War of the Worlds. I remember being a kid and thinking 🙏 was actually decent, but now 👎 I just can't stand the cheap sentimentality. Even with this Spielberg one having some of that, I still can't stomach it—especially movies like Armageddon, which is easily one of the absolute worst films ever made because I have zero patience for that forced, sappy crap, no matter how hard they try to sell it. I just don't like 😠
I have to admit, I’m always down for a good Tom Cruise flick, no matter what it is. Maybe it's because I grew up watching Top Gun and Days of Thunder? Either way, I watch them expecting a good time.
Peter Reed70 said:But hey, that’s what happens when some random director tries to mess with a masterpiece by Craven. He's out here playing with fire!
Can someone please explain to me why we even need a remake of this? It's like, I get it when Hollywood decides to remake those old martial arts flicks from Asia—I guess most Americans can't handle watching anything without subtitles, right? LOL.
But taking a movie that is already a perfect, timeless classic and deciding it needs a "new version"... man, that's just... 😕
Agle. I half expected them to go ahead and destroy this one too, since they've already done the Halloween remake and Friday the 13th, so they might as well complete that infamous trio, right? It's completely pointless.
I usually stick to IMDb. Honestly, though, a movie's rating doesn't mean much to me—it doesn't matter if it’s sitting at a 9.0 with 50,000 votes, right? I find myself scrolling straight down to the reviews instead, because if they're actually well-argued, that's where the real value is. Not that I even need IMDb to tell me whether a movie is worth my time or not.
Romero's original actually holds up. That final half hour is even somewhat intriguing, but as a complete package? It’s incredibly sloppy and feels totally amateurish. Even if the directing isn't bad, the editing absolutely kills the vibe, leaving the whole thing—both the story and the execution—looking like a disorganized mess. Plus, there's an endless barrage of dialogue where everyone just constantly interrupts one another, which is just plain irritating.
I mean, come on, not every Romero flick can hit the heights of "Dawn of the Dead," but this one? It’s just... I don't even know. Is it horror? A thriller? A drama? Satire? It refuses to settle into a genre, so it ends up feeling like it's trying to be everything and nothing all at once...
As for this remake, I was actually pretty into it for the first thirty minutes. Everything felt snappy and well-paced, especially with how quickly they brought the military into the mix—it was a dynamic, gripping start. But things really start to stall when (don't ask me how) the sheriff escapes the "camp" and heads back to town to find his wife. Honestly, from that point on, the movie just drags. I think the biggest Achilles' heel here is that "The Crazies" themselves aren't active enough. Maybe I was expecting more of a classic zombie atmosphere packed with high-octane action and spectacle, but the attacks here are far too limited and infrequent. It's a shame because the film showed promise; Eisner did a great job with the visual concept, if only the writers had done their jobs better... After all, Ray Wright and Scott Kosar specialize in writing remakes—they're the minds behind films like Pulse, The Texas Chainsaw Massacre, and The Amityville Horror.
I honestly feel like movies being made today just don't hold a candle to the stuff coming out of the 60s and 70s...
I should probably point out one crucial thing: production and distribution are exponentially more powerful now than they used to be, which means there’s a massive flood of content hitting screens constantly; and since there's always been a higher volume of garbage than greatness, we’ve ended up with a much larger pile of mediocre films to sift through. On the flip side, maybe great cinema just isn't given the reverence it once was, though that doesn't mean those masterpieces have stopped existing—you just have to know where to look and how to spot them. And let’s be real, some films only truly earn their respect after years of sitting in the shadows, right? Lately, I’ve actually found myself revisiting my favorite films from this decade, and even as someone who considers himself a total film snob, I’ve surprised myself by how much I actually enjoyed certain titles.
Then there’s the issue of ideas. It’s not just about movies; it applies to any form of art, really. Humans are limited creatures, and in the early days of literature, film, music, and everything else, true ideas weren't really "out there"—they weren't being shouted from the rooftops or laid out for public debate by people thinking in isolation. Over time, those ideas became tangible, eventually wearing thin until they turned into nothing more than tired, muddy stereotypes, making it incredibly difficult—practically impossible—to find something genuinely fresh; perhaps the only thing left is to present an old idea in a completely original way. Have we hit our creative ceiling? Of course not, it’s simply a matter of the era currently dominating the human psyche. There are still absolute masterpieces out there, but nowadays, people seem less interested in the story itself and more obsessed with technological bells and whistles, which is understandable given how virtualized everything has become; physical reality is out of fashion, our gray matter is being undervalued, and the emphasis is placed on things that aren't even real. The real question is: when will entirely new ideas emerge that can shatter this environment while still managing to exist within it?
But looking at it concretely, there are plenty of excellent films out there, and I believe every decade has its own specific charm that deserves to be studied as such. You could claim every modern bestseller is total trash, but then where are authors like Tolstoy, Schiller, Proust, and the rest of that crew today? Are people just stupid now, or is it something else entirely? We still have geniuses like Einstein—maybe even smarter ones—but there just isn't a vacuum ready for those massive breakthroughs yet; there are plenty of writers and filmmakers oozing with quality, but there’s no sense of surprise because people have grown accustomed to it, though that certainly doesn't mean something revolutionary won't follow. Maybe sooner than we think. It usually takes time for a period to get its label, like Realism, Romanticism, or Modernism; right now, we just call this the "new era," but I bet they called the 1950s the exact same thing back then.
The same goes for the film industry at large; most of what I said above was directed toward American cinema specifically. It isn't dying, but it isn't exactly moving forward either.
Is it actually true that in America they just churn out these $100 million blockbusters designed solely to compete for box office dominance by targeting the eighteen-to-twenty-something demographic? Honestly, for anyone sitting in their 40s, 50s, or 60s, isn't that just incredibly stupid? Most of what they produce is just comic book adaptations, animation, or some flashy high-tech spectacle aimed at the masses, all while bragging about massive profits and huge payouts, but when you finally step back and look at the big picture, I still find Hollywood to be the best—and mind you, that’s just my own subjective take.
Mark Wood79 said:I might put together my own list based on the old days. Or maybe I won't.
Now, do we really need to get into this? Honestly, I don't have the energy right now to lecture everyone on film history, various philosophies, different eras, or artistic influences... I have my favorites whether they're from the United States, Europe, or Asia, but I view cinema as an art form that—much like any other great art—doesn't give a damn about geographic borders... If there are people out there actually willing to explain why they think an American or Asian movie isn't up to par, then by all means, go ahead and speak your mind if you have something useful to contribute; but these two specific brands of snobbery I just mentioned are nothing more than childish nonsense peddled by insecure "intellectuals" who clearly know nothing about true cinephilia.
This list is absolutely falling apart at the seams, at least from what I can see. As for why that is, I haven't a clue because the author didn't bother explaining anything—they just threw a thousand titles at the wall to see what stuck. Isn't it a bit strange that, say, in the 20s, there isn't even a mention of Strom or Anheuser-Busch...
Mark Wood79 said:Inception exists because movies have been around since 1895, not just since 1995, so what’s the point of cherry-picking ten or twenty titles?
It doesn't have to be that way. Not at all.
Fine, let's call it a top 100 if you want, though even that feels like a massive undersell...
It isn't mandatory, but isn't that how most of these lists work anyway?
Do everyone just take a second to think about it—go ahead, pull up your top 10 or even your top 20 lists and be honest: isn't it pretty obvious that 90% of them are American? Sure, modern Hollywood hasn't exactly moved an inch from its comfortable spot, but you can still stumble upon a genuine masterpiece every now and then, can't you? It’s not quite like the golden era of the 60s or 70s, but they still exist. Personally, I think American cinema is in a league of its own, though if you follow what Austin Collins5 was saying about branching out into Asian or Italian films, you'll quickly realize there's just as much garbage out there. I used to think French cinematography was untouchable—I swear I could never find a bad film—but once you actually start digging deeper and doing the work, you realize there's plenty of junk to sift through there, too.
Here’s my top 10 list—and just so we're clear, only one of them isn't an American film: *Das Boot*.
I left out the Spanish version and a few others that probably wouldn't cause much trouble anyway, so I think the ones on this list are more than enough to satisfy everyone.
I put my vote down for Dracula (1931), though if I had to pick a runner-up, it would definitely be Bram Stoker's Dracula (1992) . I made it so you can only vote for one movie just to make things a little more interesting...
I hit up the premiere and honestly, it was a blast—just pure, unadulterated chaos and good times...
, this thing is absolute garbage, though you have to hand it to the crew for actually trying; I have no clue how much cash they dumped into this disaster, but I bet Anthony Smith3 knows exactly what the damage was...
Aaron Lopez43 said:Wow, talk about a childhood classic. As long as Yoshimitsu absolutely dominates everyone else, I'll be happy enough.
And I bet Nina is going to be a total nightmare. 😳
Hehe... Honestly, my biggest hope is that we get an epic showdown between Nina and Anna, though looking at this picture below, it feels like they totally swapped personalities. Nina looks more like some cheap streetwalker (which is usually Anna's vibe in the Tekken games), while Anna actually seems to have a backbone here (usually Nina's thing in the Tekken game). Plus, is it just me, or does Anna look taller than Nina? Or maybe those massive heels are doing the work, but they give off this intense lesbian rivalry vibe rather than sisters clashing.😁
At least they ditched all those weird animals and stupid forest scenery; if they hadn't, this movie would've been an absolute train wreck. It looks like Marduk, Paul, and Lea were supposed to be in it early on, but they probably got cut during editing.
Anthony Smith3 said:jebote... I mean, I've sat through his entire filmography and somehow missed the point entirely... apparently, it's just these shows LOL😲😁
Yeah. I'm just hoping he brings some decent action to the table, because if things go according to plan, this could actually be a blast🙂
I mean, look, when you're adapting a fighting game, you really shouldn't aim for anything more than a fun, mindless action flick like the first Mortal Kombat, right? So, I can only really hold out hope that Tekken turns out decent instead of being absolute garbage like MK: Annihilation. On the bright side, at least the director has experience handling this kind of mayhem, having helmed things like Marked for Death with Segal and Rapid Fire with Brandon Lee.
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
a) Seriously, skip the war movies; we need some actual horror. Give us something terrifying. I’m totally on board with what the younger crowd is saying—honestly, just a solid slasher to kick things off would be more than enough.
b) My first thought? Maybe something based on Ivan Supek's "The Hague Protocols". Personally, I think that alone would be plenty to make people finally wake up and realize what's actually going on.😁
