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ดูหนังออนไลน์ ดูหนัง, หนังออนไลน์, ดูหนังออนไลน์เต็มเรื่อง, ดูหนังออนไลน์ hd, ดูหนังฟรี, ดูซี่รี่ย์ฟรี, ดูหนังใหม่, ดูซี่รี่ย์ใหม่, ดู netflix ฟรี But there’s Tarantino for you, not content to tell one story—instead, he delivers what almost becomes two entirely separate movies starring the same characters. Yet, that’s exactly the molten, subterranean fuel that pushes David Lynch’s visions forward, and with his debut, the perplexing and terrifying Eraserhead, the director offers no consolation for the encroaching feeling that with him we’ll never find any sort of logical mooring to keep our psyches safe. MTV Movie & TV Awards 2021; Hypothetical – Season 3 (new episodes weekly) Snowfall – Season 4; May 19. That Honda handles such goofiness with an unrelentingly poetic hand, purging his nation’s psychological grief in broadly intimate volleys, is nothing short of astounding. Netflix's streaming highlights for May Army of the Dead (21/5/21) As the years have passed by and an appreciation for Dreyer has grown, however, so has an appreciation for the film, with many modern critics citing its subversive take on sexuality to be years ahead of its time. These small details have for decades fueled mysteries and conspiracy theories about the director’s true intent, as was captured beautifully in The Shining documentary Room 237 by Rodney Ascher. Episode 7 79m. It’s certainly not Del Toro’s most spellbinding feature, but it was an excellent debut. Released January 27th, 2020, 'Charm City Kings' stars Jahi Di'Allo Winston, Meek Mill, Teyonah Parris, William Catlett The R movie has a runtime of about 2 … Day of the Dead ultimately takes a monster that audiences thought they knew pretty well at this point and suggests that perhaps they were only just scratching the surface of the subgenre’s potential. —Scott Wold, Year: 1988 Director: Renny Harlin Stars: Robert Englund, Lisa Wilcox, Danny Hassel, Tuesday Knight Rating: R Runtime: 93 minutes, The Dream Master is the entry where things start to go off the rails for the Nightmare franchise, in ways both appreciably silly and ultimately damaging. We all know where the story is going, once these gals start dabbling in witchcraft for the causes of popularity and petty revenge—nobody gets away with being this bitchy in fiction. Most importantly, the two types of films could exist side by side. It’s a film that sought to please fans of the series who came armed with the lowest of expectations. The film adaptation, released last year in the U.K. before making its U.S. debut in February, bares its teeth right away. )—one would not have to squint too hard to see a new genre coming into being. The progenitor of big money series such as Saw and Insidious has a knack for crafting populist horror that still carries a streak of his own artistic identity, a Spielbergian gift for what speaks to the multiplex audience without entirely sacrificing characterization. Mega comic crossover Avengers: Infinity War? The history of this world’s vampires and their various castes is well-explored—and strangely believable. It was simply too frightening to deny, and that is worthy of respect. Its droning soundtrack, innovative Steadicam shots and singular images, like that of the two little Grady girls standing in the hallway, beckoning to Danny, are instantly recognizable even to people who have never explored horror cinema. Likely because of not being one of the comic giant’s better-known characters, the filmmakers were able to make significant changes to the Daywalker, upping his coolness level since his debut in 1973’s Tomb of Dracula by about, say, a thousand-jillion percent—starting with casting Wesley Snipes, who absolutely crackles with badass-ness. Animated game-changer Spider-Man: Into the Spider-Verse? Perhaps it’s the strength of King’s elemental story, but everything in this first It film just works, from the camaraderie of the Loser’s Club to their satisfyingly visceral final confrontation with Pennywise—and the film looks great throughout. Kong, meanwhile, is a misunderstood creature, operating on the sense of self preservation he learned in a home where he’s only ever known a daily fight for survival against a neverending stream of monsters. So it goes with two couples: Genjuro (Masayuki Mori), a potter hoping to profit from wartime, and his wife Miyagi (Kinuyo Tanaka); Tobei (Eitaro Ozawa) and Ohama (Mitsuko Mito), who rightly indicts her husband’s dreams of being a well-decorated samurai as foolish, especially considering that Tobei shows no signs of physical mettle, let alone a brain with any sense of militaristic prowess. Watching Häxan, then, becomes a different kind of warning: to not think too highly of our own sophistication, or make the assumption that we have in some way evolved from what we once were. —Dom Sinacola, Year: 1964 Director: Kineto Shindo Stars: Nobuko Otowa, Jitsuko Yoshimura, Kei Sat?, Taiji Tonoyama Rating: NR Runtime: 102 minutes, Kaneto Shindo’s Onibaba will make you sweat and give you chills all at once, with its power found in Shindo’s blend of atmosphere and eroticism. (And if you’re feeling like 2018 just isn’t your year, turn to the future with 2019’s Most Anticipated Movies and 2020’s Most Anticipated Movies. —Amy Glynn, Year: 1954 Director: Ishiro Honda Stars: Sachio Sakai, Takashi Shimura, Momoko Kochi, Akira Takarada Rating: NR Runtime: 95 minutes. It was a different time in film promotion—even for a blockbuster, a sequel wasn’t a forgone conclusion, and even then you weren’t likely to be working with a comparable budget. Try as he might as the British lawyer fiancé to Ryder’s Mina, Reeves can’t help but flail onscreen, a Ted out of water among an ensemble that also includes Richard E. Grant, Cary Elwes and a marvelous Tom Waits as R.M. Netflix’s version is a marked departure from the original as it mainly focuses on the male characters. The first time that Brody (Roy Scheider) sees the literal “jaws” of the beast while absentmindedly throwing chum into the water is one of the great, scream-inducing moments in cinema history, and it’s a shock that has rarely been matched in any other shark movie since. If viewers aren’t burnt out on zombie offerings (and they shouldn’t be, with such recent standouts as 2016’s Korean hit Train to Busan proving that the genre has plenty of life left in it), they’ll find that The Girl With All the Gifts is less concerned with the initial overwhelming outbreak than with the moral lines survivors in the military and scientific community are willing to cross. 8. There hasn’t been a zombie movie made in the last 50-plus years that hasn’t been influenced by it in some way, and you can barely hold a conversation on anything zombie-related if you haven’t seen it—so go out and watch it, if you haven’t. I can’t be sure. Shots of Godzilla trudging through thick smoke, spotlights highlighting his gaping maw as the Japanese military’s weapons do nothing but shock the dark with beautiful chiaroscuro, have been rarely matched in films of its ilk (and in the director’s own legion of sequels); Honda saw gods and monsters and, with the world entering a new age of technological doom, found no difference between the two. Puffy-cheeked devils with long tongues lolling lazily out of their mouths. Annabelle Comes Home remains a hoot from start to finish. You could even make a case for Clouzot’s canonization in horror, but to take the film on only those terms would miss just how masterfully the iconic French director could wield tension. Oh, 100% accurate, but also just as deeply off putting as you’d expect the work of Cronenberg to be in so many cases. The "Full Holes" porn trailer starts out with some good old-fashioned teenage sexual activity between D.J. There’s no subtlety of any kind to be seen here, just pure serpent spectacle, which makes Anaconda a cheesy joy in its own way. Patton, who is gay in real life, struggled with the film’s legacy, largely leaving acting as a result of the experience, but has embraced Freddy’s Revenge as a queer camp classic in recent years. —Jim Vorel, Year: 1978 Director: Jeannot Szwarc Stars: Roy Scheider, Lorraine Gary, Murray Hamilton Rating: PG Runtime: 116 minutes, Jaws 2, even more than most sequels, suffers in comparison to the original classic it follows despite being a competent film in its own right. All rights reserved. Hit documentary Won’t You Be My Neighbor? It’s pretty obviously the most important zombie film ever made, and hugely influential as an independent film as well. Shot with the delicacy and elegance of a dream, Dreyer quickly plunges the viewer into an expressionistic hellscape of shadows and dread. Like in those two films, Mizoguchi set Ugetsu in feudal Japan, using the country’s civil war as a milieu through which he could explore the ways in which ordinary people are kept from seeing to their basest needs, ground instead to dirt by forces far beyond their control. Regarder des films en ligne gratuitement. The dreamlike—make that nightmarish—dramatization of these torture sequences were almost unthinkably extreme for the time, leading to the film’s banning in the U.S. Yep, being a film buff in 2018 is a full-time gig. Oh, and there’s a cameo by Hulk Hogan to boot. If there’s another film where a woman is eaten by a living, evil piano, I haven’t yet seen it. Some of it is hard to believe, such as the idea that casting a local dentist with no acting experience in one of the major roles would work out fine. —Jim Vorel, Year: 1997 Director: Luis Llosa Stars: Jennifer Lopez, Ice Cube, Jon Voight, Eric Stoltz, Jonathan Hyde, Owen Wilson Rating: PG-13 Runtime: 89 minutes, Jennifer Lopez, Ice Cube, Jon Voight … creature features don’t get more “late 1990s” than Anaconda, do they? Their common flaw is inconsistency. This is a meanspirited and misanthropic yarn that blends body horror and science fiction into a new-aged parable of revenge and repressed rage, erupting forth whether we want it to or not. The best horror movies streaming on Netflix Charm City Kings Maya Dardel Diaz - Don't Clean Up This Blood Tilt Loro. Subscription. The film’s simple premise of tapping into the horrors of dreaming and questionable reality was like a gift from the gods presented directly to the artists and set designers, given carte blanche to indulge their fantasies and create memorable set pieces like nothing else ever seen in the horror genre to that point. If Franju gets to claim most of the credit for that, at least save a portion for Scob, whose eyes are the single best special effect in the film’s repertoire. Even the action feels muddy and poorly lit in a way that was never problematic in the original run of the series. Compared to its predecessors in its spin-off trilogy, to The Nun, the disastrous lead-off for a second spin-off, to The Curse of La Llorona, and to The Conjuring 2, Annabelle Comes Home is lively, energetic and even fun. —Amanda Schurr, Year: 1997 Director: Wes Craven Stars: Neve Campbell, Courteney Cox, Sarah Michelle Gellar, David Arquette, Jamie Kennedy, Liev Schreiber Rating: R Runtime: 120 minutes, It was going to be hard to follow up the original Scream for plenty of reasons: Aside from it being one of the more innovative, self-aware horror films in years, Wes Craven killed off all of its bad guys in the final scenes of the movie. It’s hammy, and melodramatic, and protagonist Robin Tunney is easily the least interesting of her own clique, and yet The Craft is still oddly watchable today. As a piece of modern camp spectacle it’s top tier, but it would be a shame to overlook the genuinely imaginative visual effects and how they would seem to presage the likes of Evil Dead 2 in the years to come. —Jim Vorel, Year: 1989 Director: Stephen Hopkins Stars: Lisa Wilcox, Robert Englund, Kelly Jo Minter, Danny Hassel Rating: R Runtime: 90 minutes, There were plenty of horror fans deriding the Nightmare on Elm Street series for jumping the shark after The Dream Child, but compared with Final Nightmare there’s much more that can be salvaged here. —Jim Vorel, Year: 1994 Director: Wes Craven Stars: Robert Englund, Heather Langenkamp, Wes Craven, John Saxon, Miko Hughes Rating: R Runtime: 112 minutes, By 1994, 10 years had passed since the original A Nightmare on Elm Street, and Wes Craven had watched a cavalcade of directors run wild with Freddy Krueger in both good (Dream Warriors) and terrible (Final Nightmare) sequels. The overall scope of the service might not be quite as broad as something like Netflix, but you’re likely to have heard of far more of these films. —Jim Vorel, Year: 1964 Director: Masaki Kobayashi Stars: Rentaro Mikuni, Tatsuya Nakadai, Katsua Nakamura, Osamu Takizawa, Noboru Nakaya Rating: NR Runtime: 184 minutes, Ghost stories don’t get much more gorgeous than the four in Masaki Kobayashi’s sprawling Kwaidan. It’s a phantasmagoria of morbid humor and bad dreams. The audience sees Krelborn juggle success with his own plant’s insatiable appetite, and we get some big laughs along the way with help from Steve Martin, Bill Murray and The Four Tops’ Levi Stubbs as Audrey II, complete with an array of bombastic musical numbers. Where to watch. A Nightmare on Elm Street 2: Freddy’s Revenge, 42. This was the big-budget, beautifully cast and genuinely disturbing take on It that some had thought impossible, driven by a fantastically alien performance by Bill Skarsgård as Pennywise, a “dancing clown” that is hiding a much more unknowable, exotic form of evil than the jokester played by the equally great Tim Curry in the 1990 TV adaptation. —Jim Vorel, Year: 2016 Director: Colm McCarthy Stars: Gemma Arterton, Paddy Considine, Glenn Close, Sennia Nanua Rating: R Runtime: 111 minutes, M.R. A truly unique silent film, Häxan is presented as both a historical documentary and a warning against hysteria, but to a modern audience it plays with a confounding blend of genuine horror and humor, both intentional and not. But what makes the film so damn scary isn’t the fear of retribution passed down from on high, it’s the human element, the common thread sewn in a number of modern horror movies where the true monster is always us. That’s because unlike the horror selections of Netflix, Hulu or (especially) Amazon Prime, the bulk of the selections here aren’t made up of modern, straight-to-VOD, zero-budget productions with vague, one-word titles like Desolation or Satanic. In “The Black Hair,” a selfish, impoverished ronin (Rentaro Mikuni) abandons his wife to marry into wealth, only to realize he made a dire mistake, plunging him into a gothic nightmare of decay and regret. —Jim Vorel, Year: 1968 Director: George A. Romero Stars: Judith O’Dea, Duane Jones, Marilyn Eastman, Karl Hardman, Judith Ridley, Keith Wayne Rating: N/A Runtime: 96 minutes, What more can be said of Night of the Living Dead? The first thing one notices, looking at the horror genre as it exists on HBO Max, is that there’s an unusual level of genuine curation involved here. —Andy Crump, Year: 1996 Director: Wes Craven Stars: Neve Campbell, Courteney Cox, David Arquette, Rose McGowan, Matthew Lillard, Skeet Ulrich, Drew Barrymore Rating: R Runtime: 111 minutes, Before Scary Movie or A Haunted House were even ill-conceived ideas, Wes Craven was crafting some of the best horror satire out there. They charm everyone with "Signal," their new song. From these disparate fairy tales, plenty of fodder for campfires, Kobayashi creates a mythos for his country’s haunted past: We are nothing if not the pawns of all those to come before. The film is also home to some of the series’ best individual kills, which goes a long way—particularly the demise of bug-hating tough girl Debbie, who is turned into a cockroach in a roach motel, in a particularly Kafkaesque sequence of body horror. It’s essentially the horror equivalent of what Tolkien did for the idea of high fantasy “races.” After The Lord of the Rings, it became nearly impossible to write contrarian concepts of what elves, dwarves or orcs might be like. It’s interesting to note that The Conjuring actually did receive an “R” rating despite a lack of overt “violence,” gore or sexuality. Must we really spend our time with the townspeople demonizing poor Brody for trying to bring this shark business to the forefront once again? If he never does return, it was at least a better ending for Freddy than Final Nightmare, that’s for sure. From micro-indies to big budget blockbusters, this is the good stuff from our wild and momentous year — every movie here scored high on the Tomatometer, enough to get stamped Certified Fresh. L.A. Times entertainment news from Hollywood including event coverage, celebrity gossip and deals. Arguably even more enjoyable than its predecessor, Blade II sees a fragile alliance between Blade (Wesley Snipes) and the Bloodpack—basically, the Dirty Dozen of vampires—as they face off against Reapers (super-vampires who enjoy them some tasty vampire blood). Hers is a performance that stems right from the soul. Except this time, the malevolent spirit of Freddy—or perhaps the idea of Freddy, starts jumping out into the real world. Patric and Haim are siblings who sense something is amiss in their new coastal California town, where a lot of people have gone missing lately. Much in the same way as Zombieland (a definite spiritual successor), it shows that whether the zombies are “scary” is ultimately a matter of how everyone reacts to them. I thought to myself, “Gee, that’d play like gangbusters in a horror movie.” What an idiot I was: Scob had already appeared in that movie, Georges Franju’s Eyes Without a Face, an icy, poetic and yet lovingly made film about a woman and her mad scientist dad, who just wants to kidnap young ladies that share her facial features in hopes of grafting their skin onto her own disfigured mug. Shaun of the Dead makes a wry, totally valid criticism of modern, digital, white-collar life through its wonderful build-up and tracking shots, which show slacker Shaun wandering his neighborhood failing to even realize that a zombie apocalypse has happened. —Steve Foxe, Year: 2019 Director: Gary Dauberman Stars: Mckenna Grace, Madison Iseman, Katie Sarife, Vera Farmiga, Patrick Wilson Rating: R Runtime: 106 minutes, After five years and seven films, the Conjuring franchise has developed a glossy house style and nearly exhausted its repertoire of scares. —Scott Wold, Year: 1990 Director: Joe Dante Stars: Zack Galligan, Phoebe Cates, John Glover, Robert Prosky Rating: PG-13 Runtime: 107 minutes, Joe Dante didn’t want to make a sequel to Gremlins. The 50 best zombie movies of all time. Celebrity Fantasy Homes – … A head which would then, in a firework of brains and bone, explode—nothing if a gratuitous sign of genius things to come.—Dom Sinacola, Year: 1962 Director: Herk Harvey Stars: Candace Hilligoss, Herk Harvey Rating: PG Runtime: 80 minutes, Carnival of Souls is a film in the vein of Night of the Hunter: artistically ambitious, from a first-time director, but largely overlooked in its initial release until its rediscovery years later. This likewise leads to a loosening of the established “dream rules” that is somewhat kayfabe-breaking, making the implication that Freddy can, for instance, attack people during the daytime when the unborn baby is asleep. Scenes of torture straight out of Albrecht Dürer woodcuts or Divine Comedy illustrations. A simple tale about a funny-haired worker (Jack Nance) trundling nervously through a phantasmagoric industrial landscape, in the process fathering a mutant turtle-looking baby who he’s left to raise after his new wife abandons her “family,” Eraserhead is an astounding act of burying independently-minded cinematic experimentation in the popular consciousness. Here’s where Scream 2—a respectable follow-up and one that sets the stage for all of the film’s lesser sequels—comes into play. Lesh finds she’s in over her head and calls for an exorcist. George Romero’s cheap but momentous movie was a quantum leap forward in what the word “zombie” meant in pop culture, despite the fact that the word “zombie” is never actually uttered in it. Its intensity, effects work and unrelenting nature set it several tiers above the PG-13 horror against which it was primarily competing. Sci-fi thriller, old-timey cyberpunk, grody procedural—Cronenberg litters his typical themes of transformation and transmutation throughout a story that, at practically any moment, feels like it could turn completely on its head. ), The Guernsey Literary and Potato Peel Pie Society, Let the Sunshine In (Un beau soleil intérieur), Divide and Conquer: The Story of Roger Ailes, Boom for Real: The Late Teenage Years of Jean-Michel Basquiat, Scotty and the Secret History of Hollywood, 30 Most Popular Movies Right Now: Top Films Everyone’s Watching, Best Netflix Series and Shows To Watch Right Now (May 2021). It comes off as simply a string of finger-pointing moments, begging the viewer to “remember this?”, while executing most of those moments in ways far less satisfying than the first four Friday the 13th movies it’s using as inspiration. —Jim Vorel, Year: 1984 Director: Joe Dante Stars: Zach Galligan, Phoebe Cates, Hoyt Axton, Polly Holliday, Frances Lee McCain, Dick Miller Rating: PG Runtime: 106 minutes, In the same vein as Die Hard, Joe Dante’s Gremlins is a yearly Christmastime argument waiting to happen: Both are annually tossed onto “best Christmas movie” lists, but when it comes to the latter, at least, those debates often overlook the dark comedy of an expertly crafted ‘80s horror film from Dante at the height of his powers.

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