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HOW CAN SOMEONE LOVE HORROR MOVIES?
They’re filthy. They make you sick. They’re depressing. Clearly you have to be demented to have a fetish watching these movies.
Why not watch a comedy flick and laugh yourself like crazy? A romantic film to fall in love?
FUCKING FORGET IT.
First, if I wanted to laugh, I would talk to politicians and LOL’d over their desperate attempt to look respectful and caring. Second, If I want to fall in love, I would climb a tree and watch a mother pigeon feed its little birdies.
I love horror movies because they represent the art of misery. You can’t call someone stupid for wanting to go to a gallery. I dare call horror movies a magnificent painting of a wide-range art. Art is a wide sea of understanding, it’s receptive to the most illogical reasoning but what art is not is a clean piece of cotton. You will never know art if you’re not stained with mud. People who love horror movies have the hunger for misery. They know it’s eyes, and they are courageous to look at them. The right kind of people who enjoy horror movies do not rejoice with entertainment. They enjoy it because they are presented the darkness of the world. They would like to see things that are not visible in the synthetic scenery that fools the world.
They enjoy it because they are devastated and at the same time, fascinated to realize that they still feel human. This sounds silly and dramatic but it is fucking true.
Here are 10 of the most horrific movies ever made:
1. Martyrs – Directed by Pascaul Laugier
2. Inside – Directed by Alexandre Bustillo and Julien Maury
3. Funny Games – Directed by Michael Haneke
4. Antichrist - Directed by Lars Von Trier
5. The Loved Ones – Directed by Sean Byrne
6. I Saw the Devil – Directed by Ji-woon Kim
7. Suspiria – Directed by Dario Argento
8. The House of the Devil – Directed by Ti West
9. A Serbian Film – Directed by Srdjan Spasojevic
10. Henry: Portrait of a Serial Killer – Directed by
(Quotations are taken from the website of Rotten Tomatoes, http://www.rottentomatoes.com.
Big thanks to the rightful owners of the pictures used in making this piece more entertaining)
“Liesel would sit each day with her hands between her knees, in the long legs of daylight. She wanted none of those days to end, and it was always with disappointment that she watched the darkness stride forward.”
That’s my favorite line from the novel and the summary of how I think of it as a whole. It took me a year and a half to finish this book by Markus Zusak and I have to say, it is the perfect day to read the last hundred pages of The Book Thief. The gloomy weather and the raindrops made the experience as dramatic as how the narrator, Death, usually tells the story of Liesel Meminger.
World-War II will always be associated with death and depression, and I would like to point out that these two are pretty evident in the several chapters of the book. The feel of the novel has dark undertones and it helped the story build a serious image of how the war affected the setting of the story, Germany, back in the 1940s. It might seem painful to look at but after reading it, the story of Liesel Meminger and the people she came to love will come afloat amidst the tragedies that struck the pages of The Book Thief. It is heartbreaking and at the same time, wonderful. Just like how it is in real life.
“People observe the colors of a day only at its beginnings and ends, but to me it’s quite clear that a day merges through a multitude of shades and intonations, with each passing moment. A single hour can consist of thousands of different colors. Waxy yellows, cloud-spat blues. Murky darknesses. In my line of work, I make it a point to notice them.”
The story is told through the eyes of a nameless entity that collect souls from the grounds of Nazi-Germany. It is safe to say that readers would call him by the name of Death. He is, by the way, not how you expect him to be. He is not scary and doesn’t have an underworld vocabulary. In fact, it always amazes me whenever Death describes in his own peculiar terms the feelings and the ambience of the scenes from the book.
The story starts with the central character, Liesel, losing her younger brother and being abandoned by her mother. Liesel accomplishes her first act of book thievery on the burial of his brother. A Gravedigger’s Handbook. She will steal more than a dozen books along the story. She will love the words and she will hate them. Later on, she will be writing her own book and Death will be the one to keep it.
She is adopted by a poor couple from Himmel Street, Hans and Rosa Hubberman. Rosa is a grumpy woman who likes to curse at people and Hans is this laid-back loving father who plays the accordion. They are an odd couple. They will love Liesel like she’s their own and she will love them as if she never have anything to love in this world.
Oh, wait. There’s Rudy Steiner. Her best friend, her thieving buddy, and her first romantic love. Sadly for Liesel, she never had the chance to confess her feelings to Rudy, alive. Don’t hate me. I get it, that’s how I felt when Death spoiled that fact in the middle of the story and the page is not even close to killing off Rudy. Yes, Death is an asshole.
One of the major conflicts of the story is when the Hubberman’s tried to hide a Jew, Max Vanderburg, in their basement. He becomes Liesel’s friend and she reads to him the book she’s stolen. Of course, the biggest conflict here is the war and how the power of words has brought evil to Germany, and to the world.
On the other hand, the beauty of words is the reason why Liesel has overcome the bad experiences she’s been through. Words kept her away from nightmares by Hans’ basic reading lectures in the night. It is in her obsession with reading that she and Rudy had the best childhood memories by stealing books from the mayor’s library. And it is in her night time writing sessions that she survived the bombs that killed the people on Himmel Street.
The Book Thief ends in tears. Over all, I look at it as a sad tale of a young girl trapped in the clutches of war. Even as I scan the pages in this moment, my heart still aches whenever I recall the tragedy that no child has to go through. This book, though fiction is a manifestation of the pointlessness of a war. It shows how places and people can change and become ugly scars of history. It speaks sorrow and misery without bringing atonement and real logic when all is just a mountain range of rubble.
“If only she could be so oblivious again, to feel such love without knowing it, mistaking it for laughter and bread with only the scent of jam spread out on top of it. It was the best time of her life.”
On the bright side, The Book Thief is also a story of everyone’s childhood. And I think it was a happy memory for a lot us. Liesel had a good one. She played soccer. She stole food and books. She was teased by the boy she loved and she is spanked by her mother. I could feel that care-free joy whenever the narrator gets to those pages. It is a real pleasure reading it and I love it when I try to relate my own experiences that I had fun reminiscing.
I will be thrilled to see it in the future as a major motion picture but it is frightening at the same time because as we all know, you never know if people in the film industry will hit or miss. A scriptwriter and a director like Stanley Kubrick could translate it into an epic cinematic experience. I just hope that there is someone alive who can match his skills or can at least come close to what he can do.
“I wanted to tell the book thief many things, about beauty and brutality. But what could I tell her about those things that she didn’t already know? I wanted to explain that I am constantly overestimating and underestimating the human race—that rarely do I ever simply estimate it. I wanted to ask her how the same thing could be so ugly and so glorious, and its words and stories so damning and brilliant.”
Markus Zusak has crafted a great book. I don’t usually use ‘great’ for description but The Book Thief fits the mold perfectly. The power of realism in its pages made the reading experience more heartfelt and I could assure you that it will make you giggle in amusement and bowl in tears. I could go on and on but I don’t want to spoil it for the people who haven’t read this novel. Buy it and have a meaningful reading. No magic, no wolves, no vampires. Just a remarkable story that will reward you with its pages.
COURTESY OF THE IDOL PAD
1. Aaron Marcellus Sanders
2. Adam Brock
3. Clayton Farhat
4. Creighton Fraker
5. DeAndre Brackensick
6. Eben Franckewitz
7. Heejun Han
8. Jeremy Rosado
9. Joshua Ledet
10. Phillip Phillips
11. Reed Grimm
#12 is either Caleb Johnson or Chase Likens
1. Baylie Brown
2. Brielle Von Hugel
3. Chelsea Sorrell
4. Elise Testone
5. Erika Van Pelt
6. Haley Johnsen
7. Hallie Day
8. Hollie Cavanagh
9. Jen Hirsh
10. Jessica Sanchez
11. Shannon Magrane
12. Skylar Laine
Lionsgate, a North American entertainment company, just acquired a deal with Summit Entertainment this week. The company paid $412.5 million to the home studio of the ‘Twilight’ saga.
While nothing is still set in stone, Lionsgate chief Jon Feltheimer gave the media a hint that it’s likely that they will be squeezing more dough for a sixth ‘Twilight’ film. Here’s an excerpt from his interview with Company Town:
“I’m anticipating ‘Breaking Dawn Part 2′ being $700 million-plus in worldwide box office… projecting the movie will do even better than Part 1 while adding that another entry is being hoped for…It’s hard for me to imagine a movie that does $700 million-plus doesn’t have ongoing value. It’s an amazing franchise that they have done a great job of maintaining with absolutely no deterioration. So the simple answer is ‘Boy I hope so.’”
In a business point of view, it wouldn’t be such a bad idea coz the movies are sure to make money and have a huge fanbase who are still very much invested in the story of Edward and Bella. It’s likely ‘Breaking Dawn’ won’t be the last we see of them.
Suddenly, it wouldn’t be such a bad thing for the world to end this year.
The National Society of Film Critics, which is among the most highly respected film critic group in the United States, gave the well deserved Best Picture award to Lars Von Trier’s ‘Melancholia’ on January 7, 2012. The group is known for having highbrow uncompromising tastes unlike the Oscars, which is terrified of giving complex and genre-bending films the trophies it deserve.
Check out the trailer of ‘Melancholia’
The NSFC, which is made up of 58 of the country’s most prominent movie critics, held its 46th annual awards voting meeting at Sardi’s Restaurant in New York City, using a weighted ballot system. Scrolls will be sent to the winners.
The meeting was dedicated to the memory of the organizations’ colleague, Robert Sklar.
Here is the complete list of NSFC winners:
*1. Brad Pitt – 35 (Moneyball, The Tree of Life)
2. Gary Oldman – 22 (Tinker Tailor Soldier Spy)
3. Jean Dujardin – 19 (The Artist)
*1. Kirsten Dunst – 39 (Melancholia)
2. Yun Jung-hee – 25 (Poetry)
3. Meryl Streep – 20 (The Iron Lady)
BEST SUPPORTING ACTOR
*1. Albert Brooks – 38 (Drive)
2. Christopher Plummer – 24 (Beginners)
3. Patton Oswalt – 19 (Young Adult)
BEST SUPPORTING ACTRESS
*1. Jessica Chastain – 30 (The Tree of Life, Take Shelter, The Help)
2. Jeannie Berlin – 19 (Margaret)
3. Shailene Woodley – 17 (The Descendants)
*1. Melancholia – 29 (Lars von Trier)
2. The Tree of Life – 28 (Terrence Malick)
3. A Separation – 20 (Asghar Farhadi)
*1. Terrence Malick – 31 (The Tree of Life)
2. Martin Scorsese – 29 (Hugo)
3. Lars von Trier – 23 (Melancholia)
*1. Cave of Forgotten Dreams – 35 (Werner Herzog)
2. The Interrupters – 26 (Steve James)
3. Into the Abyss – 18 (Werner Herzog)
*1. A Separation – 39 (Asghar Farhadi)
2. Moneyball – 22 (Steven Zaillian, Aaron Sorkin)
3. Midnight in Paris – 16 (Woody Allen)
BEST FOREIGN-LANGUAGE FILM
*1. A Separation – 67 (Asghar Farhadi)
2. Mysteries of Lisbon – 28 (Raoul Ruiz)
3. Le Havre – 22 (Aki Kaurismäki)
*1. The Tree of Life – 76 (Emmanuel Lubezki)
2. Melancholia – 41 (Manuel Alberto Claro)
3. Hugo – 33 (Robert Richardson)
Ken Jacobs, for “Seeking the Monkey King.”
1. BAMcinématek for its complete Vincente Minnelli retrospective with all titles shown on 16 mm. or 35 mm. film.
2. Lobster Films, Groupama Gan Foundation for Cinema and the Technicolor Foundation for Cinema for the restoration of the color version of George Méliès’s “A Trip to the Moon.”
3. New York’s Museum of Modern Art for its extensive retrospective of Weimar Cinema.
4. Flicker Alley for their box set “Landmarks of Early Soviet Film.”
5. Criterion Collecton for its 2-disc DVD package “The Complete Jean Vigo.”