#the only Final Destination film I've seen actually

[maybethistimemegz]

TJ MIKELOGAN’S HALLOWEEN 2024 EVENT ↳ Day 12: Newer horror (2000-2010)

Final Destination 3 (2006)

[t4tower-of-t4terror]

Twst horror movie taste hcs

A response to smthn in my ask box! I've actually had this in my drafts for over a year!

Riddle

DEFINITELY was not allowed to watch horror movies

I feel like his dormmates have been easing him into the genre a little

He likes Carrie. He finds Carrie White relatable

I feel like Riddle would also like early horror. Universal monsters and maybe a little Hitchcock

But he can't do gore and he isnt a huge fan of slashers

Trey

Casual horror fan. Pretty decent taste

Like he's seen most of the big franchises (Halloween, NOES, Friday the 13th, Scream, Child's Play, etc.)

He seems like either a 70s horror kinda guy or a 90s-2000s horror kinda guy.

Maybe I'm projecting but. I feel like he'd enjoy Black Christmas

Probably secretly enjoys really fucked up insane movies. Curse of science club

Cater

LOVES schlocky slashers

Definitely watches Dead Meat. I feel it in my bones.

Cater likes campy stuff above all. He HAS done a Jennifer Check Halloween costume.

Probably loves The Lost Boys, The Craft, Jennifer's Body, Bride of Chucky, Rocky Horror, all of that fun stuff

Him and Trey have occasional marathons. Sometimes they invite Riddle

Deuce

LOVES HORROR STUFF

Has a tendency to get spooked by it, though

He absolutely loves the Friday the 13th movies.

Has probably done a Billy and Stu costume w Ace

Ace

He's such a wuss but he pretends he isn't

This fuck chooses the scariest shit during horror movie nights and almost pisses his pants

His fav is probably Fright Night. Idk why

Leona

He "doesn't watch movies"

I think he'd fw Chucky though

Ruggie

Black comedy lover

HUGE fan of b-movie franchises like Leprechaun, Gingerdead Man, Evil Bong, etc

I feel like he watches Troma

Avid $5 movie box enthusiast

Jack

I don't think he'd watch any

He gets too upset

Azul

Hes a coward

He really likes movies where the killer gets revenge on their bullies

Idk why but I think he'd fuck with paranormal horror

He likes The Shining. No clue why

Jade

SCARY TASTE BAD TASTE

He's an extreme horror fan

He's seen it ALL

like. Homie can watch the most fucked up shit with a straight face

He recommends Salo at parties. He also is no longer allowed to go to parties.

Floyd

Like Jade.

Fucko will absolutely be like "we shld watch Slaughtered Vomit Dolls!!! I've heard it's really fun" so he doesn't get invited to Halloween parties.

Kalim

Also doesn't watch horror

He gets emotional when certain characters die

He does fw hocus pocus though

Jamil

Also a really graphic horror fan

He probably likes it as projection

He also likes complex psychological stuff. More of a casual fan but has a morbid curiosity with the genre

Really likes "descent into madness" movies

Vil

ARTHOUSE MOVIES

But I feel like Vil wld adore Black Swan specifically. It's a personal callout

Vil likes the darker, artsier vampire movies. They prioritize aesthetic above all else and WILL critique period-inaccurate costuming

But has one rlly campy guilty pleasure franchise. Idk why but I wanna say Sleepaway Camp. Pretends the ending of the first movie doesn't exist.

Rook made her watch Serial Mom and she kinda fucking loved it

Rook

I'm split here. Because this man is a fucking FREAKAZOID

Either he only watches deeply artsy pretentious horror films for the beauty in it

Or he has a collection of "horror" DVDs that are VERY VERY DUBIOUS. And probably real

Whatever. Rook Hunt I recommend The Hunger with David Bowie and Katherine Deneuve because it suits him. Also Hellraiser for graphic gore and also weird erotica.

Also he's a John Waters girlie. I believe it with my whole fucking soul.

Epel

Why do I wanna say Final Destination or Texas Chainsaw Massacre?

Surprised by how much his dormmates actually enjoy bloody horror movies. Despite that, he handles mainstream horror better than he handles Vil's arthouse horror or Rook's whatever the fuck Rook watches

Idia

Category 5 autisms about Perfect Blue

Genuine diehard horror fan. This is canon btw

He has a canon niche horror franchise he made a detailed Halloween cosplay of. This is a fact.

Also. Re-Animator for obvious reasons

Ortho

He is the horror, if you think about it.

Also he watched Videodrome because of the film club and got really into it

Malleus

I can only imagine him watching black and white horror. And distinctly romantic vampire movies

Bride of Frankenstein girlie

Lilia

All of em

ALL. OF. THEM.

Old weird bat man liked horror movies that only 5 people have ever seen. He has the most insane letterboxd page known to man

Silver

He doesn't have much interest in horror as a genre

But maybe Nightmare on Elm Street. Lilia made him watch it

He liked Dream Warriors.

Sebek

Tried to sit through a horror movie because Lilia likes them but he couldn't do it

[n0sewise]

Do you like movies? Mind to share some of your favs if you're into cinema in general?

I think I like movies as much as the next person, but admittedly I'm not a film buff or anything, so this list isn't going to be high art. These are my current faves in no order:

1. The Shape Of Water. It's So SO SO beautiful. The story, the visuals, the monsterfucking. The ACTING. 10/10 it's why I love Guillermo Del Toro

2. Nope. It's just Good. Cosmic horror done really well, one of the scariest scenes I've ever seen on film (not the chimp, the other one).

3. Final Destination 3

It's fun and one of my comfort movies.

4. Talk To Me

Recent and really good! They feel like actual teenagers and not teenagers written by someone older who inserted every piece of Gen Z slang that they knew

5. The Thing (original only. Not the remake) really cool practical effects. It holds up

6. Coherence

A great mindfuck that feels real

Thanks for such a fun ask!

[constantviewings]

A (Not So) Weekly Wrap-Up

Saltburn

Struggling to find his place at Oxford University, student Oliver Quick finds himself drawn into the world of the charming and aristocratic Felix Catton, who invites him to Saltburn, his eccentric family's sprawling estate, for a summer never to be forgotten.

From what I've seen, the opinions of this film are pretty hot and cold and I fall somewhere right in the middle. I had a lot of fun watching it, but it still has it's flaws. Starting off, I love the look of this film, the warm lighting and the film grain just makes me think of a home tape from the 2000s. Also, the cast are great, Barry Keoghan is an obvious standout but doesn't overshadow the great performances from the rest of the cast. I know people read this as a class commentary, but I think it's more about obsession than class as somewhat proven by the reveal at the midway point. My only gripe is that the montage at the end showing Oliver's perspective feels like it's overcompensating, maybe most of those shots could have been left where they take place and we just get to see the monologue?

Rating: 4

Final Destination (all movies)

After a teenager has a terrifying vision of him and his friends dying in a plane crash, he prevents the accident only to have Death hunt them down, one by one.

I'm not reviewing these movies one-by-one because, as we all know, they're basically all the same movie. I'm only going to point out two in particular, Final Destination 3 and The Final Destination. The third installment of this franchise is my personal favourite, I like that the mystery changes from the order of death to how each person will die; it helps it feel fresh even though it's the same movie three times over. The Final Destination is my, and most people's, least favourite: the effects are so fake looking and none of the deaths are really that memorable. At least with the others you can remember 'the train one' and 'the eye one' the only half decent death is the guy who dies in the pool, but only because it's so dumb.

Rating: -4

Ghosts (UK)

A cash-strapped young couple inherits a grand country house, only to find it is both falling apart and teeming with the ghosts of former inhabitants.

I binged this entire series in maybe a week (?) after realising I'd spent years putting off watching for whatever reason. Honestly, I love this show, I laughed and I cried. What a great little show and I can't wait to see what the team do next.

Rating: 3

Taylor Swift: The Eras Tour

Since I'll never see the tour live, I guess this is the next best thing! 2023 saw me re-entering my 'Taylor Swift Era' and this movie is the perfect nostalgia trip while also introducing me to the music I hadn't listened to in the meanwhile.

Hell Camp

Out-of-control teens across America were sent to a therapy camp in the harsh Utah desert. The conditions were brutal, but the staff were even worse.

Holy crap, this is actually fucked. Like, I understand the organisers were sugar coating it to the parents, but the fact they didn't believe their own kids is insane...wow.

[ordinarytalk]

So I'm just finally beginning to recover from the three day paranormal weekend event thing I helped run, and I'm just writing highlights so I can reassure myself that yes, this all actually happened:

I just barely got trained in running the historical tours in time for this event. Meaning, I spent the entire week prior cramming the history of the site with more intensity than I crammed for my college finals. The tours had to be about an hour and fifteen minutes, I would be doing them all day, and I had to be prepared for questions.

Part of my cramming involved me typing out five pages of notes outlining my planned tour path, the buildings I was stopping at, and what historical highlights I was planning to talk about at each building. Because I was teaching swimming lessons until 7 or 8pm most weeknights, I didn't have time to meet with the operations manager who was helping train me, so I just sent the document to her so she could fact-check it.

The night before the event was a ghost hunt/celebrity mixer for VIP guests. They oversold the VIP tickets so we had way way more guests than was originally planned for. The operations manager was told at the last minute that they needed seven history tours to be run simultaneously that night because the guests had been promised history tours, and the tours needed to all be done at around the same time. We had two history guides, me and another guy.

The ops manager ended up printing out my notes and handing them out to other employees and saying "just improvise, sorry, and thank you." We pulled it off flawlessly.

After the tours, I was supposed to be giving the paranormal guide staff members their breaks throughout the night. I got yanked to be a celebrity handler instead because we were short on people. I did not want to be a celebrity handler. I am very awkward around new people at the best of times, and I don't know anything about celebrities.

Celebrity and her crew turned out to be super friendly. I still felt awkward as hell, but then they started asking me about history and that unlocked my hyperfixation powers and I started getting excited and rambling cool facts about every room we walked into. Eventually I realized they were filming me. Success?

The paranormal investigations during the whole weekend were like the least successful/least active ones I have ever seen here. I think if I was dead and several hundred people were stomping all over my house and trying to talk to me, I'd shut up and go somewhere else too.

Ended 3am. Woke up 8am. Dying.

Me and the other history guide alternated giving tours all day Saturday. Apparently I did good? Some people cried and one group applauded me.

So sleep deprived I straight up passed out in the grass for ten minutes after two of my tours.

Can a person die from hydrating solely with Monster energy drinks, asking for a friend

Monster energy drinks did nothing, started laughing loudly at nothing at one point and then took another lawn nap when coworkers started looking at me

Another VIP mixer/history tour/ghost hunt that night!

The celebrity & crew from last night specifically requested me to lead them around for the ghost hunt tonight because they liked me? Success???

We were still very short on people and we really needed me to do breaks so I only was supposed to be with the celeb team for 30 minutes but it got stretched to 45 because they asked me about history again, whoops

I am still being filmed. I am still not sure what I am being filmed for. Success???????

Had to do all the breaks speedwalking, while being rained on. The last person was almost dying by the time I got to them. I almost pass out again as soon as I sit down in their chair, I've been standing almost all day aside from the lawn naps.

Destination Fear left snack and drink shrapnel everywhere at where their meet & greet table had been. Someone there really likes cheez-its.

2am bedtime. Feet are looking a little swollen and gnarly and I'm walking like a chicken on hot coals.

Sunday! Everyone on crew looks like the walking dead.

I actually had a little over an hour free before the history tours start and I was able to look at vendors! I bought a dracula pin and a movie monster crop top that doesn't fit.

More history tours. We're getting more sunshine today so I ask to borrow one of the hats from merch because I will get a migraine if direct sunlight hits the top of my head for more than two minutes.

Smaller tour groups, everyone's a little more tired.

One of the other employees tells me how she had to babysit the Destination Fear crew when they filmed here. Apparently they kept on trying to go places they weren't supposed to.

The Destination Fear meet and greet line from yesterday is still there, and it's still terrifying.

The guys from Mountain Monsters are like the best guys ever. They are never not having a good time. They're like if my Uncle Gerry and Uncle Rance decided to make a cryptid-hunting show together. At one point, during the other guide's history tour, one of 'em suddenly busted out of a nearby porta potty yelling "WHOO-EE! I tore that porta john UP!!" and everybody on the tour just lost their shit. I might need to watch their show now.

Everything shut down by 5pm, but I stayed until 7pm to help with teardown. I offered to buy the hat from merch I'd been wearing but was told I could just keep it, so I got a hat now.

If there's one thing this incredibly busy week was successful at doing, it was stopping me from thinking about my birthday, because I keep thinking about all the stuff I was supposed to have done by this age, and all the stuff I'll never get to do or have because it's too late, and crying.

My birthday literally just happened as I was typing this. Still trying not to think about it.

[rockybloo]

i like the way you draw zeke's gashes and gore, do you like horror/have horror recs (any media)

As much as I like to draw mushy wholesome romance between two characters...I love horror to an almost unhealthy extent. It is my favorite genre of anything honestly (I have spent days binge watching horror films back to back to back on Netflix, even the bad ones)

I've never really done a recommendation list before for anything so I can only list my favorites that I could spend a day rewatching no problem. I also need to add that I am a gore hound and the gorier the film or series is, the higher my chances of enjoyment so please keep this in mind.

My FAVORITE horror films are:

Brain Dead/ Dead Alive: I need to state that this film basically has EVERY trigger in it and did not age well AT ALL in terms of some of the jokes. However, having watched it when I was young, it was a crucial part of me becoming a horror fan and I love this trainwreck dearly...for its special effects. Mainly just the special effects. I do appreciate how the film is kinda split in two. The first being funny zombie comedy stuff and the last half being...well a shit ton of blood and gore. Also it has stop motion in it at some points which I love as someone who also adores stop motion.

The Final Destination Franchise: Not recommended for the paranoid but I love this 2000s ass film franchise. The premise is creative as well as the deaths. I also love that Death is super petty in this series and refuses to just kill someone up front and instead chooses the Rube Goldberg approach to offing people. Plus the original voice actor for Kratos pops up in one of the films which is a bonus if you are a God of War fan like me. If I had to pick a favorite out of the franchise, I'd say it's a tie between the first and the last. HOWEVER, the last film is oh so more rewarding if you watched the entire franchise-I will not spoil why but just trust me.

Candyman: The original film specifically. It's so interesting how the antagonist is a living myth and is so poetic in his words that sometimes I kinda forgot he was the villain. I love his design and the fact this film deeply touches on certain issues and not just being focused on being a typical slasher.

The Haunted Mansion: Yes the...original Disney live action film with Eddie Murphy. I count it as a horror film because it was genuinely scary to me as a kid. There's still some horrific stuff in it now. I mean, you got the opening credit scenes leading up to a dude straight up hanging himself, the zombies looking like straight up corpses, A DUDE GETTING DRAGGED TO HELL. The music still haunts me to this day.

Nope: A recent addition but this is def one of the best horror films I've seen. It is filled to the brim with so many details that you don't catch on the first watch. Plus, the "spaceship" is such a well designed element that I still think about how it works and how smart of a concept it was. I love the protagonists in this film as well and the bit of humor sprinkled in. I actually enjoyed this film so much I read the script for it since it was online (which I've never done for any film before). Cannot recommend this film enough.

Us: This film is just a level or horror that I only feel when reading Junji Ito stories. The idea of a doppelganger never scared me until this film because the entire concept is your other self hunting you down to kill you. There's a murder spree scene in this film that is so well framed and done because you see both everything and nothing at the same time because of the camera angle. The Tethered are underrated as monsters.

The Thing: The old one with the husky dog. The original Among Us and the best "WHO THE FUCK IS THE KILLER" film. The special effects are amazing and the fact that the audience cannot tell who the alien is is so great because we feel just as scared as the crew members. Plus...the alien absorbing people is just straight horrific.

This list is getting long and I have so many horror films I got jingling around in my brain but my last one is Pet Semetary. I was gonna put Poltergeist, which is also a favorite and is the only paranormal film I enjoy (I am not a big fan of ghost movies but that's because I love gore and carnage), but I kinda...don't really see it as a horror film. It certainly is one but there's so many cute and funny moments and it's kinda more whimsical than scary to me.

ANYWAYS BACK TO PET SEMETARY-There's an unsettlingness to it that I can't really explain. It's not just the dead pet aspect, it's just the vibes in it. The happy music becoming twisted as well as the always foreboding mood where you know something bad is gonna happen. There's a couple things that are left up to the audience's imagination but there's enough context that you just KNOW something terrible happened (like that ending). Plus, the little kid actor going on a killing spree is...kinda funny. He's just a little fella with a knife having a good ole time before bedtime.

ANYWAYS-I'VE RAMBLED ENOUGH ABOUT HORROR FILMS!

[tiffsyub]

hurry leave, please don't say you love me — gyeongsu x fem!reader

genre : angst

warning : english is not my first language, grammatical errors.

It's been 2 years ever since that nightmare happened. Nothing interesting things changed me. Everything feels like yesterday to me, his death is always tattooed inside my mind.

Right now, as I walk in the damage and quite streets of Hyosan. Looking left and right, noticing many people visiting back to their homes. I breathed out and continue at my track.

Finally, I arrived at my destination. I am standing in front of Gyeongsu's house. I suddenly remembered the warm feeling as it still the same when the first time Gyeongsu brought me here.

I slowly handed out my hand to open the gate. The metal made a creek sound as I stroll through the door. I turned the doorknob to open, and my eyes furrowed together as dusts fall upon me everywhere as I began to cough.

All of the things inside the house was untouched, and then I immediately walk towards his room. I brought some keys to his room that he gave to me when he was alive.

The door unlocked, surprisingly the first thing that caught me off guard is the scent, his scent. It's still lingered in his room. I shakily gulp down and sit in the edge of his bed and look around.

His desk as usual, so messy. Crumbled papers and books scattered in the table, and the lamp is still on. I stand up from my seat, his computer, I try to access and luckily it's still actually working fine. I went into his files, nothing important except our videos and pics together.

Clips starting to load up, familiar voices echoes through the room came from the computer. I am to focus that I couldn't even move in my seat. It was ton of pictures, these pictures contained mostly me. Scenarios began to flood up inside my brain, as my eyes began to get watery and smalls sobs coming out from my mouth.

The pictures are not just me, but there's also a picture of himself smiling widely. His contagious smile that I always falls and weak for. I wipe my eyes with my bare hands as I continue looking in the monitor screen.

"Why are you filming?" I asks as I sound so irritated.

"Nothing, I just want to film your pretty face so I could look at it every night" He cheekily smiles as he turn around back to the camera adjusting something.

"Whatever." I responded, and looking back at the book I read.

Gyeongsu put the camera down above the table as it still recording, he went to me and starts annoyed me. And then, he peck my lips.

I smiles reflecting myself to the screen. I turn off the screen and went to his cabinet, his clothes and his other stuffs are still in here. I grabbed one of his shirt and hug it tightly. And began to cried out more.

"G-Gyeongsu...please...come..back..." I whispered to myself and kept hugging his shirt, imagining him hugging at me. I noticed something hanging on his wall, another photo of him. I was the one who take this picture.

Illusions of him and me, running around inside his room. Only laughs and giggles coming out in our mouth. And suddenly a footstep can be heard behind my back, a moving figure is seen in the side of my eye. I quickly turn around and can't believe what I just saw.

Maybe I forgot to take my meds again but I just taken it this morning. Am I dreaming? If it is, please don't wake me up too soon.

It's him, he was standing in his doorway and he still wearing our high-school uniform. He approaches me slowly, I didn't say anything and just observe of what I saw.

"A-are you alive?" My voice cracked, knowing this is just one of my illusions again.

" Y/N-ah, I forgot to say this to you, I've promised that once we've get out of here, I have to tell something important to you." Gyeongsu spokes as he looks alive and fine.

He lean towards to me, as his lips meet my ear. He whispered something that brought me back to tears.

"I love you" He smiles, and slowly backing away from me.

My sobs are getting louder and louder, as my chest also getting feel heavier. I start smacking my fists on my thigh, as my teeth screeching from my crying and shouting.

We never got a chance to shared those three magic words in each other until now, I am only daydreaming, his figure evaporated out from the air, leaving me realizing that he will never return home to me and those words were just completely inside my imagination.

"GYEONGSU STOP PLAYING WITH ME!"

"ARE YOU LEAVING ME AGAIN..?"

"WHY AM I SUFFERING THIS ALL ALONE!?"

"PLEASE COMEBACK TO ME!"

"GYEONGSU-AH.."

I squat down in the floor, ruffling my hair due to pain and stress I am feeling right now. Scenes from his death starting to flashbacks inside my head as ton of tears kept pouring out of my eyes, mourning his name multiple times out of my mouth.

I stared at the photo frame of him that I am holding right now, my hand caress his picture. I slowly lean my face in and give a small peck on it. I wipe my tears again with my hands and said,

"I love you too..."

[misskittysmagicportal]

Tupelo Honey

Word Count: 1082

Film: Moonwalkers

Warnings: Swearing and minor drug use, sexual references

a/n: None of us know anything about the affable, simple-minded, downright hysterical stoner Leon from Moonwalkers. It's fun to have a tabula rasa with such a great character.

Chapter One: Kult of Dionysus

Leon wasn't always a junkie. Until he started orbiting inside Renatis’s gravitational pull, he was a rather promising young actor. There's always that centuries old cliche of doing what you can to get ahead. An upper to get you through. Downers to finally sleep after rehearsals and auditions and shifts at the day job. Sleep with someone’s wife, never the daughter. But a foreign film, even if it sounds a bit dubious, would definitely benefit someone trying to leap from the stage to the screen.

Honey wasn’t always called Honey, but she was destined to be a radical. She, her siblings and parents were smuggled out of Florence before Mussolini was taken out. Papa was on Gestapo radar for anti-fascist teachings. So owning an underground comedy club in Manhattan made sense. Lenny Bruce was Honey’s godfather, and she knew Jack Kerouac and Alan Ginsburg before she knew Cinderella and Snow White. It was Uncle Lenny who told her she needed to be a bit more bitter and not so sweet. Honey caught the flies. That sweetness is how she ended up on the run. Now strapped for cash, Honey figured a bit part in some weird foreign film would get her to India.

The young man and woman stood only feet apart in the parlor of the most insane manor either of them had seen. Like someone ruined Marie Antoinette's summer home with a psychedelic woman begging you to crawl inside her vagina. Which they did to reach a fat, Dionysian Frenchman laid across a chaise lounge. Flanked by nude women and men and a cloud of sweet smelling opium.

“Oh look at what Hermes has for us children! Johnny you ginger haired messenger of the Gods, who have you brought me?!” He slid in and out of French as he labored to get up. Yet seemingly floated on air towards the trio.

Honey stood apart from two Englishmen. One flaming red hair and short, broad shouldered and decked out in a checkered green and yellow suit. A silver chain around his neck. Fidgeting, he swiped at his nose a few times while a cigarette burned low in a free hand. Johnny, Honey heard, was an entertainment manager from London.

The other was much taller than his companion. His body willowy under a large peasant shirt and bell bottom jeans. A mass of dark, messy curls framed his expressive bushy eyebrows. Meadow green eyes wide with shock as the director caressed his angular jaw affectionately. Honey couldn't quite place him, but somewhere in her brain it tried to reconcile that she knew him. He was, in her eyes, breathtakingly beautiful.

“Oh yes, my little pixie, you will do so well. Don't be afraid of Renatis! Come how old are you?”

“23?" he stuttered.

“You don't know?” Renatis walked around him slowly. From behind, his hands moved over shoulders and over the clavicle peeking out through the shirt. Then he slapped the actor roughly on the ass and attempted to reach around the front.

"RENATIS!” Johnny interjected. “How about we don't molest the fucking talent?!” He had the fat man by the thick of his wrist. “You told Derick attractive and eager to work. Leon here is all of those things.”

"Thank you, Johnny” his gratuity coming out similar to a whine.

His accent forced Honey to bite her knuckle to stifle a gigglewhich she choked on as a snort. No one had turned Eliza Doolittle into a lady yet with that voice. Leon turned his nervous gaze on her; she blushed immediately.

With a wave of his hand, Renatis swatted at Johnny as if he were a fly. Then, clapping his hands, a toppless woman wearing the bottom half of a lion costume appeared. A tray with several pipes and bottles in her hand.

“Tell me Leon, do you need to relax? How would you like to chase the dragon before we get down to business? Maybe the green fairy?” He shoved opium pipe in Leon's mouth and lit it. “Suck hard pixie.”

All Leon could do was comply with a large inhale. Johnny rubbed his palm furiously into his forehead before downing all of the shots of absinthe.

This time Honey laughed so loud it echoed off the walls. She had gone largely ignored once Renatis had discovered his handsome muse. Her black hair was braided in a nest on top of her head and woven with bits of lavender. Her tanned legs bare under a red plaid romper. And she quickly realized what kind of film they were going to make the moment the Frenchman started filling Leon with drugs.

“And what of this succubi, Johnny?” Now he turned his sights on the young woman. Tugging gently on her braid before attempting to cop a feel of her breast.

Honey’s turned to grab a wrist, but this time she twisted it slightly. “Don't fucking touch me. I'll get high but not on that shit.” She gestured at the opium pipe. “I'm not with them. I'm here for the cash. I don't do threesomes, anal or animals.”

Leon choked on the pipe, “ANAL?! Johnny you didn't say anything about sex.”

“What the fuck kind of movie did you think was being made here?”

“Derrick told me it was avante garde like that Jean Goddard guy”

“It's a porno, Leon” Honey informed. “I'm Honey Comb, and shockingly this is my first dirty film. Mostly I've had to do some.. favors and pictures.”

Leon turned to leave but Johnny caught his shoulders. That didn't seem to stop him as the opium took over and his body sort of walked in place. Totally unaware he was not actually moving as Johnny held him back.

“Leon! We are already fucking here. Now do heroin. Snort coke. Get high or trip balls. You’re gonna fuck that chick so my cousin knows I can do this job. You don't do this, I don't get paid. And you are stuck as a choirboy on the West End forever.”

“I'm not a slag, Johnny. I don't think I can make my willy work after smoking that dope.” That whining sound again.

“SWEET CHARITY!” Honey snapped her fingers. “I SAW YOU IN SWEET CHARITY! See, you know all about whoring yourself out.” She broke out in more laughter.

Johnny's eyes pleaded with Leon whose mouth hung open in confusion. Soon his body folded in defeat and he sighed. Then looking over at Honey he smiled and waved, “I guess so then. But I've gotta sleep this off first ok?”

[captaincolossal]

So I was looking at this *sigh* listicle of 20 movies that are so bad they're good, and I thought - of the ones I've seen - that their choices were...debatable. (I will argue, vehemently, that Cats (2019) doesn't somehow loop back around to being good, nor is it "camp" and clearly this was written by someone who doesn't get camp.) Anyway, I was like "I will go make my own list, thanks".

So, limiting the options to the...223 films I've seen for Hashtag Franchise Binge 2k21, what are some (maybe not 20) films that are so bad they're good?

Alien Vs. Predator (2004) This film has so much going on. Is it good? Eh. Does it make sense? Not really. Is it fun? Hell yeah. Like do not take this seriously, but enjoy the ride, the goth Indiana Jones aesthetic, and Alexa's burning desire to fuck a Predator.

Battle for the Planet of the Apes (1973) The thrilling conclusion to the original Apes series, which I would be willing to lump together in a "bad but good" list on the basis of the rubber ape masks alone, but I'm singling out this one, which is set in the distant future of 1991, where everyone wears black turtlenecks. This one is the most heavy handed with the racism/civil rights allegory, but includes a surprisingly optimistic - if cloying - ending.

I Know What You Did Last Summer (1997) The real tragedy of this cheesy teen slasher is how underutilized Sarah Michelle Gellar is. Her final chase scene was genuinely good, and she showed up so hard for this role. This is cheesy fun, with an odd premise and characters that make more or less inexplicable decisions.

Friday the 13th Part IV: Jason Lives (1986) I chose this out of all eleven Friday films because this actually does a few interesting things with the otherwise formulaic story. It puts a teen boy in the role of the final girl, which alters the story in an interesting way and I don't want to give it too much credit and say it's intentionally subversive, but it's definitely got that element and it's more self-aware. Also features a soundtrack that is heavy on the Alice Cooper.

Evil Dead II: Dead by Dawn (1987) Listen, I unironically love this movie. It's cheesy, it's gory, it's ridiculous. It's one of those movies that, like, if they'd made it as A Serious Horror Film, I don't think it would have worked, but it was obviously fun and pushing what they could do with practical effects on a shoestring budget.

A Nightmare on Elm Street 2: Freddy's Revenge (1985) This one not only puts a boy in the role of final girl, but has the first male scream queen and is accidentally (but totally not accidentally) incredibly gay. It's peak 80s camp with lots of homoerotic body horror. And it's just. Homoerotic in general.

Final Destination 5 (2011) I admit I had some fatigue going in to this one, but somehow they pulled off a really clever bit of storytelling that actually tied the whole series together really well. I'm not saying that Final Destination is a great series of films, but they were fun and it's always cool when a series manages to wrap up coherently.

The Texas Chainsaw Massacre 2 (1986) So. I would say that this one is An Experience. Like is is good? No. But it is an absolutely relentless ride that is packed with over the top violence, cheesy gore, and boomer humor.

The Howling 2: Your Sister is a Werewolf (1985) This is the first one that I thought of for a "so bad it's good" list, honestly. Like it's cheesy and stupid and the effects are hokey and yet. It has a bitchin' new wave soundtrack (with an original song that is actually a banger), it has just the wildest 80s fashion, there are tiddies everywhere, oh and Christopher Lee is a werewolf hunter.

[bananaofswifts]

By : Callie Ahlgrim and Courteney Larocca

Taylor Swift released her eighth studio album, "Folklore," on Friday.

Swift surprised fans by announcing its release just one day in advance — and less than one year after the release of her acclaimed seventh album "Lover."

"Most of the things I had planned this summer didn't end up happening, but there is something I had planned that DID happen," she wrote on social media. "And that thing is my 8th studio album, folklore. Surprise!"

She described "Folklore," stylized in all lowercase, as "an entire brand new album of songs I've poured all of my whims, dreams, fears, and musings into."

Much of the 16-song tracklist — 17 on the deluxe edition — was cowritten and produced by The National's Aaron Dessner. Smaller pieces were cowritten by Bon Iver, Jack Antonoff, and someone named William Bowery. Antonoff also produced five songs.

Insider's music team (reporter Callie Ahlgrim and celebrity and music editor Courteney Larocca) listened to the new album on our own, jotting down our initial thoughts track by track.

Almost immediately, we were forced to reckon with the fact that "Folklore" might be Swift's best album yet — potentially even better than "Red," which previously seemed like it couldn't be topped. We were stunned with the mature, poetic, stunningly understated collection of new songs.

Here is what we thought of each song on "Folklore" upon first listen. (Skip to the end to see the only songs worth listening to and the album's final score.)

"The 1" is the best album opener Swift has had in years.

Ahlgrim: "I'm doing good, I'm on some new s---" is a wild way to begin a new Taylor Swift album. This is going to be different.

This is easily the best intro song she's released in years. "The 1" far surpasses "I Forgot That You Existed" on "Lover," "...Ready for It?" on "Reputation," and "Welcome to New York" on "1989" in terms of sheer quality.

It's also an engaging scene-setter; I find myself gently rocking back and forth, eyes closed, smiling without realizing. It's only the first song and so far, I am totally grasping the woodsy aesthetic of this album. I'm already ready for more.

Larocca: I would argue that there hasn't been a strong album opener on one of Swift's albums since "State of Grace" on "Red" in 2012. "The 1" breaks that curse.

I was vibing from that very first piano note, but when Swift comes in and warmly delivers the first line of the album — "I'm doing good, I'm on some new s---" — it became evident this project wouldn't be anything like the rest of her discography.

As far as "The 1" goes as a standalone song, it's incredibly solid. Swift has a breezy attention to rhythm as she paints a tale of a the-one-who-got-away romance. I truly, truly love it. This might end up being an all-time favorite track.

"Cardigan" is beautifully influenced by Lana Del Rey.

Ahlgrim: I heard "Cardigan" first because I watched the music video before I listened to the album.

Right off the bat, I was struck by the Lana Del Rey melody in the chorus; I jotted down "folksy 'Blue Jeans.'"

Swift has actually cited Del Rey as an inspiration in the past, so this makes sense — and that particular shade of nostalgic, haunting glamour really works for Swift's voice, so I'm overall very impressed with this direction. I am more than amenable to a "Red" meets "Norman F---ing Rockwell!" album experience. On my second time around listening, sans music video, "Cardigan" already feels richer coming after "The 1."

This time, I'm struck by small lyrical details like "Sequined smile, black lipstick," a clear callback to her past eras, and "Tried to change the ending / Peter losing Wendy," an effective way to evoke young love and innocence lost.

I also think the song's central refrain, "When you are young they assume you know nothing," is clean and sharp and — especially given Swift's public struggles with sexism and years-old contracts — extremely poignant.

Larocca: I had the thought that Swift listens to Lana Del Rey after hearing "Miss Americana and the Heartbreak Prince" on last year's "Lover," but now I know for sure that Del Rey is an influence on Swift.

While "Cardigan" isn't what I thought this album would be like sonically, I'm overjoyed at how clearly singer-songwriter this album already is. I've been waiting years for Swift to make a lyrical marvel set to acoustic, warm, folksy instrumentals and it's here.

(And while I expected something different sonically, I am not mad at all by the backing instrumental choices here.)

"The Last Great American Dynasty" proves Swift is a natural storyteller.

Ahlgrim: Personally, I love Storyteller Taylor, so this is quite literally music to my ears.

There are so many delicious details here to unpack. The first verse, with its subtle sexist whisperings about Rebekah Harkness ("How did a middle-class divorcée do it?" and "It must have been her fault his heart gave out"), is a truly savvy way to set up for the song's eventual reveal.

Rebekah spent her time partying with friends, funding the ballet, playing card games with Salvador Dalí, somehow "ruining everything" — and her Holiday House was "free of women with madness" until Swift herself moved in.

That twist in the bridge is poetic genius. When the final chorus adjusts to the present day, underscoring the parallels between Rebekah and Swift, I'm forcefully reminded of an iconic bridge when Romeo finally proposed and changed everything — but Swift has evolved past daydreams of pure white dresses and fathers giving permission.

Larocca: I'm immediately taken back to 2012's "Starlight" when "The Last Great American Dynasty" starts. Thankfully, this song ends up being a lot better than "Starlight," which always felt more like a filler track on "Red" to me.

I love a lot here: the casual use of "b----," the acute attention to detail ("She stole his dog and dyed it key lime green"), and every version of this line: "There goes the maddest woman this town has ever seen."

I had a marvelous time listening to this song.

"Exile," featuring Bon Iver, is one of Swift's most successful duets to date.

Ahlgrim: Swift and Bon Iver, aka Justin Vernon, are two of the best songwriters alive today, so this song was destined to be breathtaking.

Swift has historically had difficulty allowing her voice and vision to coexist with a featured artist; her collaborations often leave me feeling like she should've just delivered the whole song herself.

But Swift and Vernon were able to weave their lyrics together so gracefully, I was left feeling grateful for his presence. His rich, rustic tone and those iconic hummed harmonies lends the regretful song an added coat of sincerity.

The production here is generally fine, but the layered instrumentals in the ending really bring the song together. I love a dramatic exit.

Larocca: When I see a "featuring Bon Iver" on a track, I instantly assume Vernon is going to come in with his high falsetto. So it was almost jarring that the song starts with Vernon sounding like a lumberjack dad who hasn't left the woods in a decade.

That didn't end up being a detriment, though. Swift sounds delicate on her verse, and their vocals contrast nicely later on the track.

This one also brings to mind her collab "The Last Time" with Snow Patrol's Gary Lightbody. The line "I think I've seen this film before and I didn't like the ending" is also reminiscent of "If This Was a Movie."

I'm obsessed with the clear influences Swift's previous discography had on these tracks, which have also so far felt completely unique to her catalog.

"My Tears Ricochet" is an extraordinary display of Swift's songwriting powers.

Ahlgrim: First of all, "My Tears Ricochet" is an incredible song title. Let's take a moment to appreciate that.

In fact, pretty much every line of this song is arresting.

Much of it feels both familiar and rare, like you know exactly what Swift is singing about, but hadn't thought to put it in those words before — which is, in my opinion, the mark of any good piece of writing but especially a breakup song. You can relate to the emotion, if not the particular details. You can hear the pain. It almost plays like a funeral march.

What a gift it is, what an exhilarating experience, to feel like you're listening to a poem being recited in real-time.

Larocca: Any true Swiftie knows that track five is reserved for the most vulnerable moment on the record, so I went into "My Tears Ricochet" ready to be sad.

I am endlessly impressed with how Swift managed to bake the word "ricochet" into this song so effectively. She also ditched her traditional song structure for this one, and instead built the track from peak to peak, utilizing clever lyrics along the way to tell an epic, devastating story, almost obviously calling back to the most beloved track five of "All Too Well."

I'm calling it now — this one is going to age like a fine wine. As all of Swift's best breakup ballads do.

"Mirrorball" is several strokes of genius.

Ahlgrim: This song gives me intense Clairo vibes, and I mean that as a very high compliment.

It's so fun and refreshing to hear Swift slip into different musical styles, and this shimmery take on alternative-bedroom-pop highlights her soft vocals and nuanced songwriting supremely well.

Also, my Leo sensibilities are fully under attack by this bridge: "I've never been a natural, all I do is try, try, try / I'm still on that trapeze / I'm still trying everything to keep you looking at me." Oof! Just tag me next time.

Larocca: This one is so pretty! Swift's vocals sound better than ever as she spins on her highest heels across a glittery daydream.

"I'm a mirrorball / I'll show you every version of yourself tonight" might be the thesis statement of this entire album. So far, "Folklore" feels both diaristic and vague; detailed and completely anonymous.

Fans will be debating for years whether this album is about Swift's own life, or if it's simply really great storytelling pulled directly from her own mind. In the end, it doesn't really matter.

Because as all of Swift's best songs do, these songs will attach themselves to listeners in completely new ways, showing them elements and stories from their own lives.

"Seven" is pure whimsical magic.

Ahlgrim: This is playing make-believe in the garden when you're too young to feel self-conscious; it's poetic and nostalgic and full of awe in such an unpretentious way.

I wouldn't change one thing about this song. Swift's whispery high register sounds divine, and at this point in the tracklist, her rhythmic delivery in the chorus hits like a shot of espresso.

Right now, I'm wondering if it's possible for Swift to maintain this intrigue and momentum for another nine songs. There hasn't been a misstep to speak of, and I remain wholly beguiled. Can it last?

Larocca: The beginning of "Seven" sounds like Swift listened to Marina's "Orange Trees" on repeat before showing up to her songwriting session. Fortunately, "Orange Trees" is the only song I like on Marina's "Love + Fear" so I will gladly accept this inspiration.

Swift continues to impress with both her vocals and her sense of rhythm on "Seven." I also personally love space imagery so the line "Love you to the moon and to Saturn" is a standout line.

"August" will go down as one of the best songs in Swift's extensive repertoire.

Ahlgrim: I'm immediately catching hints of Phoebe Bridgers and girl in red in Swift's delivery. And I simply adore the idea that Swift has spent the last few months sitting at home, daydreaming about summertime humidity and listening to music by queer indie-pop girls. 

In an album full of songwriting expertise, this song has some of Swift's best lines yet: "August sipped away like a bottle of wine / 'Cause you were never mine" actually hurts me.

In my notes, there simply sits this valuable insight (yes, in all-caps): "WANTING WAS ENOUGH. FOR ME IT WAS ENOUGH TO LIVE FOR THE HOPE OF IT ALL." This song has my favorite bridge on the album so far.

In terms of production, "August" is exquisite. It's lush and layered without feeling overwhelming at any point. It builds to the perfect level then recedes, like a wave. 

Also worth mentioning: It can now be considered a historical fact that any time Swift mentions a car or driving in one of her songs, it's a perfect song.

Larocca: While listening to "August," I texted Callie and said, "I can't wait to finish the album so I can relisten to 'August.'" It's an instant favorite. 

This is also the first track on the album that seems directly inspired by our current state. Not because she's expressing fear or singing about being bored at home, but because she so easily slips into a reflection of a relationship that ended years ago with a newfound wave of wistful nostalgia. 

When quarantine started, it seemed like a million lifestyle articles came out explaining why everyone suddenly felt compelled to text their exes and why we're so invested in looking back instead of forward right now. 

"August" validates those feelings with zero judgment, letting its listener know that yes, it's totally normal for you to be overanalyzing that quasi-relationship you were in back in college that never made it past graduation. Am I projecting? Maybe, but that's debatably what Swift's music is best utilized for.

I'm also going to be thinking about this song's bridge and outro for the rest of my life.

The National's influence can be felt on the stunning "This Is Me Trying."

Ahlgrim: "This Is Me Trying" quickly strikes a more sinister tone than its predecessors — still nostalgic and wistful, but carrying an edge, like a threatening secret.

Ironically, this one was co-written and co-produced by Jack Antonoff, not Aaron Dessner, though I can really hear The National's influence here. I'm getting strong wafts of songs like "Pink Rabbits" and "Dark Side of the Gym."

Based on Swift's own words, we can speculate that "This Is Me Trying" is a fictional tale, built around the image of "a 17-year-old standing on a porch, learning to apologize." And, as previously stated, I'm a big fan of Storyteller Taylor, so I'm into it.

The song's darker tone mingles really well with Swift's imagery; when you're a teenager, and you make a mistake, it can feel like the end of the world.

Larocca: "This Is Me Trying" is precisely what I imagined this album sounding like when I found out Swift collaborated with the National's Aaron Dessner and Bon Iver.

But I'm glad she was strategic about her use of echo and also finally paid attention to the tracklisting from a sonic standpoint. This haunting soundscape is reminiscent of 2014's "This Love" and comes in right when you need it after the yearning daydream of "August."  

I'd also like it to be on the record that the line "I got wasted like all my potential" ruined me and this song is a win for that lyric alone.

"Illicit Affairs" is a glowing example of what sets Swift apart from her peers as a songwriter.

Ahlgrim: The expert songwriting on "Illicit Affairs" reminds me of the as-yet unseated queen in Swift's discography: "All Too Well."

Swift is a master of wielding specific details like weapons: "What started in beautiful rooms / Ends with meetings in parking lots," she sings. "Leave the perfume on the shelf / That you picked out just for him." These are the sorts of images that set Swift apart, and they're especially strong when she punctuates their delivery with a little growl in her voice.

This song has real power. I have chills.

That power is magnified in the third verse, similar to how "All Too Well" builds to a crescendo: "Don't call me 'kid,' don't call me 'baby' / Look at this godforsaken mess that you made me."

Certainly, "Illicit Affairs" is more restrained than Swift's iconic arena rock ballad, but goddamn that last verse hits hard.

Larocca: The way that she says "him" in the second verse shook me out of my skin in the very best way. And "Don't call me 'kid,' don't call me 'baby' / Look at this idiotic fool that you made me" will go down as one of her best breakup lines of all time.  

It's been a minute since Swift delivered a painstakingly beautiful breakup ballad, and the fact that this album is littered with them is, simply, a gift.  

"Illicit Affairs" has growing power and will likely become one of those tracks that fans form a strong emotional attachment to over time.

"Invisible String" is Taylor Swift at her most Taylor Swift.

Ahlgrim: "Invisible String" is a feast of Easter eggs and callbacks.

"Teal was the color of your shirt" reminds me of the line about Joe Alwyn's blue eyes on "Delicate," and her reference to a dive bar is similarly familiar. "Gave me no compasses, gave me no signs" recalls the push-and-pull on "Exile."

"Bad was the blood of the song in the cab" is undoubtedly a reference to Swift's 2015 single "Bad Blood," while "One single thread of gold / Tied me to you" feels like a nod to Swift's description of love's "golden" hue on the "Lover" album closer "Daylight."

This song is sprightly and sparkly and certainly nice to listen to, but its real strength lies in these details.

Swift is weaving many different stories on this album, many connected by a sort of "Invisible String," tying different pieces of her life and your life and other lives together. It ends up feeling like a growing plant with far-reaching roots, or a sentient treasure map.

Larocca: I'd be lying if I said there weren't multiple points throughout this album where I worried that Swift and her boyfriend Joe Alwyn had broken up. 

Thankfully, "Invisible String" is a rosy, wide-eyed ode to love. The plucky guitar paired with Swift's soft vocals is a sound I want to live in, which is fitting since this track feels like coming home. 

Every small detail, from the nod to Alwyn's time spent working at a frozen yogurt shop in his youth, to the color imagery that paints every inflection of Swift's adoration (especially the single thread of gold) come together to lay the holy ground Swift's relationship walks on. 

Also, the image of Swift mailing Joe Jonas and Sophie Turner gifts for their expectant first child brings about an unbridled sense of joy.

"Mad Woman" is yet another highlight.

Ahlgrim: Every time I think I've heard the peak of this album's songwriting potential, Swift manages to surprise me. 

Case in point: "Do you see my face in the neighbor's lawn? / Does she smile? / Or does she mouth, 'F--- you forever?'" Whoa.

And another, for good measure: "It's obvious that wanting me dead / Has really brought you two together." I texted Courteney, "Did she really just say that??"

This song is sublime on its own, but the way it ties back into the perception of female freedom and "madness" on "The Last Great American Dynasty" makes it even better. "Mad Woman" is definitely a personal favorite so far on this album, if not in Swift's entire catalog.

Larocca: "Mad Woman" will forever hold the honor of being the first song in which Swift says "f---" and for that, we should all be thankful. 

I was also so wrapped up in the storytelling of this album, that it took a minute for this to even register that this is likely about the Scooter Braun and Scott Borchetta / Kanye West and Kim Kardashian West ordeals of Swift's past. These callouts used to be so obvious, that I greatly appreciate the subtlety and restraint here. 

It almost feels like these feuds were a lifetime ago, but this track does an excellent job at showcasing how anger and pain can leave an indelible mark on you. Swift went mad years ago, and that's just an accepted part of her narrative now. 

But for the first time, her rage sounds like freedom.

"Epiphany" doesn't stand out.

Ahlgrim: There are some really interesting vocal moments on "Epiphany," but so far, this is the only song I haven't felt captivated by. It's a bit snoozy, and a bit too long.

This song clearly references war, the loss of a loved one, and the coronavirus pandemic, which makes it lyrically intriguing at best — but distressing at worst. I don't mind letting the overall effect waft over me, but this won't be a song I revisit outside the context of the album.

Larocca: "Epiphany" is the only track on "Folklore" that didn't immediately grab me. It's essentially a war drama in song format, so some people might like it, but I truly couldn't care less about war movies or war songs! So it's not my favorite, but it makes for pretty background music. 

"Epiphany" does have another benefit though: Now, whenever some random dude erroneously claims Swift "only writes songs about her exes," fans have a clear song in her discography that they can point to and be like, "That's not true. This one's about war." 

That's not to say Swift needed that — anyone who has been paying attention understands she's quite possibly the best songwriter of her generation.  

This just happens to be further proof of that fact.

"Betty" is a charming callback to Swift's country roots.

Ahlgrim: "Betty" is like the best, sauciest song from Swift's 2006 debut country album that no one got to hear. It has sonic and lyrical similarities to hits like "Our Song" and "Tim McGraw," plus some name-dropping stuff like 2008's "Hey Stephen," plus a little harmonica thrown in for good measure! I love that for us.

"Betty" also appears to complete a three-song story, recalling details from "Cardigan" and "August" to close the loop on Betty and James, a couple in high school with some infidelity issues.

Looking back, it feels like "Cardigan" was told from Betty's perspective, while "August" was told from the perspective of a sort of "other woman" character. Now, we get James' side of the story. This is high art, folks! This is peak Storytelling Taylor!

"Betty" is also, like, very gay? I know it's easy to assume that James is a male character, but Swift herself was named after James Taylor, so she could be referring to herself. The song also references someone named Inez; James and Inez are the names of Ryan Reynolds and Blake Lively's daughters.

Plus, in retrospect, the idea of whispering "Are you sure? Never have I ever before" during a summer fling seems pretty gay to me.

I'm not saying the story of Betty and James would be better if it was written about sapphic lovers, but I'm not not saying that.

Larocca: This one is gay, and if you try to tell me otherwise, I will simply ignore you. 

But Courteney, it's from the perspective of a guy named James. James and the other character, Inez, share the same names as Reynolds and Lively's kids (will leave it up to you to decide if that means their third daughter's name is Betty). James is their daughter. Get out of here with your antiquated ideas about which names connotate which genders. 

To me, the James named in this song is a woman and a lesbian and this song is for the gays. I will not be saying anything else or accepting any feedback on this opinion, thank you.

"Peace" is honest and raw.

Ahlgrim: This song's intro sounds like LCD Soundsystem had a baby with "The Archer." The gentle guitar riff is also lovely.

With Dessner's echoey production, Swift's voice sounds like a warm little fire in a cave — fitting, since she sings in the chorus, "I'm a fire and I'll keep your brittle heart warm."

OK damn, I'm getting really emotional. This songwriting is beautiful and haunting. "Peace" perfectly captures the ambient dread of feeling your partner slip away, of wondering whether love can be enough. 

Larocca: If you're a "Call It What You Want" stan, you're going to love its mature older sister "Peace." 

I will hereby forever be thinking about the parallels between "But I'm a fire and I'll keep your brittle heart warm" with "He built a fire just to keep me warm" and between "Family that I chose, now that I see your brother as my brother" with "Trust him like a brother."

Also, "Would it be enough if I could never give you peace?" has the same emotional impact as when Swift changes the lyric in "The Archer" to "I see right through me" and that's meant as the highest form of compliment. 

Swift's vocals are so crisp, that guitar riff is so stunning, and these lyrics are so gut-wrenchingly vulnerable. A perfect song, through and through.

"Hoax" is unlike any other album closer in Swift's catalog.

Ahlgrim: I don't know if Swift is going through a traumatic breakup, but if she isn't, the woman is one convincing creative writer.

The National makes some of my favorite music to cry to, so when I heard Aaron Dessner had co-written and produced much of this album, I knew I was in for some glossy cheeks. Until now, I think I've felt too captivated by Swift's artistry to really let myself get there.

But finally, "Hoax" is making me cry.

This is heart-wrenching stuff for anyone, but for a fan and student of Swift's work, this is like reading a friend's diary entry.

"Don't want no other shade of blue, but you" must be a reference to "Delicate," in which Swift sings: "Dark jeans and your Nikes, look at you / Oh damn, never seen that color blue." Later, she croons, "You know I left a part of me back in New York," perhaps regretting the move to London that she detailed throughout "Lover." 

"You knew it still hurts underneath my scars / From when they pulled me apart," recalling the public shaming she endured and demons she exorcised on "Reputation." "But what you did was just as dark." Like I said before: Whoa.

Personally, I love having a good cry set to moody music, so I appreciate Swift's soul-bearing. "Hoax" is one gut-punch of an album closer.

Larocca: Swift has a habit of ending her albums on an uplifting, hopeful note and I always eat it up. But if "Folklore" hadn't made it clear by now that it should be consumed differently than any of her previous works, "Hoax" brings that message home.  

Instead of reveling in all the ways that love has made her stronger, happier, or more whole, "Hoax" deconstructs everything Swift has learned about love and leaves a bleaker picture about how maybe even the best of relationships hurt. 

But at its most tragic, this love still isn't something Swift will ever let go of: "Don't want no other shade of blue but you / No other sadness in the world would do."  

Finishing a Taylor Swift album has never been so devastating.

Final Grade: 9.7/10

[falsebooles123]

Dairy of a Horror Buff 8.18.22

ugh so my boss was just being super fucking bigoted towards unhoused people and it was just totally not the vibe. I really don't want to talk about it but yeah this has been a stressful day. Also I am listening to one of the best hyperpop songs ever. When I Rule The World by LIZ. ugh this song makes me want to have a hot dom girlfriend slap a pink dog collar on my neck. Hello I'm a freak.

let's be honest kakegurui is for bottoms.

now that I've revealed my degeneracy lets get into it.

The Ash-Tree dir. Lawrence Gordon Clark

so to be honest I was only have paying attention to this one. Local rich boy like bruh I got this sweet missus so lets talk about expanding the family burial plot because thats a thing people were obsessed with in the olden times apparently.

essentially as hes doing this he keeps getting flashbacks to ancestor RIchboi who is condeming a woman as a vvitch. *le gasp.

usually I would love this and if I watched it again I probably will but for now i kind just know this exists and I've seen it technically so yeah.

I love that bitches be obsessed with Misha Collins, I'm Bitches.

ok so because it sounds like fun lets watch PSA's that are listed as horror on Letterboxd. a PSA isn't an official category but theres a few list we can look at. Also if your PSA isn't a glorified snuff film is it even good just saying. I watched a woman get hit by a train as a child and I have never played on the yellow line. also theres like no passenger trains in my area which is ironic given my towns history.

Electrical Substation, Stay Safe Stay Out (1989) dir. Unknown.

first I am annoyed that apparently Tumblr does have header capabilities. Second yassss child murder. this is what makes PSA's fucking terrifrying.

Forklift driver Klaus - The first day on job (2001) dir. Jörg Wagner & Stefan Prehn

How to know if your fave is Forklift certified. also this is only a minute in and I am already terrified of the stabby forks that are fork lifts.

So apparently this is a "fictional educational film" which like I definetly get it because this is full of garish Final Destination Humor but also at the same time this has some legetimetly good advice about Folklift Driving. I could honestly see a film like this that is legit but also teaching me about these things.

Robbie (1979) dir. Ronald Dunkley

wow imagine your country investing in public transportation and actually being able to use trains. #couldn'tbeme.

Ok so this film leterally starts with our tituler character Robbie. being like heys I'm a train nerd and you know whats cool are newly expanded public infrastructure. Thanks Thatcher.

ok so like I was making a joke but Margaret Thatcher was elected in 1979.

also this is a pretty standard PSA's some children are like hey lets do dumb shit and then Child Mutalation. ugh theres something so fucked up PSA's. also this one was like what if we literally just filmed a mother have to come to terms with her children becoming parapelegic. Also apparently there is three different versions of this were they hurt Robbie in three different ways.

OK ok they literally were just like see this dog and this baby. Dead if you ever cut a hole in a railray fence. God I love PSA's there so extra.

COI: Lonely Water (1973) dir. Jeff Grant

A FACELESS SPECTRE TO HARINGE YOU OF YOUR CRIMES.

JK this is a short PSA were the spooky grim reapers like hey bitch swin with a friend don't be an idiot.

Lynx-The Scavengers (1987) dir. Unknown

so this is a short Anti-Fur PSA by what I assume is by the Lynx Educational Trust for Animal Welfair. This one is lynchian and bloody. Don't wear real fur folks or at least source it ethically.

Set Yourself Free (2014) dir. Unknown

ok this has such late 2000s music video vibes and I love this. Also I wasn't fucking expecting land mines. Like who was expecting fucking land mines.

Julie Knew Her Killer (1998) dir. Unknown

so this is one of my favorite PSA's of All Time. Theres something so sinister about it. the way its phrased the horror of being in that situration. How suddenly it happens. theres a reason why we remember PSA's and this is one of them.

The Haunted Mouth (1974) dir. Unknown

OK I want to mention this was produced by colgate which I find personally hilarious.

BREAKING NEWS: THE SHADE OF PESTILENCE IS UPSETTIE SPAGHETTI THAT YOUR BAD AT FLOSSING AND HE'S BEING UNDERSTIMULATED.

I legetimetly love the concept of a ghost whos like yaaas teeth but also bestie like its not fun if you don't fight a little let me show you how to floss.

Ok folks I think that is enought PSA's for today. I may come back to this during the month. I may not we'll see.

[prancis-film-reviews]

Sonic - The Hedgehog (2020) Review:

SONIC IS NOW THE 'SONIC' WE WANTED, BUT BETTER! 😭

written by: Prancis

Y'all probably know what I'm gonna be talking about first right? When Paramount Pictures first dropped the official poster of Sonic, everyone went crazy (even me). When Paramount dropped the first trailer, everyone went crazy (except me). Ok, I'll get this straight. I never played the Sonic game before; I'm a PSP fan that time but I knew who Sonic was. When it was announced there's gonna be a live-action Sonic Movie, I freaked out assuming I can relate to everyone who played Sonic before. Yeah, I joined the bandwagon and turns out loving Sonic. When the first trailer was released, I was so excited. But then the comment section under the video was a disaster. Sonic's live-action design got a backlash from people saying it looks terrible. When I watched the trailer again and saw how terrible Sonic actually looked like, I was like "Oh shit, it looks terrible. I'm really not a true Sonic fan for not noticing it early" 😂

I hated myself. 

Anyway, one thing that freaked me out even more was when it was announced Sonic's gonna be redesigned and it's release will be pushed to February 2020. It freaked me out 'cause I've never seen a Director or a Company who actually listens to the audience. They accepted the criticism and fixed it—Wow, that's a lot of dedication—And then I found out the director of Sonic is a rookie. This was his first Movie. I get it now why he listened to the fans. Well obviously we all know why Sonic's first design was like that because they wanted to make Sonic realistic. But yeah, that idea was terrible; Good thing they redesigned it. Their efforts of redesigning Sonic was not wasted as it received a lot of praise after release. Sonic even now dethroned Detective Pikachu as the highest-rated video game adaptation of all-time on Rotten Tomatoes. 

Now, I finally watched the movie. Yeah, it was really good; Sonic looks better now. I can't imagine seeing Sonic on his first design in the movie. I would've hated and say the only good thing in the movie is Jim Carrey's character as Dr. Robotnik. 

It's good how the movie maintained Sonic's humour and abilities. It's video game correct to be frank, which is great. It's plot may not be that special as it's somehow a clichéd adventure movie—Again, two characters on a mission with a car, being chased and then they reach their destination towards the end. It's so common. But still the movie manages to make us love Sonic's bright energy, make us feel pity on him having no friends, being alone, and running away from something his whole life. That's one thing so powerful about the movie, they gave Sonic a sense of life as a fictional character, oh wait, a video-game character brought to life. His story made us love him throughout the film. 

Of course, let's not forget about Sonic's pal Tom, or 'The Donut Lord' 😂 Him and Sonic is a good tandem; They're funny and they're adorable. He's not that character whose forgettable unlike any other live-action video game adaptation where a CG character has a human friend. Tom and Sonic are definitely something and better. 

Let's talk about the character who stole the show; Yeah, I'm talking about Dr. Robotnik played by Jim Carrey. I never knew him until I watched Sonic. Turns out, he's actually a beloved classic Hollywood actor everyone adores. After watching the movie, I was convinced why. Oh god he's such a good actor. The amount of charisma he holds as he deliver his lines, his good facial expressions and pretty much everything in him is just phenomenal. Why didn't I never knew about him before?

Overall I loved Sonic. It's actually so fun to watch as it has some funny jokes and scenes—most especially when Dr. Robotnik took a bite of Sonic's hair—I never stopped laughing after watching that scene. It was effortlessly funny. It only has one flaw which I said how clichéd the plot is but I don't mind.

How the story progressed towards the end, Sonic's good character development (realizing he doesn't need to run anymore), Sonic having a family is enough for me to say the Movie is good enough. 

I would rate Sonic an 8 / 10 👍

It's the most accurate score I could give.

Movie info:

Rating: PG

Genre: Action & Adventure, Comedy

Directed by: Jeff Howler

Release Date: February 14 , 2020

Watch the trailer here!