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      The Texas Chain Saw Massacre review – original 1974 shocker is grotesque but brilliant masterpiece

      news.movim.eu / TheGuardian · Thursday, 13 June - 12:00 · 1 minute

    Tobe Hooper’s gonzo massacre movie set the template for so many horror films that were to follow – but retains a uniquely disturbing power all of its own

    In 1974, Tobe Hooper released this intimately upsetting and disturbing horror: a gonzo-macabre masterpiece inspired by the true story of serial killer Ed Gein , who was arrested in 1957 for grisly atrocities in remote Wisconsin. (Texas sounds better in the title.)

    Hooper’s minimalist shocker appeared just 14 years after Hitchcock’s sleek Psycho, which was also indirectly inspired by Gein (via the novel by Robert Bloch). Psycho is a far more refined variation on the Gein theme, more like Edgar Allan Poe. In contrast, The Texas Chain Saw Massacre feels utterly different: gritty, gloomy, social-realist; a no-budget account of how the Gein horror might have felt to those who actually encountered it. It feels closer, in its down-home style, to something like Barbara Loden’s Wanda , from 1970. Compared with the screeching slashers and their jump scares which it inspired, this is almost … well, not restrained exactly but more controlled, less generically self-aware, readier to defer its shocks. It is pre-formulaic. The first bizarre murder happens with no stabbing musical score on the soundtrack, with the camera positioned unresponsively at the other end of the room.

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      Fantasia to Flesh and Fantasy, the Coens to Cavalcanti: anthology films – ranked!

      news.movim.eu / TheGuardian · Thursday, 13 June - 11:00

    With Yorgos Lanthimos’s Kinds of Kindness hitting UK cinemas next week, we ask where it features in the pantheon of anthology masterpieces

    The Meaning of Life is probably closer to the world of TV sketch comedy, rather than ensemble movie, but the Pythons’ gang-show film was a box office smash and won the Grand Prix in Cannes in 1983 (while Víctor Erice’s The South and Martin Scorsese’s The King of Comedy got zip). With crazy grandiloquence, it took us through all the big questions of existence, and the tragicomic limits of physical pleasure were finally exposed by the restaurant scene in which Mr Creosote explodes. Like John Landis’s portmanteau comedy The Kentucky Fried Movie from 1977, this was full of very chancy, confrontationally bad-taste material that wouldn’t get on television then or now.

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      Sorcery review – orphaned girl out for revenge in unsettling Indigenous horror

      news.movim.eu / TheGuardian · Wednesday, 12 June - 10:00 · 1 minute

    The message is clear but subtle in Christopher Murray’s anti-colonial fantasy which features an emanantly watchful performance from Valentina Véliz Caileo

    Just as the 2015 film Embrace of the Serpent reversed the terms of the Aguirre-style colonialist expedition picture, this Chilean-Mexican-German collaboration (produced by Pablo Larraín) is a kind of inverted horror film that similarly draws on South American history. Where in western horror, Indigenous or pagan elements usually become demonised return-of-the-repressed fodder, in Chilean director Christopher Murray’s unsettling fantasy they are a source of identity, power and even reverence.

    Sorcery is a 19th-century radicalisation story. On the rain-lashed island of Chiloé, Indigenous teenager Rosa (Valentina Véliz Caileo) works as a servant for German farmers; speaking their language and practising their Christian religion, she is cut off from her Huilliche roots. When all the homesteaders’ sheep die simultaneously, with twine braids found on their corpses, her father refuses to give up any culprits and paterfamilias Stefan (Sebastian Hülk) unleashes his hounds on him with lethal results. Sent to live with Mateo (Daniel Antivilo), an elder involved with Indigenous secret society La Recta Provincia, the orphaned Rosa senses the potency of their rituals and realises they could bring her justice.

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      ‘We shot it in the murder capital of the world’ … how we made The Lost Boys

      news.movim.eu / TheGuardian · Monday, 1 April - 14:43

    ‘I had no interest in teen vampire films and turned it down five times. But Joel Schumacher promised I wouldn’t have to wear the makeup and teeth, or have to fly around. Of course, he lied’

    Joel Schumacher, the director, wanted me in the movie right from the first time we met. But the script I read was nothing like the magical movie it would become after rewrites and production, and I had no interest in teenage vampire films. So I turned it down about five times – but Joel was determined. He spent weeks explaining his vision, a mix of horror and comedy, and eventually wore me down. We made a deal: he promised I wouldn’t have to wear the makeup, the teeth or have to fly around. Of course, he lied.

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      Review: Candyman turns singular slasher into a timeless avatar for Black trauma

      Jennifer Ouellette · news.movim.eu / ArsTechnica · Sunday, 5 September, 2021 - 19:54 · 1 minute

    With thought-provoking films like Get Out and Us , writer/director Jordan Peele has already cemented his status as a master of smart, socially relevant modern horror. His influence is even broader as a producer, bringing fresh voices, directorial visions, and diverse perspectives to a genre badly in need of all three. His latest production is Candyman , director Nia DaCosta 's imaginative sequel (of sorts) to the 1992 horror classic, Candyman . This is only DaCosta's second feature film, yet she handles the material with deft assurance, transforming the singular slasher known as Candyman into an ageless malevolence whose curse reverberates through time.

    (Spoilers for the 1992 film below; mostly mild spoilers for the new film.)

    As I've written previously , the original 1992 Candyman was based on the Clive Barker short story " The Forbidden ." The film starred Virginia Madsen as a Chicago graduate student in sociology/semiotics whose thesis deals with urban legends. She hears about a series of brutal murders in the Cabrini-Green public housing project. The killer is rumored to be the ghost of a late 19th-century artist named Daniel Robitaille (Tony Todd) who was lynched because he fathered an illegitimate child with a white woman. The mob cut off his right hand and smeared him with honey to attract bees to sting him to death before burning his corpse and scattering his ashes over what is now the project's grounds.

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