59 posts shown.
Raymond Anderson4 said:I’m with you there. I don't think he's got what it takes for Blade either. I seriously doubt he can pull off that vibe where a guy just walks into a room with zero emotion and starts tearing everything to shreds.
quietskipper4 said:but honestly, with most of his stuff, I get this vibe that it’s all just so technically flawless and rehearsed that I have to wonder how much of the emotion is actually real versus just being part of a highly polished performance.
I’m not saying that’s inherently a bad thing, but for me, the emotion I hear in most of his tracks doesn't feel like it's coming from some deep, soul-stirring passion for the music—it feels more like a meticulously planned part of the act.
Elizabeth Jones71 said:Look, I get that you aren't feeling his vocal tone—everyone’s got their own thing when it comes to music—but I honestly don't get this whole "zero emotion" argument. There are so many of his tracks where you can just sit there and feel the raw sadness, the pain, or even a sense of pure joy. If you're feeling brave, give this one a spin and then try telling me you don't feel a damn thing:
Elizabeth Jones71 said:Here’s a few more tracks, just so you guys can get a feel for his vocal range and the kind of stuff he puts out.
So yeah, if anyone actually feels like sitting down and listening, I’d love to hear what you all think.
Jeffrey Howard79 said:Just turn your brain off during those impossible scenes and you'll be fine.
rowdyotter12 said:Yeah... honestly, he’s bored out of his mind with them too. He even mentioned he was done filming this kind of stuff,
he’s practically itching to pivot into some quieter, heavy-hitting drama roles. But let's be real—it looks like he's stuck.
He’s been typecast so hard that's basically the only thing studios will cut him a check for.
I don't know what to tell you guys, I just can't wrap my head around it. It’s one of those things that feels like everyone else is seeing something completely different than I am. You know that feeling when you're staring at a piece of modern art in a gallery in Chelsea and you're just thinking, "Is this a joke, or am I actually missing something?" That’s exactly where my head is at right now. It feels performative, almost like people are just nodding along because they're afraid to look uncultured. I've spent enough time wandering through museums from NYC to LA to know when something feels genuine and when it feels like it was manufactured just to drive up the auction prices at Sotheby's. Honestly, it’s exhausting trying to keep up with the hype cycles. Sometimes I just want to go back to basics, you know? Just simple, raw talent without all the layers of pretension wrapped around it. It’s a bit cynical of me, I guess, but I've seen too many "groundbreaking" movements fizzle out into nothing within six months. Anyway, just venting. I probably just need more coffee and less Twitter. kaže:
Ethan Martin said:Totally agree. I mentioned this before, too. Those last 20 minutes? Absolute, unadulterated panic. It's easily one of the best examples of "found footage" horror ever made.
Man, this scene used to give me actual chills—like, full-on goosebumps. I am OBSESSED with this movie. Seriously, I absolutely love the original 2007 REC.
The sequel was alright, but the first one is just 🙏
pure gold.
I think I’ve lost count, but I’ve probably watched it 8 or 9 times by now. That whole concept of blending demonic possession/exorcism with zombie tropes? It's genius. The whole thing feels so raw and authentic, it actually hurts.
Mad respect to the filmmakers.
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Noah Roberts46 said:Look, I’m just calling it like I see it. ☕
It honestly just drives me up the wall when people try to force this stuff down our throats. At the end of the day, the quality of the movie is the only thing that should matter. Why should someone get a nomination just because they check a box for gender or race if they didn't actually earn it over the other nominees? It’s just not right—it feels like blatant racism and misandry wrapped up in a neat little bow.
Arthur Moore97 said:Wow, eleven years have passed and there hasn't been a single word about this movie on the forum. What can I say? Personally, I think the film is decent, but nothing more than that. The standout feature is undoubtedly how visceral and convincing the violence feels. It was shot on a shoestring budget with low-end production values nearly forty years ago, and that sense of realism is something that absolutely deserves credit; modern high-budget Hollywood horror movies often fail to capture even a fraction of that intensity. As for the underlying message or any supposed "deeper" meaning—well, that’s where things get pretty ridiculous. Deodato claimed he made this film to critique how the media hungers for violence. Okay, fine... but consider the plot: the guy searching for the lost expedition finds the footage and ends up fighting against the very TV network that sent the journalists there in the first place, all to prevent them from broadcasting those tapes. On those recordings, you see journalists committing atrocities against the natives. Seriously? What kind of TV network would actually air footage showing their own reporters massacring an indigenous tribe? It’s a massive logical leap that the movie really didn't need to make. In my opinion, Cannibal Ferox and The Green Inferno actually make much more sense regarding this theme, as they deal with naive, wide-eyed idealists. In fact, I feel The Green Inferno has a much stronger thematic connection to this film than Cannibal Holocaust does.
