O Cantinho do Terror

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Lorde X
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Re: O Cantinho do Terror

Post by Lorde X »

Lorde X wrote:
JoséMiguel wrote: Lorde X, eu posso criar um trailer musical a teu pedido, se me indicares qual a musica que queres, por cima das cenas do filme que queres. :-)

Não existe nenhum impedimento musical no You Tube (fora da Alemanha, que se rege por outros conceitos) quanto ao uso de qualquer canção. Existem impedimentos em relação a certos filmes, mas se me deres uma lista de 3 filmes, de certeza que eu encontro alguma versão streaming que possa usar no You Tube.

Por isso se quiseres pensa em 3 combinações de música e filmes, que quando eu tiver tempo faço a montagem musical, e até posso colocar lá que foi sugerida ou a pedido teu, ou o texto que quiseres.
Epa muito obrigado! salut-) Vou ter de pensar cuidadosamente. Há muitos temas que davam para fazer videoclips fantásticos.

Mas vou pensar com calma e depois digo-te! :-)
JoséMiguel, estive a pensar e acho que era bem interessante um clip musical baseado nos filmes Frankenstein e Bride of Frankenstein do James Whale. Os visuais distorcidos e o acentuado contraste da fotografia, marcados pelo expressionismo alemão, ficarão muito bem com uma banda sonora moderna.
Acho que Gothic Metal será o mais adequado, pois o desespero que este subgénero do metal transmite condiz muito bem com a história da criatura do Frankenstein. Ainda não me decidi foi pela música...
JoséMiguel wrote:Eu uso isto:

http://windows.microsoft.com/en-us/windows/movie-maker

É um download gratuito para quem tem Windows.

Quem diria que após tantos anos à procura de editores de vídeo, o único jeitoso que encontrei era gratuito todos esses anos... oh-)
Obrigado! Já fiz o download. Nos próximos dias vou começar a experimentar o brinquedo! :-)))
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waltsouza
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Re: O Cantinho do Terror

Post by waltsouza »


Drive-In Dust Offs: DEMONS (1985)

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Movies are so rarely great art that if we cannot appreciate great trash we have very little reason to be interested in them. – Pauline Kael.

The above quote from the late, legendary American film critic Kael was most certainly not referring to Lamberto Bava’s Demons (1985), but a lot of films in our beloved genre bow to this description. Demons is great trash – it wants nothing more to assault your senses with a barrage of images and sound for 88 minutes before you even know what hit you, and does so while breathing that rarified Italian air.

But I’m sure she was referring to a film like Demons – one made with a ton of style, by a filmmaker impassioned with his chosen topic, as ridiculous as that plays on the screen. And make no mistake, Demons is ridiculous; as a matter of fact, it starts there before rapidly ascending to the sublime.

A little story is in order, and a little story is all that’s proffered: We open on Berlin in the mid ‘80s, and a random group of strangers are given free tickets to the reopening of Metropol, a gorgeous movie house of art deco decadence. Our first tip that something is amiss: the tickets are distributed by a mysterious man wearing a silver half mask more apropos for a Cannon Films reimagining of Phantom of the Opera.

So off we go to the theatre with our random assemblage of characters, the only ones making an impression being a pimp played by Bobby Rhodes (Hercules), and Geretta Geretta (Rats) as one of his ladies, Rosemary. In the lobby are several props that will play an importance as the film progresses; you know, the usual – a motorcycle, a samurai sword, and a silver mask donned by one unlucky lady, leaving a nasty scrape on her cheek. As the curtains are drawn, it’s soon revealed that the film being shown is a cheesy horror flick (hey! We’re watching one too!) featuring the aforementioned mask from the lobby. Before you can say Purple Rose of Cairo the events unfolding on their screen starts to unfold on ours. The girl’s scratch starts to ooze pus, she turns full demon and pandemonium ensues. From here on out, it’s every pimp, ho, damsel, and Dolph Lundgren wannabe for themselves. (Yes, this film has one of those.)

Demons plays out like a cross between George Romero’s Dead movies and an Irwin Allen disasterpalooza – not only do the cast have to fight off the malevolent, day-glo demons but they also have to contend with a collapsing structure and exits that mysteriously disappear. However, whereas Romero’s films have a social sheen and Allen’s possess a karma’s-a-bitch vibe, Demons completely skirts these issues and focuses on the task at hand: maximum carnage, vibrantly displayed.

Which isn’t to say that opportunities aren’t missed; seeing a deeper interaction between the film within a film and the protagonists would have been a blast, and would have added a layer of surrealism and sense of depth. (People always assume depth in films about films; why not give it a shot?) But not to worry – there’s plenty here to hold the filmgoer’s attention. Eyeball extraction, neck nuzzling, katana kills and oh so much more. How about a helicopter that is a literal deux ex machina? Demons exceeds the most modest of expectations.

And expectations were definitely set high due to the involvement of Dario Argento, who at the time had his own film out, Phenomena (‘85). Here he offers his services as producer, and cowriter with Bava, Franco Ferrini, and Dardano Sacchetti. Sacchetti is of special note – he’s worked with all the greats of Italian horror’s Golden Age. He wrote the story for Argento’s The Cat o’ Nine Tails (‘71), as well as the stories for Mario Bava’s (Lamberto’s papa) A Bay of Blood (‘71) and Shock (‘77), and of course the screenplays for Lucio Fulci’s Gates of Hell trilogy – City of the Living Dead (‘80), The Beyond (‘81) and The House by the Cemetery (‘81). Great films one and all, and a mere portion of weird, wonderful Italian horror cinema. I think some people were expecting more plot, frankly because of Argento. But if you look back at any of his classic films, the plots (with the exception of Deep Red, perhaps) are not the most important aspect – it’s always been about mood and impact. Italian horror, at its best, resides in the visual realm; conveying thoughts most effectively through beautifully horrific imagery and sound design. Demons is no exception, and what Argento brings (besides stellar production values) is an “all wheat, no chaff” mindset mixed with a decidedly commercial ‘80s attitude. It’s there in the soundtrack; loaded with songs by popular heavy metal acts of the era such as Accept, Motley Crue, Saxon, and, um, Go West. (They had the best pyro.) This film, and he employed the same strategy with Phenomena, was geared towards putting young asses in seats in Europe and North America – and it always worked better for him across the pond than on these shores. Did it work over here? Nah. His bread and butter was the thriving video market – Demons was rolled out in Europe in the fall of ’85 and North American grindhouses and drive-ins in May of ’86, followed by the home video market a few months later. It’s a shame I never got to see this movie about a movie within a movie on the big screen – but when it comes to horror, we’ll take it any way we can.

This was Lamberto Bava’s big splash on the international scene. Son of seminal icon Mario Bava (Black Sunday, Blood and Black Lace, Planet of the Vampires, and so many others), little Bava started as assistant director on a couple of Mario’s greatest films – Kill, Baby, Kill (‘66) and the aforementioned A Bay of Blood before making his first theatrical directorial effort with 1980’s Macabre. He made three more after that (and A.D.’d a couple for Argento in between) before taking on Demons. And the experience paid off – this is a very assured effort; Bava muscles his way through ludicrous set pieces, making sure to bath them in the delicious hues and primary color palette perfected by Bava Sr. He corrals the actors the best he can, shepherding them from scene to scene with as little embarrassment as the meager character development will allow.

And really, in a film like this, character development is non essential: For instance, I could care less about Robert Wagner’s torrid affair in The Towering Inferno (’74); I’m much more enamored with watching him doing a flaming tango before he crashes through the window and plummets to his fiery death. I’m good like that. And believe you me; you will not give a rat’s ass about any of these people except as gruesome goulash for our rabid monsters.

So, if you’re going to focus on decapitations, drooling demons, and eviscerations, you better bring your ‘A’ game, which is precisely what Argento, Bava, et al did. Special makeup effects guru Sergio Stivaletti was brought on board for Phenomena, then Argento ported him over for this project, and he’s been his go to guy for several films since. Michele Soavi also later used him for The Church (‘89) and Dellamorte Dellamore (‘94). (Soavi himself is A.D. here, plays the stranger with the mask, and a character in the inner film. This is a tight knit community, yes?) In keeping with the bright, comic book aesthetic and tone of the film, Stivaletti gives his effects a cartoonish luster; exaggerated, bigger than life, and twice as nasty, these demons are all buffoonish business – and business is very good indeed.

Demons did well enough to warrant a sequel – no small feat; at that time if you weren’t a franchise (Halloween, NOES, F13TH) you didn’t get a second helping – and Demons 2 (’86) quickly followed. But not all trash is created equal, and the sequel is mostly remembered as an unnecessary serving.

So, while some cinephiles are content to spout “We’ll always have Paris”, my kinfolk are more than pleased to remember that we’ll always have Demons. Now if you’ll excuse me, I’m heading back into the trash heap to search for next week’s treasure.

Demons is available on Blu-ray from Synapse Films.



http://dailydead.com/demons-1985/

Já vi este filme de Lamberto Bava umas duas ou três vezes. É (talvez) o melhor filme dele. Vi-o pela primeira vez em finais da década de 80 e lembro-me que na altura marcou-me bastante, grande parte devido às cenas de gore (ainda não tinha visto o "Braindead" de Peter Jackson :biggrin: ).
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waltsouza
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Re: O Cantinho do Terror

Post by waltsouza »

Breaking! HALLOWEEN Heads to Blumhouse with John Carpenter Returning!

John Carpenter will return to the Halloween franchise to executive produce a new big screen feature!

The Blumhouse Productions offices in Los Angeles were host tonight to a special surprise announcement, revealing that a new Halloween movie is in the works! Partnering with Trancas International, Miramax and Blumhouse will cofinance the new feature, which has already attached a key talent that should delight horror movie fans everywhere. John Carpenter, the legendary director behind the original Halloween, will return to the franchise as executive producer! Trancas’ Malek Akkad will also produce alongside Jason Blum.

“38 years after the original Halloween,” says John Carpenter, “I’m going to help to try to make the 10th sequel the scariest of them all.”

Although he’s not yet officially attached to do so, Jason Blum made it clear at the announcement event that the hope is to see John Carpenter also return to score the new Halloween.

“Trancas International is thrilled to be teaming up with Miramax on ‘Halloween,’ one of the most enduring horror franchises in film,” adds Malek Akkad. “We are also very excited to be working with Jason Blum and the whole team at Blumhouse. Together, along with the return of legendary filmmaker John Carpenter, we are eager to make a film that will be a milestone in the franchise’s legacy and that will excite the fans, young and old.”

“Malek Akkad’s legacy with the ‘Halloween’ franchise accompanied by Blumhouse’s unprecedented talent in the horror genre lays the foundation of a formidable team to create the next chapter of this iconic fan favorite,” says Zanne Devine, Miramax’s EVP Film & Television. “Having John Carpenter godfather the reboot of the iconic franchise he helped create brings it full circle. We couldn’t be in better company bringing ‘Halloween’ back to the big screen.”

“‘Halloween’ is one of those milestone films that inspired everyone at our company to get into the world of scary movies,” says Jason Blum. “The great Malek Akkad and John Carpenter have a special place in the hearts of all genre fans and we are so excited that Miramax brought us together. We cannot wait to find and collaborate with the right filmmaker to give ‘Halloween’ fans the movie they deserve.”

The Halloween film franchise that was started in part by Carpenter and Moustapha Akkad in 1978 has spawned ten films generating a total of nearly $400 million in worldwide box office.

Miramax, which holds worldwide distribution rights, will determine its theatrical distribution partner at a future date. David Thwaites will oversee the reboot for Miramax with Carpenter and the companies planning to immediately go out to filmmakers and fast-track the project. Although no release date has officially been locked, it was revealed at the announcement event that a Halloween 2017 release is quite likely.

How do you feel about John Carpenter returning to Halloween? Let us know in the comments below!

http://www.shocktillyoudrop.com/news/40 ... -carpenter
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Re: O Cantinho do Terror

Post by waltsouza »

Real Horror Of 'The Shining': The Story Of Shelley Duvall




The squeaky voiced girl, with the doe eyes, who was born to play Popeye's Olive Oyl. Sure, Shelley Duvall was something of an '80s star, but how did the iconic Wendy Torrance from The Shining fade into oblivion? This is how one film drove a woman to madness.


Undoubtedly an icon of the horror genre and (arguably) one of the greatest films ever made, this doesn't mean that Stanley Kubrick's 1980 adaptation of The Shining was without its critics. It was nominated for two Golden Raspberry Awards - Worst Actress for Shelley Duvall and Worst Director for Stanley Kubrick, thankfully the film won neither. However, it is the author of the novel, Stephen King, who is often most critical of the film - to this day he remains one of the few people who actually still hates the 1980 version. King hated The Shining so much, he produced his own miniseries of the film in 1997 (which was met with mixed reviews). When promoting his Shining sequel, the novel Doctor Sleep, King had some harsh words to tell the BBC about Duvall's performance:

One of the most misogynistic characters ever put on film. She's basically just there to scream and be stupid and that's not the woman that I wrote about.

King had always imagined a cheerleader blonde, who couldn't see the horror which was coming her way. The novel Wendy was tough and equal to her husband, making descent into fear all the more dramatic. It appears that King and lead-actor Jack Nicholson were on the same page, with Nicholson wanting American Horror Story's Jessica Lange in the role of Wendy - he even suggested it to Kubrick. Kubrick was adamant though, he wanted Duvall as the leading lady in The Shining, and so her horror began!


Despite championing her for the role, it was Stanley Kubrick who was also Duvall's biggest critic. In the documentary Stanley Kubrick: A Life in Pictures, Jack Nicholson states that Kubrick was great to work with, but was a "different director" with Duvall. Kubrick had chopped and changed the script so many times that Nicholson stopped reading the drafts and learnt his lines minutes before shooting. But, where the two shared something of a bromance, the same couldn't be said for Duvall and Kubrick. He frequently kept her isolated, cut many of Wendy's lines and forced her to perform the iconic 'baseball bat' scene an exhausting 127 times. The scene entered The Guinness Book of Records as the most takes ever for a scene with spoken dialogue and her shaking hands and red, puffy, eyes are the result of genuine crying. Afterwards she presented the director with clumps of her own hair, to show just how close to the edge she was.

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In the book The Complete Kubrick, Duvall says:

From May until October I was really in and out of ill health because the stress of the role was so great. Stanley pushed me and prodded me further than I’ve ever been pushed before. It’s the most difficult role I’ve ever had to play.

If constant reshoots weren't enough, the documentary Making ‘The Shining’ reveals the true extent of Kubrick's bullying. On the commentary, Kubrick's daughter, Vivian Kubrick, reveals that her father's trick was to ensure that Duvall got no sympathy from anyone on set. You can even hear him say to her:

Don’t sympathize with Shelley.

He goes on to tell Duvall "It doesn’t help you" and would frequently tell her that she was wasting the time of everyone on set. He advised crew members to ignore her and refused to praise her work. Kubrick's unusual method of shooting the majority of the film chronologically meant that the principal photography took over a year to complete and filming took 500 days. Duvall would cry for up to 12 hours a day and eventually ran out of tears, meaning that she had to keep bottles of water by her side to keep hydrated.



As for the other iconic 'door scene', it took three days to film and used nearly 60 doors. Mainly improvised (including the 'Here's Johnny' line), Duvall remained largely in the dark about what was coming her way. Her panicked screams are that of real terror as Jack Nicholson tore down the door; it is even rumoured that her desperate cries of "please Jack" are aimed at the actor, rather than his character. Years later Nicholson admitted to Empire magazine that Duvall had:

the toughest job [of] any actor that I’ve seen.

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Some say that Shelley's time on The Shining put her off acting. Since 2000, Duvall has only three acting credits to her name and has become somewhat of a recluse, living out her days in a small Texas town of Blano. Neighbours report that she "wanders around town… looking dishevelled, strange and totally crazy". Even she admits that some good did come from her experience though. Duvall cites her time on The Shining as some sort of primal scream therapy. In 1980, when asked by Roger Ebert about her time on the film, she says it was:

Almost unbearable...But from other points of view, really very nice, I suppose...After the day was over and I'd cried for my 12 hours, I went home very contented. It had a very calming effect.

We have all seen the likes of Christian Bale and Heath Ledger take on method acting, but the psychological torture which Duvall was subjected to by Kubrick is not an experience I think any Hollywood actor would expect to undergo. Whilst a harrowing tale, there seems to have been some method in his madness. Just as you can't image anyone else as Olive Oyl, it is almost impossible to imagine anyone apart from Duvall playing the tormented Wendy Torrance.

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Re: O Cantinho do Terror

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Mike Flanagan In Talks To Direct John Carpenter's 'Halloween' Sequel

http://www.indiewire.com/article/mike-f ... l-20160524
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Re: O Cantinho do Terror

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Wesley Snipes Talks Possibility of ‘Blade 4’

http://bloody-disgusting.com/movie/3392 ... y-blade-4/
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Re: O Cantinho do Terror

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The New ‘Day of the Dead’ IS a Remake

http://www.horror-movies.ca/2016/05/new ... ad-remake/
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Re: O Cantinho do Terror

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Eli Roth Still Developing The Green Inferno Sequel

http://www.dreadcentral.com/news/168436 ... no-sequel/
Lorde X
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Re: O Cantinho do Terror

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Lorde X wrote:
JoséMiguel wrote: Lorde X, eu posso criar um trailer musical a teu pedido, se me indicares qual a musica que queres, por cima das cenas do filme que queres. :-)
Epa muito obrigado! salut-) Vou ter de pensar cuidadosamente. Há muitos temas que davam para fazer videoclips fantásticos.

(...)
JoséMiguel, estive a pensar e acho que era bem interessante um clip musical baseado nos filmes Frankenstein e Bride of Frankenstein do James Whale. Os visuais distorcidos e o acentuado contraste da fotografia, marcados pelo expressionismo alemão, ficarão muito bem com uma banda sonora moderna.
Acho que Gothic Metal será o mais adequado, pois o desespero que este subgénero do metal transmite condiz muito bem com a história da criatura do Frankenstein. Ainda não me decidi foi pela música...
Boas JoséMiguel, como te pode passar desapercebido, dá uma vista de olhos no meu último post no tópico "As Minhas escolhas de Metal", no qual eu comento um grupo (Symphonian) e uma música (Depressed) que acho que se adequaria muito bem aos filmes do Frankenstein. Ouve e diz-me se te inspira! :wink:
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Re: O Cantinho do Terror

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Rob Zombie Shares New 31 Poster and Trailer Premiere Date

http://www.dreadcentral.com/news/170516 ... iere-date/
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Re: O Cantinho do Terror

Post by lud81 »

Ontem fui ver The Conjuring 2 e deu um trailer antes chamado Lights Out. Descobri agora que é a expansão de uma curta de um casal que faz curtas de terror no Youtube.

Eis algumas:







E uma de outra pessoa:




Hehe, há bué destas cenas no Youtube, umas melhores outras piores, é só seguir as sugestões. :-)
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Re: O Cantinho do Terror

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Re: O Cantinho do Terror

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Our Top ELI ROTH Movies Directed by Eli Roth

http://hellhorror.com/article/10030/Our ... -Roth.html

Dão 8 ao "The Green Inferno", tenho mesmo de ver o filme. :-)
E pelos vistos não gostaram dos dois "Hostel". Eu até gostei (mais do primeiro).
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Re: O Cantinho do Terror

Post by Samwise »

waltsouza wrote:
13 Greatest Horror Movies from the past 10 years

13. LET THE RIGHT ONE IN
12. THE STRANGE COLOR OF YOUR BODY'S TEARS
11. BEHIND THE MASK: THE RISE OF LESLIE VERNON
10. Hansel and Gretel
9. Trick r' Treat
8. THE HOST
7. FRONTIER(S)
6. SINISTER
5. THE LORDS OF SALEM
4. INSIDE
3. THE BABADOOK
2. MARTYRS
1. THE MIST

Nota: a negrito estão os filmes que eu já vi

http://moviepilot.com/posts/2015/03/24/ ... nal,manual
Continuando a minha viagem "calma" pelo género, vi o Frontier(s) e o Trick r' Treat.

O primeiro é uma espécie de Texas Chainsaw Massacre misturado com Hostel misturado com Martyrs e insere-se no subgénero "família-disfuncional-tem-um-hotel-e-recebe-hópedes-para-os-retalhar-na-cave". Vem precedido de imensa fama como filme-limite. Em termos de uso de câmara e efeitos artificias é tão esforçado e histérico como o Martyrs, e em termos narrativos é mais um desastre inconsequente (às tantas mais vale nem pensar no assunto, porque a inverosimilhança acumula-se às pazadas). Pode impressionar muita gente, mas para mim foi um aborrecimento do início ao fim - tive de fazer fast-forward em algumas partes. Ao menos não irrita tanto como o seu inspirador principal. 1/10

O segundo é um agradável cruzamento de quatro histórias passadas no Halloween. Filme de terror light, tipo juvenil, com alguns momentos divertidos e uma quantas caras conhecidas (tem a Anna Paquin a fazer de "capuchinho vermelho" :mrgreen: ). Está bem pensado e filmado, e vê-se bem, mas não faço ideia o que tem assim de tão bom para constar numa lista de melhores filmes de terror. 7/10
«The most interesting characters are the ones who lie to themselves.» - Paul Schrader, acerca de Travis Bickle.

«One is starved for Technicolor up there.» - Conductor 71 in A Matter of Life and Death

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Re: O Cantinho do Terror

Post by Zuruspa »

Gostei do Green Inferno, dos dois primeiros Hostel. O terceiro já desiludiu.

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