81 posts shown.
Harold Wells20 said:😲
why the hell are you throwing these bands in with this garbage?
Samuel Murphy6 said:Good lord, what kind of username is that? 😲 🙏 🙏 🙏
Please don't delete this post:
Alors on Danse
You can't prove it isn't 🤷
Jesse Rodriguez said:John Lennon denied several times that Lucy had anything to do with LSD... apparently, little Julian just called a sketch he doodled in school by that name.
Billy Idol - Rebel Yell (written after knocking back some whiskey of the same name with Keith Richards and Wood)
The Darkness - Givin' Up (perhaps the most subtle description of going through the veins)
The Blues Brothers - Guilty (got some whiskey from the bartenders, got some cocaine from my friends)
The Clash - London Calling
Flogging Molly - Drunken lullabies
stormywolf39 said:Black Sabbath - Master of Reality... the whole 🙂
swiftmaker20 said:And then you completely forget about Lucy. 🤦
Sarah Wood8 said:Some people just completely miss obvious sarcasm 😉
Sarah Wood8 said:If he's good in bed, everything else is forgiven.
Brenda Cooper3 said:When I was little, I was so incredibly foolish—I actually tried to catch a performer and endedstood there soaking his feet in water just to wash off the mud because his dirty feet were bothering me...
I ended up getting swatted with a switch when they caught me, and after that, it never even crossed my mind to "play" with animals like that again.
Austin Alvarez62 - I had no idea. Growing up, I was always told the hierarchy goes: monkeys first, horses second, dogs third, pigs fourth, then maybe cats... while chickens and turkeys are basically at the very bottom of the list.
People don't really mention rats out in the country either; they're viewed strictly as pests, meant to be dealt with harshly. It’s sad, but true. Well, maybe not "sad" exactly... in a way, yes... but not overwhelmingly so. If you know what I mean.
Dolphins aren't really brought up much either, since we don't typically have much contact with them out here. 😬
Brenda Cooper3 said:Usually, it’s the male cats that go after my hands... I can't even get near them. 😕 wtf
Cats just don't seem to take a liking to me in general.
There’s this one neighbor's cat—a massive, chubby gray beast... sometimes it squeezes through the fence to visit us. I’ll be sitting there calling out "psst psst psst," and the thing just plays games; it'll approach, then bolt away, then creep back closer, then wander off again. I couldn't even tell if it was a boy or a girl...
Honestly, what can I say? I'm just not their type. If I actually had a piece of deli meat in my hand, it would come flying at me like crazy... but otherwise, nothing.
They are cunning creatures. I actually have a theory that cats are smarter than dogs. 🤷
placidwolf27 said:Psychopathy is essentially driven by abnormal brain development—it isn't about excuses, nor is it some simple matter of being "evil"...
The crucial detail in this entire situation is that the individual kicked a cat, not—heaven forbid—a child.
It’s likely more a reflection of their specific worldview and mindset rather than some deep-seated, severe pathology...
Then again, one could argue they are a psychopath, but you certainly can't make a definitive call just from watching a video clip.
Donna Gray4 said:Here is my list of the best horror films from the last decade. I have to admit, I spent a long, long time agonizing over this one...
Pulse by Kiyoshi Kurosawa. New technology is basically just a gateway for horror these days, isn't it? In Pulse, the internet quickly morphs into this digital portal where spirits from the other side reach through to grab at the "souls" of people on this side—people who just sit there, staring lifelessly at their flickering monitors while they're being hunted. It’s a grim, artistic horror flick that really nails the vibe, especially thanks to an excellent camera and a thick, suffocating atmosphere of dread built by the sound design, not to mention a few genuinely unforgettable, terrifying scenes.
Is there anything more unsettling than watching Bill Paxton deliver a performance that feels like it’s vibrating on a completely different frequency than everyone else in the room? I was revisiting Frailty recently, and man, it just hits differently when you realize how much weight he carries in every single scene. You have to wonder, does anyone else find the moral ambiguity in this movie absolutely suffocating, or am I just sitting here overanalyzing the descent into madness? It’s one of those films where you’re constantly questioning if you should be rooting for the protagonist or running for the hills, especially with that heavy, oppressive atmosphere hanging over the whole story. Is it even possible to watch a movie like this without feeling a little bit complicit in the darkness unfolding on screen? It’s a gut-wrenching, hauntingly believable family drama that taps directly into one of our most primal fears: what happens when someone closest to you—someone you actually trust—turns into an absolute monster? Honestly, the true horror isn't even found in the actual murders the father commits; it’s much more unsettling than that. It lies in those heartbreaking attempts by the boy to make sense of this brutal adult world and its twisted, nonsensical logic. Isn't that the scariest part of all?
So, we’re talking about 28 Days Later by Danny Boyle? Honestly, how can you even look at modern zombie cinema without feeling that massive, gaping hole left by this masterpiece? It’s one of those rare instances where a director actually understands how to weaponize silence and urban isolation to make your skin crawl, isn't it? Most people think they know what a "zombie movie" looks like, but Boyle didn't just give us shambling corpses; he gave us this terrifying, hollowed-out version of London that feels more like a fever dream than a setting. Does anyone else remember that opening sequence—just Jim wandering through those empty, desolate streets? It’s haunting. It’s visceral. It makes everything else feel cheap by comparison. And let's be real, while everyone loves to talk about the gore, it's the sheer, frantic energy of the pacing that really gets under your skin, don't you think? It doesn't linger; it attacks. It’s lean, mean, and absolutely unapologetic. Is there any other film from that era that captured such a perfect sense of societal collapse without turning into a total circus? I highly doubt it. Boyle really has this incredible knack for pacing and building suspense, doesn't he? Even though the movie clocks in at nearly two hours, every single minute feels earned; he uses that time perfectly to transition from those haunting, unforgettable shots of a decaying metropolis at the start to these lightning-fast, frenetic, high-octane sequences where you're just dodging the infected left and right—all while sprinkling in those slower, heavy-hitting dramatic moments that actually matter. The action flows so seamlessly right up until, well, that somewhat overly conventional ending.
7. The Others - Alejandro Amenábar Drawing from that classic European cinematic tradition—or those haunting 19th-century ghost stories we all know and love—this horror flick is honestly one of the most perfect captures of essential Gothic atmosphere and meaning ever put on celluloid. Is the twist at the end maybe a bit predictable? Sure, perhaps, but does it even matter when it’s so seamlessly woven into the core themes of the film? Not in the slightest.
6. Martyrs - Pascal Laugier This director is obsessed with pain—not just physical, but how it absolutely wrecks the psyche. He builds these narratives around victims who might actually make it out alive, only to realize they're forever shackled to the trauma etched into their souls. His most terrifying scenes? They aren't just scary; they’re deeply gut-wrenching and honestly pretty devastating to watch.
Is anyone actually going to talk about *Antichrist* by Lars von Trier, or are we all just going to pretend that visceral, soul-crushing descent into madness didn't happen? I mean, really, how does one even process a film like this without feeling like they need a decade of therapy? It’s such a heavy, suffocating piece of cinema that forces you to stare directly into the abyss of grief and nature's cruelty, isn't it? Does Lars von Trier ever just want to make something lighthearted, or is his entire creative mission to ensure we all leave the theater questioning our own existence? It’s beautiful in a terrifying, grotesque way, but man, it hits you like a freight train. Anyone else still haunted by it? This intellectual provocation from a Danish genius is a total trip, digging into the friction between man and nature, and the messy dynamics between men and women in a way that is aggressively politically incorrect. It’s technically flawless, sure, but the concept itself? Absolutely electric. It manages to be horrifyingly shocking while maintaining this deeply sinister, pessimistic edge—it’s honestly a rare gem of subversive horror art that hasn't been given enough credit lately.
Let the Right One In - Tomas Alfredson Here’s a warm little human story about child vampires—or at least, vampires who look like kids. It’s this bittersweet parable about growing up and stepping up to responsibility, about that first crush versus a lifelong love, and the heavy price we pay for friendship, passion, and life itself. There is a tender, beating human heart pulsing just beneath the surface of a cold American suburb and its blood-spattered snow. The camerawork and direction are excellent in such an unobtrusive way; everything feels perfectly subservient to the characters and the raw drama unfolding.
Vinyan by du Welz. It’s a mechanism strikingly similar to what we saw in Antichrist, carrying all those same heavy implications: you have this irrational woman who completely unravels once she steps into the raw embrace of Mother Nature, while her naive, "rational" husband is systematically destroyed by simply trying to accommodate her hysteria. It’s such an understated, sinisterly atmospheric piece of filmmaking where existential, psychological, and metaphysical horror all bleed together into one unconventional, highly artistic horror drama.
Audition by Takashi Miike is one of those films that really sticks in your throat, isn't it? You go into it expecting a certain kind of slow-burn romantic drama, maybe even something a bit quirky or lighthearted, only to have the floor completely drop out from under you in the final act. It’s such a calculated, cruel piece of filmmaking—does anyone else feel like they were being lured into a trap along with the protagonist? Miike plays with your expectations so masterfully that you almost forget how much of a predator the main character actually is until it’s far too late. It shifts from a quiet, melancholic character study into something visceral and absolutely devastating. Is it even fair to call it a horror movie halfway through, or is it more of a psychological execution? Honestly, the tonal shift is so jarring that I found myself staring at the screen in stunned silence, wondering how a movie could turn so beautifully, terrifyingly wrong. Truly a masterclass in subverting everything you thought you knew. What starts off as this perfectly directed, Cronenberg-style drama—you know, that slightly bizarre, almost darkly comedic vibe—slowly but surely morphs in the second half into an incredibly toxic horror-thriller that builds toward one of the most shocking endings in cinematic history. The horror here isn't just jump scares; it’s intellectual, deeply unsettling, and Miike manages to hit you right in the head, the gut, and the solar plexus all at once.
High Tension by Alexandre Aja. Most genre fans were left feeling totally lost and pissed off by that ending, and honestly, the mainstream critics weren't much better—they completely missed the point. They failed to see that the twist is exactly what elevates this beautifully shot, expertly acted, and masterfully directed horror flick from being just another "decent" slasher into something much greater. Bloody Romance is actually this subtly brilliant reconstruction and expansion of the classic American slasher, specifically because it radically flips the script on traditional gender roles. The true genius lies in how the "final girl" is finally, inextricably linked to the "monster." After watching this, Halloween just doesn't hit the same way anymore.
Personally, I also think the best horror film of the decade is:
0. BATTLE ROYALE - Kinji Fukasaku - I’m throwing this contemporary masterpiece into the mix as a "number zero" solely because its genre is such a wild, messy blend—it’s basically a cocktail of sci-fi dystopia, high-octane action, and pure slasher horror. It is brutal, plain and simple. Does the violence hit harder because the victims and perpetrators are just kids? Absolutely. But is that gore justified by the scathing metaphor for the coldness of modern society—a world where everyone is out for themselves and success is the only metric that matters? You bet. Battle Royale somehow manages to pull off these wildly contradictory vibes at once, which feels like nothing short of a miracle; it balances this biting, cynical nihilism with a strangely touching sense of idealism and the belief that you can still win even when the deck is stacked heavily against you.
Now, look, I know this list isn't some holy scripture, and I realize it won't satisfy every single person's specific tastes. That’s why, after the top 10, I’ve decided to throw in another 15 titles that just barely missed the cut—films that those of you with different sensibilities or niche cravings will probably still find worth watching...
Here they are:
11. DAWN OF THE DEAD
12. SHAUN OF THE DEAD
13. SHUTTER
14. EL ESPINAZA DEL DIABLO
15. THE DESCENT
16. DOG SOLDIERS
17. THE HOST
18. THE MIST
19. REC
20. LES REVENANTS
21. NOROI
22. SAW
23. ILS
24. The Girl Next Door / The Exorcism of Emily Rose
25. THREE: EXTREMES