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“Monsters do exist; in us and among us. They walk in our shadow. They can prey on us more as we fear them less. We should know. We created them.” --- George A. Romero

Horrorphile - September 2006

The FORBIDDEN spectacle

September 29th 2006 00:37
As a rule I abhor censorship. I believe in indicating to a potential audience, especially viewers likely to be offended or disturbed, what kind of content a film has, so that the viewer can make his or her own mind up about whether to see the film or not. And sure, there are obviously examples of films where the ethics of the filmmaker are in considerable question, and perhaps their films shouldn’t be made readily available to the general public. Or should they?

Age restrictions are a necessity, but deciding whether something considered too violent or too disgusting should be cut out of a film in an effort to cushion the film for mass consumption is diabolical. It smacks of Draconian measures, and indicates a society under the thumb.

Of course, the forbidden always seems to taste sweeter doesn’t it? There’s something intrinsically alluring about being told you can’t see something because you’re too young and easily corruptible, or that it is designed for adults and you’re not quite mature enough to understand.

My first taste of the forbidden was in 1982. This was around the same time as the VCR was making its way into more and more domestic homes, and video titles in the local store were separated onto two shelves; VHS and BETA-MAX, and none of the video carried ratings. But my video adventures are a different story.

My sly and sneaky adventures with the big screen, the movies in the local cinema, are what I want to talk about. “Fooling” the old lady in the ticket booth that my friend and I were really much older than we were but dressing as maturely as we could, acting cool, calm and collected, and fibbing about our birthdates.

I’d seen the trailers on TV for Halloween (1978), but of course I was only 10 or 11 when that came out. It screamed out “adult horror!” So when the sequel Halloween II (1981) hit the cinema shores of my home town of Wellington, my friend and I decided this would be our first R16 rated movie. We were 13. We spent what felt like hours across the street, hidden, scoping the cinema foyer, practicing our stories; basically stating the year we were born (making us three years older than we were) with authority and conviction. The old lady squinted at us, and then said “Well, I’ll sell you the tickets here, but I don’t think the usher will let you in.” Of course that was a load of crap. The usher didn’t say a bloody word! And the rest is history. Halloween II rocked! We were finally watching the super-violent, supernatural-evil spectacle of the forbidden!

The next year, aged 14, a different friend and I “fooled” another box office lady and got into The Hunger (1983), an R18 rated vampire flick which turned out to be as boring as bat shit. A year later again, and the same friend and I tackled the final frontier; the rare realm of the notorious R20 rated movie. In this case it was an old print of a doco on the French porn scene called Exhibition (1975), and that’s another kettle of forbidden fish entirely.


* the image on this page was taken from the following wikipedia page:
Halloween II (movie poster)
This is licensed from the GNU Free Document License
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The Telephone Box

September 27th 2006 02:23
There are a handful of films I saw on television when I was a young boy moving into adolescence that became firmly etched on my psyche. They were horror movies of course, screening late at night. I was probably babysitting, or perhaps dad had allowed me to stay up for some reason or another.

A couple of them were in stark black and white; the giant ant invasion of Them! (1954) and Eraserhead (1976), David Lynch’s “dream of dark and troubling things”. The other two were in vivid colour; the creepy remake of Day of the Triffids (1981) and a very strange film from Spain known in English as The Telephone Box (1972). Its original Spanish name was La Cabina (The Cabin), which after viewing the film in its entirety conjures a much darker and nightmarish vision.

It is a short film, roughly half and hour long and has virtually no dialogue. What are spoken are peripheral utterances from bystanders. So although it is nearly impossible to find a version with subtitles it doesn’t matter if you see the original version as it is a film told purely in images.

In a nutshell a truck arrives at a plaza and men erect a brand new red telephone booth. Later a business man arrives and enters the phone box to make a call. When he tries to exit the booth he finds he can’t. The door is apparently jammed. Or perhaps it automatically locked? People begin to gather round, some try to open the door, but to no avail.

As the day wears on the entire situation takes on an absurdist tone. Where on earth can this tale be heading? Eventually the men from the phone company return, and much to everyone’s surprise - including the viewer - they simply load the phone box – with man inside – onto the back of the truck and drive off.

They continue driving through the streets of the city, and in the film’s most surrealist moment, stop at traffic lights beside another truck also carrying a phone box with a man trapped inside. The two men stare at each other in horror and disbelief; a bizarrely chilling moment.

What ultimately transpires is the stuff of pure nightmares. But I’m not going to spoil that delicious little treat for the unsuspecting viewer. Why not discover La Cabina yourself?

La Cabina

* the image on this page was taken from the following wikipedia page:
Telephone booth (a classic English telephone booth, but very similar to the one in the Spanish movie)
It is licensed from the GNU Free Document License
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Sexual symbolism in ALIEN

September 26th 2006 07:13
MATURE CONTENT
   


Masters of MAKEUP

September 25th 2006 07:15
I have a morbid fascination with special effects makeup and a keen admiration for the men and women who apply themselves to this very special art and craft.

I’m talking about the blood and guts of a horror movie, although a very large number of horrors don’t employ any SFX make-up. In fact two of the most influential modern horror movies ever made use virtually none at all; The Texas Chainsaw Massacre (1974) and Halloween (1978


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The ZIPLESS FUCK

September 21st 2006 23:23
MATURE CONTENT
   


SEX & DEATH

September 20th 2006 01:04
MATURE CONTENT
   


SUB-GENRES Part 3

September 17th 2006 23:39
So, I’ve exhumed my pick of aliens, cannibals, demons, ghosts, mad scientists, slasher flicks, comic-horror, and urban rage. This leaves us with some of my very favourite horror sub-genres.

vampires
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SUB-GENRES Part 2

September 15th 2006 00:10
We’ve had nasty extraterrestrials and mutant sex-war machines, flesh-eating serial killers, and the cackling, chuckling, smirking face of comic horror. What other sub-generic goodies lie in that dark basement?

dream-like, nightmarish and surreal
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SUB-GENRES Part 1

September 14th 2006 02:42
Horror movies; it’s a broad category. So let’s break it down into sub-genres. I’ll list three examples; either lesser known titles, or films I haven’t already spoken about in previous posts.

There are probably more sub-genres in horror than in any other genre. A couple of these sub-genres I’ve “created” myself, but hey, I’m a horrorphile, it’s my perogative


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Extra-TERROR-estrial

September 12th 2006 05:18
Being a bit of a sf nut, I do love my alien horror flicks. There are dozens of them, most of them really silly with cheesy effects and ludicrous plots. You gotta keep it simple!

But that doesn’t mean you can’t keep it intense. That’s where the marriage lies. And here are some examples, which just happen to be my faves of this particular horror sub-genre


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My All-Time SCARIEST Movies

September 11th 2006 03:27
It’s one thing to shock and repulse a horror audience, and many horror films do that very effectively. But that’s only one side of the bloodied coin. The other side is, arguably, the harder side to scratch; being able to terrify an audience.

The graphic nature of gore was considered the last taboo of the silver screen, so in this age of extreme hard core horror where straight-to-video titles such as the Japanese Guinea Pig series and other Euro pseudo-snuff atrocities have pushed the gross-out envelope almost as far as it can go, horrorphiles find themselves searching for that elusive, yet altogether more soul-wrenching element … pure and utter terror.
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Before I launch into my tirade I have to acknowledge that there is an element of hypocrisy within this diatribe. Remake? Remake?! Why for art thou remade?!

There are exceptions to the rule. So although I am very much an adversary to this ghastly plague that is sweeping the world of horror cinema, I know can be prone to the odd infection


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The CURSE of repetition

September 7th 2006 06:39
When there’s no more room in original ideas, the sequels and remakes will walk the earth.

This is a primarily a product of the Hollywood machine, simply because if a movie does good box office, why not make another one (ad nauseam)? And if the executives are bored of sequels and wondering what next to plunder, they simply look back at the successful flicks of the past and pluck another one to remake, update, re-envision (I’ll talk about remakes another day


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Slither

September 6th 2006 03:28
Slither DVD cover art
You know a movie’s gonna be trashy fun when the title refers to a slimy movement. There’s something deliciously onomatopoeic about the word.

Writer/director James Gunn (who penned the remarkably effective re-envisioning of Dawn of the Dead, 2004) has made a wonderfully unapologetic horror film especially for the fans; for the people, by the people (Gunn used to work for cult horror-sleaze company Troma


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The power of GORE

September 4th 2006 05:15
What’s a good horror without some serious blood shed?

Well, many would argue that the best horror films shed very little blood, that they rely more on suggestion and the intensity of suspense and terror, rather than using the shock tactics of violence, blood and gore


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