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I disagree. I thought that Sexy Complicated Brother, Sociopathic Sister-in-Law, and Inept Husband (who watches crossbow tutorials on the toilet) were distinct enough in their parts in the story.

I also felt as though the entitlement was so well drawn. Maybe it's just that I knew someone who had a miserable time nannying for a wealthy family, but so much of it rang true to me.
I agree that all of that is technically "there" I just wish it was a bit more fully-baked. I've just got higher standards than you, evidently. Nothing to be ashamed about.

*resumes watching episode of Wonder Woman
*is overly excited to find that Rick Springfield is today's guest star
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The Marcin Wrona film? ****ing brilliant.

Yes. Should be considered amongst the very best of the genre from the last ten or twenty years. Up there with Lake Mungo, Babadook and The Lighthouse (and Melancholia if that can be considered horror)



So Demon (2016) is the ****.
Yes!

I have been talking this film up for ages and it's always felt like no one else had watched it.

It's incredibly tragic that the director is no longer with us.

You get bonus points for placing it with the brilliance of Lake Mungo.



Also, when we all talk about Ready or Not, I can't help thinking of the poster from Fargo



But don't worry. I'm not planning to have
WARNING: spoilers below
a hit man take you all out

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yet.



Yes!

I have been talking this film up for ages and it's always felt like no one else had watched it.

It's incredibly tragic that the director is no longer with us.

You get bonus points for placing it with the brilliance of Lake Mungo.

It's a movie I'm not quite sure how to even articulate why it works so well. I've been trying to string a couple of sentences together to no avail. But it has to do with how relatable it makes its possession terror, how when it gets truly disturbing it somehow ratchets up its sense of humor, and underneath it all is layers of a countries guilt, which I can't even begin to articulate as I'm not nearly well versed in Poland circa WWII as maybe I should be.


Lake Mungo is obviously the standard bearer of all of the others. It's horror is so a part of its narrative it doesn't even need to try to be a horror film. It can even consistently undercut its more typical genre reflexes and somehow come out more unsettling by the end of the film.



It's a movie I'm not quite sure how to even articulate why it works so well. I've been trying to string a couple of sentences together to no avail. But it has to do with how relatable it makes its possession terror, how when it gets truly disturbing it somehow ratchets up its sense of humor, and underneath it all is layers of a countries guilt, which I can't even begin to articulate as I'm not nearly well versed in Poland circa WWII as maybe I should be.
I agree with all of this. I will just add that
WARNING: spoilers below
taking the possession across gender is a nice touch (I can't think of another film where a male character is possessed by a female character).

There's also the way that the cover-up during the wedding is done so casually.

And needless to say, I thought that the performances were excellent. The sequence from which the poster image is taken does not disappoint.


Lake Mungo is obviously the standard bearer of all of the others. It's horror is so a part of its narrative it doesn't even need to try to be a horror film. It can even consistently undercut its more typical genre reflexes and somehow come out more unsettling by the end of the film.
Yes. I love everything about it. It nails the "fake documentary" format better than any other film I can think of. It has a deep empathy for all of its characters. The "moment", when it arrives, is genuinely disturbing. And the whole thing is underlain with such a compelling story about a tragedy that even the smallest details can seem heartbreaking.

One of the best (and saddest) sequences, in my opinion, is when you hear the tape of
WARNING: spoilers below
her talking to the therapist about how she went into her parents' bedroom to wake them up, but then realized they couldn't do anything to help her. It's such a poignant and sad moment
.



There is room for Demons of all shapes and sizes. Even Demons 2 shapes if I'm pressed to confess.
My intention is not to deny room for other demon-related films, only to stan for the Lamberto Bava classic.



Also, when we all talk about Ready or Not, I can't help thinking of the poster from Fargo



.
I'm with you on this one Takoma, Ready or Not was easily one of my favorite movies of 2019, for me it was such a pitch perfect black comedy.



I'm with you on this one Takoma, Ready or Not was easily one of my favorite movies of 2019, for me it was such a pitch perfect black comedy.
See--this one gets it.

/adds Daakmore to the Christmas card list



Victim of The Night
I agree that all of that is technically "there" I just wish it was a bit more fully-baked. I've just got higher standards than you, evidently. Nothing to be ashamed about.

*resumes watching episode of Wonder Woman
*is overly excited to find that Rick Springfield is today's guest star



It's a movie I'm not quite sure how to even articulate why it works so well. I've been trying to string a couple of sentences together to no avail. But it has to do with how relatable it makes its possession terror, how when it gets truly disturbing it somehow ratchets up its sense of humor, and underneath it all is layers of a countries guilt, which I can't even begin to articulate as I'm not nearly well versed in Poland circa WWII as maybe I should be.
Around the same time the film was released, Poland passed a law making it illegal to publicly expess the fact of local complicity in the Holocaust. Hope that's not a spoiler, but that's a huge part of the film's subversive controversy.



Around the same time the film was released, Poland passed a law making it illegal to publicly expess the fact of local complicity in the Holocaust. Hope that's not a spoiler, but that's a huge part of the film's subversive controversy.

While I knew about Poland in relation to the Holocaust, it was the complicity I wasn't entirely sure of. I only made that assumption through the watching of the film.








The wraparound gimmick is extremely silly, which is a shame since the film itself is an interesting enough product to standalone from such contrived electric popcorn pretenses. Instead, unawares, it would still fit nicely, superlatively in fact, among the more modern subgenre of retro-psychedelic lo-fi horror films. From it's Death Bed lysergia with Blair Witch notes to the inevitable bugf#ck-bred bastard of
WARNING: spoilers below
Texas Chainsaw Wicker Man
isms, it's never boring enough to depend on the dumb pseudosubliminal crap. In fact, it'd be a lot stronger without it. But, hey, these days, you do what you gotta do to sell your movie.



Victim of The Night
...Up there with Lake Mungo, Babadook and The Lighthouse (and Melancholia if that can be considered horror)
I love Melancholia and, as strict as I tend to be about the boundaries of Horror, I can kinda see it.



Do you wanna party? Its party time!
Ready or Not is fun even if the movie isn't as smart as it thinks it is. I saw it on the big screen.
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I posted about Anna and the Apocalypse in that other thread but I figure I'll mention it here too cuz why not.

It was marketed as "Shaun of the Dead meets La La Land," which, to be fair, was probably the influence and elevator pitch. The level of quality was probably closer to Dance of the Dead meets High School the Musical.

It's rare to see a musical or a zombie film with less energy but this one manages to do both with the kineticism of an undead shamble.



Yeah Anna and the Apocalypse was pretty disappointing. I agree about the lack of energy. I think maybe a better director could’ve made this movie pop more.



Yeah Anna and the Apocalypse was pretty disappointing. I agree about the lack of energy. I think maybe a better director could’ve made this movie pop more.
It didn't help that they evoked Shaun of the Dead so much as Edgar Wright has more energy in an exposition dump than they did in their biggest moments. It's especially troubling when they visually reference the Don't Stop Me Now scene but use a generic dubstep track and don't even work in an actual musical element.

Shocking.

Also, between those moments (and the Electro/zombie moan) and Baby Driver, I would love to see Wright do a straight up musical.