glitter_n_gore: (stoker)
Every so often, you come across a piece of storytelling that creeps into your heart and splits it open with chilly intimacy. I knew very little about I Am the Pretty Thing That Lives in the House before watching it on Netflix, apart from it having the same director as The Blackcoat's Daughter, which came highly recommended. I'm not even sure what compelled me to watch it last week; only I was in bed earlier than usual and wanted something spooky and atmospheric to lull me to sleep.



That did not happen. Oh, it was spooky and atmospheric all right, but I did not sleep soundly. I even had to put the nightlight on. What's most fascinating however is when I started tagging the usual crowd (the Horror fan corner of Twitter, mostly) to gush about it, the first responses ranged from, "Eh, pretty boring," to "I don't remember I fell asleep." Not all of them, and at least one said it got better on the second viewing. Still, this seems to be a movie that you either can't be bothered with; or that understands you so completely it feels almost rude to talk about it above hushed tones.

Read more... )
glitter_n_gore: (freddie lounds)
In the Year of Our Lord 1987, two cult favorite vampire movies came out within a couple months of each other. One, you've probably heard of: The Lost Boys. It stars Corey Feldman and Corey Haim, Jason Patric, and Keifer Sutherland. It's funny, action-packed, kind of disgusting, and endlessly quotable. It's a summertime staple for me and probably will be until the end of time. The other was Near Dark. It's darker, weirder, leans more on horror than comedy, stars half the cast of Aliens, and is violent and scary in a way that modern vampires can't touch.

It is my very favorite vampire movie. Why? Bill Paxton.

The cinematic universe lost another icon this week. And I lost another hero. Although in this case the word "hero" doesn't exactly convey what I want it to. Paxton was a terrific actor who I still don't know as well as I want to, who always entertained me when I happened to stumble across him. The fact that this happened more often than not in horror movies, sci-fi thrillers, and superhero franchises is not lost on me. Mostly, I remember him as the deliciously sadistic Severen. If you still haven't seen Near Dark yet--go do that right now. I'll wait.



Read more... )
glitter_n_gore: (stoker)
aka The Cloverfield Prequel No One Wanted or Asked For. And it somehow turned out even better than the original.



Read more... )
glitter_n_gore: (heather mason)
Because apparently this is my new yearly ritual for Women In Horror Month! If you missed my ten-year retrospective from last year, follow this tag. My barometers (that I almost never stick to rigidly, but it helps me focus) are: grossed $25 million or higher domestically by the end of the previous year, and starring a female protagonist. I also include an “honorable mention” of the next movie down on the box office gross. My source for the numbers is BoxOfficeMojo.com.

If a movie is in (parentheses) it means I haven’t seen it yet and/or can’t tell from the marketing or trailer if the protagonist is a woman.

For this year, I’m including sci-fi thrillers as well as straight-up horror movies because it was a pretty cool year for genre films in general, especially with female protagonists, and I want to talk about alllll of them! Also, instead of doing capsule reviews like I did before, I’m going to focus on a different movie in each post. We’ll see how many I can get through before the end of the month. Let’s DO THIS!!

Ghostbusters - $128.4 million
The Conjuring 2 - $102.5
Arrival - $90.8 million
(Don’t Breathe) - $89.2 million
(The Purge: Election Year) - $79 million
10 Cloverfield Lane - $72.1 million
Lights Out - $67.3 million
(The Shallows) - $55.1 million
(Passengers) - $45.3 million
(Nerve) - $38.6 million
(The Boy) - $35.9 million
(Ouija: Origin of Evil) - $35 million
(When the Bough Breaks) - $29.8 million
The Forest - $26.6 million
The Witch - $25.1 million
Honorable mention: (Blair Witch) - $20.1 million

So, remember back during the summer when everyone was convinced that the Ghostbusters remake was going to be some kind of colossal failure? And after it came out, there were all these think pieces trying to explain why no one was watching it and how reviews were lukewarm and it was okay but not that great? Well, I dunno what your personal experience was with this movie, but GUESS WHAT? It’s not only topping the list, it’s topping it at more than $25 million ahead of the next-highest place on the list. BOO-YAH! Emphasis on the “BOO!”


Abbie and Holtzmann doing their happy high-five dance


The other thing I saw mentioned--and this was the case in my theater too--was the number of little girls in the audience who were super excited to be there. The upcoming generation now has something I never had growing up: an all-female team of superheroes to look up to. And that is rad as Hell. Making a version of Ghostbusters with all women means something to me, and to the kids seeing this movie as their first exposure to the franchise. It's not just about the brand, or the Hollywood remake machine, or the nostalgic craze for the 80s and 90s that's permeating All The Things right now. This is a movie with a team of women, all in their thirties and forties, all unmarried and childless, who are struggling financially but uniquely intelligent and driven to do some good in the world, none of whom have any romantic entanglements whatsoever, who are never ogled by either the camera or any of the other characters at any time, who come to their big, climactic battle scene dressed in loose-fitting tan jumpsuits, sensible shoes, and their hair tied back.

For the first time in my life, I feel like I have a movie I can point to full of role models that I don't need to defend or justify in any way. The fact that this is rare enough to comment on is a bit sad--as is my understanding that there are still way too many people who were left out here representation-wise. What I'm trying to say is we female geeks have been taking whatever scraps the world sees fit to throw at us for decades. Still, given how often I've gotten my hopes up and been disappointed in the past, I'm clinging to this movie like a lifeline. Despite its flaws. I didn't know how much I needed it until we were driving home and I was still beaming like a fool. Every time I’ve watched it since then, I love it just a little bit more.
glitter_n_gore: (underworld)

Behold! My Belated Official First Post of 2017!!



I, uh, watched a lot of movies last year. SO for my first official post of 2017, I’m doing a MASSIVE breakdown of the stuff I actually caught in theaters. Also, as you may have noticed, I have moved to DreamWidth! I’m still working on getting all the photos ported over here, so anything that links to Glitter n Gore is going to the LJ account until I get it fixed. Bear with me; I’ll make it work eventually. Meanwhile--movies! Let’s talk about those.

Cross-posted to [personal profile] rhoda_rants.

Capsule reviews below! )

What were some of YOUR favorite movie experiences from 2016?
glitter_n_gore: (mia)
Good lord, I let two whole weeks of October go by without posting anything Halloween-y! Shame on me. Let’s fix that.

As some of you know, one of my yearly traditions is the 31 Days of Halloween Movie Marathon. The challenge is to watch 31 horror movies--one for every day of the month--up to Halloween. Ideally, they should be movies one hasn’t seen before, but that gap gets harder to fill every year. Plus, I just want to see some of my old favorites again. This year, however, I am a few days off schedule. Partly because of planning and the number of hours in a given day. But mostly because I made the ill-timed decision to start a new television show. You may have heard of it. It’s called Supernatural.


Via Giphy


I wasn’t expecting much. I figured it would be entertaining in a dumb, snarkable kind of way. But here’s something I recently realized: somewhere between deciding to actually watch this properly, then getting hooked to the point of wanting to continue watching more episodes because it’s a lot smarter and more self-aware than I expected, and getting gut-punched by Season 2 in general, and by Episode 17, “Heart,” in particular (it’s about werewolves)--I have become a FAN of Supernatural. Because you know, I was kind of holding it at arm’s length before, mostly because of all the Problematic Issues people have warned me about. However, I was intrigued because so many of my favorite people seem to love it despite those issues, so I wanted to know what was so special about it.

The most basic of plot summaries: Supernatural is a road-trip across the continental US in a midnight-black 1967 Chevy Impala, stopping at all your favorite horror tropes along the way. It’s got werewolves, vampires, demons, ghosts, zombies, cursed objects, urban legends, abandoned places like asylums and cabins in the woods--it’s very much a horror kitchen sink. Our central protagonists are the brothers Winchester, Sam (Jared Padalecki) and Dean (Jensen Ackles), Hunters who seek out supernatural beasties and lay waste to them where they can. Their mother was killed by a yellow-eyed demon when Sam was exactly six months old; one side-effect of this was Sam being gifted with psychic abilities, the full implications of which haven’t been explored yet (at least not where I am in the show now--NO SPOILERS). Papa Winchester raised the boys like a drill sergeant, putting weapons and arcane folklore into their hands from a very young age. So the Winchesters have issues. But they are very good at killing monsters.

Saving People. Killing Things. Family Business. )
glitter_n_gore: (jean gray)
Damn, this was a good year to be a movie geek. Star Wars! The Avengers! Mad Max! Ex Machina! Crimson Peak! STAR WARS!! I saw a lot of movies in the theater, some of them twice, and I still haven't finished going through the back list. But what was it like for horror fans? Specifically, those of the female persuasion?

The Visit - $65.2 million
Insidious: Chapter 3 - $52.2 million
(Poltergeist - $47.4 million)
(Krampus - $42.7 million)
Unfriended - 32.5 million
Crimson Peak - $31.1 million
(Sinister 2 - 27.7 million)
(The Woman In Black 2: Angel of Death - $26.5 million)
The Lazarus Effect - $25.8 million
Ex Machina - $25.4 million
(Honorable Mention: Paranormal Activity: The Ghost Dimension - $18.3 million)

That's a LOT of movies. Like I said, it was a good year. However you feel about M. Night Shyamalan, or remakes of classics like Poltergeist, or the unflinching cynicism of Christmastime horror-comedies like Krampus, chances are there was something for you to see and love this year no matter what. That's kind of a big deal. Having options is a big deal. Seeing so many movies catering to so many different sensibilities is a big deal. The comparative lack of presence from people of color in this list, regardless of the other good things I just mentioned--also a big deal. Again, there's a reason I decided to do this looking specifically at box office numbers, rather than what I personally thought was the best.

But let's be honest here: this recap is mostly gonna be me gushing about Crimson Peak.


via Tumblr


Read more. )
glitter_n_gore: (stoker)
Happy Leap Day! *phew* Still February. So, I had to get a new computer and lost all my stats so I had to look up these numbers again. I also saw more in theaters this month than I was anticipating, and that helped fill the space nicely I think, but also filled in a lot of blogging time I was expecting to use for other things. So yeah, the wrap-up post for 2015 is gonna get squished into next month. Sorry about that!

Annabelle - $84.3 million
(The Purge: Anarchy - $72 million)
Ouija - $50.9 million
(Paranormal Activity: The Marked Ones - $32.5 million)
Oculus - $27.7 million
(Honorable Mention: As Above/So Below - $21.3 million)


The horror universe is Jason Blum's oyster right now. 4 of the 6 movies on this list are Blumhouse productions. If that doesn't convince you he's dominating the genre, I don't know what will. However, even discounting the massive turnout of Blumhouse pictures on this list, there is one that is conspicuous by it's very absence: Jennifer Kent's The Babadook.

Read more. . . )
glitter_n_gore: (mia)
One of the reasons I love watching horror movies, especially in the theater, is that everyone is riveted to the screen. In my experience at least, horror audiences contain the fewest texters, chatterboxes, and rustlings of various foodstuffs. If there is talking, it's of the, "Don't go in there!" variety, or everyone scream-laughing at the jump scares.

But this is the first time I've been in an audience that was utterly silent by the time the credits rolled.


No, really. Do NOT go in there.


Read more. . . )
glitter_n_gore: (abbie mills)
Coming in a touch later than planned, because my lappy crashed and I needed to pick up a new one. Luckily I backed up my work. Go me!

Way back in 2014, I happened to pick 2013's year-end box office numbers to look at the results. That turned into this post, and eventually this ten year retrospective. So finally talking about this year in depth feels like coming full circle. Huzzah!

2013:
The Conjuring - $137.4 million
Insidious: Chapter 2 - $83.6 million
Mama - $71.6 million
The Purge - $64.5 million
Hansel & Gretel: Witch Hunters - $55.7 million
Evil Dead - $54.2 million
Carrie - $35.3 million
(Texas Chainsaw - $34.3 million)
Honorable Mention: You're Next - $18.5 million

Beyond my personal connection to it, something else makes this year stand out: None of those monster franchise machines. For the first time IN TEN YEARS there is nothing at the box office from Twilight, Underworld, Resident Evil OR Paranormal Activity. Savor it, kids, because that will not happen again.

Read more. . . )

Hang in there, we're almost done! Next time: 2014.
glitter_n_gore: (heather mason)
Back again, with another retrospective! Today, I'm doing 2012, and it's getting both same-old, same-old, and kind of interesting. There's a reinvention of the wheel happening here, both with old franchises getting a fresh spin in Prometheus; and tired tropes getting a new and unexpected twist with Cabin in the Woods. Also, all four of those box-office breaking franchise machines had something in the queue this year, one with an ending that's become infamous and kind of amazing.

Twilight Saga: Breaking Dawn, Part 2 - $287.7 million
Prometheus - $126.5 million
(Underworld: Awakening - $62.3 million)
Paranormal Activity 4 - $53.9 million
(The Devil Inside - $53.3 million)
The Possession - $49.1 million
(Resident Evil: Retribution - $42.3 million)
The Cabin in the Woods - $42.1 million
The House at the End of the Street - $31.6 million
Honorable mention: Silent Hill: Revelation - $17.5 million

For the record, the high-grossing horror movie this year was actually World War Z. Sometimes, I just don't understand people.

Read more. . . )
glitter_n_gore: (louis)
Since I did a similar thing last year for Pride Month *just* before running out of time, I'm counting down my Top Whatever Queer-Friendly Movies/TV Shows.

Also like last year, I'm narrowing this down a touch to reflect the sort of things I actually watch. Matter of fact, when I started thinking about this I actually had to scale it back some. I'm choosing to see that as a good sign. Here are my parameters:

A) Visual media with canonically LGBT+ characters, as opposed to that awful, pandery bullshit known as queerbaiting. So no Supernatural, BBC Sherlock or Hannibal*. This tends to happen a lot with geek-centric shows trying to catch fans of SFF and Horror.

B) Completely fictional stories, as opposed to ones based on real-life events, which disqualifies Milk, The Normal Heart and The Imitation Game. (Although I highly recommend all three.)

C) Things I've actually watched and enjoyed, which disqualifies Lost Girl, The Legend of Korra and The Perks of Being a Wallflower, but they are all on my list.

*I do enjoy Hannibal, but the only canon gay character we've seen so far is Margot, and she wound up in a hetero sex scene. So no, I'm not including it for *this* Top Whatever list.

First, an honorable mention:

The Dreamers
This is one of only two NC-17 movies I've watched multiple times (the other is the original Evil Dead, obviously), and one of VERY few romances I've actually enjoyed. It reminds me a lot of Before Sunrise--it has the same casual pacing and naturalist dialogue, only with lots more nudity. I got the impression very quickly that Michael Pitt's character, Matthew, is bisexual, but I've seen arguments made that Matthew is only romantically involved with Eva Green's character, Isabelle. You could read it that way, since all the "romance" between Matthew and Theo is implied, never shown, but I disagree. The book this was based on had a polyamorous triad as the central relationship, and was very much present in the original script. That said, it's ambiguous enough that you could go either way here.


(20th Century Fox)

I just realized two of my choices here include Eva Green. Interesting.

Moar! )

That'll have to do for this year. At least it's still June. Happy Pride Month, everyone!

*throws rainbow confetti*
glitter_n_gore: (stoker)
Happy International Women's Day! My retrospective is still topical! WOOO!

This was an intriguing year for horror. Pickings were slim this year, but there's an overall uptick in quality that started in the late 2000s, after we got tired of torture porn and remaking stuff from Japan and Korea. (Although remaking stuff from the '70s is still an issue.) Also, with David Slade at the helm for the third entry in the Twilight saga, we got some actual terror, tension, and action thrown into the mix along with the romance, and Melissa Rosenberg did such a solid job with the script that the line reads are intentionally funny in all the right places.

Twilight Saga: Eclipse - $300.5 million
Black Swan - $106.9 million
Paranormal Activity 2 - $84.7 million
(A Nightmare On Elm Street - $63 million)
Resident Evil: Afterlife - $60.1 million
The Last Exorcism - $41 million
The Crazies - $39.1 million
(Vampires Suck - $36.7 million)

As I said, we didn't get much, but what we did get was truly unnerving and truly above the bar. I'm talking, of course, about Black Swan.

Read more. . . )
glitter_n_gore: (living dead girl)
Since I'm me, I figured it would probably take longer than just the whole of February to get through this project of mine. And here we are, only up to 2009, and it's the last day. So I made a decision: I'm gonna plow ahead and go through 2014 anyway, and we'll see where we end up. Cool? Cool.

The Twilight Saga: New Moon - $296.6 million
Paranormal Activity - $107.9 million
(Zombieland - $75.6 million)
(The Final Destination - $66.5 million)
(My Bloody Valentine - $51.5 million)
Underworld: Rise of the Lycans - $45.8 million
The Unborn - $42.7 million
Drag Me to Hell - $42.1 million
Orphan - $41.6 million
(Halloween 2 - $33.4 million)
(The Last House on the Left - $32.7 million)

Finally, some fresh blood! Not much, but it's there in the top end--where it counts. Still not a lot of diversity in the casting, unfortunately, but things are getting . . . interesting.

Read more. )

So, we seem to have not only a wealth of truly original stories here--and this isn't even counting stuff that didn't make the cut, like Jennifer's Body and Thirst and Dead Snow--but an emphasis on "twist" endings that I honestly did not expect. So here's a question: when is a movie only as good as its ending? Are you the kind of moviegoer who likes to watch things over and over, like me? Or do you feel satisfied having only gone through it the one time? If you do like rewatching, does knowing the ending beforehand make the rewatch more interesting, or less? If you're the kind of person who's good at guessing twists, does it "ruin" the ending for you, or do you still feel like you get something out of it?

Curious minds want to know! Tell me your thoughts in the comments, and I will see you in March with 2010!
glitter_n_gore: (orphan black)
Once more, I'm in the awkward position of NOT being able to talk about some amazing movies that also came out this year, and have become cult favorites in the aftermath of their initial release--Martyrs, Splinter, Repo! The Genetic Opera, Let the Right One In, The Midnight Meat Train--all because they did not meet various of my criteria.

Twilight - $192 million
(The Strangers - $52.6 million)
(Prom Night - $43.9 million)
(The Changeling - $35.7 million)
(Quarantine - $32 million)
(The Eye - $31.4 million)

Remakes were big this year too, but mostly foreign imports, (there are more that didn't break the box office, by the way), whereas before this the big remakes had been a mix of foreign imports and retreads of old classics. Whether you count the original Prom Night as a "classic" is up for debate I guess, but that's the one that surprised me the most. As for Changeling, I'm actually not sure if it's a remake of the 1980 movie with George C. Scott or a completely original story.

Read more... )I'm a bit at a loss for what to ask this time. Since I have been noticing so many remakes, and this trend doesn't seem to stopping anytime soon, I might as well mention: sometimes the remake can be better than the original. Not always, but it does happen. It's certainly the case with The Thing--both the Kurt Russell version and the Mary Elizabeth Winstead version. I wouldn't go that far for the ones on this list, but let me ask: What remake pleasantly surprised you, either by being not as bad as you feared, or actually surpassing the original? What movie do you think would benefit from a reboot, even if you're close to the original? What remakes do you think should never have happened?

Tell me your thoughts in the comments, and I'll try not to let so much time pass before 2009!
glitter_n_gore: (28 days later)
This was a frustrating year to work with, because so many movies that I'd rather talk about fell outside the parameters I set for this project. Such as movies that grossed somewhere in the $20 million range (Grindhouse, The Reaping), movies that had either a very limited release or went straight to video (Trick 'r Treat, Jack Ketchum's The Girl Next Door), or were big overseas but never had a theatrical release in the US (Inside, [REC]).

Here's what did fall inside my parameters:

(Halloween - $63.3 million)
Resident Evil: Extinction - $50.6 million
(Aliens vs. Predator - Requiem - $41.8 million)
The Messengers - $35.4 million

So I'm slightly annoyed. But like I said in my introduction, these are what packed the theaters, and that's not always the mark of quality. For the record, the highest-grossing horror movie this year was I Am Legend, at $256.4 million. Now, it's not lost on me that, this being February, it's also Black History Month, and somehow I Am Legend is the first movie I've so much as mentioned with a black protagonist. The fact that it's Will Smith, who comes with his own box-office-friendly fanbase no matter what he stars in, isn't lost on me either. I'm stretching my own rules (grossed over $30 million domestically AND starring a woman) bringing him into the discussion at all. That bothers me. I'll come back to this in the Honorable Mention.

Moving on... )

Here is one of the trickiest things about being a fan of horror movies: no matter how many awesome characters you get, you can never be sure until the credits roll whether they'll survive. The reason the Women In Horror project exists, and the reason Black History Month exists, are because representation and visibility are lacking for both of them. Correct me if I'm wrong here, but have the numbers actually gone down since the turn of the century? We like to think that as the years progress, we're automatically progressing in other ways too, but I don't believe that's true. We have to keep having these conversations, and really look at what the trends are doing from one year to the next, to see if anything's changing. Not to mention, even with the female characters I've managed to find so far, I still haven't found many female or POC screenwriters and directors. I might be able to draw a more solid conclusion when I get to the end of the month, but what do you guys think? How far have we come? Are we still moving forward, or have we taken several steps back? Also, going back to one of my previous questions, since this is a niche genre we're talking about, when you do find feature films that tell the stories of minorities and women, why is it so hard to find them in the top box office spots?

Just some food for thought. Share your opinions with me in the comments, and I'll be back with 2008 next time!
glitter_n_gore: (freddie lounds)
WiHM 2015, Box Office Retrospective: 2005

First, an explanation: I'm listing the year-end domestic box office gross of the most successful horror movies with female leads of each respective year in this retrospective. I'm using a combination of BoxOfficeMojo.com, The-Numbers.com, and IMDB to arrive at these numbers, with an arbitrary cut-off at $30 million to count as "successful." I could try to average everything out to see the overall take globally, and/or compare the gross against the budget to see which films are raking in a decent profit, but that would require me to Math, and nobody wants that.

If a movie is in (parentheses), that means I haven't seen it and can't quite figure out who the protagonist is from the cast listing and plot summary.

I'll be briefly discussing my thoughts on a few of these movies, but in broad strokes so as to avoid spoilers.

Shall we?

(Saw II - $86.8 million)
The Ring Two - $75.8 million
The Exorcism of Emily Rose - $75.1 million
The Amityville Horror - $65.2 million
Red Eye - $57.9 million
Hide and Seek - $51.1 million
The Skeleton Key - $47.8 million
(House of Wax - $32 million)

Read more... )

Throughout this retrospective, I'd like to keep in mind that horror fans (well, geeky types in general, really) tend to latch onto things that aren't necessarily at the top of the queue in critical or commercial circles. So, what movies stood out for you this year? What did the box office overlook that should've seen more love? What were some of your favorite performances/monsters/things that scared you/made you think?

Let me know in the comments, and I'll be back with 2006 next time!
glitter_n_gore: (jean gray)
This is not my usual format for a "Film of the Book" review, because there's just one aspect of this story I want to get into today.

One thing you probably know about me by now is I watch a lot of horror movies. So this is a fun time of year for me. Among my more recent traditions is the 31 Days of Halloween Movie Marathon wherein I try to watch a movie a day for a solid month--all horror, all stuff I haven't seen before--and see how far I get before the blessed day itself.

One thing you might also know is that October, in addition to being the month of candy, costumes and creepy things, is also Breast Cancer Awareness Month. Which makes it the month of pink ribbons. There was a time when this really annoyed me, because when I'm marathoning scary movies, I don't really want to be surrounded by pink everywhere I go. My relationship with the color is . . . complicated. For a long time, I hated it on principle because it was "girly" and therefore "stupid" and "bad." More recently, I started to question why exactly I associated it with those latter two. Why does "girly" equal "stupid" and "bad," I wondered?

Carrie1
(Image property of MGM)


This year, the first movie in my marathon queue was the 2013 version of Carrie directed by Kimberly Pierce and starring Chloe Grace Moretz. Counting the TV movie with Angela Bettis that came out in 2002, it's the third on-screen adaptation I've seen of Stephen King's novel, but also the first I've seen since I actually read the book. All three movies are very similar--nothing marks this one as different except a posting-horrible-things-on-the-internet side plot that I was expecting to go way further than it did. I think this is a good thing since the story is so universal, so timeless, yet so particular to the unique hell that is life as a teenage girl, that it wouldn't be the same if you shifted it too much in another direction.

What jumped out at me this time, however, was the use of color. I'm not talking about the blood-drenched finale or the harrowing shower scene in the beginning--red is an obvious go-to in stories like this. I'm talking about Carrie's prom dress. If you're only superficially familiar with the story, then there are two things you need to know about that dress: 1) Carrie makes it herself. 2) It's pink.

Read more. . . )
glitter_n_gore: (eric draven)
2014 marks the 20th anniversary of the 1994 adaptation of James O'Barr's The Crow. Which, sadly, makes it also the 20th anniversary of star Brandon Lee's untimely death.

I feel like The Crow is one of those movies like Jacob's Ladder and Silent Hill that I've seen dozens of times, and I talk around it every so often without going into a lot of depth. This week, before realizing thanks to an article in the current issue of Rue Morgue that it has been twenty years now (!), I had already started a mini-marathon focusing on Bruce and Brandon Lee's movies. I'm taking it as a sign. I'm also going to assume you've seen it already, and leave out my usual plot summary partly for the sake of brevity, but mostly because the plot is not really my main talking point here.

Let's talk about The Crow. . . )

Cross-posted to [livejournal.com profile] rhoda_rants.
glitter_n_gore: (samara)
Welcome to Women In Horror Month, the 2014 edition! First, the official website is here, should you want to keep track of things coming up this year. As for myself, I decided to take a look back on some of the numbers from last year. What I found out was very interesting. Here are the five top-grossing horror movies of 2013:

1 The Conjuring ($137.4 million)
2 Insidious: Chapter 2 ($83.6 million)
3 Mama ($71.6 million)
4 Evil Dead ($54.2 million)
5 Carrie ($35.3 million)

My personal favorite--Stoker--didn't do quite as well financially; I guess it was a little too twisted to be a blockbuster, but that's fine. Keep in mind that these aren't necessarily the "best" horror films of the past year, but merely the most successful--the movie-going public voted these movies as the most worthy of earning their dollars. Out of the five, four have female protagonists, and at least three pass the Bechdel Test with flying colors. (I say "at least" because I haven't seen them all yet.)

Only one of them is directed by a women--Carrie, helmed by Kimberly Peirce. But when it comes to representation in the media, I'm cautiously encouraged by the turnout here. Not just that these movies came out, but that they did so well in a genre that's been historically perceived as a boys' club. Ladies, last year WE were the majority.

You know what else I notice? Remake, remake, sequel, Based On True Events, and one--count 'em, one--original story.

Hm.

I'm going to spend most of the month reading and posting capsule reviews as I go, because I'm more familiar with written fiction than film. But I am very curious--and excited--to see what the next year will bring.

Stay tuned!

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