Many favorites, as well as a small handful of films that I don't care for... in no particular order (1960-2014).
You Are Who You Eat
Upon receiving reports of missing persons at Fort Spencer, a remote Army outpost on the Western frontier, Capt. John Boyd investigates. After arriving at his new post, Boyd and his regiment aid a wounded frontiersman who recounts a horrifying tale of a wagon train murdered by its supposed guide -- a vicious U.S. Army colonel gone rogue. Fearing the worst, the regiment heads out into the wilderness to verify the gruesome claims
Cannibals in the snow. No it's not Game of Thrones or the tasty Hannibal, it's Ravenous and it's extremely delicious. Yummy steak! Reassignment. Principal Rooney. Peace pipe. Snow the precipitation not the washed-up rapper. Playing dead. Deputy Dewey before Scream 3. Begbie takes a bath. Dum Dum Dugan. Shortcut. Meat is meat. Search party. Begbie's goggles. Billy Sole's great great grandfather. Bourbon cures everything. Going all Hannibal Lecter on a motherfucker. Scary cave. George's badass bow and arrow. Spooked. Extra bones. Extreme digging. Tomahawk chop. Begbie yell. Pursuit. Free fallin'. Begbie giggle. Leap of faith. Proper grave. How much wood could Deputy Dewey chop if Deputy Dewey could chop wood? Skippin' rocks like The Kid. Teepee. Gone way too fuckin'…
It may be hard to believe now, but once upon a time — call it the late Nineties — a major movie studio sunk $12 million into a comedic western about 19th century soldiers who believed eating other humans endow folks with superhuman strength and the ability to recover from life-threatening injuries. When shooting on the film crashed to a halt after three weeks of interference and executive micromanaging, one of the suits at at 20th Century Fox hit upon an idea: fire director Milcho Manchevski — the Macedonian art house sensation whose devastating wartime romance Before the Rain was nominated for an Oscar — and replace him with Raja Gosnell, whose only feature credit to date was Home Alone 3.
Shockingly, it didn't work out.
Part of Lise and Jonnie’s Horror-o-Thon 2014
When I was ten, my parents took me on a trip to Disneyland. After that, we drove from Anaheim to visit my uncle in Reno. Like many tourists travelling route 80 through the High Sierras, we made a short detour to visit Donner Pass. Being a Canadian kid, the story of the Donner expedition wasn’t in my history books. I remember reading a plaque, and a photo taken of my dad chomping on my mom’s arm. I’m sure there’ve been countless numbers of similar photos since.
Little did I know that my father would turn into a blood thirsty zombie.
This film is a warning. Heed it. If travelling from Anaheim to Reno, take the 15 east to Las Vegas, then the 95 north to Reno. Your family will thank you.
Well this was a welcome surprise. With the tragic death last year of Antonia Bird I felt the time was right to venture into her "Western" about cannibals. Starring one of her favorites, Mr Robert Carlyle, she doesn't mess about when it comes to the gore.
When Guy Pearce's Captain Boyd is sent to a remote Fort in the Californian Sierra Nevada mountains, little did he know what horrors awaited him. A film that has an almost comedic approach to it's horror aspect and a top notch performance by Carlyle, this did make me chuckle more than once. From the brilliant premise to Bird's full-on immersion in a story that has been mined from real life wilderness stories of the…
Antonia Bird's "Ravenous," a tale of cannibalism in the 19th century, would have made a strong horror film had it not been for some darkly comic touches that dull its horrific qualities. As it stands, however, the film is a solid Western thriller with some shifts in tone that lighten its mood.
Following a US Army Captain, played by Guy Pearce, who has been stationed in a remote California outpost, the film is gruesome and engrossing look at what happens when a stranger, with tales of cannibalism, happens upon the outpost. The stranger, of course, is not who he seems.
The narrative is compelling and moves quickly, keeping the audience engaged with nicely crafted bits of tension. The film is…
I don't know a thing about the career of the late Antonia Bird, but damn did she crank out one helluva horror hybrid that by the end, leaves me wondering what kind of movie is this, really? Black comedy? Body horror? Survivalist escapism? Satiric homo-erotic allegory? Supernatural deconstruction of masculinity? It's a wonderful pastiche of many things, but above all, is just a damn entertaining ride which admittedly loses focus in the second half, yet the culmination of that final image makes the simmering aimlessness of act three feel necessary. Just knowing that a woman directed all that thick, projectile blood to such gleefully gruesome effect makes me happy. Any filmmaker not willing to get down and dirty with practical blood effects shows me that you aren't as dedicated to your craft as you aught to be and I will probably dismiss your film outright.
I didn't see this until long after it came out, because the previews didn't make it look so hot; in retrospect, this is one of those movies that is special for reasons that are impossible to sell in a 30-second TV ad. It starts off weird and only gets weirder, making several sudden right turns with the tone and plot that somehow work almost perfectly. It's one of the great black comedies, while also being frequently, genuinely unsettling. Jeffrey Jones' last scene, in particular, always gives me chills. And the weird, frequently jaunty score by Damon Albarn and Michael Nyman is a perfect fit.
A brilliant mix of comedy and horror. I laughed more than I do at some comedies, while also being incredibly disturbed by the subject matter. Robert Carlyle is terrifically evil while managing to create a unique character, and Guy Pearce is his equal as the flawed hero. The colourful group of characters portrayed by the wide-ranging cast adds to the comedy and the horror, as does the strange, innovative, excellent score. It's a bit short, and moves into the story a bit too quickly, but it's a great horror period piece with a nasty streak of dark humour.
The score, the period, the setting, Guy Pierce and the drunkard shouting "well check around outside...woman!"
I love Ravenous.
Surprised myself by having a theme night with films, but after seeing WE ARE WHAT WE ARE, RAVENOUS seemed like a no brainer.
Whereas the prior film focused on atmosphere, this movie makes no attempt its efforts to be entertaining. I really enjoyed the first 80% of the film, only let down by the all too common battle of the titans finish.
Boyd, an Army Lieutenant, finds himself posted in a backwoods way-station on the mountainous threshold of California. A stranger stumbles into the midst with an awful story, prompting the few soldiers at the base to investigate. What they find is nothing they expected.
Darkly comic, this film moves at a brisk pace giving us a decent tweak on…
#3 in 2015's 90svember marathon.
On one hand, I have a lot of trouble trusting the kind of filmmakers who would allow (yes, that's the right word for it) Jeremy Davies and David Arquette the space to spread their creative wings (they don't have any creativity- they just hop around like attention-starved chimps). And I hate it when right off the bat a movie is so bored with itself that it needs to quadruple-up on the services of flashbacks, daydreams, nightmares, and narrated "I guess you want to hear my story" cutaways. Any excuse to get us out of the boring place with nothing interesting to look at, other than Neal McDonough's torso.
On the other, after awhile the music's…
Ravenous is a strange and fascinating beast of a film, mixing horror, western and dark comedy in a truly unique way. The performances are all top-notch, especially from the always reliable Guy Pearce and Robert Carlyle. I also need to mention the absolutely incredible score from Damon Albarn and Michael Nyman, which helps to enhance the mood of the film perfectly. Gory, perverse and completely mesmerising, Ravenous is a truly bizzare and underrated film, that deserves more attention than it has gotten.
A mish-mash of genres the likes of which I've never seen before. Is this a war drama, a horror flick, a western, a fantasy film, a comedy? It's somewhere in the middle of all of those. An outstanding synth score, some top shelf actors, and an interesting if ultimately pretty small scale script make this one worth a look.
this should be a tv show
r.i.p Antonia Bird
This review reportedly contains spoilers. I can handle the truth.
Loved this a lot!!! I wish there were more dark comedy/horror films it makes for a certain vibe I can really get behind. Loved loved loved the homoerotic undertones. I'd heard this movie was a little gay but boy did I underestimate how gay two men hungrily staring at each other could be. Also I really love that Martha just fucks off at the very end. Whenever I watch a horror movie I'm always hoping that the minor female character I like will survive and this time she did!!!!!
***EDIT (March 30, 2014)***
Wow! I never would have expected that I'd get anywhere close to 100 likes on this…
Peeping Tom, Night of the Hunter and a whole host of older films were ignored or given bad reviews upon…