David@FrankHarvey said:
That sounds awful. I think it was a two parter originally, that's when I saw it (I was about 11).
I actually said "I can still watch it now", as in, it was good, and I still think it's good. *smile*
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That sounds awful. I think it was a two parter originally, that's when I saw it (I was about 11).
I actually said "I can still watch it now", as in, it was good, and I still think it's good. *smile*
I have the mini-series on DVD, though I previously owned "The Movie" version on VHS. I'm not sure much scary stuff's cut out of the movie, apart from one window scene with Danny Glick.
Anyway, the two part mini-series is preferable and gives the narrative and characters room to breathe.
Anyway, the two part mini-series is preferable and gives the narrative and characters room to breathe.
thescarletpronster said:
The horror film's roots are firmly planted in 1920s German expressionism and no serious list of classic horror would be complete without the films you mention.
Salems Lot is a very distant memory for me, but I remember enjoying it, but I was very young and it was probably the first scary thing I ever watched. . So the two parter is the one to go for ?
richardw42 said:
Definitely.
The only annoying thing about the mini-series is that both episodes open with montages that show you everything that's going to happen. Less of a problem if you've seen Salem's Lot before, but still unnecessary.
BIGBERNARDBRESSLAW said:
So, can anyone remember how good TIE88 was?
Having now seen TIE90, I now know some of the storylines, but I'd still like to watch it at some point, if it's good enough. I can remember thinking TIE86 wasn't all that good, maybe that's why I didn't make the effort to watch 88, I'm really not sure, but there's no doubting how good 90 was.
Spurred on by BBBs recommendations and after watching the trailer for the new series, I've just watched the first episode of The Returned. Great start, heart in my throat as it progressed.
Interestingly it didn't show up in a search of Sky on Demand, so I downloaded the All4 iPad app and watched via Apple TV.
Interestingly it didn't show up in a search of Sky on Demand, so I downloaded the All4 iPad app and watched via Apple TV.
BIGBERNARDBRESSLAW said:
I only saw the This is England '88 when it was originally broadcast, though I might buy the complete boxset.
From what I can remember it wasn't the strongest TIE series, but still better than the overwhelming majority of television.
I like Shane Meadows, though, especially A Room for Romeo Brass, so consider my commentary far from objective.
richardw42 said:
We've just finished 7 out of the 8. I couldn't find it on Sky either which suggest to me Sky don't have full catch-up services for some of the channels. I've been watching it through my Now TV box.
strapped for cash said:
Not seen that. I think my favourite is Dead Man's Shoes, though this latest series of TIE has pushed it very close.
BIGBERNARDBRESSLAW said:
Dead Man's Shoes is very good.
If I was being hypercritical, I'd say that Meadows et al. walked too difficult a line between horror and social realism with Dead Man's Shoes.
I think the intention was to use social realist techniques to ground the more implausibly horrific moments, but this leaves the film feeling, at times, ever so slightly muddled of tone. As I say, I'm nit-picking, really, and I like Dead Man's Shoes a lot.
Considine's character in A Room for Romeo Brass is more unsettling, in my view. You should check it out.
Frank Harvey
Well-known member
Love Dead Man's Shoes. It did turn out slightly different to what I expected after the first half hour, as the scene where (I don't want to say too much) the two stoners are paid a visit by the masked individual really made me think it was taking a more horror/stalker route (I didn't know anything about the film at the time). Nice twist too, which I really didn't expect.
expat_mike
Well-known member
expat_mike said:
Good. I watched the last episode of The Returned tonight, so Ida will have to wait until tomorrow evening.
Good to see some chat about Shane Meadows, whose films I love. A Room for Romeo Brass was the first of his films that I saw, but that must have been 12 years ago. Must watch it again soon, as I can't remember much about it, other than that it had a very young 'Milky' in it. I chickened out of watching Dead Man's Shoes when it was released as it sounded so terrifying, and only watched it a year or two ago. It was a lot more watchable and less stomach-churning than I expected, with even some macabre humour that I suppose comes out of the horror genre, you're right. Looking through the list of his films, I realise I've never got around to watching Somers Town, which I recorded when it was shown on telly. I'll put that in the huge pile of films to watch asap...
As a quick detour back into horror territory, before you discuss Ida (which I haven't seen), is anyone considering watching Crimson Peak this weekend?
I was hoping this would be good, but the review embargo and trickling of so-so evaluations suggest Crimson Peak is predominantly an exercise in style, with little in terms of character or originality.
I may go along anyway, to form my own opinion. There seems little on offer in terms of fresh scares this Hallowe'en.
I was hoping this would be good, but the review embargo and trickling of so-so evaluations suggest Crimson Peak is predominantly an exercise in style, with little in terms of character or originality.
I may go along anyway, to form my own opinion. There seems little on offer in terms of fresh scares this Hallowe'en.
I'm no film reviewer (but you know that already)
There was a lot to be impressed with the film. Visually, stylistically. The story and acting.
Black & white films that are well shot always look great, I liked the way way the camera was fixed. The only times you saw it moving was when it was fixed to the bus / car. Until the last part when Ida was returning to the convent. The moving camera represents some kind of personal freedom.
Her aunt had asked her how she could give up something she hadn't tried. . So after her brief affair with the musician it affirmed her decision to become a nun, knowing what she was giving up.
Ida never wavered in her Chrisrianity, even after learning about her Jewish roots. Neither her or her aunt had any real thoughts of revenge but just to bring an end to this part of their history
It felt like a film version of a short story. Didn't try and cover too much but concentrate on the journey of the two women.
There was a lot to be impressed with the film. Visually, stylistically. The story and acting.
Black & white films that are well shot always look great, I liked the way way the camera was fixed. The only times you saw it moving was when it was fixed to the bus / car. Until the last part when Ida was returning to the convent. The moving camera represents some kind of personal freedom.
Her aunt had asked her how she could give up something she hadn't tried. . So after her brief affair with the musician it affirmed her decision to become a nun, knowing what she was giving up.
Ida never wavered in her Chrisrianity, even after learning about her Jewish roots. Neither her or her aunt had any real thoughts of revenge but just to bring an end to this part of their history
It felt like a film version of a short story. Didn't try and cover too much but concentrate on the journey of the two women.
John Duncan
Well-known member
I watched The Babadook a couple of nights ago, having seen it mentioned on here and it being in the 5-for-£30 rack at HMV. Quite scary, though somewhat obvious what the 'monster' is.
John Duncan said:
Absolutely, "the monster" is explicitly allegorical (I'd argue this is always the case with horror cinema), which is what's so unsettling.
The Babadook is about an abusive relationship. These issues aren't resolved by the film's end, but repressed (or locked in the basement).
I think it's an excellent film (even better when you consider this was Kent's debut feature). If not for a few clunky moments early on I'd go as far as to describe The Babadook as a genre classic. At worst the film comes pretty damn close to such an accolade.
strapped for cash said:
I rarely make an excursion to the cinema these days, so it's highly unlikely I'll make the effort to go.
richardw42 said:
I wasn't sure, but | may have dropped off occasionally during Ida, though that's not a reflection on the film, just my ageing body.
On the whole, I enjoyed the film, and I quite liked the way the film went straight to the heart of the storyline, though I'm presuming this was down to the story itself being a journey into Ida's history.
I watched it on Blu Ray, and the black & white images were very striking, though I was initally annoyed by the black borders on the side of the screen.
I was quite surprised by the lack of anger when Ida found out about the murder of her parents, particularly when the perpetrator admitted it.
Sorry for the lack of in-depth analysis, but I may have to revisit the film to be abe to offer any kind of insight.
I was quite surprised by the lack of anger when Ida found out about the murder of her parents, particularly when the perpetrator admitted it.
Yes, as the aunt reacted similarly it seemed it was almost an acceptance of how it was to be a post war Jew in Europe. Re. the 4:3 frame, the director seemed to be framing the shots as a photograph with the actors working from outside or within it, like the paintings in Hogwatrs
Yes, as the aunt reacted similarly it seemed it was almost an acceptance of how it was to be a post war Jew in Europe. Re. the 4:3 frame, the director seemed to be framing the shots as a photograph with the actors working from outside or within it, like the paintings in Hogwatrs
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