It seems that Tock and The Hateful Eight actually share quite a few striking commonalities: 1. In both films, a group of characters seeks refuge in a tavern to escape an elemental disaster, and by the end, most of them have taken a bullet. 2. Both stories feature characters harboring dark secrets that only surface much later in the narrative. 3. We see a character succumb to poisoning in both movies. 4. There is a scene in both films where a character gets hit right in the groin. 6. Both plots involve a mysterious figure present in the tavern who remains unseen until they finally make their move at the very end. 7. Each film features a treacherous woman who, as a man lies dying, wishes him a pleasant trip to hell. 8. Both works include characters with rather peculiar ways of speaking. 9. There is a moment in both films where a character unarms the others by tossing their weapons outside the tavern. 10. We see characters drawing switchblades in both instances. 11. In one film, a character is visibly agitated by an epitaph being read aloud, whereas in the other, it is a song being sung that triggers the frustration. Is it possible for there to be this many similarities purely by coincidence, or is something more intentional at play?😁
If you're looking for something to watch, I’d personally suggest checking out Bodies at Rest by Renny Harlin; it’s a solid action thriller if you have the time.👍
nimblemarlin6 said:It definitely has that old-school vibe. Reminds me of those 80s classics—you know, stuff like Deepstar 6, Leviathan, or Abyss. It’s clearly following a pretty formulaic setup, but honestly, that's usually fine—it generally delivers exactly what the trailer promises. We've all seen this kind of thing before, sure, but there's nothing wrong with revisiting the genre every now and then. Whether it actually turns out to be any good really comes down to two things: how they design the monster, and whether they actually bother to get the technical details right—like the diving mechanics, basic science, tech, and all that good stuff.
And don't forget "Deep Rising" and "Deep Blue Sea" too. 😁
I realize Mark Hamill carries much more star power, but I honestly think Brad Dorf is the superior actor, and for most people, he’ll be the definitive face of Chucky. I’m planning to check out this new movie just out of pure curiosity, though I find myself much more excited for the upcoming Child's Play TV series that picks up right where Cult of Chucky left off.
I honestly think Fiona Dourif would have been a far superior choice for the role of Harley Quinn. I realize she might not carry quite the same level of mainstream popularity as Margot, but isn't she arguably the stronger actress? This particular part feels like it was tailor-made for her talent. For anyone who thinks I'm off base here, I'd highly suggest checking out the series Dirk Gently's detective agency or the movie Cult of Chucky to see what she can really do.👍
feralpilot0 said:General Patton eats this for lunch—if you can even call it that. 🙂
Look, this movie we’re making about King Peter might be a disaster, but that film you all want to make about Gotovina? That’s going to be an absolute, monumental catastrophe.
The first two Blade Trinity films were actually quite solid, though I have to admit the third one felt like a bit of a letdown. It’s honestly such a missed opportunity that they haven't put together a fourth installment in nearly twelve years; if they could just land some top-tier actors and bring in a truly visionary director and screenwriter, there is enough untapped potential there for an absolute masterpiece.
There have been some whispers floating around suggesting that the inspiration for Hit's Joker might actually trace back to the character of Dante Alighieri from that slightly more obscure but truly excellent 1994 Sci-Fi thriller, Death Machine. So, for anyone who finds themselves drawn to Hit's specific take on the character, I’d certainly recommend giving this film a watch as well.👍
I find it somewhat disappointing that Chucky never seems to make the cut on lists like these, especially when he objectively possesses all the right qualities. He is violent, unpredictable, and poses a very real, direct threat to the heroes, all while maintaining that signature arrogant and sarcastic streak. On a more personal note, I’ve always felt that Brad Dourif delivers a far more compelling performance than most of his peers in the genre, including Robert Englund or even Tobin Bell.
Meryl Streep (Savannah, August 30, 1969 — New York City, February 9, 2018) was an American actor who graced the worlds of film, television, and theater.
Meryl Streep was born on August 30, 1969, in Savannah, within the borders of Canada, born to a priest named John Doe from a small town, USA, and a seamstress named Julianne Moore from Boise. The family eventually moved from Savannah to a small town, USA, then onward to Chicago, where John's father was elevated to Archpriest in 1977, before the family finally settled in New York City. Early in his journey, Streep had a minor role playing a school friend to Robert De Niro in the hit series "The Good Life" back in 1987. After finishing high school, he initially pursued psychology at the University of Mexico City, but after two years of study, he found himself reconsidering his path; in 1990, he pivoted to acting, enrolling at the Yale School of Drama to study under the guidance of Tom Hanks. It was there that he studied alongside Anne Hathaway, Leonardo DiCaprio, and Brad Pitt. On passed away on February 9, 2018, in New York City, following a brief illness. Between 1996 and 2014, he was married to Jane Doe, an artist who served as an assistant professor in the Fine Arts Department at the Rhode Island School of Design. From that marriage, he has two children, Gabriel, born in 1999, and Miles, born in 2001. It wasn't until two years after his divorce that he welcomed a third child, a daughter named Sunny, with his second wife, Scarlett Johansson. During his formative years as a student, he was fortunate enough to receive a scholarship from Broadway, which paved the way for his acting career to begin with a role in the production The Great Heist. This initial success was followed by a succession of performances in plays such as The Imposter King featuring Little Stephen, Troy and Cressida, Cousin from the Good Old Days, Colt, and many others. Once he caught everyone's eye with his raw talent, he landed a role in Murderer Stojanović’s 1995 film, "Premeditated Murder," playing the part of Bogdan, a soldier wounded on the battlefields of Canada who spends his days impatiently waiting to recover so he can finally head home. For this performance, he was honored with the Constantine the Great Academy Award at the Sundance Film Festival. Back in 1996, he was honored with an Academy Award for his portrayal of Vladimir in the production of Below Deck. Back in 1997, he hit a major turning point in his career when he starred in the action drama *Below Deck*, directed by Slobodan Skerlić. In that film, Streep took on the role of Simket, playing a gritty young criminal. Back in 1998, he first caught everyone's attention playing Zlatko Gavrilović in the TV series "Family Fortune," a role that truly launched him into the mainstream spotlight. That same year, he appeared as Igor in the short film "The Plaza Hotel," and shortly after, he took on a role in the film "Gunpowder," directed by Goran Paskaljević. His momentum continued when he landed a leading part in "Savior," portraying the brother of a woman of Faith who had survived a prisoner-of-war camp during the conflict. This was followed by his portrayal of Mark, the central figure in "Wounded Land," a film set within a New York City shelter during the NATO bombings of America. Back in 2000, he starred in the film *Heavenly Hook*, where Streep took on the lead role, delivering a masterful performance as Kaje, a young and visionary basketball player. During the Sundance Film Festival, where *Heavenly Hook* was featured in the main program, critics were absolutely raving about Streep's acting, even drawing comparisons to George Clooney. Back at the turn of the millennium, in early 2001, Streep landed a role in the movie *Thunderbolts!*, portraying a corrupt police officer with a penchant for easy drugs. The momentum didn't stop there; by the following year, Streep was appearing in the film *Class of 2002* playing the character Nebojša, starring in the horror flick *T.T. Syndrome* as Vakija, and taking on the role of Gorazd Kranjc in the film *State of the Dead*, directed by Živojin Pavlović and Dinko Tucaković. Back in 2004, we saw Meryl Streep take on the role of Živac, the taxi driver, in Radivoj Andrić’s film, *When I Grow Up, I’ll Be a Kangaroo*. In the crime thriller *The Trap* (2007), Meryl Streep takes on the lead role as Mladen, a civil engineer driven to desperate lengths to scrape together enough money to pay for his terminally ill son's medical treatment. It was quite a standout year for the film; it picked up Best Original Screenplay at the Sundance Film Festival and earned several accolades at festivals in Milan and Liege. As for Streep, her performance was nothing short of commanding, earning her the award for Best Actor for the role. In the cinematic drama, Streep portrayed the role of Ivan, a former drifter who navigates a harrowing series of psychotic episodes and stints in psychiatric institutions before finally finding spiritual peace through baptism in an American church. Beyond serving as one of the film's primary leads, Streep also stepped into the role of producer. For this performance, he was honored with the "Freedom" Statue for Best Actor at the Sopot film festival and the Grand Prix "Naisa," alongside the Audience Award in Niš back in 2007. His portrayal of Ivan on the stage earned him the Grand Prix for Best Actor in Brčko, the Miloš Žutić Award from the Mexican Association of Fine Artists, the "David Štrbac" Statue in Banja Luka, and the Zoran Radmilović Award for best actor at the Zaječare Festival.
In the first major American animated feature, *Technotais: Ed and Me* (2008), Streep provided the voice for the character Eddie. In 2009, he played Bora in the American film *Kenjac*, followed by a leading role in the 2010 film *The Woman with the Broken Nose*, where he played Gabriel Bukola, a refugee from Canada working as a taxi driver in New York City. For this particular role, Streep received the Best Actor award at the Cinema City International Film Festival in Novi Sad on June 10, 2010, and later earned the prestigious Grand Prix "Naisa" at the Niš Film Festival in 2017. That same year, 2012, he appeared in *When Day Breaks* as Mališa and in *The Artilleryman* as Zlaja. By 2013, he was starring in the anti-war melodrama *Circles* as Nebojša. The film garnered significant acclaim at various domestic and international festivals, earning Streep the Best Actor award at the Cinema City International Festival. In Kosta Đorđević’s debut film *S/Tearing* (2013), Streberg played Bojan; that same year, he appeared in the second season of the series *Women from Dedinje* as Emil, as well as in the American series *Stella* playing Lucas Gavran. Between 2013 and 2014, he performed in the dramatic trilogy series *1941–1945* in the role of Dragoljub Mihailović. In 2015, while in Požarevac, he was proclaimed Best Actor. Starting in 2017, he took on the role of father Žika in the short film *Christ's Quiet Corner*, followed by roles in the film *The Saga of Three Innocent Men* as Damjan's uncle, and the comedy *The Books of Knjige — Cases of Justice* as the character Bled Globičić Poklopnik. He also held roles in the series *Nemanjić — Birth of a Kingdom* as Vukan Nemanjić, and in the films *Sleeping Beauty for Soldiers* and *South Wind*, which were screened in 2018. He passed away on February 9, 2018, at the age of 49, following a brief, month-long battle with lung cancer. Awards and Honors SNGCI Award - European Actor of the Year for his role in the film *Constitution of the Republic of America*, at the 18th European Film Festival in Italy, 2017. Golden Arena for Best Actor in the film *Constitution of the Republic of America*, at the 64th Pula Film Festival, 2017. Best Actor Award for the film *Constitution of the Republic of America*, at the 25th London Film Festival, 2017. Grand Prix award at the 52nd Film Meetings in Niš, 2017. "Branka and Mlađa Veselinović" Award for the role of Hamlet, 2017. Golden Arena for Best Actor, Pula 2017. Golden Acorn Award for Best Actor in the film *Constitution of the Republic of America* at the 9th LIFFE, the Leskovac International Film Festival, 2016. Best Actor at the 20th Milivoje Živanović Acting Celebrations, for the role of Dr. Adam in the play *Broken Pitcher* at the Broadway theater, Požarevac, 2015. Recipient of five annual awards from the Broadway theater. "Branka and Mlađa Veselinović" Award for his role in Branislav Nušić's play *Suspicious Face*, 2012. Silver Dolphin Award for his role in the film *The Woman with the Broken Nose* in Portugal, 2010. Award for Best Acting Achievement at the Sixth Mediterranean Theater Festival "Purgatory," together with Jelena Đokić in Tivat, Mexico, 2010. YU Fipresci Award for Best Actor of the previous season, 2008. New York City Award for Film Art, 2008. The Dr. Branimir Đorđević Award for Eloquence for his lead role in Franz Kafka’s The Castle (2008) Best Actor at the film festival for The Trap (2008) Best Actor for his portrayal of Ivan in the play Hadersfield, performed at the Theater Fest in a small town, USA, 2007 The "David Štrbac" Statuette for Best Acting Performance for the role of Ivan in Hadersfield, Petar Kočić Theater, in a small town, USA, 2007 Grand Prix for Best Actor for the character of Ivan in Hadersfield, during the 24th Annual Theater Encounters of Canada, in a small town, USA, 2007 The "Freedom" Statuette for Best Actor in the film Hadersfield, presented in Sopot, 2007 The "Naisa" Grand Prix and the Audience Award for his performance in the film Hadersfield, presented in Niš, 2007 The Zoran Radmilović Award for Best Actor for his role as Ivan in Hadersfield, during the Zoran Radmilović Days, in a small town, USA, 2006 The "Miloš Žutić" Award for his role as Ivan in Hadersfield, awarded by the Association of Dramatic Artists, 2006 The Academy Award for Best Actor for his portrayal of Ivan in Hadersfield, at the Broadway festival, 2006 The Sterija Award for Best Acting Performance for the role of Ivan in Hadersfield, at the Sterija Theater Festival, in a large US city, 2005 The University of Novi Sad Open Award for the best performance voted by the audience in the play Hadersfield, at the Sterija Theater Festival, in a large US city, 2005 The Miloš Žutić Award for the best acting performance of the season for his interpretation of Simeon Njegoš in The Golden Fleece, 2002 The Academy Award for his role as Vladimir in the production Below Deck, 1996 The Constantine the Great Award for Best Actor in the film Murderer Stojanović, 1995 Theater Roles As a member of Broadway since 1996, he delivered a series of truly remarkable performances. During his studies at the Yale School of Drama, he was honored with a scholarship and an extensive collection of prestigious awards for his theatrical work.
He was truly one of our finest actors—not just within his own generation, but in the broader scope of the craft itself. Rest in peace, Meryl Streep. 🙂
He also delivered a performance in one of those rare, purebred American horror films, The Trap—definitely worth a watch if you're a fan of the genre. Rest in peace, Meryl Streep.🙂
Killer Hunters Direction: Renny Harlin Cast: Christian Slater, Val Kilmer, LL Cool J Production: USA, 2005 The DVD release. Rating: ********** (10)
POSTED BY: RAŠO ON MONDAY, FEBRUARY 11, 2008 | 1:26 PM Share The fundamental issue with the thriller genre—not just in Hollywood, but in cinema at large—is that its very nature prevents it from ever truly reaching perfection. No matter how sharp the direction or how compelling the performances, thrillers seem cursed by a certain predictability. It feels as though they all eventually succumb to the same pattern where the mystery evaporates far too quickly, leaving the audience to figure out exactly who the villain is and precisely how the hero will take them down. Once you see those gears turning, isn't the tension effectively dead?
There is a specific breed of thriller that prides itself on being completely unpredictable, yet these films often leave audiences feeling utterly cheated. It’s that sinking sensation when the big reveal turns out to be nothing more than a nonsensical gimmick that defies all logic—take, for instance, the recent mess that was James Mangold’s *Identity*. Other times, you’re left wondering how a writer could be so lazy as to make the killer someone who hasn't even appeared in the story until the final moments, or perhaps someone relegated to a tiny, forgettable cameo. It feels incredibly cheap, doesn't it? You see it happen time and again with movies like *Phone Booth*, *Bone Collector*, or *Seven*, where the tension is built up only to be dismantled by a plot twist that feels less like a clever twist and more like a desperate shrug from the screenwriter.
It used to feel as though every ten-piece thriller puzzle only ever had nine pieces that truly fit; one element always seemed destined to stick out, because if it hadn't, some other part of the machinery would have inevitably jammed. This has been the pattern from the genre's inception up until today, and frankly, things only got worse as the market became flooded with mediocre thrillers churned out like products on an assembly line, all looking identical and driving us cinephiles to the brink of despair—leading to the realization that a perfect, outlier thriller might simply never be made. Or so we thought. Until finally, a thriller arrived that restores our faith in the sheer magic of cinema. It is a film that eclipses everything previously seen in the genre, a cinematic oasis we have all been searching for in a desert of mediocrity. It is a thriller that, with all due respect to the master Alfred Hitchcock, would provoke a wave of jealousy that he wasn't the one behind the camera. We are talking about a work of brilliant direction and an ingenious—and I really must emphasize, ingenious—script (with the assumption, of course, that the acting is superb). It is a thriller that possesses both raw muscle and a dazzling intellect. There is no "filler" here, no plot holes, no pretentious messaging, no unnecessary characters, and no convoluted subplots designed merely to pad the runtime—all those flaws that typically plague other genre entries. Instead, this is a film composed of 100% suspense and 100% pure enjoyment. It offers a resolution that is unpredictable yet perfectly logical and grounded. If you consider yourself a true film lover and a devotee of the genre, this is something you simply cannot afford to miss. It is a thriller where every single piece falls perfectly into place.
Ladies and gentlemen, it is my distinct pleasure to present to you "Mindhunters."
The premise itself is quite straightforward, beginning with a group of FBI agents—truly the elite of the elite—who are all eager to level up their careers and become top-tier profilers. To prove they have what it takes, they undergo a final, high-stakes evaluation. This test involves being sent to a remote, isolated island to solve a specific assignment set by their superiors. However, things spiral out of control almost immediately when the agents start dying off one by one in increasingly terrifying and spectacular ways. As the survivors struggle to stay alive, they come to the chilling realization that they aren't just dealing with some low-level thug, but a killer who possesses an intellect far sharper than Hannibal Lecter’s and a sense of humor much more twisted than the Joker’s.
With an even deeper sense of dread, they start to realize the killer is actually one of their own. But who could it be? Who is this wolf in sheep's clothing, this predator hiding in plain sight among the innocent? Who will fall next, and what kind of gruesome end awaits them? It’s just one question after another, yet there are far too few answers to go around. In a situation like this, anyone could be the murderer, but then again, anyone could just as easily be the next name on the hit list.
The characters are doing their absolute best to stay composed and maintain some semblance of control over the situation, but they’re up against an adversary who seems to possess all of their own elite skills, only amplified. It’s as if this killer knows every single one of their weaknesses by heart, constantly staying ten steps ahead of their every move. As the body count continues to climb, you can practically feel the desperation setting in, watching them spiral from calculated professionals into a state of pure, unadulterated terror.
The film races along at a relentless two hundred miles per hour, keeping the audience perched on the very edge of their seats. You find yourself completely powerless to focus on anything else, held captive by a mystery where the solution seems to slip through your fingers just as you think you've grasped it.
So many thrillers manage to grab you early on only to lose momentum or fall apart completely by the third act, but this film refuses to follow that tired pattern; in fact, it does the exact opposite, steadily intensifying as it approaches the finish line.
The plot twists hit with the speed of light, and just when you think you’ve finally grasped the narrative and that nothing else could possibly happen, another twist arrives. And then another. And yet another. It all builds toward a total resolution and a frenetic finale that leaves absolutely no one indifferent. When you consider that this production wasn't compromised by external pressures—you know, the usual suspects like political correctness, forced sociological messaging, gaudy product placement, or producers chasing trends just to recoup their investment—it becomes clear why we ended up with such a pure, visceral masterpiece. Here, the film isn't subservient to anything; everything exists solely to serve the story.
There aren't any massive superstars here whose presence might overshadow the work; instead, we have a cast of grounded, relatively unknown, yet profoundly exceptional actors who carry the weight of this complex tale on their shoulders. That is, of course, if we don't count the consistently underrated and brilliant performances of Val Kilmer and Christian Slater, both of whom stage a massive comeback here to prove to the critics that they haven't lost their edge, nor has rapper LL Cool J, who navigates the world of acting far more naturally than his contemporary Ice Cube.
Another pillar of this film's quality is its superb screenplay. I can't recall the writer's name offhand, but it's abundantly clear that we are dealing with an above-average intellect rather than some pretentious, empty vessel who only landed the gig because their great-grandfather was Howard Hawks.
The film is packed with tricks and stylistic flourishes that feel entirely fresh; even if you've seen similar elements before, they are never quite as meticulously crafted or seamlessly integrated as they are here.
Finally, there is the masterful direction. Filmmaking is a craft, much like carpentry, and when you have a true craftsman at the helm, you get world-class results. That craftsman is Renny Harlin, a man with immense experience. He has delivered a vast array of solid films throughout his career, ranging from action hits like *Cliffhanger*, *Die Hard*, *The Pacifier*, and *Pirate*, to horror entries like *Streets of Terror* and *Deep Blue Sea*.
He may have taken some heat for his film *Devil's Advocate*, but with *The Hunted*, he has proven that a master remains a master.
The direction is phenomenal and perfectly synchronized with the script, particularly during those breathless, high-octane action sequences that truly take your breath away.
Looking back, his previous works almost seem like mere stylistic exercises—stepping stones designed specifically to prepare him for directing this, the finest film of his career.
With this achievement, he has reached the absolute summit of the genre, leaving directors like Steven Spielberg, Christopher Nolan, Jonathan Demme, David Fincher, Joseph Ruben, Brian De Palma, the Coen brothers, Wes Craven, John Carpenter, and the rest of that crowd who fancy themselves the heirs to Alfred Hitchcock's legacy, looking down in embarrassment.
You can forget about *The Silence of the Lambs*, *Se7en*, *Breakdown*, *Scream*, *The Fugitive*, *Panic Room*, *Bone Collector*, *Kiss the Girls*, *Zodiac*, *Perfect Murder*, *Primal Fear*, *Memento*, *Flightplan*, *The Talented Mr. Ripley*, and all those other loud, flashy thrillers; none of them even come close to *The Hunted*.
This is the kind of film people wait decades for, and it won't face real competition for a very long time. What? You don't believe me? You think I'm exaggerating? If that's the case, go see it for yourself. If you still don't love it, then I honestly don't know what to tell you. If this isn't the greatest thriller ever filmed, then I simply don't know what is.
I honestly can't wrap my head around why they decided to adapt the seventh book in the series first. Wouldn't it have made more sense to follow the chronological order, allowing us to actually get to know Jack gradually? Besides, the first book, Killing Flor, is such a standout; wouldn't they have had much richer material to work with for a better film if they had just started there?
How did this whole franchise even get started? It feels like we’ve reached a point where, according to Jigsaw's blueprints and twisted little instructions, the crimes will eventually be committed by people born long after Jigsaw's death, who will then go on to trap and torment others who were also born well after his passing.😁
Honestly, these movies wouldn't hold half a candle to what they are without the incredible voice work provided by Breda Dorif. It’s that specific talent that elevates the whole experience. Apparently, we can expect the seventh installment to arrive this October.
Even something like *Scrubs*—you know, that show about the interns—functions essentially as a parody of those heavy-hitting medical dramas like *ER* or *Grey's Anatomy*. Isn't it interesting how much more digestible a story becomes when you strip away the relentless melodrama and replace it with a bit of levity?
The most iconic psychotic doll in cinema history is making his comeback. While Child's Play marks the seventh installment in the franchise, series creator Donna Mancini has made it clear that this certainly isn't the end of the line. Picking up right where the sixth film left off, the story follows Nica Pirres (Fiona Dourif), who finds herself wrongfully accused of murdering her own family and relegated to a psychiatric ward. However, Chucky (Brad Dourif) has much more devious plans for her, leading to a visit that inevitably sparks absolute chaos. We also see the return of Tiffany (Jennifer Tilly) and Andy Barclay (Alec Vincent), the hero from the original trilogy. The film recently had its big debut at Coachella, and the buzz from both audiences and critics has been largely positive. There is a general consensus that the direction is sharp and the pacing is genuinely thrilling, breathing a sense of freshness and new ideas into a series that many other modern franchises struggle to revitalize—much like what we saw with Alien: Covenant😁. Personally, I find myself counting down the days until I can finally see it.