Perhaps she was still working on her Masters in Witchery when she got the mortgage statement and didn't get to "Conjuring Money from Withcraft 544"domino harvey wrote:Are you saying a witch wouldn't know how to use her powers in a movie in which she uses her powers?starmanof51 wrote:Why it's as if these people don't know the first thing about witch-powers! Weren't they paying attention in eighth grade Witch-Physics class?
Conversely: This was bad. A horror movie that aims for cheap scares by random jumps in volume on the soundtrack (Seriously, if this didn't have any sound, it might have been deemed a complete comedy), which is becoming the most annoying thing in the recent trend of Hollywood horror movies. The Hills Have Eyes did this, if I recall correctly, but at least, unlike this, it sustained a tense atmosphere throughout, which is how a lot of the exciting, recent French movies are exceed the lame use of a soundtrack to generate scares.dcluver04 wrote:This was a refreshing horror film. But I expected nothing less from Raimi. It scared my sister so much that I don't know if she will ever watch a horror film again. I am seeing it again Saturday and I can not wait. I hope Raimi continues with horror.
Ahem. In fact, they don't and still use a lot of the volume jumping. We have a lot of cheap horror movie you won't ever know anything about. And even the one you know as Martyrs or A l'intérieur are considered as quite bad movies.james wrote:The Hills Have Eyes sustained a tense atmosphere throughout, which is how a lot of the exciting, recent French movies are exceed the lame use of a soundtrack to generate scares.
Oh, fair enough. Sorry if I miscalculated my knowledge on the matter; I just find this style that has become increasing prevalent in horror movies these days to be quite false and pointless.tenia wrote:Ahem. In fact, they don't and still use a lot of the volume jumping. We have a lot of cheap horror movie you won't ever know anything about. And even the one you know as Martyrs or A l'intérieur are considered as quite bad movies.
Yeah, and I totally agree with you on the fact that is very lame to try to make us afraid just by pumping up the volume. It's something I have never liked, and it has really bothered me with this Drag Me To Hell. But, the fact is that, in France, each year, we have a lot of 'horror' movies that are released and each time, they say 'Hurray! The revolution is here!' We're still waiting for it.james wrote:Oh, fair enough. Sorry if I miscalculated my knowledge on the matter; I just find this style that has become increasing prevalent in horror movies these days to be quite false and pointless.
I'm at a disadvantage not having seen DRAG ME TO HELL, but how exactly is this different from the blasts of scary music by Frank Skinner, Hans Salter, Henry Mancini & James Bernard in horror films from the late 1930s through the 1960s?I just find this style that has become increasing prevalent in horror movies these days to be quite false and pointless.
Thank God somebody finally said this. The music in Drag Me to Hell isn't 1/20 as good as the old Universal scores (few scores these days are), but it's reaching for the same effect. In contrast with other recent horror films, at least in Drag Me to Hell we have actual thematic music being performed by an orchestra accompanying the horror rather than a lot of dissonance or sound effects.I'm at a disadvantage not having seen DRAG ME TO HELL, but how exactly is this different from the blasts of scary music by Frank Skinner, Hans Salter, Henry Mancini & James Bernard in horror films from the late 1930s through the 1960s?
I wouldn't say that, exactlyDylan wrote: Am I the only one who thought that the best part about this film was the fact that it opened up with the seventies MCA/Universal logo?
But it did put a smile on my face from the start! I read somewhere that Raimi wanted that logo on the front because it accompanied so many of the schlocky horror movies/TV he adored in the seventies.LQ wrote:I wouldn't say that, exactlyDylan wrote:Am I the only one who thought that the best part about this film was the fact that it opened up with the seventies MCA/Universal logo?
Drag Me to Hell is scary as the spooky ghost heads popping up unexpectedly behind foam gravestones as you slide enveloped inside a monstrous chair through the dark, foggy Haunted Mansion at the Magic Kingdom. It's that type of "scary". It's not scary psychologically even though the last image of Chris is still kinda disturbing, still hard to shake. And yeah, Bruce Campbell's appearance would be soo awesome and appropriate.cdnchris wrote:I thought it was good fun but don't understand how anyone could find this scary but I have to admit I've never found the Evil Dead films even remotely scary either. Jump scares usually don't work for me because it's usually obvious when they're coming, even when they're trying to fool you. I did enjoy myself, loved the Gypsy woman fight scene, all the Raimi touches found throughout, and liked the ending. Didn't even mind Justin Long. If Bruce Campbell could have somehow appeared it would have been even better.
Here you are.Dylan wrote:The music in Drag Me to Hell isn't 1/20 as good as the old Universal scoresI'm at a disadvantage not having seen DRAG ME TO HELL, but how exactly is this different from the blasts of scary music by Frank Skinner, Hans Salter, Henry Mancini & James Bernard in horror films from the late 1930s through the 1960s?
While Christopher Young's music here is nothing special (I prefer his eighties horror scores, which are excellent), at least he and Raimi have the right idea of having a real orchestral score in the foreground of a horror film as opposed to the dissonant sonic wallpaper that sadly passes for the majority horror/action scoring these days.tenia wrote:Here you are.Dylan wrote:The music in Drag Me to Hell isn't 1/20 as good as the old Universal scoresI'm at a disadvantage not having seen DRAG ME TO HELL, but how exactly is this different from the blasts of scary music by Frank Skinner, Hans Salter, Henry Mancini & James Bernard in horror films from the late 1930s through the 1960s?