UNEASY MUSINGS

24. female. artistic. finnish. crazy fanon shipper. author of forever delayed fan fiction. spotify addict. and fangirling since 2003.

Home
Archive
Subscribe (RSS)
Ask me anything
Random post
MY GIFS
RESOURCES
MY GRAPHICS
FANDOMS

Catching Elephant is a theme by Andy Taylor

 

30 favourite movies - 10. Ginger Snaps I get this ache… And I, I thought it was for sex, but it’s to tear everything to fucking pieces. Ginger Snaps is a relatively unknown genre movie from ten years ago. I found it via sheer accident as the Canadian production was made with a relatively small budget and the most well-known actor is Mimi Rogers. But considering where the movie came from the end product is surprisingly good. The no-name actors carry the movie well, and Snaps certainly has a gloomy charm attached to it. I enjoyed this very much as a teenager - nowadays a little less to be honest - but it is my favourite werewolf movie. Ginger Snaps draws parralels between being a teenager and a werewolf. After Ginger gets infected she begins to behave very much like a hormonal teen: aggressive, sexually curious, sullen, overly aware of her body and the changes it’s going through and wanting recognition from those around her. And since Ginger and her sister Brigitte are afraid of growing up, the change marks a serious strain on their extremely close relationship. Katharine Isabelle does an excellent job as Ginger. She’s easy to root for even the change progresses and her killcount begins. Emily Perkins plays her younger sister Brigitte who tries to cure Ginger before it’s too late. Her actual age completely dissolves away to the point that you’d never believe she was in her twenties while filming this. She does well in her role, although Isabelle tends to draw your attention to her more; whether it’s her character or her own screen presence, I’m unsure.  The bond between the two sisters is somewhat rare in cinema. I suppose it’s one of the reasons I enjoy this movie so much. All the men are reduced to victims and side-characters, whereas Brigitte and Ginger carry the show. It so refreshing to watch a movie where the women are fleshed out characters and play strong roles without needing superpowers. Most of the movie goes by without special effects. As Ginger’s transforming draws close, they portray the changes with make up and rather focus on the psychological aspects of the change. It’s a choice that works very well. It’s only at the end that we get a werewolf with practical effects. They’re not the best, but they don’t distract you from the movie either. Perkins’ performance sells them in the finale.   The mood of the movie is quite hopeless and unsettling. There are some disturbing images, but most of the violence takes place off-screen. In other words the movie doesn’t gorge with it, albeit there is quite a lot of blood on screen.  Director John Fawcett has succeeded in making a movie that feels more real than the usual Hollywood horror stories. I think that one of the reasons this works so well, is th crispy dialogue. Brigitte and Ginger particularly are well-rounded characters. The sidecharacters aren’t stereotypes either, and they mostly have a little more depth than in your average horror movie. You actually care what’s happening to them. So in the end Ginger Snaps is a werewolf movie that has more substance to it; Snaps feels intelligent.

30 favourite movies - 10. Ginger Snaps

I get this ache… And I, I thought it was for sex, but it’s to tear everything to fucking pieces.

Ginger Snaps is a relatively unknown genre movie from ten years ago. I found it via sheer accident as the Canadian production was made with a relatively small budget and the most well-known actor is Mimi Rogers. But considering where the movie came from the end product is surprisingly good. The no-name actors carry the movie well, and Snaps certainly has a gloomy charm attached to it. I enjoyed this very much as a teenager - nowadays a little less to be honest - but it is my favourite werewolf movie.

Ginger Snaps draws parralels between being a teenager and a werewolf. After Ginger gets infected she begins to behave very much like a hormonal teen: aggressive, sexually curious, sullen, overly aware of her body and the changes it’s going through and wanting recognition from those around her. And since Ginger and her sister Brigitte are afraid of growing up, the change marks a serious strain on their extremely close relationship. Katharine Isabelle does an excellent job as Ginger. She’s easy to root for even the change progresses and her killcount begins. Emily Perkins plays her younger sister Brigitte who tries to cure Ginger before it’s too late. Her actual age completely dissolves away to the point that you’d never believe she was in her twenties while filming this. She does well in her role, although Isabelle tends to draw your attention to her more; whether it’s her character or her own screen presence, I’m unsure. 

The bond between the two sisters is somewhat rare in cinema. I suppose it’s one of the reasons I enjoy this movie so much. All the men are reduced to victims and side-characters, whereas Brigitte and Ginger carry the show. It so refreshing to watch a movie where the women are fleshed out characters and play strong roles without needing superpowers. Most of the movie goes by without special effects. As Ginger’s transforming draws close, they portray the changes with make up and rather focus on the psychological aspects of the change. It’s a choice that works very well. It’s only at the end that we get a werewolf with practical effects. They’re not the best, but they don’t distract you from the movie either. Perkins’ performance sells them in the finale.  

The mood of the movie is quite hopeless and unsettling. There are some disturbing images, but most of the violence takes place off-screen. In other words the movie doesn’t gorge with it, albeit there is quite a lot of blood on screen.  Director John Fawcett has succeeded in making a movie that feels more real than the usual Hollywood horror stories. I think that one of the reasons this works so well, is th crispy dialogue. Brigitte and Ginger particularly are well-rounded characters. The sidecharacters aren’t stereotypes either, and they mostly have a little more depth than in your average horror movie. You actually care what’s happening to them. So in the end Ginger Snaps is a werewolf movie that has more substance to it; Snaps feels intelligent.
30 favourite movies - 9. Silence of the Lambs And you think if you save poor Catherine, you could make them stop, don’t you? You think if Catherine lives, you won’t wake up in the dark ever again to that awful screaming of the lambs. The thing I admire most about Silence of the Lambs is the minimalistic approach that they’ve taken to the subject. With horrors present here it would be simple to make the performances overkill, to add too much blood and violence, or focus too much on the sidecharacters. The book translates well into a movie and they’ve adapted it with sense. It is first and foremost the story of Clarice. Hannibal remains a supporting character alongside with Buffalo Bill, Jack Crawford and Dr. Chilton. And since Clarice is a fascinating character all by herself, the movie works excellently. Visually the movie is gloomy, the soundtrack is dark and the characters are equally grim. This is still my favourite soundtrack by Howard Shore. It’s simply chilling. The color palette is bleak, the locations feel sleepy and haunted. They do some interesting things visually and with editing here. I always watch the scene where we see Lecter escape with wide eyes as the first thing we see is “an angel” only to discover it is anything but one. Another moment that builds almost unexpectedly is towards the end where the FBI finally finds Buffalo Bill, but we discover that instead things weren’t what they seemed after all (I simply love the editing here). The plot is wonderfully condensated in the script, and the pacing works very well through-out the movie. The violence isn’t overhwhelming; it exists to move the story along, and does so tastefully. SotL feels very unified in every respect. I like the realism that is present here. Jonathan Demme did a fine job here on all fronts. The performances are nothing short of excellent; Jodie Foster captures the naivity and enthusiasm of Clarice, and shows us her pain and joy through more than just dialogue. A lesser actress might’ve been eclipsed by Anthony Hopkins, but Foster is equally engaging. Clarice is stuck in a world dominated by men who doubt her every word and seek to put her in her place. She tries to rise above her meager background, yet can’t seem to get acknowledgement for her talent. The encounters with Hannibal are the best scenes in the movie, because you can feel the tension between them so clearly. The way the relationship between Clarice and Hannibal is built works very well, and I don’t think I can even tire watching them interact. It’s strange how well Anthony Hopkins personifies Hannibal’s different sides from humorous and gentlemanly to the cool detachment that he exhibits during his violent outburst. The fact that he manages to make the refined yet brutal serial killer likable is a feat in itself. Ted Levine gives a great but brief performance as the disturbed Buffalo Bill, and Scott Glen is good as Clarice’s senior FBI agent Jack Crawford (a character who had his backstory from the book mostly cut). Overall SotL is a one of a kind thriller. I feel it respects its audience. The premise could’ve easily turned into B-material with less talented people involved. I like the downbeat ending with Lecter. The movie doesn’t really allow you to catch your breath even when the credits roll; It just leaves a certain dread in its wake. 

30 favourite movies - 9. Silence of the Lambs

And you think if you save poor Catherine, you could make them stop, don’t you? You think if Catherine lives, you won’t wake up in the dark ever again to that awful screaming of the lambs.

The thing I admire most about Silence of the Lambs is the minimalistic approach that they’ve taken to the subject. With horrors present here it would be simple to make the performances overkill, to add too much blood and violence, or focus too much on the sidecharacters. The book translates well into a movie and they’ve adapted it with sense. It is first and foremost the story of Clarice. Hannibal remains a supporting character alongside with Buffalo Bill, Jack Crawford and Dr. Chilton. And since Clarice is a fascinating character all by herself, the movie works excellently.

Visually the movie is gloomy, the soundtrack is dark and the characters are equally grim. This is still my favourite soundtrack by Howard Shore. It’s simply chilling. The color palette is bleak, the locations feel sleepy and haunted. They do some interesting things visually and with editing here. I always watch the scene where we see Lecter escape with wide eyes as the first thing we see is “an angel” only to discover it is anything but one. Another moment that builds almost unexpectedly is towards the end where the FBI finally finds Buffalo Bill, but we discover that instead things weren’t what they seemed after all (I simply love the editing here). The plot is wonderfully condensated in the script, and the pacing works very well through-out the movie. The violence isn’t overhwhelming; it exists to move the story along, and does so tastefully. SotL feels very unified in every respect. I like the realism that is present here. Jonathan Demme did a fine job here on all fronts.

The performances are nothing short of excellent; Jodie Foster captures the naivity and enthusiasm of Clarice, and shows us her pain and joy through more than just dialogue. A lesser actress might’ve been eclipsed by Anthony Hopkins, but Foster is equally engaging. Clarice is stuck in a world dominated by men who doubt her every word and seek to put her in her place. She tries to rise above her meager background, yet can’t seem to get acknowledgement for her talent. The encounters with Hannibal are the best scenes in the movie, because you can feel the tension between them so clearly. The way the relationship between Clarice and Hannibal is built works very well, and I don’t think I can even tire watching them interact. It’s strange how well Anthony Hopkins personifies Hannibal’s different sides from humorous and gentlemanly to the cool detachment that he exhibits during his violent outburst. The fact that he manages to make the refined yet brutal serial killer likable is a feat in itself. Ted Levine gives a great but brief performance as the disturbed Buffalo Bill, and Scott Glen is good as Clarice’s senior FBI agent Jack Crawford (a character who had his backstory from the book mostly cut).

Overall SotL is a one of a kind thriller. I feel it respects its audience. The premise could’ve easily turned into B-material with less talented people involved. I like the downbeat ending with Lecter. The movie doesn’t really allow you to catch your breath even when the credits roll; It just leaves a certain dread in its wake. 
justnerdgirlproblems: suggested by anonymous

justnerdgirlproblems:

suggested by anonymous

30 favourite movies - 8. Hellraiser II: Hellbound It is not hands that summon us. It is desire. The second Hellraiser continues Kirsty’s story after the events of the first movie, and it ties in directly to everything we’ve seen before, which is why it’s quite hard for me to consider these two movies as sepparate entities. They work together quite seamlessly, and share most of the key players, unlike the later sequels. Kirsty becomes an active protagonist this time around, choosing to take matters in her own hands instead of watching from the sidelines. She’s matured through her losses, even though she is largely motivated by the hope of freeing her father, who she believes is calling to her from Hell. Ashley Laurence’s performance also feels better this time around, even if it’s nothing unique in horror for the final girl to become a strong survivor. Claire Higgins also makes a return, and the evil stepmother Julia works as a primal villain for the movie. Our other villain is a doctor by the name of Chanard, who’s he’s treating Kirsty. Chanard seems somewhat familiar with the box, and he manages to resurrect Kirsty’s stepmother Julia, after he learns from Kirsty how Frank returned. Julia then gets Chanard to open the box via an innocent patient of Chanard’s, our second female protagonist Tiffany, whose troubles are hinted to be largely caused by him. Pinhead and the other cenobytes make appearances, but they are sidelined by Chanard and Julia even after we get inside the Labyrinth. Just as they have Kirsty trapped, she manages to trick the cenobytes into finding their lost humanity, after she realizes Pinhead was formerly human. It’s interesting how the cenobytes keep turning out to be the lesser evil in these movies - the humans constantly do more evil than they do, and this is the second time already when Kirsty is “saved” by the cenobytes. Hellbound delves deeper to the characters, the mythology and feels alltogether stronger than its predecessor in terms of working as a movie (pacing, cinematography, performances, direction). For a horror movie, it does lack the kind of memorable scenes the first had (namely ‘Jesus wept’), yet there’s plenty of gruesomness displayed on the screen, so it’s not from lack of trying. I rather enjoy the way we delve into the history of Pinhead, and how Kirsty gets to confront Julia and Frank again, this time defeating both all on her own. It feels a bit of a letdown that the cenobytes just allow Kirsty to explore the Labyrinth all on her own (unlike Frank who got torn to pieces). Fandom of course theorizes this is because Kirsty is being groomed to become a cenobyte herself, but if that’s their motivation, it’s quite subtle. So as a horror movie, I felt that the second comes a little too much on the safe side. Things should be escalting now that we’re inside the Labyrinth, but instead it never feels like Kirsty’s in any real peril (well other than getting molested by her uncle). As I said about Hellraiser before, the franchise does seem a bit restricted in the movieverse, having seen the wondefully nightmarish visions they craft in the comics. Hellbound remains probably as the most visually satisfying Hellraiser movie though, because they definitely succeed in depicting the Labyrinth in a minimalistic way and still making the experience hellish, especially with the glimpses inside Tiffany and Frank’s personal Hells.

30 favourite movies - 8. Hellraiser II: Hellbound

It is not hands that summon us. It is desire.

The second Hellraiser continues Kirsty’s story after the events of the first movie, and it ties in directly to everything we’ve seen before, which is why it’s quite hard for me to consider these two movies as sepparate entities. They work together quite seamlessly, and share most of the key players, unlike the later sequels. Kirsty becomes an active protagonist this time around, choosing to take matters in her own hands instead of watching from the sidelines. She’s matured through her losses, even though she is largely motivated by the hope of freeing her father, who she believes is calling to her from Hell. Ashley Laurence’s performance also feels better this time around, even if it’s nothing unique in horror for the final girl to become a strong survivor.

Claire Higgins also makes a return, and the evil stepmother Julia works as a primal villain for the movie. Our other villain is a doctor by the name of Chanard, who’s he’s treating Kirsty. Chanard seems somewhat familiar with the box, and he manages to resurrect Kirsty’s stepmother Julia, after he learns from Kirsty how Frank returned. Julia then gets Chanard to open the box via an innocent patient of Chanard’s, our second female protagonist Tiffany, whose troubles are hinted to be largely caused by him. Pinhead and the other cenobytes make appearances, but they are sidelined by Chanard and Julia even after we get inside the Labyrinth. Just as they have Kirsty trapped, she manages to trick the cenobytes into finding their lost humanity, after she realizes Pinhead was formerly human. It’s interesting how the cenobytes keep turning out to be the lesser evil in these movies - the humans constantly do more evil than they do, and this is the second time already when Kirsty is “saved” by the cenobytes.

Hellbound delves deeper to the characters, the mythology and feels alltogether stronger than its predecessor in terms of working as a movie (pacing, cinematography, performances, direction). For a horror movie, it does lack the kind of memorable scenes the first had (namely ‘Jesus wept’), yet there’s plenty of gruesomness displayed on the screen, so it’s not from lack of trying. I rather enjoy the way we delve into the history of Pinhead, and how Kirsty gets to confront Julia and Frank again, this time defeating both all on her own. It feels a bit of a letdown that the cenobytes just allow Kirsty to explore the Labyrinth all on her own (unlike Frank who got torn to pieces). Fandom of course theorizes this is because Kirsty is being groomed to become a cenobyte herself, but if that’s their motivation, it’s quite subtle.

So as a horror movie, I felt that the second comes a little too much on the safe side. Things should be escalting now that we’re inside the Labyrinth, but instead it never feels like Kirsty’s in any real peril (well other than getting molested by her uncle). As I said about Hellraiser before, the franchise does seem a bit restricted in the movieverse, having seen the wondefully nightmarish visions they craft in the comics. Hellbound remains probably as the most visually satisfying Hellraiser movie though, because they definitely succeed in depicting the Labyrinth in a minimalistic way and still making the experience hellish, especially with the glimpses inside Tiffany and Frank’s personal Hells.
30 favourite movies - 7. Big Trouble in Little China Just remember what ol’ Jack Burton does when the earth quakes, and the poison arrows fall from the sky, and the pillars of Heaven shake. Yeah, Jack Burton just looks that big ol’ storm right square in the eye and he says, “Give me your best shot, pal. I can take it.” I’ll admit, this one is a bit of a guilty pleasure. Big Trouble in Little China is honest escapism at its best. If there’s a profound message here, it’s lost on me. I just sit back and watch Kurt Russel play the kind of character he’s good at playing. And well Jack Burton, the Pork Chop Express truck driver, is as unlikely as heroes come. Jack gets mixed up in something that is still inconceivable to me after I’ve seen the movie dozens of times. His friend Wang’s fiancée gets kidnapped by an ancient cursed sorceress Lo Pan who wants to regain his corporeal form, Jack loses his truck while trying to help (and regaining it becomes his top priority), finds a sassy love interest Gracie who’s also mixed in all of this, and ends up taking on ancient forces that dwell in Chinatown. And it’s every bit as crazy as it sounds. I feel kind of sad knowing that the movie wasn’t financially successful during its first release. Kurt Russell is such a please to watch as the wisecracking hero that manages to incapacitate himself from almost every fight scene in the movie, while still acting like the toughest man around. It’s his sidekick Wang does most of the work with his martial arts, which is a constant source of amusement for me. In fact, Jack just kind of tags along in Wang’s quest to find his fiancée, and doesn’t contribute all that much until the final battle. The movie is full of strange character’s from Lo Pan’s henchmen, the Three Storms, to the wizard Egg Shen, to weirdass monsters that lurk in Lo Pan’s lair. The plot keeps coming at you at a quick paste, which helps with the absurdity of it all (since you have little time to question what’s going on), and the movie honestly doesn’t take itself too seriously.  It is a charming B-movie that never fails to make me smile. Carpenter has a wonderful 80s sound to his soundtrack that changes from light and eccentric to dark and mysterious. The themesong is just kickass. Kim Cattral gives a fun performance as Jack’s love interest, and Dennis Dun seems right for the enthusiastic Wang. Everyone on this movie just seems to have a good time, and goes on with the craziness and tongue-in-cheeek feel. The effects feel a bit dated nearly 30 years later, and undeniably there is a lot of stereotyping going on, but it doesn’t affect my enjoyment the least bit. This a true 80s classic that deserves its status as a cult movie.

30 favourite movies - 7. Big Trouble in Little China

Just remember what ol’ Jack Burton does when the earth quakes, and the poison arrows fall from the sky, and the pillars of Heaven shake. Yeah, Jack Burton just looks that big ol’ storm right square in the eye and he says, “Give me your best shot, pal. I can take it.”

I’ll admit, this one is a bit of a guilty pleasure. Big Trouble in Little China is honest escapism at its best. If there’s a profound message here, it’s lost on me. I just sit back and watch Kurt Russel play the kind of character he’s good at playing. And well Jack Burton, the Pork Chop Express truck driver, is as unlikely as heroes come. Jack gets mixed up in something that is still inconceivable to me after I’ve seen the movie dozens of times. His friend Wang’s fiancée gets kidnapped by an ancient cursed sorceress Lo Pan who wants to regain his corporeal form, Jack loses his truck while trying to help (and regaining it becomes his top priority), finds a sassy love interest Gracie who’s also mixed in all of this, and ends up taking on ancient forces that dwell in Chinatown. And it’s every bit as crazy as it sounds.

I feel kind of sad knowing that the movie wasn’t financially successful during its first release. Kurt Russell is such a please to watch as the wisecracking hero that manages to incapacitate himself from almost every fight scene in the movie, while still acting like the toughest man around. It’s his sidekick Wang does most of the work with his martial arts, which is a constant source of amusement for me. In fact, Jack just kind of tags along in Wang’s quest to find his fiancée, and doesn’t contribute all that much until the final battle. The movie is full of strange character’s from Lo Pan’s henchmen, the Three Storms, to the wizard Egg Shen, to weirdass monsters that lurk in Lo Pan’s lair. The plot keeps coming at you at a quick paste, which helps with the absurdity of it all (since you have little time to question what’s going on), and the movie honestly doesn’t take itself too seriously. 

It is a charming B-movie that never fails to make me smile. Carpenter has a wonderful 80s sound to his soundtrack that changes from light and eccentric to dark and mysterious. The themesong is just kickass. Kim Cattral gives a fun performance as Jack’s love interest, and Dennis Dun seems right for the enthusiastic Wang. Everyone on this movie just seems to have a good time, and goes on with the craziness and tongue-in-cheeek feel. The effects feel a bit dated nearly 30 years later, and undeniably there is a lot of stereotyping going on, but it doesn’t affect my enjoyment the least bit. This a true 80s classic that deserves its status as a cult movie.
30 favourite movies - 6. The Labyrinth Give me the child. Through dangers untold and hardships unnumbered, I have fought my way here to the castle beyond the Goblin City to take back the child that you have stolen. For my will is as strong as yours, and my kingdom is as great. You have no power over me. The Labyrinth is a story about growing up. Sarah lingers at the doorstep of adulthood, afraid to embrace it because it’s easier to be a child. She has dreams of becoming an actress, and escapes the grim reality of a new stepmother and half-brother into her dreams. But what she learns eventually is that she can no longer be a child. She needs to become a big sister to her baby brother, to share with him, to love him. Life isn’t fair, and it’s not supposed to be.I’m part of the club that doesn’t view the Labyrinth as anything more than a figment of Sarah’s imagination. All the elements of the story come from reality: she reads the book, all the creatures she encounters are based on her toys, and Jareth behaves the way I’d imagine she thinks a man in love would (his love is rather selfish as his famous ‘fear me, love me, do as I say, and I will be your slave’ speech proves). He’s a representation of her desire to be loved, as in reality she lives in a blended family, and feels like an outcast. Jareth makes the Labyrinth easy for her so she can solve it, because she doesn’t truly want her brother gone. He offers her her dreams, but she comes to grasp the truth of having to accomplish things on her own, which is why he has no power over her in the end.  As a child I appreciated the movie because it is a delight to watch. Jim Hensson’s puppets bring the many creatures of the Labyrinth alive, and do not feel dated (except for the Fireys) in this CGI age. The movie is a colourful, joyful look into a fantastic land where strange things occur all the time. The Labyrinth just feels so rich and imaginative, and it works because it is so unique (from the Ubliette to the talking hands, from the goblin city to Sarah’s friends, the details are so memorable!). We don’t get many actors in the story, so while I do enjoy the puppet characters, I must say Bowie and Connelly keep the show running with their talent. Connelly is starring in her first movie, and she sells her character’s flaws and growth wonderfully for such a young actress. And Bowie? Bowie charms an entire generation of women with his Goblin King (and they are writing fan fiction about it to this day). Jareth is an easy character to love, yet Bowie brings depth to him as well. Watching this as an adult makes the love story feel a bit strange, seeing how young she is, but I can accept that. Especially since it’s all so innocent. Bowie sings a lot in this movie, but two songs stand out in particular: “As the world falls down” and “Within me”, which are both related to Jareth’s affection for Sarah. I will admit that my heart broke a little when I learned that it isn’t actually Bowie swriling the crystal balls in this movie, because adulthood does peel off the magic from your childhood perception. The fact that she chooses her brother (adulthood and responsibility) over Jareth’s possessive love (her own selfish view of the world) in the end is a satisfying message in this day and age where young women are taught love like that is good. 

30 favourite movies - 6. The Labyrinth

Give me the child. Through dangers untold and hardships unnumbered, I have fought my way here to the castle beyond the Goblin City to take back the child that you have stolen. For my will is as strong as yours, and my kingdom is as great. You have no power over me.

The Labyrinth is a story about growing up. Sarah lingers at the doorstep of adulthood, afraid to embrace it because it’s easier to be a child. She has dreams of becoming an actress, and escapes the grim reality of a new stepmother and half-brother into her dreams. But what she learns eventually is that she can no longer be a child. She needs to become a big sister to her baby brother, to share with him, to love him. Life isn’t fair, and it’s not supposed to be.

I’m part of the club that doesn’t view the Labyrinth as anything more than a figment of Sarah’s imagination. All the elements of the story come from reality: she reads the book, all the creatures she encounters are based on her toys, and Jareth behaves the way I’d imagine she thinks a man in love would (his love is rather selfish as his famous ‘fear me, love me, do as I say, and I will be your slave’ speech proves). He’s a representation of her desire to be loved, as in reality she lives in a blended family, and feels like an outcast. Jareth makes the Labyrinth easy for her so she can solve it, because she doesn’t truly want her brother gone. He offers her her dreams, but she comes to grasp the truth of having to accomplish things on her own, which is why he has no power over her in the end. 

As a child I appreciated the movie because it is a delight to watch. Jim Hensson’s puppets bring the many creatures of the Labyrinth alive, and do not feel dated (except for the Fireys) in this CGI age. The movie is a colourful, joyful look into a fantastic land where strange things occur all the time. The Labyrinth just feels so rich and imaginative, and it works because it is so unique (from the Ubliette to the talking hands, from the goblin city to Sarah’s friends, the details are so memorable!). We don’t get many actors in the story, so while I do enjoy the puppet characters, I must say Bowie and Connelly keep the show running with their talent. Connelly is starring in her first movie, and she sells her character’s flaws and growth wonderfully for such a young actress. And Bowie? Bowie charms an entire generation of women with his Goblin King (and they are writing fan fiction about it to this day). Jareth is an easy character to love, yet Bowie brings depth to him as well.

Watching this as an adult makes the love story feel a bit strange, seeing how young she is, but I can accept that. Especially since it’s all so innocent. Bowie sings a lot in this movie, but two songs stand out in particular: “As the world falls down” and “Within me”, which are both related to Jareth’s affection for Sarah. I will admit that my heart broke a little when I learned that it isn’t actually Bowie swriling the crystal balls in this movie, because adulthood does peel off the magic from your childhood perception. The fact that she chooses her brother (adulthood and responsibility) over Jareth’s possessive love (her own selfish view of the world) in the end is a satisfying message in this day and age where young women are taught love like that is good. 
30 favourite movies - 5. The Terminator Listen, and understand. That terminator is out there. It can’t be bargained with. It can’t be reasoned with. It doesn’t feel pity, or remorse, or fear. And it absolutely will not stop, ever, until you are dead. The Terminator is Neo-Luddite nightmare that introduces us to a future where machines have rebelled and nearly destroyed us. Fear for technology and advancement seems more and more relevant the further we advance ourselves. In Cameron’s nightmare we have already begun transforming into numb machines ourselves, as Kyle’s apparent coldness suggests at first. When Sarah fights against Kyle, he simply remarks to her that pain can be disconnected. The minimalistic approach of the movie works. Less truly is more. Although it’s clear this is more due budgetary restrictions, it also enchances the story and the performances as the terminator doesn’t get a central role. Tonally the movie is rather horror than action, for the Terminator’s advance certainly resemblances the slasher genre. The practical effects may seem a little outdated, but they still work for the movie. Everything from its gritty dark look in the 80s to the downright oppresive glimpses into the future helps further the message of impending doom. Brad Fiedel then pushes the performances and the visuals into overdrive with his hectic score that brings chills down my spine every time I listen to it. The dissonance and impending robotic howls as the Terminator closes in on Sarah, the pounding beat that’s in the main theme, or the sad tune of the love scene… the score just compliments everything that happens beautifully. The star of the movie is Michael Biehn’s Kyle Reese, a time traveller who is out of place, haunted by the terrors of his own time. Biehn plays all the faces Kyle shows through-out the movie wonderfully. He is subtle in making Kyle’s character shine through early on (despite the fact hat he has many scenes without any actual dialogue before he meets Sarah), and he manages to portray his scars and intensity just right. And when he eventually speaks his love for Sarah in a heartbreaking confession, you can’t help feeling for him. Schwarzenegger plays the cyborg well, but there is no personality there, only a mission. Hamilton gets her real chance to shine in the sequel, but she does well with that she’s given here. Sarah changes noticiably as the movie progresses, maturing under pressure, and you can see it in her performance. The terminator design is just complete high-octane nightmare fuel. When Swarzenegger is peeled from the cyborg, you only feel momentarily relief, for what lies beneath is even worse. The finale is thrilling to watch, no matter how many times I’ve seen it. I keep hoping against common sense that Kyle might make it, and fearing that the mauled Terminator will reach wounded Sarah as she tries to escape. The villain is certainly memorable, but the two leads and their tragic love is what makes the movie for me. In the end there’s a ray of hope, as Sarah embraces her destiny and becomes the person she was intended to.

30 favourite movies - 5. The Terminator

Listen, and understand. That terminator is out there. It can’t be bargained with. It can’t be reasoned with. It doesn’t feel pity, or remorse, or fear. And it absolutely will not stop, ever, until you are dead.

The Terminator is Neo-Luddite nightmare that introduces us to a future where machines have rebelled and nearly destroyed us. Fear for technology and advancement seems more and more relevant the further we advance ourselves. In Cameron’s nightmare we have already begun transforming into numb machines ourselves, as Kyle’s apparent coldness suggests at first. When Sarah fights against Kyle, he simply remarks to her that pain can be disconnected.

The minimalistic approach of the movie works. Less truly is more. Although it’s clear this is more due budgetary restrictions, it also enchances the story and the performances as the terminator doesn’t get a central role. Tonally the movie is rather horror than action, for the Terminator’s advance certainly resemblances the slasher genre. The practical effects may seem a little outdated, but they still work for the movie. Everything from its gritty dark look in the 80s to the downright oppresive glimpses into the future helps further the message of impending doom. Brad Fiedel then pushes the performances and the visuals into overdrive with his hectic score that brings chills down my spine every time I listen to it. The dissonance and impending robotic howls as the Terminator closes in on Sarah, the pounding beat that’s in the main theme, or the sad tune of the love scene… the score just compliments everything that happens beautifully.

The star of the movie is Michael Biehn’s Kyle Reese, a time traveller who is out of place, haunted by the terrors of his own time. Biehn plays all the faces Kyle shows through-out the movie wonderfully. He is subtle in making Kyle’s character shine through early on (despite the fact hat he has many scenes without any actual dialogue before he meets Sarah), and he manages to portray his scars and intensity just right. And when he eventually speaks his love for Sarah in a heartbreaking confession, you can’t help feeling for him. Schwarzenegger plays the cyborg well, but there is no personality there, only a mission. Hamilton gets her real chance to shine in the sequel, but she does well with that she’s given here. Sarah changes noticiably as the movie progresses, maturing under pressure, and you can see it in her performance.

The terminator design is just complete high-octane nightmare fuel. When Swarzenegger is peeled from the cyborg, you only feel momentarily relief, for what lies beneath is even worse. The finale is thrilling to watch, no matter how many times I’ve seen it. I keep hoping against common sense that Kyle might make it, and fearing that the mauled Terminator will reach wounded Sarah as she tries to escape. The villain is certainly memorable, but the two leads and their tragic love is what makes the movie for me. In the end there’s a ray of hope, as Sarah embraces her destiny and becomes the person she was intended to.
30 favourite movies - 4. Star Wars V: The Empire Strikes Back The force is with you, young Skywalker, but you are not a Jedi yet. While A New Hope was a bright and optimistic tale, The Empire Strikes back is a darker look into its world and characters. The rebellion suffers terrible losses, the team is scattered, and Luke comes to realize there’s more to being a Jedi than the fantastic tales suggest. Empire is largely about Luke’s growth into adulthood, the shedding of his innocence and beliefs as he enters a larger world. He fails miserably while tested by Yoda, and lets his feelings govern him as he is lured into a trap by Darth Vader, who seeks to corrupt him. In the end our heroes barely escape, lose a friend, and Luke is thoroughly shaken by his ordeal in Vader’s hands and the harrowing truth of his own lineage. Lucas certainly mad a wise choice in hiring a more capable director for the second installment of his trilogy. I can’t say how much creative control Irvin Kershner was given in the end, but the end product is the best in the OT. The actors appear more comfortable in their roles, and Mark Hamill gets to explore Luke more, which results in a captivating performance. ESB has many excellent scenes from the battle of Hoth to Luke’s training sessions (especially Yoda lifting the X-wing) and the harrowing finale, although the story doesn’t seem half as interesting when we focus on the B-plot with the lovestory and chase scenes. The dialogue manages to be quite witty and funny when needed, but also profound and thought-provoking when we learn more about the Force. I’m constantly amazed with how well David Prowse and James Earl Jones work in ESB to create Vader’s performance. There’s a lot that could’ve gone wrong here, but his humanity shines through in the finale in unexpected ways, and watching the way Luke and Vader instantly connect after the revelation just seems so natural. I especially like the way they have choreographed the lightsabre duel.  Much of the charm of ESB is the cinematography, the lighting, and the way they manage to bring the many worlds visited alive with so little. I don’t hate the tweaks of the Special Edition, although I find most of them unnecessary, and have learned to appreciate the way they have enhanced Cloud City for example. But the real star of ESB is John William’s music; It literally creates the scenes. I generally appreciate sublety in cinematic scores, but I cannot say I’m not moved every time I hear “Yoda and the Force” or “The Magic Tree” or “Carbon Freeze”. It just transports you to the Star Wars world and highlights all the emotions the characters feel, helping in illustrating the world further. I think the reason I care for this movie so much lies in the way they portray the darkside and Luke’s choice to fight it or embrace it that becomes the centre of the story. Vader doesn’t just settle to break Luke physically, he breaks Luke mentally, trusting in his ability to influence his son that way. That moment Luke lets go truly makes you wonder if he knew he could be saved, or if he simply chose death before conversion. The entire confrontration is simply powerful. Unfortunately the Star Wars universe was at its creative peak here. Nothing that follows never quite reached the same heights.

30 favourite movies - 4. Star Wars V: The Empire Strikes Back

The force is with you, young Skywalker, but you are not a Jedi yet.

While A New Hope was a bright and optimistic tale, The Empire Strikes back is a darker look into its world and characters. The rebellion suffers terrible losses, the team is scattered, and Luke comes to realize there’s more to being a Jedi than the fantastic tales suggest. Empire is largely about Luke’s growth into adulthood, the shedding of his innocence and beliefs as he enters a larger world. He fails miserably while tested by Yoda, and lets his feelings govern him as he is lured into a trap by Darth Vader, who seeks to corrupt him. In the end our heroes barely escape, lose a friend, and Luke is thoroughly shaken by his ordeal in Vader’s hands and the harrowing truth of his own lineage.

Lucas certainly mad a wise choice in hiring a more capable director for the second installment of his trilogy. I can’t say how much creative control Irvin Kershner was given in the end, but the end product is the best in the OT. The actors appear more comfortable in their roles, and Mark Hamill gets to explore Luke more, which results in a captivating performance. ESB has many excellent scenes from the battle of Hoth to Luke’s training sessions (especially Yoda lifting the X-wing) and the harrowing finale, although the story doesn’t seem half as interesting when we focus on the B-plot with the lovestory and chase scenes. The dialogue manages to be quite witty and funny when needed, but also profound and thought-provoking when we learn more about the Force. I’m constantly amazed with how well David Prowse and James Earl Jones work in ESB to create Vader’s performance. There’s a lot that could’ve gone wrong here, but his humanity shines through in the finale in unexpected ways, and watching the way Luke and Vader instantly connect after the revelation just seems so natural. I especially like the way they have choreographed the lightsabre duel. 

Much of the charm of ESB is the cinematography, the lighting, and the way they manage to bring the many worlds visited alive with so little. I don’t hate the tweaks of the Special Edition, although I find most of them unnecessary, and have learned to appreciate the way they have enhanced Cloud City for example. But the real star of ESB is John William’s music; It literally creates the scenes. I generally appreciate sublety in cinematic scores, but I cannot say I’m not moved every time I hear “Yoda and the Force” or “The Magic Tree” or “Carbon Freeze”. It just transports you to the Star Wars world and highlights all the emotions the characters feel, helping in illustrating the world further.

I think the reason I care for this movie so much lies in the way they portray the darkside and Luke’s choice to fight it or embrace it that becomes the centre of the story. Vader doesn’t just settle to break Luke physically, he breaks Luke mentally, trusting in his ability to influence his son that way. That moment Luke lets go truly makes you wonder if he knew he could be saved, or if he simply chose death before conversion. The entire confrontration is simply powerful. Unfortunately the Star Wars universe was at its creative peak here. Nothing that follows never quite reached the same heights.
30 favourite movies - 3. Hellraiser Explorers in the further regions of experience. Demons to some. Angels to others. Hellraiser digs into the notion that pain and pleasure are quote close to one another, and once we become numb to the conventional pleasures, we begin to crave more and more until nothing suffices. And then it no longer matters what you feel, as long as you feel something. Frank Cotton is a man who goes to the edge, gets a glimpse into the darkest passions, and then finds he did not desire to see to the abyss after all. His family pays the price of his arrogance and greed, as Frank weasels his way back to our world from beyond the grave, and corrupts the wife of his brother in order to be rejuvated. But it is his ignorant niece Kirsty Cotton who becomes entangled with the very powers Frank played with, when she realizes her uncle has returned to them as something else entirely. And Hell wants their escapee back. Hellraiser doesn’t follow all of the tired horror clichées of the 80s. It actually introduces a chilling concept with the cynobytes and their sadomasochist hell, and we are focusing on a group of mostly piquing characters from Frank, his brother Larry, to his brother’s wife Julia and his niece Kirsty, instead of one-dimensional teenagers. Frank and Julia serve as the antagonists, whereas the cynobytes are largely a morally grey party that only enters the stage when invited. It is the human characters that are far worse here than the actual demons. Frank has seduced his brother’s wife, covets his own niece and isn’t above using anyone to get what he wants or killing his own flesh and blood. In comparison, the demons are unusually kind to Kirsty who summons them unknowingly (and yet it is evident that she is intrigued by the box that summons them, which would hint she also has similar tendencies as her uncle). I’m personally not a huge fan of slashers, but the Hellraiser myth just fascinates me. The twisted family drama at the center of the story is more compelling than in your standard horror movie, and the characters are mostly well-acted. The gore is tame compared to modern horror, but it is effective, and the actions of the villains are always very chilling. The movie feels a bit dated now, but it doesn’t take away from the experience. And while Pinhead may be one of the most iconic horror characters, he works best when his appearance is limited. There are some cheezy lines, and the acting isn’t always up for the job (Ashley Laurence does her acting debut, and Clive Barker’s direction isn’t all that spectacular), but mostly Hellraiser is a very enjoyable classic. The truth remains that movies aren’t the best medium for Hellraiser (books and comics do get to explore further), but the first one succeeds in walking this thin line. Lastly, Christopher Young has composed an excellent horror score for the movie.

30 favourite movies - 3. Hellraiser

Explorers in the further regions of experience. Demons to some. Angels to others.

Hellraiser digs into the notion that pain and pleasure are quote close to one another, and once we become numb to the conventional pleasures, we begin to crave more and more until nothing suffices. And then it no longer matters what you feel, as long as you feel something. Frank Cotton is a man who goes to the edge, gets a glimpse into the darkest passions, and then finds he did not desire to see to the abyss after all. His family pays the price of his arrogance and greed, as Frank weasels his way back to our world from beyond the grave, and corrupts the wife of his brother in order to be rejuvated. But it is his ignorant niece Kirsty Cotton who becomes entangled with the very powers Frank played with, when she realizes her uncle has returned to them as something else entirely. And Hell wants their escapee back.

Hellraiser doesn’t follow all of the tired horror clichées of the 80s. It actually introduces a chilling concept with the cynobytes and their sadomasochist hell, and we are focusing on a group of mostly piquing characters from Frank, his brother Larry, to his brother’s wife Julia and his niece Kirsty, instead of one-dimensional teenagers. Frank and Julia serve as the antagonists, whereas the cynobytes are largely a morally grey party that only enters the stage when invited. It is the human characters that are far worse here than the actual demons. Frank has seduced his brother’s wife, covets his own niece and isn’t above using anyone to get what he wants or killing his own flesh and blood. In comparison, the demons are unusually kind to Kirsty who summons them unknowingly (and yet it is evident that she is intrigued by the box that summons them, which would hint she also has similar tendencies as her uncle).

I’m personally not a huge fan of slashers, but the Hellraiser myth just fascinates me. The twisted family drama at the center of the story is more compelling than in your standard horror movie, and the characters are mostly well-acted. The gore is tame compared to modern horror, but it is effective, and the actions of the villains are always very chilling. The movie feels a bit dated now, but it doesn’t take away from the experience. And while Pinhead may be one of the most iconic horror characters, he works best when his appearance is limited. There are some cheezy lines, and the acting isn’t always up for the job (Ashley Laurence does her acting debut, and Clive Barker’s direction isn’t all that spectacular), but mostly Hellraiser is a very enjoyable classic. The truth remains that movies aren’t the best medium for Hellraiser (books and comics do get to explore further), but the first one succeeds in walking this thin line. Lastly, Christopher Young has composed an excellent horror score for the movie.
Anonymous asked
I love the Hannibal Lecter quadrilogy with all my heart, but- no offense- the movie Hannibal sucked fava beans. Try the book; the storyline is much better, and it's much more satisfying if you're a Clannibal shipper. Also, if you haven't seen or read Red Dragon, I would make it a priority. It's the first in the series, features Edward Norton and Ralph Fiennes, and is nearly as good as Silence.

Wow. Not going to get into the defense of Hannibal this time (my review states the reasons I liked it). Instead I’ll just settle to say that whether or not it follows the book, it is an exceptional movie for me personally. Too bad you couldn’t enjoy it.

I’ve heard good things about the book, but haven’t had the pleasure of reading it yet. I have, however, read Silence of the Lambs, and didn’t very much care for Tom Harris’ writing. He is excellent at telling stories, but as I much prefer the visual medium, and being familiar with the plot & characters, his writing just didn’t enhance my SotL experience in any way. Sans the ending, I don’t expect Hannibal to be very different in that regard.

I’m not someone you would classify as a Clannibal shipper. I enjoy the interaction between the characters in SotL & Hannibal, and do not oppose the notion of there being a romantic element to their relationship, but I can also live without it. Generally I ship via graphics, fan fiction and other activities, but with Clarice and Hannibal, I’m content in watching the movies. With some fandoms, you just don’t get better than the canon, I suppose.

I’ve seen Red Dragon, but it is one Hannibal movie I did not care for at all. I suppose it has a lot to do with the fact that the movie feels awfully by-the-numbers. There’s no real passion in it. It’s visually uninteresting, I could swear Sir Anthony Hopkins is just cashing a check, Edward Norton feels miscast as the haunted FBI agent, I wasn’t really piqued by the Tooth Fairy, and we get an unsatisfying ending. Even the score by the talented Danny Elfman feels uninteresting. Sorry, I just don’t care much for Red Dragon. I suppose it is one Lecter story that would benefit from reading the book it is based on, as Harris’ other Lecter stories have been more intriguing. I have an inkling it’s just not a very good adaptation?