Fizziology Bestows Social Media Buzz Awards For Summer Movies

Hollywood backlot moments

Up until that point I had been an enthusiastic, even obsessive, consumer of horror movies. I let none slip by, however obscure, poorly dubbed or badly reviewed they were. If there was a horror movie showing somewhere in Liverpool between 1967 and 1975, I saw it. But once I was in the grip of depression, a curious thing happened. The movies I had loved — and had always been able to hold at a distance, somehow, enjoying their effects but never profoundly terrified by any of them — became impossible to watch. Suddenly they signified too much. Staring out of the darkness, which seemed to press down around me with smothering force, I was granted a clearer vision than I’d ever had before. The tricks and contrivances of plot and special effects, which had always allowed me an “escape clause,” were no longer a defense: The images came at me off the screen with nearly mythic force, raw and naked and overwhelming. PHOTOS:’Mad Men’s’ Kiernan Shipka as the ‘Shining’ Twins and Other Hollywood Horror Delights It wasn’t, you understand, that I came to believe any of these fictions were real. It was that I understood for the first time why they carried such authority over our imaginations, even when they dressed up in cheap theatrics. They were psychically true. Death is real, after all, and what are these stories but extended dances with death, refreshed now and again by a change of mask, a change of step? Each time we sit down to take in a horror movie, we prepare to stare down the subject that haunts us from the first moment we realize we are going to die. That was why the movies I had taken such pleasure in were now a terror to me. In my depressed state their true subject — death, in all its grotesque glory — was too much for me.

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But its moving and humane, with a beauty as austere as the rocky hills around the asylum Camille will never leave. Camille Claudel 1915, from Kino Lorber, opens Oct. 16 in New York. Rating: **** (Seligman) Daniel Radcliffe A 1944 murder provides a fresh take on the Beats in Kill Your Darlings , starring an earnest Daniel Radcliffe as Howl poet Allen Ginsberg and Dane DeHaan as his killer pal Lucien Carr. Carr was the effete, visionary lynchpin in the incipient literary circle that included Ginsberg, Jack Kerouac (Jack Huston) and William S. Burroughs ( Ben Foster ). Radcliffe, while nicely conveying Ginsbergs tortured sexuality, is just too darned cute to pass for the real thing. Michael C. Hall gives a subtle, desperate performance as the man obsessed with, and ultimately done in by, Carr, but DeHaans is the breakout performance. (Evans) Kill Your Darlings, from Sony Pictures Classics , opens Oct. 16 in New York and Los Angeles . This is a condensed, revised version of Greg Evans s Sundance Film Festival review from January 23, 2013. Rating: **1/2 What the Stars Mean: ***** Fantastic **** Excellent *** Good ** So-So * Poor (No stars) Avoid (Greg Evans and Craig Seligman are critics for Muse, the arts and leisure section of Bloomberg News .

The Top Grossing Scary Movies Of All-Time

‘ low-budget horror film “The Conjuring” produced more than 2.3 million social media mentions in the week after its theatrical release, and maintained a volume of more than 1.5 million comments for three weeks after its debut. “‘The Conjuring’ kept going,” Handley said. “There was a lot of word of mouth. People continued to talk about it, and see it a second or third time.” Biggest comeback: Paramount Pictures’ “World War Z” was plagued with negative pre-chatter from people who had read the book and feared a poor adaptation and industry insiders focused on production problems. Once the film opened in theaters, positive audience reaction changed the tenor of the online conversation. “It was purely an organic thing,” Handley said. “It was a reaction to actually watching the movie.” ON LOCATION: Where the cameras roll Most positive buzz: Universal Pictures’ “Despicable Me 2” received the most favorable comments in its opening week, with 92% of posts praising the animated film. “This is, by far, the standout when it comes to sustained positive buzz, pre- and post-release,” Handley said. Most fanboy buzz: Warner Bros.’ “Pacific Rim” captured the hearts of male enthusiasts, who talked animatedly about director Guillermo del Toro films, mulled specific details about the set, props and technology used in the production and generally geeked out about the science fiction film. Eleven percent of the conversation in the week before and after release came from these fanboys. Most kids-at-heart desire to see: Disney/Pixar Animation Studios’ “Monsters University” was the most successful family film when it came to connecting with parents.

Gore Verbinskis under-the-radar remake of the modern classic Japanese ghost story was the kind of old-school terror that had been missing from theaters for awhile. It also used its PG-13 for maximum advantage, showing us just enough horrifying imagery (such as the fates of the young girls in the prologue) to get away with merely suggesting the horrors to come. The film is not set in a single location, but rather is a travelogue mystery which pits Naomi Wattsin search of the origins of a killer VHS tape before it claims her son. Unlike any number of horror films, The Ring has just enough scale and scope that it almost feels sweeping, with a full mystery narrative full of red herrings, startling leads, and copious backstory delivered by old-pros like Brian Cox. Fair or not, it felt like the kind of full-scale movie that we hadnt seen in the horror genre in awhile, plus it was pretty terrifying when it wanted to be. In terms of box office, this was the rare wide release to actually gross more in its second weekend than in its first, showing the kind of legs reserved for James Cameron films. It opened with $15 million on 1,900 screens before grossing $18m on its second weekend and another $18m (-3%) in weekend three, which of course coincided with Halloween. It was making more on its fourth weekend ($15.5m) than it did on its debut and eventually ended with $129m domestic, or a stunning 8.6x multiplier. It of course launched a mini-boom of remakes of Asian supernatural horror stories, none of which could compete with the first. It is, on its own, a modern classic, and one example of a hit that inspired a legion of copies that couldnt measure up. The Silence of the Lambs (1991): $131 million Single-handedly snatching back the horror film from the grips of teen-targeted slasher films and restoring it as a safe haven for adults, Jonathan Demmes grand horror thriller is part gothic fairy tale, part feminist treatise, and all fantastic. Everyone remembers Hopkinss Oscar-winning turn as Hannibal Lector, but just as important is Jodie Fosters justifiably Oscar-winning turn as Clarice Starling, one of the great modern feminist creations in modern cinema, as well as stellar supporting work from Scott Glenn and Ted Levine. Demmes masterpiece is rich in substance, utterly engaging, and filled with genuine scares and just enough gore to make you forget how little violence is onscreen.Silence of the Lambs remains one of the very best horror films of all time.