moviemania-64
A rejoint le juil. 2011
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Note de moviemania-64
After a very brief, derivative and clumsy justification for heading back to the swamp involving a young woman named Mary-Beth (Danielle Harris) looking for her family with a kooky sightseeing operator named Reverend Zombie (Tony Todd) back into Crowley's territory we go, along with fresh meat in the form of hired muscle being paid $500 per head, with a bonus to the guy who takes down Crowley.
Only as we see quite frequently in the latter half of the film, Crowley is not an easybeat, at near 7 foot, with a mangled face, huge guns and the ability to take a shotgun blast to the chest without wincing, it would have taken a lot more than five hundred clams to get me in the same state – let alone the same dark and gloomy swamp.
Victor is unstoppable, he is everywhere and can seemingly get anywhere instantaneously. He also has a bunch of toys that he utilises to disembowel, eviscerate, decapitate, violate and penetrate victims that number into the double digits.
No problem there of course this is a psycho killer flick. The problem is the lack of creativity used: victims inch about nervously, do the "did you hear that?" and stand awaiting their violent demise. There are no traps, no clever sleight of hand or tricks, Victor shows up in plain view – shows them his weapon du jour and uses it on them.
If it's a hatchet he hatchets them, a chainsaw? Saw 'em in half. A sander? Hello abrasions. The victims don't even fight back 90% of the time, they stand still and take their medicine like guys in a bad kung fu movie.
What makes that even worse is that I guarantee Mr Adam Green spent more time on the kills than he did coming up with the threadbare backstory and lousy plot, so you just expect more. Let's face it, after the first Nightmare on Elm St each sequel for a decade was exactly the same, you only watched them for the kill scenes and to see what ridiculous quips Freddy would come up with.
Victor doesn't talk, and his kill scenes suck. Even a few gratuitous boobies don't make the rest worth a glance.
Only as we see quite frequently in the latter half of the film, Crowley is not an easybeat, at near 7 foot, with a mangled face, huge guns and the ability to take a shotgun blast to the chest without wincing, it would have taken a lot more than five hundred clams to get me in the same state – let alone the same dark and gloomy swamp.
Victor is unstoppable, he is everywhere and can seemingly get anywhere instantaneously. He also has a bunch of toys that he utilises to disembowel, eviscerate, decapitate, violate and penetrate victims that number into the double digits.
No problem there of course this is a psycho killer flick. The problem is the lack of creativity used: victims inch about nervously, do the "did you hear that?" and stand awaiting their violent demise. There are no traps, no clever sleight of hand or tricks, Victor shows up in plain view – shows them his weapon du jour and uses it on them.
If it's a hatchet he hatchets them, a chainsaw? Saw 'em in half. A sander? Hello abrasions. The victims don't even fight back 90% of the time, they stand still and take their medicine like guys in a bad kung fu movie.
What makes that even worse is that I guarantee Mr Adam Green spent more time on the kills than he did coming up with the threadbare backstory and lousy plot, so you just expect more. Let's face it, after the first Nightmare on Elm St each sequel for a decade was exactly the same, you only watched them for the kill scenes and to see what ridiculous quips Freddy would come up with.
Victor doesn't talk, and his kill scenes suck. Even a few gratuitous boobies don't make the rest worth a glance.
That said, all the episodes I've seen are really worth watching and much above average television. You've already been able to see Hooper's disturbing "Dance of the Dead" segment, Coscarelli's fast-paced "Incident On and Off a Mountain Road" and Argento's sickeningly sexy "Jenifer", of course. Be sure not to miss Landis', Garris' and especially Dante's episodes when they air.
John Landis's "Deer Woman" is a radical development of the whole premise behind such a classic as "An American Werewolf in London". The idea on that film was giving the werewolf myth a realistic, almost everyday spin to make it scary again in spite of tons of bad werewolf movies. "Deer Woman" does the same, only the premise is even more outrageous, because the monster is something you're unlikely to having heard about before: a creature half woman and half deer which seduces men and then kicks and tramples them to death. With such a ridiculous premise, you'd never believe a filmmaker could produce the smallest shiver in any average viewer. The fact that "Deer Woman" does, without relying on any established movie myth, is a tribute to Landis' (John, but also his son Max, who wrote the screenplay) deep knowledge of how horror movies work. Without even the slightest hint of parody, this film is funny *and* scary and a triumph of what is called suspension of disbelief. Great performances by former "Dream On" star Brian Benben and heart-stopping newcomer Cinthia Moura.
Mick Garris's "Chocolate" is based on a "Twilight Zone" like premise: a guy suddenly starts sharing a stranger woman's senses - it all starts with sounds, and then it becomes images and event tactile feelings. This lures him into an obsession which is very similar to love but also has a strong potential for tragedy. Kind of an ultimate "amour fou", this is quite a bizarre, yet moving, love story that you'll find both involving and desperate.
Joe Dante's segment was acclaimed by thunderous applause at the festival, and it is the most overtly political. I wish someone would dare doing a similar film on our (Italian) administration: "Homecoming" deals openly with how Iraqi war was based on the blatant lie of Mass Destruction Weapons that were found not to exist, and has dead marines coming back from their graves as zombies to let the Bush administration know what they think of its lies. The President is actually never mentioned in person: but the clues are so crystal-clear one couldn't miss even if he tried hard. Witty and bitterly cynical, this is a film a Billy Wilder might have made if he was interested in horror. It should be a must-see for anyone who's voted for the current administration - and also for anyone who thinks horror cannot deal with important issues.
John Landis's "Deer Woman" is a radical development of the whole premise behind such a classic as "An American Werewolf in London". The idea on that film was giving the werewolf myth a realistic, almost everyday spin to make it scary again in spite of tons of bad werewolf movies. "Deer Woman" does the same, only the premise is even more outrageous, because the monster is something you're unlikely to having heard about before: a creature half woman and half deer which seduces men and then kicks and tramples them to death. With such a ridiculous premise, you'd never believe a filmmaker could produce the smallest shiver in any average viewer. The fact that "Deer Woman" does, without relying on any established movie myth, is a tribute to Landis' (John, but also his son Max, who wrote the screenplay) deep knowledge of how horror movies work. Without even the slightest hint of parody, this film is funny *and* scary and a triumph of what is called suspension of disbelief. Great performances by former "Dream On" star Brian Benben and heart-stopping newcomer Cinthia Moura.
Mick Garris's "Chocolate" is based on a "Twilight Zone" like premise: a guy suddenly starts sharing a stranger woman's senses - it all starts with sounds, and then it becomes images and event tactile feelings. This lures him into an obsession which is very similar to love but also has a strong potential for tragedy. Kind of an ultimate "amour fou", this is quite a bizarre, yet moving, love story that you'll find both involving and desperate.
Joe Dante's segment was acclaimed by thunderous applause at the festival, and it is the most overtly political. I wish someone would dare doing a similar film on our (Italian) administration: "Homecoming" deals openly with how Iraqi war was based on the blatant lie of Mass Destruction Weapons that were found not to exist, and has dead marines coming back from their graves as zombies to let the Bush administration know what they think of its lies. The President is actually never mentioned in person: but the clues are so crystal-clear one couldn't miss even if he tried hard. Witty and bitterly cynical, this is a film a Billy Wilder might have made if he was interested in horror. It should be a must-see for anyone who's voted for the current administration - and also for anyone who thinks horror cannot deal with important issues.
Pre-screenings were limited, and thumbs were primed to point down. But guess what? The finished product is surprisingly enjoyable - particularly the rollicking first hour. Tom Cruise and Cameron Diaz are obviously having a blast, and anytime they are on screen, the movie's energy and fun level pegs the meter. The break-neck pace can keep the audience guessing about where Cruise's character is dragging Diaz's reluctant heroine off to next. Kudos to the leads for not carrying the movie with their effervescent acting, but also for doing many of their own stunts.Tom Cruise and Cameron were good pair to be watched on screen.Tom was very good in all the action scenes.His approach to seduce the babe was pretty cool.