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This movie has too much violence and gore. This is definitely not for kids and especially when their brain is still developing. This is also not a movie for people who are sensitive to slasher films. There's one big main scene that was disturbing and petrified me.
Frightening & Intense Scenes (6)\n\n The woman with the disfigured face could be unnerving to some viewers. Several jumpscares occur throughout the film, but it also has a lingering sense of dread and anticipation, knowing it won't be long before Art's next murder.
Castiel's Sixth Death (Season 15, Episode 18)\n\n A bit before Supernatural's series finale, that happened, after Castiel finally confesses feeling romantic love for Dean. Sadly, The Shadow dragging him to The Empty is the last fans got to see of Cas.
Flashing forward, we learn that Sam has a son that he's named after his late brother, and we watch him grow up. Then, in a scene mirroring Dean's last, we see an elderly Sam pass away, with his loving son nearby. Ultimately, Sam and Dean are reunited in Heaven, where they can experience peace at last.
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"You shaaaamed me!" rasps Lorna Raver's Hungarian gypsy at Alison Lohman's bank employee, who's made the unfortunate mistake of not granting her another extension on her mortgage. Cue a curse to end all curses: visitations from a demon called the Lamia. While the punishment doesn't seem entirely proportionate, the results offer a wild, raw and wickedly entertaining ride with Sam Raimi at his funhouse best throughout. Justin Long, the loyal hubbie on the other side of Lohman's hellish bubble, takes on the horror staple role of disbelieving agnostic. You'll want to shake him by the end.
Directed by the incomparable Terence Fisher, written by Jimmy Sangster, pairing Peter Cushing and Christopher Lee (with Lee getting actual lines for the first time), and going all out for colour, glamour, sex and blood, Hammer's Dracula aligns the elements and distils the formula that powered the studio for the next two decades. Sangster's bold screenplay at once eviscerates Bram Stoker's novel and sets the narrative free. With the locations transposed and limited to Romania and half the 'dramatis personae' excised, we're left with a lean adventure. The Lugosi film is an eerie slow-burn, but Hammer's is a swashbuckler. Lee, of course, gets to be urbane and darkly seductive, but there's also genuine savagery to the moments when he gets to bare his teeth.
A strong contender for the best horror film of 2014, It Follows runs with its brilliant central concept and never drops the ball. We never really learn what the 'It' is, except that it's a mysterious entity that's somehow sexually transmitted, manifesting as a variety of shuffling injured strangers, or sometimes as people known to the victims it inexorably pursues. It's an interesting twist on the slasher movie ‘promiscuous teens get killed’ trope, with the wrinkle that if you find yourself affected, you can just shag someone else and get rid of it, like a chain letter. That rule takes the film to some very dark places.
Debates raged in some corners of the horror community about whether the fast-moving "infected" were zombies or not. Seriously, who cares? That's not the meat of why Danny Boyle and writer Alex Garland's tale of a destroyed society is so effective. Like all great horror movies, it's about us rather than "the other", and peers into the dark heart of humanity. How far would you go faced with such a situation? You may not love the answer. And there's so much to admire visually, with a Day Of The Triffids–esque emptied London, shot guerrilla-style in early mornings.
15) The Blair Witch Project (1999)
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