My one comment on Wonka for now is that they very clearly took a photo of him standing up and put "sitting down" legs under the coat in the poster and it looks insane.
The best thing about Aunt May's "There's a hero in all of us" speech in Spider-Man 2 is that the movie reinforces that idea throughout.
Whenever they get the chance, normal everyday people try to save Spider-Man just as often as he saves them and it chokes me up every time.
A movie's world feels so much more fleshed out when characters with one or two lines are distinct and "lived in".
Every face is an opportunity for something memorable.
Spider-Man still showing everybody up 22 years later.
Favorite bit of direction in A Quiet Place Part 2 was using a windshield to not only hide a cut in a "long take", but sneaking in a lens change as well.
The Descent is great because it's a "dark" movie but they actually lit the main subjects of each shot and let the blacks be black.
Contrast! Remember contrast?
I generally appreciated how when Roger Ebert didnโt care for movies I liked (particularly slasher films), he could still articulate that those movies werenโt made for him and why theyโd work for others.
Eventually, he โgot itโ
NOPE credited every single person in the musical scoreโs orchestra in the end credits and I donโt think Iโve ever noticed a movie do that before?
The matte painting car planet in A Nightmare on Elm Street 4 is so cool, but itโs infinitely annoying that the blu-ray release cropped it off center and now it looks off on every streamer as well.
Somebody on here the other day said they appreciate old cinema โeven slow-burns like the original Screamโ and I still havenโt been able to process that.
One reason I think 70s movies are scariest is that they didnโt desaturate their colors to create their atmosphere.
The real world has color! And embracing that makes everything feel a bit mor real.
(And itโs less boring)
Dark scenes have always existed in movies. But older movies had the good sense to put a rim light on the subjects to separate them from the background.
You could tell what was happening on EVERY TV and Monitor, not just big, perfectly-calibrated, expensive ones.
I know it stands for โHalloween, 20 years laterโ but we all pronounce HALLOWEEN H20 like โHalloween H-2-Oโ right?
Like if he had water powers or something?
Iโm just making sure everybodyโs on the same pageโฆ
Iโve become addicted to liking any post with the
#ScreamMovie
hashtag.
That little splashy-ghostface effect they have going over the heart makes me so happy.
I LOVE 90s thrillers. They all look great and theyโre all insane and they made 100 million of them apparently because every day I stumble across a new one that I never heard of.
You haven't gotten to the heart of America until you've driven on I-10, seen 40 billboards for THE THING, and paid $5 to go through that crazy ass museum.
Trick R Treat replicating the sleazy dress-up shots from the costume shop scene in the werewolf transformation (but replacing the clothes with skin) is *cinema*
Nightmare on Elm Street 5 did the absolute most in creating transitions from the real world to its dream world.
Using Stop Motion, large special effect props, miniatures, compositing, etc.
They put in so much work, it's stunning.
I love the Suspiria remake because, while losing the distinct aesthetic of the original film, it doubled down on its own bizarre editing and rainy day, arthouse atmosphere to become something totally unique in itself.
So many remakes take distinct movies and make them generic...
Great 70s Horror films were wonderful because there was almost zero interest in being fun.
They were mean-spirited, depressing, usually long movies with characters that can't catch a single break.
Also, they lit things so you could actually see what was happening.
EVERY character can be more memorable.
Put a robber who's only in one shot in a crop top! More memorable!
You have a group of indiscernible business men? Put one in a wheelchair! That's distinct! And now there's levels!
Or just cast Bruce Campbell!
The original Friday the 13th has fantastic shot design. And while it's not over-the-top stylish like a lot of its contemporaries, it's one of the most gorgeously shot and blocked slashers of the 1980s.
Bums me out when people dismiss it as the "boring one"
Canโt get over how good Ralph Inesonโs casting in The First Omen is.
Not an exact copy of Patrick Troughton, but certainly feels like the same character
Well Fuck. I think I really liked Halloween Ends.
So now Iโm gonna make a (spoiler-free) thread to explain myself because I donโt have another platform:
My favorite โthing you can only notice on a rewatchโ for Scream 4 is when Olivia is being killed and Jill, pretending to be scared, is recording it with her phone.
Weโre terribly saddened to hear of the passing of David Emge, star of George A. Romeroโs DAWN OF THE DEAD.
Our condolences to his family, friends, and many fans. You did all right, Flyboy ๐ค
On October of 1999, Cartoon Network ran a promotion/short film that aired during commercial breaks called The Scooby-Doo Project.
Itโs one of my favorite bits of Scooby-Doo media and I watch it every Halloween.
Scream 2's finale is my favorite in large part because there hasn't been a killer in this series more desperate to kill somebody than unmasked Mrs. Loomis trying to kill Sidney Prescott.
I don't think I've seen a face like this...in any other movie. Scream or not.
1. Whoever recorded their movie theater screen, donโt do that.
2. THIS is what happens when you donโt advertise your musical is a musical. A lot of kids groaning, and cringing, and saying โEwโ at your movie which-
Thatโs fine on its own. Nothing wrong with having a preference. But thereโs an entitlement that emerges from that group often that I find upsetting.
They donโt just prefer that sort of thing, but give โfixesโ for movies that would essentially leave them toothless.