Here is a film truly worth your time. Much like >, it deals with spirits, but this one is "authentically" American (lol)—it focuses on local Southern voodoo. The acting is solid, the production design is top-notch, the atmosphere is genuinely unsettling, and I didn't spot any major plot holes. I've always been fascinated by voodoo (specifically voodoo as a theory versus hoodoo as a practical tradition), and while I wish the film had dedicated a bit more attention to those specific rituals, it still turned out exceptionally well. By the way, the film was created by the writer behind > and the director of >. I'm actually trying to download the soundtrack via Spotify right now.🙂 Definitely give it a watch!
It isn’t just incomprehensible; it’s pathetic. It’s the same tired pattern over and over—someone acting like a child who needs constant validation. Besides, we aren't just talking about Americans here, right? There are Europeans in the mix too.
Whatever, I’m sticking with the Americans and Europeans... this didn't even have any psychological depth to begin with 😳 Look, I’ll admit the Japanese original might be better in terms of atmosphere and impact, but in my opinion, the story is just mediocre regardless
When I picked up tickets for this remake of a Japanese film I’d never actually seen, I expected something hitting the same heights as Black Water. Instead, I walked away pretty disappointed. It wasn't even the acting—it was just the storytelling. Everything feels like a carbon copy of the last thing I watched, riddled with plot holes, and the ending left me completely lost. Does every single Japanese horror flick have to rely on the tired trope of disgruntled ghosts to function? 😢
The movie was actually a pleasant surprise, despite Paris Hilton and her less talented half—the rest of the cast was decent enough, and Elisha Cuthbert was quite solid in her role. While the plot feels somewhat predictable and leans a bit too heavily into disaster movie tropes toward the end, the core concept is strong, especially the production design. Many details reminded me of a remake of The Texas Chainsaw Massacre (though I think the latter had more impact). Personally, I felt the film could have leaned harder into the psychological elements to build more tension and dread, but even so, I’d give it a 7.5/10, which isn't bad at all. Thankfully, we didn't spend too much time looking at Paris; her death scene was almost entertaining, mostly because the blood popped so well against that bleached hair :lol. I also doubt they'll let this one slide without a sequel 🙂)
And who exactly gave you the authority to sit there and meddle? George A. Romero's earlier work was exceptionally strong, so it’s a shame he missed the mark this time. If you have commercial tastes, just own it. Honestly.
quietdriver3 said:I realized I left out the "European underground" category, where we could easily slot in Necromantic and its peers.
Personally, I think that's the best way to handle it; Americans can never get enough excessive gore, whereas I've just never been a fan of Japanese cinema. 😳
It’s clear you don't care about substance; any movie will do as long as it's packed with zombies running around, laughing, shooting, and tossing grenades. The plot is irrelevant to you. I think you'd be better off watching soap operas—though, naturally, they'd need to feature zombies for your interest.
Look, making money off people isn't actually that difficult. There’s always a crowd willing to head to the theater just to get out of the house, even if the movie itself is absolute garbage.
I agree with that sentiment, but when a director realizes they've run out of anything constructive to contribute, perhaps it’s better to just step away—or head out to some farm in the Midwest to start planting pumpkins and corn or something. 😎
I watched pornography. It was honestly quite pointless. :/ I caught the trailer for House of Wax yesterday right before that Romerov horror flick; the trailer doesn't actually look bad, even if the cast is incredibly irritating. That said, a film can still succeed despite such distractions—the remake of The Texas Chainsaw Massacre is proof enough for me. So, I’ll probably try to download House of Wax before it hits theaters...
The term "thrown away" implies more than just discarded items; it suggests a loss of utility or value that was once present. In a broader sense, it can apply to missed opportunities or wasted potential. It is the act of treating something—whether an object, an idea, or a moment—as if it no longer holds significance. $9.25 Maybe two and a half hours, or so. It feels like it was designed purely for the box office—stripped of any psychological depth or meaningful character study. Instead, it just skims the surface, hitting those disaster movie tropes that we know sell well, much like *War of the Worlds*. The ensemble isn't particularly strong either; you have these throwaway characters, like the Black man and the guy with the intellectual disability, who don't add much. The ending feels unfinished and vague, too. Specifically, the scene involving D. Hopper and The Mexican is incredibly shallow—just a brief, senseless sequence. It’s similar to the moment before it, where the Black man suddenly decides to pour gas on the police car. Why does he suddenly become the smartest person in the room? And how did he manage to slip away so easily when, for the first time in the entire film, nobody was even following him? Mostly, I'm just disappointed. Looking back now, I realize just how good Dawn of the Dead actually was.