For me, >!the 'rabbit' scenes really creped me out, it looked so creepy, the other scenes that creeped me out were the baby scene, Black Phillip's reveal, the ending & the last few scenes with Caleb. I will say that I knew Black Phillip was gonna be, just on the symbolism alone but it was still a great twist IMHO.!<
Those scenes really made the hair on my neck stand up, they were just so unsettling & messed up. I know that the film was polarizing for some, that some thought it was boring but I still really enjoyed this film. I love slowburn horror films like this. What did you think about it? Did it scare or creep you out? If so, which scenes in particular had you creeped out?
"Sheep without a Shepherd” is a 2019 Chinese blockbuster which earned $192M globally and received tremendous critical acclaim for its story and performances. A sequel to this Chinese blockbuster and a Malaysian remake are currently in production. Not many know that this Chinese blockbuster is actually a remake of an Indian movie which had already been successfully remade in 4 Indian languages and in Srilanka. The original masterpiece which became an award winning and cash making machine across multiple countries and film industries was the highest grossing Malayalam movie of all time “Drishyam”.
Drishyam (2013)
Directed by Jeethu Joseph
Produced by Antony Perumbavoor
Starring - Mohanlal, Meena, Ansiba Hassan, Esther Anil, Asha Sarath and Siddique
Written by Jeethu Joseph
Music by Anil Johnson
Budget/Box Office - INR 3.5 Crore/INR 75 Crore
Awards - Filmfare South Award and International Film Festival of India for best Film
IMDB Rating - 8.3/10
RT Rating - 96%
My Rating - 10/10
Jeethu Joseph had already become a well renowned writer director of suspense thrillers with 4 hit Malayalam movies under his belt before he unleashed his finest mystery onto the world. The idea of Drishyam came to Joseph when he heard about a legal battle between two families in the 90s. He wrote a very tight script with Mammootty in mind to be shot and released in a period of 2 months. Mammootty declined and Mohanlal signed the movie but got chicken pox before the movie’s first day of shooting. The shooting started without the movie’s protagonist who joined after 10 days and actually completed shooting for the movie quicker than planned. The movie was released 2 months after the start of its principal photography and instantly became a blockbuster.
Drishyam is a very carefully crafted story which begins with an uneducated but smart man accused of murder sitting in a police station. In a flashback we see how Georgekutty played brilliantly by Mohanlal creates the perfect visual (Drishyam) for the world to see as he hides a crime to protect his family. Georgekutty is an uneducated cable TV provider who is extremely street smart and crime-literate due to his insatiable appetite of consuming crime movies and series. Georgekutty becomes the focus of an investigation when the Inspector General’s son goes missing in his locality. What ensues is a battle of wits between the cops and Georgekutty, whose meticulous a
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This this a flawed film that suffers from a lot of the problems that generally make me avoid Bollywood. Things like tonal inconsistencies, forced sentimentality, jarring editing, and music that does not need to be there in order to enhance the effect of a scene. There is a part near the beginning where the main character rebukes another character for enjoying an action scene from a film they are watching because it contains choppy editing and loud music. It seems that the director of Drishyam often doesn’t seem to follow his own rules. As he himself generously uses these gimmicks that serve only to distract from the subject matter which is compelling enough on its own.
Yet it overcomes these flaws with ease. The battle between the exceptionally likeable family and the police institution — along with the terrifying individuals that it is composed of — is handled expertly.
The film also acts as a clever commentary on cinema itself. In the beginning, the protagonist lectures his daughter about how not all learning is done in a classroom. A lot of it is done through experiences. An overused cliche when observed on its own, but perhaps much more meaningful when looked at in the context of the film. For the next two hours, he proceeds to outsmart an entire organization while protecting his family, and he does a lot of it through his knowledge of cinema. In this case, his “experiences” are the hundreds of films he has interacted with. The importance of art is a topic that will always be discussed. It can heal. It can entertain. It can be used to communicate. And countless other things. But perhaps the film is highlighting an aspect of art that does not often get discussed. It’s practical value. Does the art that we consume have an impact on things like survivability and decision making in the face of adversity? According to Drishyam, it certainly does.
This is a long shot since I vividly remember watching this film when I was a child and it had that like 2008-2009 era vibe to it and the entire movie had a cool color theme to movie (cool blue?) I may have watched the film in 2012-2014
As the title says it had something to do with young adults/students going back? or going to a school, (after hours/ tresspassing?) The school was like somewhat huge and there was like a fairly large entrance/gate to the entire school/building and some weird stuff happens to them and I distinctly remember one of the characters holding a candle to "appease" the paranormal stuff from happening. There was also something important to the story that happens towards the end, a twist maybe?
As for the origin of the movie I would say either Korean or Japanese (for context I stayed in the Philippines for a while and random foreign movies would just pop up on the TV it was common)
(side note I think it had something to do with someone who died before, possibly a little girl? or school girl? and a scene where one of the characters hits or bashes their friend with a blunt object, and another scene where there was an axe present and something about a very bloody scene)
When award winning children’s horror writer R.L. Stine was penning his classic Goosebumps novelettes, he poured himself obsessively into his own fictional worlds. Soon, these stories became real, not only to Robert Lawrence, but to the waking world. The various antagonists lifted themselves off of the pages of his manuscripts and began terrorizing the world, but R.L. found that he could use the same manuscripts to trap them in paper and ink. While these monsters are safely contained in these manuscripts, if they were ever opened, the entire world would be in for a scare.
##General Rules##
- The books generate forceful winds when opened, then begin forming the monsters out of ink
- Monsters can be forcefully dragged back into the manuscripts when opened
- Once Slappy burns the manuscripts, the freed monsters cannot be returned to them
- Manuscripts can only be created by R.L. Stine on his special typewriter
- They drop this rule in the second one^2
- After R.L. Stine writes most of a story, another person types the last few pages, and it works just the same
- After R.L. Stine writes a story where every monster is defeated, it can be used to dismiss every Goosebumps creature in proximity, regardless of their original story
- Many monsters, including the Werewolf and Abominable Snowman, regenerate after being destroyed by an improvised explosive
##Slappy##
The de facto leader and most intelligent of the monsters. He’s a sadistic ventriloquist’s dummy who knows about R.L. Stine and the manuscripts, and he’s motivated enough to use them in supernatural sprees of spooky chaos.
General
- Slappy is able to independently open up his manuscript once it's off the bookshelf
- Modifies a student’s miniature Tesla cannon, turning it into an electric weapon that bores a hole in a classroom wall^2
- [With a magic chant](https://gfycat.com/grippingunsi
Just finished Mustang (pretty good btw), and in the back of my head I kept thinking... these girls' names are familiar. Lale, Nur, Ece, Selma, Sonay? And I was like, as an American I've never heard of these names outside of Sisters Royale. I thought maybe this was a localization thing, where the English localization might have had someone on the team who was a fan of the movie -- but then I looked up a video from June 2018, which I think is before the game was localized into English, and he's pronouncing the names pretty closely to what I heard in the movie.
So yeah, Alfa System has good taste.
No Spoilers.
I loved how they revisited the consequences of the first film's ending. People just don't forget and move on, the police will not just let up and go away. People are gonna talk and the police are gonna investigate and a reckoning was always coming for Georgekutty and family.
The movie has captured that reckoning in a more than satisfactory manner.
It's still nowhere near Drishyam but considering how shit I thought this movie was going to be and how fast they made it, it's a brilliant film in its own way.
The closest example I could think of is The Dark Knight Rises. While definitely not anywhere near as good as The Dark Knight, it still is a very good movie.
Please do watch it before it goes on a remake spree again.
This this a flawed film that suffers from a lot of the problems that generally make me avoid Bollywood. Things like tonal inconsistencies, forced sentimentality, jarring editing, and music that does not need to be there in order to enhance the effect of a scene. There is a part near the beginning where the main character rebukes another character for enjoying an action scene from a film they are watching because it contains choppy editing and loud music. It seems that the director of Drishyam often doesn’t seem to follow his own rules. As he himself generously uses these gimmicks that serve only to distract from the subject matter which is compelling enough on its own.
Yet it overcomes these flaws with ease. The battle between the exceptionally likeable family and the police institution — along with the terrifying individuals that it is composed of — is handled expertly.
The film also acts as a clever commentary on cinema itself. In the beginning, the protagonist lectures his daughter about how not all learning is done in a classroom. A lot of it is done through experiences. An overused cliche when observed on its own, but perhaps much more meaningful when looked at in the context of the film. For the next two hours, he proceeds to outsmart an entire organization while protecting his family, and he does a lot of it through his knowledge of cinema. In this case, his “experiences” are the hundreds of films he has interacted with. The importance of art is a topic that will always be discussed. It can heal. It can entertain. It can be used to communicate. And countless other things. But perhaps the film is highlighting an aspect of art that does not often get discussed. It’s practical value. Does the art that we consume have an impact on things like survivability and decision making in the face of adversity? According to Drishyam, it certainly does.
Follow my Letterboxd if you want to keep up with everything I watch. It’s aliasad. Or check out the link to go to the review and my profile.
https://boxd.it/2d7m9r
This this a flawed film that suffers from a lot of the problems that generally make me avoid Bollywood. Things like tonal inconsistencies, forced sentimentality, jarring editing, and music that does not need to be there in order to enhance the effect of a scene. There is a part near the beginning where the main character rebukes another character for enjoying an action scene from a film they are watching because it contains choppy editing and loud music. It seems that the director of Drishyam often doesn’t seem to follow his own rules. As he himself generously uses these gimmicks that serve only to distract from the subject matter which is compelling enough on its own.
Yet it overcomes these flaws with ease. The battle between the exceptionally likeable family and the police institution — along with the terrifying individuals that it is composed of — is handled expertly.
The film also acts as a clever commentary on cinema itself. In the beginning, the protagonist lectures his daughter about how not all learning is done in a classroom. A lot of it is done through experiences. An overused cliche when observed on its own, but perhaps much more meaningful when looked at in the context of the film. For the next two hours, he proceeds to outsmart an entire organization while protecting his family, and he does a lot of it through his knowledge of cinema. In this case, his “experiences” are the hundreds of films he has interacted with. The importance of art is a topic that will always be discussed. It can heal. It can entertain. It can be used to communicate. And countless other things. But perhaps the film is highlighting an aspect of art that does not often get discussed. It’s practical value. Does the art that we consume have an impact on things like survivability and decision making in the face of adversity? According to Drishyam, it certainly does.
Follow my Letterboxd if you want to keep up with everything I watch. It’s aliasad. Or check out the link to go to the review and my profile.
https://boxd.it/2d7m9r
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