петак, 13. фебруар 2015.


Nedavno sam već okačio listu gomile zaista primamljivo-zvučećih novih nehorora koji se mogu očekivati ove godine: tu listu imate OVDE.
E pa sada, u okviru akcije proslave Petka 13-og, kucnuo je čas da najzad okačim i listu najočekivanijih HORORA 2015. godine. Kao što ćete videti, postoje jake šanse da se najzad ove godine razbije "Prokletstvo trojke" i da konačno dobijemo i neki horor koji možda dobaci čak i do ocene 4- ako ne i više!
Takođe, ukoliko pratite belosvetske horor sajtove, videćete da na mojoj listi nema treša i mediokritetstva kakve oni hajpuju na svojim most-expected listama (zato što su studio bitches, pa pedluju samo komercijalno američko đubre i/ili zato što nemaju ukusa i za bolje ne znaju). Umesto rimejka Poltergajsta (da vam otkrijem tajnu? biće to sranje!) i nastavka Konjuringa itsl. budalaština kakvima ne želim da se bavim, samo ovde ćete ekskluzivno naći izlistanu gomilu filmova za koje na takvim žanr-idiotskim mestima niste čuli, niti ste mogli da čujete, jer radi se mahom o opskurnim, evropskim, azijskim ili nezavisnim američkim produkcijama sa artističkim ambicijama.
Naslovi su izlistani po redosledu visine mojih očekivanja.
Nekolicinu sam čak uspeo da pogledam u međuvremenu, otkad sam ovu listu skockao, ali ostavio sam ih ovde zarad čitalaca koji ih još nisu pogledali (jer nisu dostupni na netu; ja sam ih gledao nekim privilegovanim putevima pa mi zato nemojte tražiti linkove, jer oni ne postoje).

The Witch
Robert Eggers’ The Witch is a Colonial New England horror film. A production designer and filmmaker, Eggers authentically recreates the setting in the film, which seems to herald the best kind of horror movie: a stark, eerie, witchy period chiller.
A fiercely committed ensemble and an exquisite sense of historical detail conspire to cast a highly atmospheric spell in “The Witch,” a strikingly achieved tale of a mid-17th-century New England family’s steady descent into religious hysteria and madness
Laying an imaginative foundation for the 1692 Salem witchcraft trials that would follow decades later, writer-director Robert Eggers’ impressive debut feature walks a tricky line between disquieting ambiguity and full-bore supernatural horror, but leaves no doubt about the dangerously oppressive hold that Christianity exerted on some dark corners of the Puritan psyche. With its formal, stylized diction and austere approach to genre, this accomplished feat of low-budget period filmmaking clearly marks Eggers as a storyteller of unusual rigor and ambition.

Goodnight Mommy
A fairy tale for “Dogtooth” enthusiasts, Veronika Franz and Severin Fiala’s “Goodnight Mommy” takes place in an austere, isolated Austrian home, where twin boys begin to suspect that something is wrong with their mother. But that’s only the beginning of this family’s dysfunction, as tension escalates to torture in the duo’s elegantly stylized, thoroughly unnerving attempt to creep the heck out of arthouse horror fans. The project, which recalls such child-centric chillers as “I’m Not Scared” and “The Orphanage,” was backed by fest vet Ulrich Seidl (for whom Franz co-wrote several pics), allowing it to court both genre and auteur fests.
=== Ovo sam uspeo da pogledam, a vi svakako iskoristite priliku na FESTu! Odličan film, na granici 3+ / 4-. Rivju coming soon.===

Nicolas Winding Refn's Neon Demon
In a female-driven horror film, Elle Fanning will play an aspiring model who is caught in a world of beauty and demise.
Keanu Reeves and Christina Hendricks will star in the film, which revolves around a young queen bee (played by Abbey Lee / Drive) who metaphorically, and possibly literally, sucks the blood out of the girls in her social sphere. Elle Fanning is the lead, a young girl who gets pulled into Lee’s character’s sway, but no word on who Reeves and Hendricks would play. Jena Malone (“The Hunger Games: Mockingjay Part 1″) and Bella Heathcote (“Dark Shadows”) round out the eclectic cast of up-and-coming actresses.

It Follows
David Robert Mitchell’s first film, The Myth of the American Sleepover, was a gentle drama interweaving character stories like Dazed and Confused. His “follow” up It Follows focuses on one group of characters with a similar tone, and a horrific twist. Jay finds herself cursed by a spirit that follows her wherever she goes. It’s slow, but persistent, and her friends can’t see it but they still try to help battle this invisible force. Like Myth, it’s still a story of friends hanging out but now it’s to watch each other’s backs as the following spirit spreads. The horror strikes the right balance of graphic and subtle.

If Richard Linklater attempted a remake of Val Lewton’s “Cat People” the end result might resemble “Spring,” an intriguing oddity about an attractive couple who meet in a scenic European locale and quickly chat their way into a close bond, but find their ties tested by the young woman’s propensity for periodically moonlighting as a fantastical monster
Co-directors Justin Benson and Aaron Moorhead (Resolution), working from a script credited to Benson, do a clever job of entwining elements of budding romance, mounting dread and indolent vacation in their leisurely paced, handsomely produced indie feature.

Jessica returns home for her grandmother’s funeral and has to sleep in a room next to the body. She’s a pretty good sport about it, but it gives her nightmares full of beautiful horrific imagery, sometimes erotically horrific. The nightmares ultimately reveal family secrets, and it’s well acted and told, but really the plot is just filler between the awesome images.
=== Možda ću pisati za RUE MORGUE o ovome, pa ću ga pogledati ranije.===

Shinya Tsukamoto's Fires on the Plain
War is horror (and splatter).
There are horrors-of-war movies (“Come and See”), and then there are World War II horror movies (“Dead Snow”), and judging by “Fires on the Plain,” it’s not entirely clear whether Japanese splatter director Shinya Tsukamoto understands the difference. The “Tetsuo: The Iron Man” helmer claims to have long dreamed of filming Shohei Ooka’s 1951 novel, already adapted far more artfully by Kon Ichikawa, but he seems to be deriving a bit too much pleasure from all those decapitated heads, stacked corpses and maggot-infested flesh wounds to treat the pic’s anti-war message seriously. Despite the credibility a Venice competition slot imparts, “Fires” feels more giallo than arthouse.

The Falling
The set up for this one makes it sound like Heavenly Creatures crossed with Picnic at Hanging Rock. Set at an English girls’ school in 1969, the film stars Game of Thrones’ Maisie Williams as a troubled teen who falls ill with a mysterious illness that is then somehow passed onto her fellow classmates. Hysteria and tragedy follows, but The Falling is more concerned with atmosphere and emotion than it is with guts and gore, making for what will hopefully be a fascinating and thought-provoking psychological drama.

Rob Zombie's 31
A group of people are kidnapped in the days leading up to Halloween and are forced to try survive during a game called 31 where they are hunted by a gang of evil clowns.


Over-imaginative 12 year-old Sam heads off to the woods to summer scout camp with his pack convinced he will encounter a monster... and he does. He claims to have seen “Kai,” the mythical werewolf-boy the counselors have been scaring their charges with stories about. Once again camping in the woods proves a great way to get killed in “Cub,” which puts a number of Belgian boy scouts and their leaders in harm’s way just over the French border. Jonas Govaerts’ first feature is a pastiche of familiar horror elements that’s well crafted throughout, but falls prey to the common dilemma of finding a payoff worthy of the buildup. In that respect it ultimately disappoints, but it’s still a promisingly assured debut. After an hour of effective buildup that nicely juggles suspense, humor and homage, all hell breaks loose. But while the now-gory action is well handled, the mysteries and relationships the script had seemed to be carefully tending are simply abandoned.


Europa Report writer Philip Gelatt will adapt and direct a feature based on Laird Barron’s short story "30", the tale of two wildlife biologists, isolated on land once occupied by a Manson-style thrill-kill cult, struggling to find the cause of bizarre animal activity in the region. As their relationship deteriorates, and discoveries mount, they’re besieged by strange forces that seem to come from the very land itself.

Child 44
Based on Tom Rob Smith's first novel in a trilogy, the story unfolds as a disgraced military police officer (Tom Hardy looking ragged and sporting a wicked Russian accent) investigates a number of child murders by a suspected serial killer. The big twist here is that the investigation takes place in the Soviet Union during Stalin's leadership.
The concept may well be familiar but the setting and period certainly add some unexpected intrigue to the story, not to mention a political element that usually doesn't play a part in your standard serial killer hunt movie. And then there's this cast. Aside from Hardy, the movie also stars Noomi Rapace, Gary Oldman, Joel Kinnaman, Charles Dance, Jason Clarke, Vincent Cassel and Paddy Considine.

Takashi Miike's As the Gods Will
Guaranteed to delight those with a hankering for deathmatch-survival mangas (far more “Battle Royale” than “The Hunger Games”), “As the Gods Will” finds the Japanese gore-meister returning to high school, where classic toys come alive to play lethal games with students. There’s a confused sci-fi element and a perfunctory nod to society’s benumbed attitude toward violence, but really, the pic is just an excuse for more splatter from a director who, as always, knows his target audience.

Hot on the heels of one of 2014’s best new horror releases ‘Oculus’, director Mike Flanagan has wasted no time getting back in the saddle with what promises to be another atmospheric chiller, this time about a child whose nightmares come to life. Kate Bosworth and Tom Jane star.

The Hallow
This UK production, the directorial debut of Corin Hardy, immediately became of wide interest when Hardy landed the job of directing the upcoming reboot of ‘The Crow’ (at the recommendation of Edgar Wright, no less). Centring on a family under attack from demonic beings in the woods beside their home.
It takes time for “The Hallow” to get rolling, but once it reaches a bang-up final act, genre fans could walk out clamoring for a sequel. The directorial debut of visual artist Corin Hardy is never less than arresting to the eye, but thin characters and a familiar story hold this Irish chiller back from entering the top tier of recent horror entries. Fortunately, the human characters ultimately don’t matter nearly as much as the diabolical beings they encounter. With Bojana Novakovic.

Some Kind of Hate
A hard-edged supernatural slasher. A Nightmare on Elm Street-styled paranormal slasher movie, approached like an emotionally intense indie drama. About an enraged 17 year old girl who died as the result of high school bullying and who has returned on a revenge bender.

Shrew's Nest (Musarañas)
Spain, 1950s. Montse's agoraphobia keeps her locked in a sinister apartment in Madrid and her only link to reality is the little sister she lost her youth raising. But one day, a reckless young neighbor, Carlos, falls down the stairwell and drags himself to their door. Someone has entered the shrew's nest... perhaps he'll never leave.

When a videographer answers a Craigslist ad for a one-day job in a remote mountain town, he finds his client is not at all what he initially seems. A slow-burning found-footage suspenser with some mildly clever twists and a knockout payoff. But any genre fan who’s able to catch this sporadically unsettling indie with a festival or theatrical audience probably should jump at the chance to do so, if only to savor the jolt of shared frisson each time a methodical build-up leads to a nasty surprise. The overall game plan recalls the “Paranormal Activity” series — not surprisingly, considering Jason Blum, producer of that franchise, signed on for this project as well.

Mustata leaves unclear what’s actually happening and what’s inside the mind of Lupu, a 16-year-old struggling with the usual hormonal urges. He’s got eyes for Clara, a vixenish flirt whose interests lie elsewhere. Added to the mix, his father’s death just over two years earlier still hits him hard, and now his mother is seeing another guy. The hallucinatory, contradictory musings of a young man’s mind are the jumping-off point for Bogdan Mustata’s intriguing debut, “Wolf,” a mood piece of intermittent potency that still manages to get under the skin. Made with assistance from a dream team of workshops and funds — Sundance Institute, Cannes Cinefondation Atelier and Torino Film Lab — the pic is the antithesis of Romanian realism in the way it plays with levels of reality, weaving in and out of the teen’s active, haunted imagination. Consciously Nouvelle Vague at times, with echoes of Polanski and Bertolucci, “Wolf” will prowl around fest sidebars.

Midnight Special
Jeff Nichols (director of Take Shelter, Mud) a Firestarter-ish sounding story about a father taking his supernaturally powered young son on the run. The father is Michael Shannon. Also starring Kirsten Dunst, Adam Driver and Joel Edgerton. A kind of tribute to 1980's John Carpenter films.

Flesh of My Flesh
In Denis Dercourt’s oddly sparse “Flesh of My Flesh” a spaced-out blonde lures, kills and chops up men to feed her ailing 6-year-old daughter. Though the gruesome plot fills the bill, genre-wise, “Flesh” often seems like an empty stylistic exercise instead of a horror film. The more Dercourt busily deploys different lenses to produce shifting out-of-focus patches within the frame, the more the absence of backstory to explain what’s lurking behind the heroine’s blank eyes feels like gratuitous omission. Though the pic may initially draw cannibal-happy auds, its arty affects and infrequent blood splatters make for a meager menu.

Jason Bognacki's Another reimagines the witchy weirdness of Dario Argento's classic Suspiria (1977) while further fragmenting its own coming-of-age narrative into a fever dream of spatio-temporal ruptures and hyper-stylised imagery.
From the very first frame, it sets a dark mood and an atmosphere fraught with tension. When you start your movie with a bunch of creepy dudes in black robes performing some sort of occult ritual on a baby in a cave, this sort of thing is bound to happen.
At its best, “Another” is an artistic rendering of that classic pulpy giallo style, with a healthy dose of old Hammer horror thrown in for good measure. It will call to mind the work of filmmakers like Mario Bava, Dario Argento, Lucio Fulci, and all the other Italian genre innovators. Bagnacki’s color palate and the filters he uses make every frame look and feel like paintings.

Greatful Dead
Eiji Uchida’s “Greatful Dead” is one of the year’s craziest, darkest, and most weirdly moving films. Revolving around a young woman with a penchant for stalking loners, it starts off like a fairly typical quirky comedy, before hurtling headlong into unpredictable perversion and homicide, marrying extreme content with dark comedy and a social conscience. Anchored by an amazing and incredibly brave performance from young up and coming actress Kumi Takiuchi, it’s a unique film.
=== Ovo može da se skine. Pogledao sam, lepa trojka, vredi pažnje. ===

A zombie movie about kids who become infected with a virus and turn into bloodthirsty monsters. It’s teachers versus students. Elijah Wood and Rainn Wilson play teachers less concerned with inspiring young minds than keeping their own brains uneaten. A schoolyard full of anklebiters develops a genuine taste for flesh in “Cooties,” an irreverent, off-color zom-com that seizes on the scourge of playgrounds everywhere when a spontaneous outbreak of brain-rotting, cannibalism-inducing germs erupts within a small-town elementary school. Told from the teachers’ p.o.v., this tongue-in-cheek midnight movie feels wrong in so many ways, asking a handful of irresponsible adults to bash and bludgeon their way through foaming packs of infected kids in order to save themselves.

Joe Dante's Burying the Ex
Horror Comedy stars Anton Yelchin (“Star Trek”), Ashley Greene (“Twilight”) and Alexandra Daddario (“True Detective”). Written by Alan Trezza, “Burying the Ex” follows nice guy Max (Yelchin) and his overbearing but incredibly beautiful girlfriend Evelyn (Greene). Their relationship takes a nosedive after they decide to move in together and Evelyn turns out to be a controlling, manipulative nightmare. Max realizes it’s time to call it quits, but there’s just one problem: he’s too afraid to break up with her. Fate steps in when Evelyn is involved in a freak accident and dies, leaving Max single and ready to mingle. Several weeks later, he has a chance encounter with Olivia (Daddario), a cute and spirited girl who just might be his soulmate.  But that same night, Evelyn returns from the grave as a dirt-smeared zombie and she’s determined to live happily ever after with Max.

A Girl Walks Home Alone at Night
Middle Eastern feminist vampire romance” is likely to remain an underpopulated cinematic subgenre, but at least it now has a luminous standard-bearer in “A Girl Walks Home Alone at Night.” A sly, slinky creeper set in an imaginary Iranian underworld — appropriately realized in glistening black and white — U.S.-based writer-director Ana Lily Amirpour’s auspicious debut feature spices its genre stew with elements of Lynchian neo-noir and even spaghetti Western, but the film’s pointed, contemporary gender politics are very much its own.

Phantasm: Ravager
Director: David Hartman
Writers: Don Coscarelli, David Hartman
The final installment of the long running Phantasm series stars A. Michael Baldwin, Reggie Bannister and Angus Scrimm. 
The film follows the continued exploits of brothers Mike and Jody along with family friend Reggie as they continue to battle the Tall Man, a supernatural undertaker from another dimension.

The Voices
Ryan Reynolds does his best Norman Bates in a serial-killer satire posing as romantic-comedy fluff.
Cat goes, “Kill!” Dog goes, “Don’t!” But there’s one sound no one knows, and that’s the sound of laughter at Marjane Satrapi’s “The Voices.” An off-kilter black comedy about a seriously disturbed schizophrenic who speaks to his pets — and whose pets respond with unsolicited feedback about his new serial-killer hobby — this unnatural genre-bender serves as a bizarre vessel for the “Persepolis” co-director to expand her live-action chops. Never cute but occasionally clever, the result recalls a certain strain of fantasy-hued Sundance selections such as “Lars and the Real Girl” or “The Young Poisoner’s Handbook”.
=== Procurio na net. Eh, slabo je to, ipak: na granici 2+ i 3- Igraće i na FEST-u===

Guillermo del Toro's Crimson Peak
In the aftermath of a family tragedy, an aspiring author is torn between love for her childhood friend and the temptation of a mysterious outsider. Trying to escape the ghosts of her past, she is swept away to a house that breathes, bleeds...and remembers. Jessica Chastain is joined on screen by Mia Wasikowska, Charlie Hunnam and Tom Hiddleston

The Editor
Devoted fans of the Italian giallo genre — those hybrid murder-mystery/horror mellers that flourished from the mid-’60s to the mid-’80s — will get a hoot out of the precision with which “The Editor” satirizes their clumsier conventions. Winnipeg collective Astron-6’s prior features “Manborg” and “Father’s Day” were equally insular homages-cum-spoofs. Less laugh-out-loud funny than those predecessors even for those in the know, this overlong homage will delight serious horror geeks

It is a miracle that the Australian zombie action movie shot over four years is coherent, let alone energetic and thrilling. Kiah and Tristan Roache-Turner have a few inventive twists on the zombie genre, notably using zombies as fuel and also having one character able to control zombies, like a zombie Aquaman. There’s a great scene where the main characters all learn the new rules of the zombie world. The Walking Dead quality makeup also elevates Wyrmwood above the slew of cheap zombie knockoffs, although it is unfortunate the heroine spends most of the movie tied up in a lab and the Sam Raimi camera angles are paying a little more than homage.
=== Ovo je danas procurilo na net!===

We Are Still Here
The horror title follows the buyers of a New England home, a domicile that takes a sacrifice every 30 years or so. They heard that the house was an old funeral parlor, but decided to move in anyway. Not to mention, the original owner use to ship the dead bodies to Boston’s Chinatown where they were ground up for Chop Suey. The film is directed by Ted Geoghegan and stars such genre thesps as Barbara Crampton (Re-Animator), Lisa Marie from Tim Burton’s Ed Wood, Sleepy Hollow and Mars Attacks! and a pissed-off burnt looking monster who likes to sit in the back of cars and gut pretty women while they’re driving.

Bone Tomahawk
Bearded Kurt Russell takes on some cave-dwelling cannibals in the old west.

6 Miranda Drive
A horror flick from Wolf Creek's Greg Mclean. Kevin Bacon and family go on a trip to the Grand Canyon and apparently bring some supernatural presence back home with them.

Jacqueline Ess
Jovanka Vuckovic does vintage Clive Barker.

Female horror anthology, with segments by Karyn Kusama (Jennifer’s Body), alongside directors Mary Harron, Jennifer Lynch and Jovanka Vuckovic.

The Profane Exhibit
Horror anthology, with segments by Jeremy Kasten, Uwe Boll (segment "Basement"), Ruggero Deodato (segment "Bridge"), Anthony DiBlasi (segment "Mother May I"), Marian Dora (segment "Mors in Tabula"), Andrey Iskanov (segment "Tochka"), José Mojica Marins (segment "Viral"), Ryan Nicholson (segment "Goodwife"), Yoshihiro Nishimura (segment "The Hell Chef"), Michael Todd Schneider (segment "Manna"), Richard Stanley (segment "Coltan"), Sergio Stivaletti (segment "Tophet Quorom"), Nacho Vigalondo (segment "Sins of the Father").

Tales Of Halloween
Horror anthology, with segments by Darren Lynn Bousman, Axelle Carolyn, Adam Gierasch, Andrew Kasch, Neil Marshall, Lucky McKee, Mike Mendez, Dave Parker, Ryan Schifrin, John Skipp, Paul Solet

Norway is a Greek Only Lovers Left Alive but instead of brooding, the vampire dances. Zano is a vampire who has to keep dancing. He explains why, but still seems like one of those A-holes who just can’t sit still, except Zano is actually compelling when he moves. In Greece in 1984, Zano follows a couple out of a dance club on a journey that climaxes in a crazily satisfying third act.

Scouts vs. Zombies
A coming-of-age zombie movie, this horror-comedy stars Tye Sheridan, Logan Miller and Joey Morgan as scouts who must save their town after an outbreak of zombies. Christopher Landon (Paramormal Activity: The Marked Ones) directs.

The Corpse of Anna Fritz
Director: Hèctor Hernández Vicens
Anna Fritz, a famous and beautiful actress, has died recently. Three young men sneak into the morgue to see her naked. Fascinated by her beauty, they decide to become the last people to have sex with her.


Director/Screenwriter: Jason Lei Howden
New kid in town Brodie and bad-boy Zakk quickly bond over their mutual admiration of heavy metal. But when these two metal thrashing losers unwittingly summon malevolent forces, their dreams of stardom may just have to be put on hold.

The Diabolical
Director: Alistair Legrand
When a single mother and her two young children are tormented by an increasingly strange and intense presence, she turns to her science teacher boyfriend to help take on the violent forces that paranormal experts are too frightening to face. Cast: Ali Larter,

Victor Frankenstein
Cast: James McAvoy, Daniel Radcliffe. Told from the perspective of Igor, played by Radcliffe.

Eli Roth’s The Green Inferno
Davno završeni pa sklonjeni omaž Kanibal holokaustu moraće ove godine izaći pred narod, makar i samo na DVD.

México Bárbaro
A Mexican Horror Anthology

German Angst
German horror anthology, with segments by Jörg Buttgereit, Michal Kosakowski and Andreas Marschall.

By Michael Dougherty (Trick ‘r Treat). Scheduled for release next holiday season and teased with greeting cards just recently, Krampus is Dougherty’s horror-comedy vision of the Germanic Christmas folk beast.

Takashi Miike's Over Your Dead Body

Its potentially good idea— actors rehearsing the classic supernatural tale “Yotsuya kaidan” find their roles spilling into real life — never sparks, and so the film registers as just a handsome, rather tedious formal exercise. Most of “Over Your Dead Body” consists of those rehearsal scenes, which, despite their striking theatrical production design, merely retell a much-told tale in competent fashion. Of course, art eventually imitates life in a late-breaking flood of gory horror, some of it possibly dreamt or hallucinated by the latter-day Casanova. 
Pic remains enervated and uninvolving, however, this over-the-top nastiness carrying none of the charge that worst-scenario violence did after an even longer, slower buildup in Miike’s best-known horror opus, “Audition.” Nor does it sport the glee of his more campily exploitative exercises in outre violence.

M. Night Shyamalan's The Visit
This story is about a family's trip to visit their grandmother gone wrong

Arnold Schwarzenegger in a dramatic zombie movie about the dad of a teenage girl (Abigail Breslin) who gets infected with a virus that slowly changes her into a zombie.

Excess Flesh
Director: Patrick Kennelly
Obsessed with her sexy roommate, Jill violently imprisons Jennifer in their apartment in a twisted attempt to bring them closer together. Cast: Bethany Orr, Mary Loveless,

Director: Adam Mason
Returning from vacation, the Miller family find their home has been broken into. After cleaning up the mess they continue with their lives, shaking off the feeling of being violated. But little do they know the nightmare has just begun. Cast: Jeremy Sisto

He Never Died
Director/Screenwriter: Jason Krawczyk
Jack is a man battling his eternal struggle with cannibalism. There are very few reasons to live when you can't die. Cast: Henry Rollins

The Invitation
Director: Karyn Kusama,
While attending a dinner party at his former home, a man thinks his ex-wife and her new husband have sinister intention for their guests.

Director/Screenwriter: Mickey Keating
A family intervention goes horrifically awry within the snowy confines of an isolated lake house.
Cast: Lauren Ashley Carter, Dean Cates, Larry Fessenden

Da Sweet Blood of Jesus
A Spike Lee Joint, “Da Sweet Blood of Jesus” is billed as a new kind of love story that centers on an addiction to blood that once doomed a long-forgotten ancient African tribe. When Dr. Hess Green is introduced to a mysteriously cursed artifact by an art curator, Lafayette Hightower, he is uncontrollably drawn into a newfound thirst for blood that overwhelms his soul — although he is not, technically, a vampire. Soon Lafayette’s wife, Ganja Hightower, comes looking for her husband and becomes involved in a dangerous romance with Hess that questions the very nature of love, addiction, sex and status.
=== Procurio, i izgleda kao jeftino sranje. Uz to traje dva sata. Možda vredi brauzovanja, ali za gledanje... ne znam.===

The Man in the Orange Jacket
Atmospheric Latvian slasher-thriller puts a timely twist on psycho-horror conventions for an age of economic austerity. Billed as the first-ever horror movie from Latvia, The Man in the Orange Jacket is a stylish, ambitious, politically charged psycho-thriller. The Man in the Orange Jacket draws on some classy cinematic antecedents, from Kubrick's The Shining to von Trier's Antichrist via Alexandre Aja's High Tension.
=== Ovo sam uspeo da pogledam 'preko veze': isprazno, pretenciozno, površno sranje (**). Zadržao sam ga na listi samo kao upozorenje na to da se ne treba smesta primati na opise i poređenja kritičara koji nisu Ghoul! ===


The Nightmare
Imagine waking up, seeing someone you don't know in your room and then discovering that you can't move. You can’t run, you can't hide – you're frozen. Sleep paralysis is a real thing and director Rodney Ascher is about to let the world know all about it.
From the director behind Room 237, the documentary on the conspiracy theories behind Stanley Kubrick's The Shining. For his follow up, Ascher is mixing documentary filmmaking with horror in The Nightmare.
In his new movie, Ascher explores sleep paralysis in a conventional way that is turning out to be more than people bargained for: by re-enacting individual's experiences of sleep paralysis and from early reviews of the movie, which recently debuted at Sundance, The Nightmare is at once a documentary and an effective horror movie.

Richard Stanley's The Otherworld (L'autre monde)
The head-trippy doc is a singular mix of history and ghost stories. Richard Stanley's L'Autre Monde is part documentary about a storied region in southwestern France, part first-hand testimony of the paranormal, and part psychedelic head trip.

Lost Soul - The Doomed Journey of Richard Stanley's 'The Island of Doctor Moreau'
Dokumentarac o najboljem hororu koji umalo nije snimljen – i o tome ZAŠTO nije.

Leviathan: The Story of Hellraiser and Hellbound: Hellraiser II
Iscrpan dokumentarac o mom omiljenom horor nastavku.

Dark Star: HR Gigers Welt
Nemački dokumentarac o nedavno prerano preminulom geniju, slikaru i vizionaru.

12 коментара:

  1. Sve u svemu, duplo golo, nadavaces se ti dvojki koliko vidim. Današnji filmovi nemaju senzaciju, previše ih banalizuju, to je njihov problem.

    Nego, јuče sam dobio Horor priče u izdanju Otvorene knjige, legla mi je Mopasanova priča Vuk, a onda sam se zakačio sa braćom Rusima, Gogolj, Vij, Puškinova Pikova dama, nemaju nekako osećaj za stravu, smešno je kad krenu one priče o baštovanima, dinjama, hodočasnicima, nekako smo navikao na zapadnjački horor, Rusi previše guraju nepotrebnog dijaloga o raznim podmitljivim stanovnicima gubernija, uspavaš se čitajući. Lepa knjižica. sledeći moj pohod je Grob bez dna, a onda čekam tvog Algernona.

  2. Sacekacu neku tvoju cetvorku od 2015., pa kad torrent ucini svoje gledacu.

  3. Wyrmwood: 2-

    Све супротно од оног како су га описали: некохенрентно, млако, неузбудљиво.

    Прича почне пред крај филма. А дотле... неколико извештачених сцена у којима бисмо требали да суосећамо са болима јунака, бајат, вештачки накалемљен хумор, вожња колима које покреће метански дах зомбија који се ослобађа само дању (wtf!?), неупечатљиве акционе сцене, неки луди научник који ескпериметише са крвљу зомбија, слуша диско и бескрајно се забавља (чиме?)...

    Једино што је занимљиво је та телепатска контрола зомбија... Али ни то није искоришћено до пред крај, па ни после тога...

    Почели су да снимају један филм, наставили са другим, сетили се да је могуће то урадити и на неки трећи начин, на крају завршили нагло, јер све у овом филму може да буде ту, а и не мора.

  4. slažem se s ponečim što kažeš, ALI - meni je prijala dinamičnost, energija, paljevina, mestimična duhovitost, vizuelno nadahnuće (dizajn)... jeste to glupo u suštini i all over the place i nema nikakvog smisla ta priča, i to čak i nema kraj... itd. ALI - meni je prijao kao nijedan zombi film već godinama, pa zato, od mene, 3-


  6. Odgledao sam "Child 44" pre neki dan. Holivud glumi Ruse, ne razumejući slovensku divergentnu dušu, na čelu sa paljevinskijim holivudskim imenima tipa Geri Oldman, Čarls Dens, Vinsent Kasel i još neki mlađi, tipa Tom Hardi. Moja ocena ne odstupa mnogo od IMDB ocene, u ovom slučaju.

    Sovjetsku utopiju 50ih godina XX veka, pod sloganom "Nema ubica u raju", kojom je ispran mozak i najvišim slojevima u državi, preseca sporadična ubistva dece od strane pedofila koji je preživeo ukrajinski Holodomor i ostao na tom uzrastu. Hirurški izvedena ubistva se od države zataškavaju nesrećnim slučajem, jer nema ubica u raju, čak se kuju i teorije da su Nemci ostavili svoje osvetnike da godinama posle rata štete sovjetskom narodu. Klasičan holivudski trilerčić, na mahove debilski otkriva tu strepnju, saspens, možda je hteo itekako da zaživi da su to kompletno Rusi odradili, ali bez zajebavanja kome su skloni. Podsetio me na neki film, takođe o čedomorstvu, gledao sam još kao klinac, neki Čikatilo beše psihopata, istiniti događaj, film je itekako horor u odnosu na ovo. Sav taj saspens koji polazi na usta dok gledate film, prosto da vas dovede u situaciju da kao ludak opštite sa ekranom, u smislu: "Evo ga ljudi, hvatajte ga! Upravo je seo na voz i obrađuje žrtvu!". To je stvarno jadno da neki čikica melanholičnog izgleda prolazi pored kordona policije na stanici, gura se u gužvi, zrači milosrđem, a ovamo. Ironično, poput nekih razvratnih slojeva sveštenstva, koji ne znaju šta će sa terencima i poseta ženskim manastirima. Šta li sve skrivaju državne arhive... drže nas u nedoumici kao Amerikanci svoj fastfood nardo za Area 51 i mnoge druge Areee.

  7. doktore, da li si gledao ovaj film i ako jesi da li ima tvoje odobrenje za gledanje... u oitanju je "Shrew's Nest" -

  8. Shrew's Nest sedi raskrečena na samoj crti između 2+ i 3-. nije to negledljivo, vredi mu dati šansu, ali ne očekujući bogzna šta. fali mu poenta, i svodi se na dramu o jednoj patetičnoj, bolesnoj osobi.

  9. Ima titla za Over Your Dead Body, i to odavno. Idealan je za one koji znaju kineski. Na drugim jezicima ga nisam primetio, ali ako ga neko negde ulovi, nek javi/pošalje!

  10. Za "Over Your Dead Body" se konačno pojavio titl na engleskom. Evo i linka: http://subscene.com/subtitles/over-your-dead-body/english/1269259

  11. jeste, izašao je pre oko 2 nedelje, i smesta sam ga pogledao. solidan je film, mekana trojka, ali svakako jedan od najboljih novih miikea.