved Giallo films for a long time, ever since first watching Deep Red, directed by Dario Argento. A few days ago I watched his debut film: The Bird with the Crystal Plumage. It's got a great vibe, really interesting mystery and some really weird 70's humor.

What really gets me though is just how impeccably everything is framed and shot. The screenshot here is from one of my favorite scenes. There's only one very small source of light and the rest of the frame is completely dark. Our protagonist walks into this unknown space looking for a serial killer, and who knows what they'll find? That fear is imparted onto the viewer brilliantly this way.

My favorite shot though is one that needs to be experienced in the film (mild spoilers). A character jumps out a window. In other films we'd either see:

a shot of them falling from outside the building

the POV of someone inside the apartment looking down as they fall

the face of the person still inside and their pained expression

stuff like that. We'd see what happened or infer it in some fashion.

In this movie the camera itself falls to the ground while pointing straight down. You don't watch the fall, you feel it. It's easily one of my favorite pieces of cinematography and I honestly want to start directing films so I can steal it myself.

[azula-nyx]

Guía ilustrada de como NO hacer Amarres by Scorch

Esta te la dedico a vos @asmoteeth, inspirado en nuestra charla en los comentarios de tu post XD

*En alguna parte de la academia, un Scorch despechado y rre caliente prepara la maldad de la semana. Todo porque Wedge le robo a su crush: el HS, el pibe más denso de la galaxia (tanto que nunca capto las indirectas que le estaba mandado hace Primus sabe cuánto). Su brillante idea es hacerle un Amarre a HS por medio de Macumba (brujería para el q no entienda humor argento) con tal de separar a los tortolos y buitreárselo*

S: “Bueno, el plan de psicopatear (manipular) a HS no salió como esperaba, maldito W. Y claramente no soy lo suficientemente idiota como para hacerle frente a un bruto capaz de partirme en dos como palito… Por lo que esto requiere de un enfoque más sutil *saca un kit de dudosa procedencia de vaya saber dónde* “Quiero ver cómo le hacen frente a una Macumba chicos” *Posta que la cosa se desarrolla más menos así gente*

S: “Esto SALE O SALE, de lo contrario me doy un corchazo…. Que boludo que soy, esto OBVIAMENTE que va a salir piola, HS es MÍO gil” *Todo confiado con los frutos de su labor*

*Scorch, después de enterarse de que la parejita está más feliz que nunca y que solo tienen ojitos para el otro porque el amarre le salió con tremendo plot twitst*

*El Unicornio (Unicron), en alguna parte, riéndose de la maldad que se acaba de mandar (boludear a Scorch al meterse con su macumbeo) y disfrutando del sufrimiento ajeno*

[asmoteeth]

¡Cheeeeee, Asmo..! ¿Cómo va todo x ahí? Espero que estés bien, la verdad. ¿Cómo te anda tratando la vida de estudiante de secu?

¿Ese nuevo fanart de Wedge con colmillos? Lo más, espectacular capo...(¿tenés algun hc acerca de eso? Tipo, reacción del team (especialmente el HS) a tremendos abre latas...qsy, hace tu magia...)

Hotshot se hace el asqueado, pero ambos sabemos q no le hace asco a nada. Simplemente es un pendejo, x q si no, no estaría en esa situación, y el novio lo sabe. Por eso va y lo molesta, x q es entretenido.....XD

Gracias x el contenido, Asmo...brutal como siempre!

Buenass wachinnn, perdón por tardarme tanto con los asks, procrastino como un desgraciado lo sé xd (igual tus asks siempre me ponen de buen humor, besos en las manos.png)

La secu va bien por ahora, acabo de salir de remar en dulce de leche por 3 semanas enteras por una materia re dificil y encima que es final de cuatrimestre 😭 pero bueno yo le pongo ganas al colegio así que ahora estoy estando xfin un poco más tranqui

Acerca de Wedge con los miniserruchos, se me puede ocurrir algunos hc ☝️🥳‼️

Mi hc principal es que los dientes de los Cybertronianos dependen del rol que desarrollan y si su tipo de alt-mode fue popular en los Decepticons o en los Autobots, por ejemplo, un auto de carreras va a tener dientes con menos filo que una maquinaria de construcción. Me encanta generar headcanons basados en una posible biología y adaptación de los bots a su entorno jiji

Hoist es igual a Wedge en terminos de dientes y potencia de mordedura, pero en vez de ser filosos son redondos, un ejemplo sería comparar los dientes de un Jabalí a uno de un Tigre, ambos bien chingones en su propia manera

Hotshot secretamente esta fascinado: creciendo entre en su mayoría bots de deporte, namas vio colmillitos como los de el, puntiagudos hasta ahí nomás, nada impresionante... así que la primera vez que Wedge se le acercó en el primer día de la academia el tipo le gustó la idea de no dejarse intimidar por alguien con tremenda licuadora por dientes (aka, le gusto jugarle al vergas y hacerse el boludo)

Wedge se molesta xq esto significa que si HS lo esta molestando no puede hacer que se vaya mostrandole los colmillos, xq el pendejo lo toma como un reto

Hotshot: Wedge, que hacei? Wedge, mira lo que dibuje en clase, quieres echarte un partidito de Cube al rato? Wedge, Wedge, Wedge

Wedge, a punto de arriesgarlo todo:

Hotshot, ahora con aún más ganas de romper los huevos: ?? Bueno como te decía

El pobrecito la re sufre cuando se muerde la lengua por accidente, si algún día quiere piercings de lengua ya tiene 30 agujeros para elegir

Los cubitos de energon quedan rayados después de que los consume jsjsj

Medix se encarga de su cuidado dental xq Wedge dice "una pasada y listo" y a Medix le afecta en su gen médico y obliga a usar hilo dental (lo amenaza con una palanca ndeah)

Y eso es todo lo que se me ocurre, un poco difícil hacer hc de dientes JSJSJAJSJJA, nada che *sonido de mate* me encanta tenerte en mi bandeja de entrada y es un respiro hablar argento, besos desde mdp

[watching-pictures-move]

Viddying the Nasties | Suspiria (Argento, 1977)

This review contains spoilers.

I recently rewatched Inferno after a number of years, and while I finally warmed up to the movie, I did wonder why that one kept me away while I embraced this so readily. There are obvious narrative differences, in that this sticks with one protagonist while the other resets, but even visually I found this the more inviting of the two. Both are stylized, insular experiences, but I think there are slight differences that made this one more approachable. There’s the obvious difference in aspect ratio, Inferno’s 1.85:1 versus this one’s 2.35:1, the added width giving it a more expansive quality. But even the lighting choices I think have subtle differences beyond just their colour palettes. The colours in Inferno have a certain...well, not exactly flatness, but they don’t exactly emanate warmth. The ones here range more aggressively in tone, from their boldest, brightest form to the inkiest, most impenetrable black. There’s the feeling that they radiate outwards, basking us in their warm, glowing, warming glow. For all its sinister aura, I find a certain comfort in just looking at this film, and to be perfectly honest, despite all the brutal murders that take place in the movie, I think it might be nice to step inside your TV set (or the theatre screen, should you be so lucky) and into the world of the movie, and live inside it for just a little longer. Of course, I said this about Inferno as well after my most recent viewing, and I stand by it, but let’s just say that the wider aspect ratio made it easier to squeeze into this one.

I don’t think there’s much value in doing such a comparison of either movie to Mother of Tears, the third entry in the Three Mothers Trilogy, which doesn’t have a lot in common with either one aside from the premise. That one deliberately expands its action to a living breathing real world setting, whereas both this and Inferno, during the few moments they step into the outside world, still bring it into their respective distinct visual styles. Here, the opening in the airport prepares us for the aggressive colour scheme, while the killing of a blind pianist by his dog is almost depicted in the abstract, the town square in which the death takes place fully submerged in darkness. And in Inferno, there’s the somewhat humorous scene of the old man trying to drown a bunch of cats, getting attacked by rats, asking for help and then getting stabbed to death, lit exactly the same way as all the interior scenes. (Is the humour in that scene intentional? Who cares?) Mother of Tears is marked by less stylistic control than either of these two, which is perhaps appropriate for its more apocalyptic tone but is not pulled off with either enough spontaneity or assurance for it to satisfy on that level.

This is my... *checks chalkboard tally* ...billionth viewing of Suspiria, meaning that I won’t really bring any new insights, especially not to a movie this widely loved. What I will say is that while Dario Argento is not known for strong characterizations, one of the reasons I like returning to his movie and a number of his others is that I like spending time with the characters. A lot of this is from familiarity. You see a movie or an actor enough times and their characters become a little like your friends. (Between this and wanting to crawl into the movie, I am painting a pretty depressing picture here...but the point stands.) But I do think Argento's better movies, even when defining their protagonists primarily as audience surrogates, are usually good at getting actors who bring a certain empathy and likability to the role, something I think Jessica Harper very much does here. We also get Stefania Casini, who also brings a great deal of warmth to her role as the heroine’s friend, driven to help after losing another friend to the evils that be. I’ve mentioned repeatedly in my recent reviews that violence in these movies is hitting me harder than it used to, and I did find myself affected by the particularly cruel death she suffers, and the dismal fate she’s afforded, her eyes gouged out, her flesh shredded, any semblance of humanity removed, a pure instrument of death. That fate is only observed in one scene, but I wonder if I would have been so moved had the movie and Casini not warmed us up to her.

There’s also a small but high impact role by Barbara Magnolfi, who memorably observes “that names which begin with the letter 'S' are the names of SNAKES!” (At which point she and Casini stick their tongues out and hiss at each other.) And Joan Bennett and especially Alida Valli as the authoritarian types running the school, whose presences suggest that they might not all that they appear to be, even if you ignore the cries of “Witch!” on the legendary Goblin soundtrack. (I don’t have any hot takes on the soundtrack, other than maybe “Sighs” is my favourite track.) There’s also Udo Kier appearing briefly to spout exposition and provide the name for Maitland McDonagh’s great book on Argento’s career (the edition I read amusingly stops right at the ‘90s, its projections about his subsequent career more optimistic than what actually transpired.) I bring him up not just to note that he’s very much in hunky Udo mode (a mode that is easy to forget exists when you’re more familiar with his weirder roles), but also because he wears a green sportcoat. The latter is important because I bought a green suit in a similar shade during the pandemic, so I’m counting this as onscreen representation. I also noticed when scrolling through Letterboxd prior to my viewing that Marina Pierro was in this, so I kept an eye out for her this time around. Unless my eyes deceived me, I think she plays a student who comes out of her room distressed, with maggots on her face. Now, this is not the ideal state I would like to see her in, but I suppose screaming, maggoty Marina Pierro is better than no Marina Pierro at all. Beggars can’t be choosers.

The only other thing I have to say after this viewing is that after years of saying I loved the movie but conceding that the ending is kind of dumb, I’ve landed firmly on the side that I love the movie and actually the ending kind of owns. Yes, the resolution to the threat facing the heroine is a tad convenient, but the movie has escalated into a certain hysteria, with the camera moves and the lighting and the music as brazenly assaultive as it can be, and the mise en scene ready to go down in flames. Imagine if a movie ended by blowing up your TV, and it would look something like this. And there’s a certain quality that I found earlier in the movie and in other recent viewings a little dispiriting, but here, during the conclusion, when the heroine is able to defeat the villain by stabbing her with a crystal ornament, is maybe a little reassuring. It doesn’t matter what dark, powerful forces one might have at their disposal. In the end, all flesh is fallible.

Happy Halloween, folks.

[theharpermovieblog]

#HARPERSMOVIECOLLECTION

2024 MOVIE LIST

www.tumblr.com/theharpermovieblog

I watched Cemetery Man (1994)

Scrolling through the cult classic section of Tubi, I realized I'd never seen this one., despite always wanting to.....well, I didn't love it.

A zombie killing cemetery worker wants more out of life.

Director Michele Soavi is an Italian filmmaker, known best to me for his films "The Church", "The Sect", and "Deliria-AKA: Stage Fright". Being an Italian Horror filmmaker, Soavi leans heavily toward spooky visuals, dreamy romantic atmosphere, and gore. Something I love about him and other Italian horror filmmakers like Lucio Fulci, Mario and Lamberto Bava, Joe D'Amato, and to a lesser extent, Dario Argento. (Dario knows what he did)

Cemetery Man tosses humor into the horror and atmosphere, offering something with a lot of quirkiness. I hate using the term 'off-beat', but I'm afraid I have no other choice. The humor here adds an element of lightness, which when combined with the horror and spooky stylization, creates more of a fantasy film vibe.

However, the humor doesn't exactly offer the belly laughs you get with a film like"Shaun Of The Dead". I smirked a few times, but overall the movie was a little leaden. I found myself expecting a fun ride, but got something that felt like it wasn't going anywhere. The action would start and stop and the story felt jumbled. I got bored to the point that I regretted starting the movie in the first place. Sure, I liked some of the cheesy gore and zombie effects. I liked the idea of the film. I liked the overall tone in a lot of spots. But, I felt like I was reading a page in a book, getting distracted and re-reading that same page again and again.

A film like "Brain Dead-AKA: Dead Alive" continuously builds up, ridiculous moment after ridiculous moment. The story has structure, a villain is set up, a hero follows an arc and grows. There is excitement and there are wild moments that all lead up to a final confrontation. While "Cemetery Man" has some of these parts, it doesn't combine them correctly into a whole. Making for a movie that fell really flat for me.

Give it a shot of you want, as it does seem to be popular among a small fan-base, so maybe it will work for you. I just don't think it's many styles end up cohering and the same goes for its story.

[ao3feed-jjk]

DxD: Sorcerer

by Lietsan My last days have arrived, I lost the battle against this damn disease and now I can only close my eyes and wait for my end. But then I managed to open my eyes again... what is this place? what body is this? Why do I feel like I'm being watched? I should be dead and yet I breathe normally... Did I reincarnated or something? Words: 5229, Chapters: 1/?, Language: English Fandoms: Highschool DxD (Anime), ハイスクール DxD - 石踏 一榮 | High School DxD - Ishibumi Ichiei, 呪術廻戦 | Jujutsu Kaisen (Manga) Rating: Mature Warnings: Creator Chose Not To Use Archive Warnings Categories: F/M, Multi Characters: Rias Gremory, Himejima Akeno, Toujou Koneko, Kuroka (Highschool DxD), Xenovia Quarta, Asia Argento (Highschool DxD), Vali Lucifer, Kiba Yuuto, Rossweisse (Highschool DxD), Kunou (Highschool DxD), Ophis (Highschool DxD), Shidou Irina, Orimoto Rika, Original Characters Additional Tags: Alternate Universe - Reincarnation, Main Characters is Basically Yuta, Action & Romance, Magic, Supernatural Elements, Six Eyes (Jujutsu Kaisen), Harems, Explicit Sexual Content, No Smut, Attempt at Humor, Fluff and Angst, Powerful MC, Crossdressing, Crossovers & Fandom Fusions, Polyamorous Character, Because DxD, Lolicon, MILFs, No Edgy MC, MC has Rika, Rika is Clingy, Protective Orimoto Rika, Other Additional Tags to Be Added, I'm Bad At Tagging, Blood and Violence via https://ift.tt/kWxXzNI

[loreakblaus]

Suspiria (Dario Argento, 1977) (revisión)

Puertas mecánicas filmadas como arma. Lluvia torrencial, vendaval, ventanas que se abren. Música como recurso de terror. La música es el asesino. Cuchillos y sangre. Pianista ciego con un perro. Rigidez en la escuela. Plaga de gusanos. Ladridos. Mentiras y encubrimientos. Humor. El terror también es para el espectador. Alambre de espino de metal. Daño físico del que no hay forma de escapar.

Elementos temáticos:

Brujas Gore Supersticiones Murciélagos Acertijos Espíritu de una anciana Posesión de una alumna Resurrección de alumna fallecida Persecuciones

[filmes-online-facil]

Assistir Filme All the Colors of Giallo Online fácil

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All the Colors of Giallo - Filmes Online Fácil

'Giallo' é italiano para 'amarelo', a cor dos romances de celulose lurídicos que inspirou um dos gêneros mais intensos, extremos e influentes na história do cinema. Nesta recolha sem precedentes, experimente a evolução cronológica completa de Giallo com mais de 100 reboques raros e clássicos de tais mestres como Mario Bava, Dario Argento, Lucio Fulci, Sergio Martino, Antonio Margheriti, Umberto Lenzi e muito mais. Em seguida, deslize as luvas de couro pretas e defina o humor com um cd de bônus de música lendária de trilha sonora de compositores que incluem Ennio Morricone, Riz Ortolani, Bruno Nicolai, Stelvio Cipriani e outros, juntamente com todos os novos furos que estão mais profundos no gênero. "Mas ser avisado", diz Gizmodo.com, "uma vez que você começa a descer o buraco de coelho Giallo Slicked de sangue, você pode se tornar perigosamente obcecado."

[sloshed-cinema]

The Cat o’ Nine Tails [ Il gatto a nove code] (1971)

Turns out Theranos is only the latest in a storied lineage of crackpot biotech firms selling the moon but run by crazies.  The Terzi Institute are in deep on some highly questionable genetic testing, linking XYY Syndrome to an increased propensity for aggressive and even murderous behavior.  And yet even their scientists can’t seem to be immune to a causality loop: our perp carries out killings at least in part because he did his own research and now knows that’s what he has to do!  Then again, the fact that anyone puts any faith in a research institute which characterizes multiple of the human chromosome as stylized ‘Y’s at random is deeply suspect.  As with The Bird With the Crystal Plumage, Argento loves to infuse his films with a sort of pop-pathology, perhaps aiming to achieve a higher sense of realism but coming off all the more quaint in retrospect.  

Notable about this early giallo from Argento is just how completely it is suffused with a sort of humor or lightness.  Key to intrepid reporter Carlo Giardano’s investigation is the adorable, ineffable duo of Franco Arnò and Lori.  Though his sight was taken from him in an accident, Arnò remains fiercely independent, driven by his love for his niece Lori just as much as his zeal for solving puzzles of all sorts.  He doesn’t need the help of others, per se, though the film does lean into that trope of being robbed of one sense enhancing the others: Arnò is practically Daredevil at points.  The antics of Franco and Lori are adorable to the extent where I would happily watch a Hardy Boys style series of those two showing up and solving crimes.  He has a strong gut and general sense of what is around him paired with journalistic instinct, and she is hyper-observant, absorbing every detail of the world around her.  But humor inflects the rest of the film in unexpected and delightful ways.  A barber gets a chance to unload a tirade about how he would pull off a murder to the terrified journalist held captive in his chair.  Carlo meets up with former contact Gigi the Loser, who has allegedly left behind his life of crime but still has a ludicrously extensive lockpicking kit on hand.  Just in case.  The kills are brutal and at points shocking, a body ground beneath a train, corkscrewing about, but the movie isn’t meant to be taken deadly serious.

If his debut was a confident one from a style perspective, Dario Argento only further refines his craft in this effort.  The man has never met a spiral staircase he hasn’t wanted to lovingly point the camera up through its levels.  The identity of the killer becomes entangled with repeated extreme closeups of his eye, though the identity is obscured by a red filter which both renders the identity more ambiguous due to the lack of a proper iris color and plays up the idea of the killer’s blind rage.  It’s also a red herring.  Braun draws attention to the rare color of Carlo’s eyes.  Sure, it’s a pickup line, but in associating Braun with eyes, the audience are subliminally directed to condemn him as a suspect.  But Argento uses his camera to humorous effect as well.  Insert shots parallel Anna’s hand on the clutch with Carlo’s clutched hands as she speeds them around the city streets in the journalist’s car.  His feet press helplessly at the floor, pushing imaginary brake pedals as we all have done while at the mercy of that one friend who sucks at driving.  Every image in a film has intent, but Argento is the type of filmmaker who revels in drawing attention to that fact for any number of purposes.

Queerness is handled with an interestingly ambiguous approach in this film.  The topic was broached lightly in Bird with the Crystal Plumage in the coding of the eagerly helpful shop owner who was a little too handsy.  But here it forms an entire subplot.  Braun is gay and spends time at a gay bar, though the film is never lurid and leering in its shooting of that space.  Braun is gay, and reads it, but that is never his whole identity.  Carlo is remarkably accepting of these people, never handling them at arm’s length.  Speaking with his cop informant, they recognize the criminality of simply being who you are under Italian legal code, though never express interest in enforcing that law. Fight the real enemy: hack biotech researchers.

THE RULES

SIP

Someone says ‘Terzi Institute’.

A POV shot begins.

Blind guys have heightened other senses!

BIG DRINK

Extreeeeeme eye closeup.

The killer claims a new victim.

[fearsmagazine]

FEAR - Review

DISTRIBUTOR: Hidden Empire Releasing

SYNOPSIS:  Rom has gathered friends for a much needed getaway at the Strawberry Lodge in homes of a celebration weekend, if he can muster the nerve to propose to his longtime girlfriend, Bianca. However, even though they’ve all been tested a new nightmare emerges in the form of a contagious airborne threat. Trapped in the lodge, a darker force awakens and preys upon their worst fears. As their phobias come to life will they be able to take control of the situation and survive the sheer terror.

REVIEW: Filmmaker Deon Taylor doesn’t reinvent the genre, but he does, during the height of COVID, create a solid story, interesting characters, some amazing camera work, to deliver a film that embodies the best of the 70’s and 80’s genre films with just a hint of sensuality and a slight nod to exploitation.

Taylor got lucky in finding a location that was the inspiration for his plot. The Strawberry Lodge is an actual place on the west coast, and apparently there's a town nearby where they executed witches, indigenous people, and prospectors. He weaves that into a tale about the lodge, at the heart are the witches. There are elements that are reminiscent of films like “Bur, Witch, Burn!,” “The Sentinel,” and many of Argento’s witch films. The plot isn’t overly complex to have any glaring loopholes, the characters feel genuine and the dialogue flows. There are natural sounding humorous lines that offer comic relief without breaking the fourth wall. The narrative has a slight morality tale element, but it's not preachy, making no disparities about witchcraft. It’s simply this place and what was done here that gives rise to evil. I loved it

FEAR has a solid ensemble cast. They lull the viewer into the grove of the film with performances that feel like you’re watching a group of close knit friends who are getting together yet again to celebrate something. Taylor works with his actors to capture comfortable, seamless performances. Every performance has depth and range. The viewer is hooked so that as things evolve into madness; you're there for the ride. The viewer feels for the characters and it ratchets up the intensity and terror. Talented cast, skilled director, equal excellent performances.

I adored the production values, cinematography, framing, editing, score and sound design. Right from the beginning Taylor employs some effective camera work to set the viewer on edge. He nicely frames and edits the scenes between the characters which raises the energy of the film as he gets the viewer intimately acquainted with the characters. Along the way he triggers the viewer's sense of dread with small touches to indicate the awakening peril. I appreciate how he used many genre tropes, but reimagined them in subtle ways to fit his film, making them feel fresh. Along the way he picks up the pacing by cutting back and forth between scenes to enhance the rhythm of the tale. Much of the terror comes from the fabulous sound design. It is an in your face sound that adds depth and revulsion to the scene without being insanely graphic. It ignites the imagination and the horror. I found his main creature design fascinating. When you think about the state of mind that comes with anxiety and fear, his creature is at the core of this swirling nightmare. It looks like the physical manifestation of that chaos. The film nicely blends all the music in the film, and composer Geoff Zanelli’s score accents the sound design and the effects. It lays a nice foundation for all the different emotional moments.

I often discuss a film in terms of “the filmmakers,” like the director and production team. In this instance it truly feels like a group effort between those behind and in front of the camera. Director Deon Taylor is like a master card player as he lays out his hand with enough shock and awe to thrill the audience. He takes a mature and serious approach to the genre and the story he is telling, serving up a solid, fright filled thrill ride. He sets up rules for his horrorverse that are diverse and not moralistic, never getting in the way of being entertaining. I’ve enjoyed his previous films, such as “Dead Tone,” “Chain Letter,” and “Intruder,” and right now FEAR is my favorite film of all his films I’ve taken in. Well worth assembling your friends and checking out this scarefest at your local cinema.

CAST: Joseph Sikora, Andrew Bachelor, Annie Ilonzeh, Ruby Modine, Iddo Goldberg, Terrence Jenkins, Jessica Allain, Tyler Abron, and Tip 'T.I.' Harris. CREW: Director/Screenplay/Producer - Deon Taylor; Screenplay - John Ferry; Producers - Roxanne Avent, Omar Joseph, and Heather Kritzer; Cinematographer - Christopher Duskin; Score - Geoff Zanelli; Editors - Martin Bernfeld & Peck Prior; Production Designer - Dara Waxman; Costume Designer - Chloe Philbert; Visual Effects Artist - Doug Spilatro; OFFICIAL: www.fear.movie FACEBOOK: N.A. TWITTER: N.A. TRAILER: https://youtu.be/VgaG0PbziYY RELEASE DATE: In theaters January 27th, 2023

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay),  or 👎 (Dislike)

Reviewed by Joseph B Mauceri

[imagenprimero]

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[chistespicantes]

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