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Films due a critical reappraisal

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    Films due a critical reappraisal

    Halloween III (1982)

    I have banged on about this before, but I bought it on a shiny new DVD and rewatched it last week.

    Halloween III suffered for what it wasn't rather than what it was. It's a great 80s horror film. It's genunely creepy all the way through. Tom Atkins, the lead, does very well with not a lot. Dan O'Herlihy as terrifically barking mad as Conal Cochran. Plus the annoying (but deeply malevolent) jingle and the downbeat ending.

    It's still only 40% on Rotten Tomatoes.


    Night of the Living Dead (1990)

    The Tom Savini remake, rather than the original.

    This got a right kicking on its release and I never understood why. It's always playing with the audience's expectations, based on the original. Barbara is pretty rubbish in the Romero original, but she's properly badass in this one. The practical effects are great, as you'd expect from Savini. And the annoying Harry gets his comeuppance.

    Roger Ebert gave this one star.

    #2
    I love Halloween III. The music always does my head in, and the story is pretty good.

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      #3
      Vertigo is brilliant but, frankly, with hindsight, a nasty piece of work.

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        #4
        Yeah. I don’t think that will top the next sight and sound best film evah poll. The motivation and actions of James Stewart (who I assume is still meant as a conventional hero) are quite hard to get. Hitchcock, what a bastard.

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          #5
          Originally posted by diggedy derek View Post
          Vertigo is brilliant but, frankly, with hindsight, a nasty piece of work.
          See also Frenzy, Psycho, The Birds. I love all these films but I'd love to find out that Tippi Hedren punched him in the face.

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            #6
            Originally posted by diggedy derek View Post
            Vertigo is brilliant but, frankly, with hindsight, a nasty piece of work.
            When Vertigo came top of that critics' list, I definitely took it as meaning that it was a film that particularly lent itself to critical theorising, rather than best film as such.

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