I'll clean this up laterrrrr
Movie Opinions
From Beyond
Enjoyable time. I have to wonder if the original Lovecraft story was this sexually charged. Something to dig into regarding BDSM and femdom as it relates to basal desires and perversion. The monsters were interesting. I really like how the entities were portrayed, particularly the way they had to be brought into the world via a strange machine that also altered human perception. Them floating in the air all around us was very fun.
Lord of Illusions
I want to inject this movie into my veins. It's in the same vein as the Dresden Files and was absolutely delightful in how Harry gets the absolute shit beat out of him. I was transfixed the whole time. The character dynamics were fantastic, a collection of broken people and their obligations, or lack thereof. The coward being forced to confront his failures, a domino effect that he started, was done so well. Harry was the catalyst to end it, but he wasn't the full solution.
The Mothman Prophecies
An absolute fascinating piece that I need to watch when I'm not half out of my mind in a medicine transition. Feels like I could put it on a shelf next to Lord of Illusions and Odd Thomas.
Odd Thomas
A beautifully faithful adaptation. The characterization is wonderful! Odd and Stormy's relationship comes across perfectly. The Bodachs are incredible. I watch this over again sometimes just for the special effects used to create them.
The Beyond
French production, so it's interesting to have what feels like a slasher film treading the line of a usual arthouse. I can't say it's not like the movie was undecided whether to be a slasher or a psychological horror as while the violence is gratuitous in its scale, its presence is fitting.
The Ninth Gate
Didn't finish. Compelling premise but I guess two hours is too much for me during a depression spiral. In the Mouth of Madness
I had a good time with it. There's an analysis somewhere in the crossroads of whether we have free will and how much that even matters. I always find myself wondering about the world beyond the apocalypse during these stories, what the impact was.
Blue Velvet
What the fuck was I on when I first watched this. Absolutely compelling, another hit from David Lynch. Absorbed much more on the second time, but not sure if this is one I'll keep revisiting. Definitely keeps up with the raw emotion that Lynch is excellent with.
The Awakening (2011)
The premise and execution are definitely interesting. The reveal at the end was fairly satisfying, though I'm not sure how I feel about Maud's betrayal. It reminded me of Personal Shopper towards the end, especially with how Tom interacts with Florence. Overall, I'm glad I finished it, even if I was annoyed by the classic 2010s obligatory sex intermission. I suppose it does have its purpose this time, as it does inspire Judd's actions. I can't say Judd felt all that present otherwise, as he feels entirely disconnected from the plot.
Horsemen
While I was disappointed that there wasn't any actual supernatural element like the blurb made me think, I still enjoyed my time with it. The murders were interestingly grotesque, but I feel like they didn't use the theming to its fullest potential. The white horse was assigned as the "leader" or "Antichrist/Jesus" rather than famine or conquest. This makes some of the interactions feel off. People asking the difference between Death and War just feels silly, especially when the more confusing Conquest had been actively removed from the equation. The build-up to the son reveal felt a bit weak, but was serviceable.
Ghost of New Orleans
Another one I would put on the shelf with Personal Shopper. I'm not in the clearest mind right now, so it's hard to put into words how satisfying it was for everything to be pulled together into a single rope at the end. A bittersweet ending, giving everyone closure even if the dead remain so.
Retribution
I don't think I gave this one a good enough shot. The story is fascinating and touches on the emotional side of disappearances. The cultural aspect of ghosts in the Eastern part of the world is always an interesting contrast, especially with us seeing examples of two very different ghosts. The woman in the sanitarium is motivated by grief and loneliness, forcing others to experience her woes. Harou understands that it was that woman who drove her lover to kill her and holds no anger for him. It's lovely and touching, and a movie I need to rewatch when I'm feeling better.
Poughkeepsie Tapes
I mostly watched this so I could have full context when I watched someone's scathing critique and I have to say I agree. It was painful to watch. The violence was extraneous and felt like an early creepypasta written for maximum shock value. It felt like a snuff film created for the needs of a most pathetic demographic. Things were drawn out too long to have any pointed meaning.
When it comes to films with such violence, I try to find other similar movies to compare. Why doesn't the violence work here, but does in Funny Games? Because in Funny Games, it built up a message. Even the violence in The Beyond, which I found over-the-top and much more explicit than the violence in Poughkeepsie Tapes, all built towards a specific purpose. Poughkeepsie Tapes ran out of things to say after the first two killings.
The movie also shied away from anything that could make it interesting. We don't see the effect the killings have on the community like in Twin Peaks. We don't get to know the killer intimately like in the Hannibal movies. It's just a string of scenes put together with praise for the killer that quickly crosses the line from intriguing to annoying.
Outranks Skinamarink only because things happened.
Ghost Stories (2017)
Admittedly, I kept skipping over this one because the hero image made it seem more like a cheesy, tongue-in-cheek story. Then the movie opens with "It was my father's religion that ruined our family" and I had to just hang around for the ride. It's well executed and each story blends neatly together narratively and thematically. The final scene ties things up satisfyingly even with the particular ending it had, which is a trope that's hard to pull off. Here, I think it was done well, even if it's not to my personal taste. I suppose it works because Goodman can't escape the false reality. Usually dream endings counteract the meaningfulness of what came before, but here there's no physical alternative.
In a way it feels like Wizard of Oz. In another, it exemplifies the idea that the experiences people have are real to them, and in that sense, they will always matter. Whether Goodman returns to the dream or not, his experiences revealed to him the reality of his physical body through the reality of his mind. He gazes out the window because his locked in body can do nothing else.
Credits roll.
Monster Mash plays.
The dissonance is somewhat compelling.
Campton Manor (2024)
Another one I'm not sure I like the execution of. I think there's a lot of potential in gaslighting a murderous ghost in order to figure out how the murders started, but I'm not sure what the identity theft added to the narrative, much less the vibe. It didn't detract, certainly, so I won't knock it. It was an okay time, but I wouldn't watch it a second time.
The Whisperer in Darkness (2011)
This is one of those projects where you can feel the passion for the source material bleeding through. Every bit of the presentation - editing, acting, and special effects - came together to make me feel like I was watching a movie from the past it was emulating. If you told me this came out around the same time as From Beyond, I'd be amazed at the preservation. Of course, the story itself is just as good. Presented differently, it might be a bit cheesy as many of Lovecraft's stories have become, but in this context it's a compelling story of the tragedy and futility of fighting against the strange universe and the invaders which come from it.
Star of Nevada A friend described it as a maritime Inland Empire and I have to agree. The story is beautiful and forlorn as one man gains what another has lost. The skipper who brought those men on this journey seems akin to the force of nature, sloughing off his name as he gives his identity to the sea.
Which I suppose is a large theme of this movie, identity. There are a great many things by which we are defined, but removed from them, what and who do we become? Are we where we are because it is comfortable, because it is our duty? Our acceptance of this defines us.
This is a movie to mull over. I don't feel as though I'm accurately portraying it in this write-up. I'll have to watch it again sometime.
An American Werewolf in London (1981)
A rather tight narrative with a very fun take on lycanthropy. It's an extremely satisfying watch that gets you exactly what you expect: a quick flick with a short story that doesn't leave any loose ends. It's honestly refreshing after dealing with modern movies that love to bait a sequel.
The characterization was exactly what the plot needed and the concept of a werewolf's kills haunting them until their death is very interesting.
Harmony Falls (2022)
I saw a comment on a YouTube video that stated that 6/10 games are good for the soul. I think this applies to a lot of media, though it might be pretty subjective after a while. Anyway, this is a 6/10 movie. There are choices made that defy any standard of good writing and yet it's compelling in its sheer incompetence. The dialogue is realistic to the point of being boring, even when conversations take absolutely baffling turns. The main character is a scientist but they don't make use of that to give us fun jargon. He even sends samples of the werewolf to a lab which correctly identifies them as coming from a werewolf, then makes up an excuse to justify not publicizing the findings. There is no characterization that would explain this given that his introduction is that he's a famous zoologist because of his discoveries. He then proceeds to ask the lab worker if they're available to test additional samples. I am just baffled.
I would not recommend this movie to anyone but I did finish it. The sheer overconfidence of sequel baiting is insane to me.
The Bosk (2026)
I stopped watching this one midway through because of two reasons: the main character is not nearly interesting enough for me to want to watch her deal with this for another HOUR after her friend dies and the monster is basically just a guy in Indigenous clothing, foreshadowed by an American Girl doll. I had a bit of hope when the main character ran into her car and the antagonist followed her - I thought it might be interesting if it was revealed this particle person was trying to talk to her - but it was just a drive-by spook. Moving on.
Late Phases: Night of the Lone Wolf (2014)
Asshole protagonists are a dime a dozen, but asshole geriatric protagonists are rare. A werewolf movie in the setting of a retirement community is already an incredible premise, but this one runs it home with compelling characters and a powerful narrative. The mystery of who the werewolf is has satisfying evidence and conclusions. Our protagonist is so determined that he's easy to root for even if he's not the best person. An incredibly human and satisfying ending left me happy I took a chance on this one.
The special effects were also a bonus. The werewolf transformations were an absolute delight. Something to show internet user Catphantoms.
Werewolf Blood Trap
Solid 4/10. Not finishing. It's like the opposite of Harmony Falls where Harmony Falls was painfully realistic in its dialogue and then baffling in its narrative choices. This movie isn't offensively bad but it's strikingly mediocre and feels like a student film. The awful, stilted dialogue is kinda unbearable.
Little Red Werewolf (2017)
This was a tough watch for a few reasons, but rewarding. Revenge fantasies are like that, I think. I was on the edge of my seat, waiting for it to turn into victim blaming, but it never did. I wonder if there was a want to touch on how trauma can change a person, how it could make them into what they may at first percieve as a monster but really has hardened them. Lauren moves on from the attempted rape and becomes more confident. She already faced one incredible foe; what can a high school bully do to her?
I don't know how I would interpret it if I had shared Lauren's trauma, but I'm not sure if this movie is known enough for people to talk about it. Maybe I'll look.
The pathologist takes less center stage than expected given the blurb, but I like the way his story is woven into the rest of the narrative. He's a sympathetic character, both to the audience and to Lauren's mom. He makes it clear that all he wants is the killings to stop and not once does he think Lauren is to blame. The scene handing over the cross is from one parent to another.
It's a happy ending, as much as it can be, for everyone involved that deserves it.
Monster Wolf (2010)
I'm not sure what I can really say about this one. It's a very classic SyFy offering, one of the ones that had a lot of passion put into the project. The Indigenous aspects were treated as respectfully as possible for a movie of its time with the extremely obviously evil white man getting his comeuppance.
The wolf effects were incredible. They really gave it all they had at the time and the wolf turning into lightning was insane. I loved it. The animation used to tell the story of the wolf was also a wonderful surprise.
Overall, a good showing from a made for TV movie.
Edgar Allen Poe's "The Oval Portrait" (2025)
A very endearing adaptation - or elaboration, really - of Poe's short story. I hadn't read it before watching the movie, but I feel it captures the intimate bleakness that pervades much of Poe's work. Misfortune is what binds all the characters together. Even the ending, which seems happy at first, is bittersweet.
The soundtrack is overbearing at times in an otherwise quiet movie, but that's my only criticism. The mix of accents makes the setting hard to place, giving the movie a dreamlike air.
The person I was watching with thought it was a rather slow piece. I thought it moved along with a good saunter. Maybe my measure of a movie's pace has been altered by all the arthouse films I've been watching?
I did read the short story afterwards, by the way. I own an anthology of Poe's fictional works and it was easy enough to find the Oval Portrait. It only lasts maybe two and a half pages, with the entire last half-page short enough to be quoted in full in the movie. Knowing this, I'm even more endeared by this movie. Someone was so inspired by that fleeting bit of prose that they dreamed up so much of a scenario surrounding it. I think that's beautiful.
Children of Darkwood House (2018)
The need to use a mirror to see ghosts is really interesting. I wonder if the silver in the mirrors and the silver used in old film is what allows for the interaction. Maybe something to bring into one of my own stories.
A worthwhile ghost hunting movie. The characters are compelling, as is the mystery. We as the audience get to share in the process of research and discovery about the ghost and how it works, as well as how to whether it can be defeated and how. A bittersweet tale in the end. I enjoyed my time.
Harry Price: Ghost Hunter (2015)
An overall well-constructed mystery with great characters. It's fun seeing a character who has been on the conning side of seances, and finding out that Harry Price was a real person just made it all the better. I'll have to look into him more.
Ghosts of Borley Rectory (2021)
I get there's some appeal in dealing with a straightforward haunting, but part of the reason Harry Price as a fictionalized historical figure is that he spent his life debunking ghosts and mediums.
It's not what I'm looking for right now and that colors my opinion, I think. It feels very Haunting of Hill House novella, but without the ability to actually get into the minds of the characters. They're not very distinctly characterized, either. Price would have contrasted with the rest of the characters if he was at all skeptical, but him being a believer makes him blend in with the others.
Didn't finish.
Blackout (2026)
Found while trying to watch Blackout (2023). The premise is overall straightforward; as many moral quandaries, it's just Omelas again. However, this time, the child is there somewhat consensually. There is something to be picked at regarding the choices being made and how they can be from a place of privelege. The Susanna portion of the film sets up the second portion very efficiently. The repetition of dialogue between the two Ushers makes it clear what the expectation is for this process and allows Weston's portion to have a strong grounding for subverting the expectation.
A lot is left unanswered, but in the end, answers aren't what we need. It's a philosophical question - did Weston make his choice because he is an adult who is in a place where he can afford to be on his own forever? Was there any way that Suzanna would have made a different choice? The other factors are interesting as well: Weston's starving individual was someone he knew to be kind while Suzanna's was someone she didn't know.
There's a feeling that Suzanna hasn't lived much of her life at all, while Weston spends time contemplating his. Even the end credits sequence shows him having a wild youth. There's a lot to consider about this movie, more than I tend to expect from things released in 2026.
In the end, techno dad seems pleased with his lot, so at least it wasn't overly depressing as these types of philosophical stories tend to be.
The Final Haunting (2015)
Granted, I was only half paying attention, but it was interesting enough that I was willing to sit through the whole thing. However, things still feel disconnected and the ending is a tired old "the mentally ill can be dangerous" sort of perspective. When the focus shifts from Lily to Chris, it feels strange and sudden. Chris doesn't feel fleshed out enough to justify him being the main character.
This feels like a romance movie that didn't have nearly enough connection between the two parties to feel like the ending is earned in any way.
The most annoying part is that there's a really good Zathu/Lini song - Goodbye by Drew and Fred Carpita - but I can't find it anywhere outside the movie.
Big Bad (2016)
This one goes on a shelf with Harmony Falls as a bad movie that rules. The character interactions are very typical of the tropes, but still show some passion for the writing. There's a red herring, a plot twist, and overall it's a very enjoyable jaunt. It feels like a more mature Goosebumps in a way, which is fun.
The soundtrack is insane. This is art that I myself would never be able to create and I'm glad I could witness it.
Dog Soldiers A very tight and enjoyable romp.
Ovum (2017) Short and poignant. A good little story with excellent use of obsfuscation and efficient storytelling. Something for the inspiration board.