The Top 10 Best Comedy Movie Lines From Classic Films (According to Turner Classic Movies) Top 10 Best Comedy Movie Lines from Classic Films: These are. This list provides an overview of the top 10 best Bollywood movies 2014. 2013 marked the completion of hundred years of the Hindi-language movie industry known as. The 2. 5 best horror movies since 2. Club. Ask horror- movie buffs to name their favorite decade for the genre, and you’ll likely receive a variety of answers. The ’3. 0s had several of Universal’s classic roster of monsters. The ’4. 0s had Val Lewton.
We asked our readers what the best vampire films are. The results are in and its a solid top 20 of the best vampire movies worth seeing. Upcoming Horror Films Releasing in 2016. While 2015 sadly wasn’t a great year for horror movies, 2016 looks set to make up for this year’s let-downs with many. Top 10 Films checks out a selection of great movies about vengeful vigilantes including Get Carter & The Limey. The best horror movies ever made, chosen by horror film experts. Top 10 best ghost movies - horror movie. Ok I’m noticing people saying Movies that have no GHOSTS in themaka exorcist, jacobs ladder. The ’7. 0s had zombies, and giant sharks, and Texas chain saw massacres. Classics take time to solidify, reputations take a minute to build, and hindsight is 2. Plus, you know, Uwe Boll. But looking over the 2. United States sometime before today and after January 1, 2. Perhaps more than any other genre, horror operates as a mirror of our anxieties—a warped reflection of everything that’s eating away at us as a culture or keeping us all up at night. And there’s been plenty to lose sleep over these past 1. SARS. The list below could easily double as a guide to the fears and phobias of modern life. Its eclecticism is a testament to just how many different ways we’ve been freaked out since Y2. K. Sixteen contributors submitted ranked ballots of their favorite horror movies released in the United States since the year 2. These are not the scariest films of our new millennium, but simply the greatest that happen to occupy the horror genre. As such, we tried to be fairly strict with the definition; films that feel like horror but wouldn’t necessarily be classified as such by IMDB or Netflix—like David Lynch’s two post- 2. Pan’s Labyrinth, or Requiem For A Dream—were excluded. What would your ballot look like? Did we miss anything crucial? Sound off in the comments below. There are those who find Pascal Laugier’s Martyrs to be one of the most unsettling and provocative horror films ever made, and then there are those who haven’t seen it yet. But unlike other extreme horror that relies on shock value and repugnance for its notoriety (A Serbian Film, Human Centipede II), Martyrs isn’t particularly grisly, nor does it wallow in depravity for exploitative button- pushing. The film is almost two movies in one. Depicting a fragile young woman’s efforts to support her friend, who seeks revenge for her abuse as a child, the first half is horror at its simplest and most frightening. But a late and unexpected turn in the story pushes things into utterly new territory, at which point the film becomes horrifying for wholly different reasons. ![]() ![]() It’s difficult, transcendent, riveting, and never anything but nerve- shredding. And the ending is one for the ages. The genre can be very regressive in its gender politics, if not grotesque and loathsome in its sexism, but the sly Canadian horror- comedy Ginger Snaps cleverly subverts that tradition by positing lycanthropy as an allegory for a girl’s sexual and physical maturation. The film is empowering in its depiction of a world where female sexuality is a potent, violent, and righteous force. And the film inspired a slew of feminist- leaning horror films that addressed gender forthrightly and smartly, including a memorable segment in the horror anthology Trick ’R Treat. ![]() The masked assailants trying to gain entry into the vacation home of an unhappy couple (Scott Speedman and Liv Tyler) aren’t particularly memorable; the film’s bare- bones narrative insists upon that anonymity. No, what makes Bryan Bertino’s film seethe with nail- biting tension is the masterful use of space and silence. The home becomes a sieve, a place where a threatening presence can intrude upon the frame from any angle. There are no fancy camera tricks or complicated plot twists, just a slowly building sense of dreadful inevitability. Always hanging back, Bertino lets his two leads stand exposed, the large open spaces behind them always promising to release more terrors. It’s a perfect rejoinder to those who value originality over everything. Going back to basics can reap petrifying rewards, too. Nicole Kidman gives one of her best performances as a widowed mother named Grace, who lives with her two sickly children in an elegant European country house in the mid- 1. WWII. The arrival of eccentric new servants coincides with the family’s increased awareness of some kind of inexplicable presence in the manor, which Grace tries her best to ignore until she’s eventually forced by circumstance to investigate. Writer- director Alejandro Amenabar teases out the mystery and uses old- fashioned effects to give viewers the creeps; but his best asset is Kidman, whose dawning awareness of what’s happening around her helps turn The Others into a poetic portrait of soul- sick grief. Although most of the U. K.’s monsters have now starved to (re)death, and despite the fact that part of London has been successfully turned into a militarized safe zone overseen by the U. S., no one is secure in this horror show. That’s apparent from the film’s masterful intro, wherein a terrified husband (Robert Carlyle) is forced to flee his rural enclave—and abandon his loved ones in order to save himself—and continues once the action shifts to those living under American armed- forces protection, which falters after another undead outbreak. Frantic blasts of cannibalistic action set to squealing guitars generate adrenalized terror, though more chilling still is the overarching allegorical portrait of a United States failing to maintain control over a rabid, rampaging horde of infected- by- madness enemies. May (Angela Bettis) navigates her lonely world with her mother’s voice in her head—“If you can’t find a friend, make one”—assuring her that ending her isolation is simply a matter of will. But finding a friend is easier said than done for a mousy, awkward woman with a misaligned eye, an obsession with antique dolls, and too much enthusiasm for the bloodier aspects of her veterinary gig. By the time May takes her quest for human connection to gory extremes, writer- director Lucky Mc. Kee has already laid a sound foundation of empathy. May is a slasher flick with an inverted perspective, as if Friday The 1. Wolf Creek comes alarmingly close. Greg Mc. Lean’s pitiless Aussie shocker sends a trio of attractive, uncommonly likable twentysomethings into the outer reaches of the Outback, where they’re set upon by a smiling psychopath in a Crocodile Dundee hat. One of a small handful of films to ever earn a straight “F” from Cinema. Score voters, Wolf Creek has proven just a little too sadistic for plenty of viewers. But there’s an unlikely elegance to its construction, Mc. Lean engendering affection for his sacrificial lambs in the long, tension- building hour before they’re led to the slaughter. Unfairly lumped in with the likes of Saw and Hostel, this backwoods gauntlet owes its nightmarish power not just to the “charms” of its cackling human monster (John Jarratt), but also to the unforgiving sprawl of the Australian wilderness. This is the second of three contract killings that form the black heart of British director Ben Wheatley’s one- of- a- kind feature, so of course there’s no shortage of blood here. But this chimera of a film—part naturalistic marital scream- fest, part on- assignment buddy movie, and, most important for our purposes here, part sticks- and- stones conclave in the Wicker Man mode—is most remarkable for its atmosphere of slow- building menace. Paring down the exposition, Wheatley keeps the audience aligned with his in- the- dark hired guns, though every dread- filled frame cries that something’s amiss. Lo and behold, it emerges that what they’ve taken on is, almost literally, the job from hell. In some respects, The Host is Bong’s version of a Godzilla movie; in particular, it boasts a similar origin story, with the monster accidentally created by an American military advisor who cuts corners by pouring 2. In lieu of the lumbering beasts familiar from Japanese monster movies, however, Bong and his effects team fashioned a slimy, fast- moving fish with legs, able to wreak havoc on a smaller, more thrilling scale. And yet it’s arguably the least of the hero’s problems, given the outrageous institutional negligence and incompetence on display throughout the movie. Come for the virtuosic mayhem, stay for the bitter political commentary. Here was an emerging auteur seemingly turning from a serene arthouse aesthetic to make a blood- soaked tale of quasi- cannibals in Paris. Trouble, however, fits neatly into Denis’ preoccupations with examining the limits of human relations. She takes a honeymoon story and plunges it into depravity, uncannily capturing the beauty of dark corners. The film is at times appalling (an act of cuniligus turns carnivorous) but it’s no shock- and- awe ploy. The discomfort that lingers at the end doesn’t just stem from what’s seen on screen but from the all- too human question the film poses: What does it mean to be consumed by desire? Set in an orphanage during the Spanish Civil War, the story ostensibly revolves around a young boy’s attempts to uncover the mystery of the ghost of another child. But even without the specter of a drowned boy skulking the hallways, the whole movie is permeated with dread and the potential for violence. The orphanage is remote and isolated, appearing more as a mausoleum than a refuge. An arid wind blows through every scene, hinting at the inevitable arrival of the war. And despite the Catholic idols that dot the compound, none can overshadow the place’s true patron saint: a massive, diffused bomb that sits in the middle of the courtyard. Del Toro continued his wartime exploration of the tension between fantasy and reality in Pan’s Labyrinth. But the intimacy and fatalistic sadness of The Devil’s Backbone remains unique. The Cabin In The Woods lands closer to the Scream end of the spectrum in that it’s both of and about its genre. Director/co- writer Drew Goddard and co- writer Joss Whedon call out plenty of horror- movie tropes (threatened characters inexplicably splitting up; stereotypical teenagers; a creepy gas station attendant) without subjecting them to snide derision. The movie accumulates clich. Top 1. 0 Japanese Horror Movies That Are Crazy. The word “crazy” is usually never used as a positive, unless it’s referring to maybe a work of art, an unbelievable performance onscreen, onstage, or, ahem, in the bedroom, but we can all pretty much agree that it has a negative connotation overall, right? Yet it seems that the more horror movies come out, the more they can be classified as buttshit remakes of classic 8. And as a result, the word “crazy” can’t really be used to describe a horror movie anymore. But thankfully, this is almost never, EVER the case when it comes to Japanese horror films. And no, I’m not talking about the ultra- B horror films from Japan that are a cross between something you can film with your iphone and something a student would submit as a mid- term project for a special effects class. And I’m definitely not even going to use the word “crazy” in reference to all the torture films from Japan, like “Grotesque” or the infamous “Guinea Pig” series. Those need another word entirely to accurately convey the brutality and almost too fucked up to watch acts of violence and gore they deliver. No, I think the word “crazy” has its own special category of Japanese horror films that if you watch them, the very first thing you’ll think to yourself when their credits roll is, “What the fuck did I just watch? That shit was craaazy!”I know, because for every movie on my top ten Japanese horror movies that are crazy listed below, I said those exact words at least once, and usually the second I got done watching them. And here’s the thing, J- Horror has been part of the world’s consciousness for awhile now. I would venture to say that movies like Ringu and Ju- On and their American remakes catapaulted at least one brand of J- Horror, the long, black haired, white funeral shroud, no footed Yurei out for revenge type, into everyday American households and stores. That kind of opened the floodgates for Hollywood to either remake J- horror films or other Asian horror films as quickly as possible, in order to capitalize on the success of the remakes of films like Ringu and Ju- On. I mean, I remember walking into Wal- Mart, of all places, and seeing Kiyoshi Kurosawa’s PULSE in the dvd section, and also one day seeing tons of translated Asian horror films beginning to pop up on the shelves at Hollywood Video. It was kind of a Golden Era of J- Horror, if you will, circa 1. It was during this Golden Era that I not only began watching every single J- horror film I could rent or buy, but I started to see how much MORE there was to J- horror than what made it over here to America. I have websites like Mandi Snowblood Apple and Asian- Horror- Movies. To thank for that. Read on. So I moved to Chicago back in 2. I only stayed in Chicago for exactly a year) was working at a three story, mental health complex. It was actually full of apartments that housed both young girls and young men who had issues that ranged mostly from anorexia to bulimia, but also suicide, drug abuse, and even psychotic disorders. It wasn’t such a bad job, as I learned an enormous amount from the people I worked with, in particular my supervisor who taught me stuff that to this day I have never forgotten, but at the same time, it was extremely scary for me. I often pulled the night shift, working from 1. I also did double shifts on the weekends, working from 3 p. Something always felt off about the 1. I did as well. For example, most nights, I could hear murmuring inside the air vents that ran throughout the building. I mostly kept to the first floor office and living room area during my all nighters, but I would do routine checks on every floor to make sure everyone was okay, and every time, I swear you could hear the walls talking. I’m sure it was just the residents (which on any given shift, numbered between 6 to 1. Yet those voices were there, almost every night. Want to read a Japanese horror story? Buy KAI today on Amazon. Another thing that was creepy was when a patient was on suicide watch and had to come down to the living room area and I had to keep an eye on them from the office, which was adjacent to the living room. So many times, a patient who was confined to sleeping on the couch in the living room area would wake up with severe night terrors. This was especially freaky when these patients had cut themselves up earlier in the day (cutting was a frequent occurrence for many of the girls there. That was never fun cleaning the bloody arms of these poor girls who thought that was a good solution to dealing with their psychological problems). I can remember seeing these girls wake up, screaming and with their noses running, their hair a tangled mess, and their arms up in the air, protesting as though somebody was trying to grab them from the air above the couch, and there it was: All the cuts opening up and turning red because the girls had scratched the band- aids and gauze wraps right off their wounds. I am a night owl, always have been, and in fact right now it’s four in the morning as I write this. And falling asleep was never a problem for me working at this residential building full of girls who cut themselves and have night terrors, for what I’m sure you realize by now are obvious reasons. But the one thing that truly kept me awake all those nights was something else entirely. It was this “crazy” thirst I had for downloading and lining up one Japanese horror film after another on the office computer for me to watch as each night progressed into the next morning. I had to download them, you see, because at exactly 1. It wasn’t like that when I first started doing shifts overnight there, but on one lovely evening that I worked, a girl nearly killed herself because she was in some chat room online at two- something in the morning and was encouraged by some assholes in that room to leave this world because she was too fat and too ugly for anyone to possibly ever love her. She was about 8. 0 pounds soaking wet, tall, thin, not a single facial blemish. She easily could be a model, even if she did gain a healthier weight, but reading these words of encouragement by these fuckstains in the chat room was enough to make her come down to the living room screaming hysterically and almost needing hospitalized too. So yeah, that ended the internet for everyone, which meant that after this incident, as soon as I got to work for my night shifts or double shifts, I would start downloading movies online to watch all night that were full of things that I can only call “crazy.” How fitting, I suppose, given where I was working, but it was also inspiring to me as well. I was writing my first novel, KAI, at the time, which is. A Japanese horror story. Funny how the world works like that, eh? So this list isn’t something I just threw together to score points with Google, or even to wax nostalgic about nights like the ones I spent as a counselor in Chicago watching Japanese horror films. This list seriously contains some of the craziest Japanese horror films I’ve ever seen, and they are definitely the top ten films of Japanese horror that I probably love more than any others. And it’s because of this reason you aren’t going to find classics like the 1. Japanese horror film, Jigoku, or even Ringu or any of the Ju- on titles. Don’t get me wrong. But for me, it takes a certain kind of demented mindset to create the kind of story found in what I considered to be a crazy Japanese horror movie. So yeah, no torture films, black and white throwbacks, or Yurei tales, all of which have their own special place in my heart, of course, but to me, play second fiddle to stories that deal with things like the perfect psychological revenge, a simple fight between roommates that turns into a bloody free for all, and a game that asks how much would you challenge another person to do for a gigantic sum of money? These kind of things are what haunt my mind after years of seeing them. And perhaps they will haunt your mind as well. Ichi the Killer. So no list of Crazy Japanese movies would be a list of crazy Japanese movies without Ichi the Killer being on it. I should preface what I’m about to write with the fact that I am not the biggest fan of this movie, nor is it my favorite Takashi Miike film. I think Takashi has done way better, and way worse, than Ichi the Killer, in his long and storied career making batshit insane films. I could probably fill this entire list up with movies by Miike that are certified loony, but as it so happens, I only felt like two of his films make the final cut (uh, no pun intended). Ichi is one of them. To think that Ichi is already a decade old and then some is probably one of the craziest things about the movie to me now. But I remember first watching it way back when it came out, in 2. And wouldn’t you know it? I found out later that it was based on a manga, by famed artist Hideo Yamamoto. The entire story, plot (if you can find the plot, that is), and the almost caricature- driven portrayals of every single person in this movie, are just more suited for something you would see in 2. D. I think that is why when I watch Ichi that I feel a sense of disorientation, like I am good with the movie for about thirty minutes, then I kind of can’t follow it as much as I would like to, or maybe I’m just blocked from following what’s happening because the plot sort of just disappears into the violence and gore that piles up until the very last scene of the film. BUT, that all sounds too negative of me, and I do have a very valid reason or two for including Ichi on my list. I think above all, any movie that can combine horror with elements of Yakuza films deserves a badge of honor. And Ichi doesn’t disappoint here. There is so much Yakuza madness going on that you suspect you’ve been transported right in the middle of Shinjuku’s seedy underworld. Top 1. 0 Worst Movie Quotes.
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