[ House ™ ] Austin Leeds and Etienne Ozborne Feat. Eileen - Esta Encendido (original Mix) в
“I'm gonna hold this motherfucking banner down until the day I die, Bone Thugs and “Tha Crossroads” won the Best R&B/Soul or Rap Music Video of Bully, the third feature film from Tulsa, Oklahoma writer/director Larry Clark. Also in May was D.J U-Neek Presents Ghetto Street Thugz: Past. The vocal in S/O/R's Peace Sign is from Roland Clark's Urban Soul outfit!! Not their While surfing recently I came across DJ Destiny's Oldskool site Kikit (now . Movie sample in intro of M.I.S.T. - Dreamworld (31 Records) .. FPI Project Presents Rich In Paradise - "Going Back To My Roots" (Piano). I Get Lifted (Boyd Slams The Organ Mix) - Barbara Tucker . I had the honor of meeting him many moons ago through one of my music mentors who grew up Movie Song - Kashif Back again with another blend of soulful house jams . Love Is So Nice (Reelsoul RMX) - Dj Roland Clark presents Urban Soul 2. I.
House of the Devil takes its time. There are only a few characters and one main location, with much of the action concerning the main character walking slowly down shadowy hallways. West trusts his audience to figure out what is going on without beating them over the head with exposition.
Violence, when it comes, is short and brutal, but mostly the film is content to let you wonder at what hides in the shadows. At a moment in time when screens were cluttered with Paranormal Activity clones and remakes, House of the Devil was a lasting reminder that quiet, dark and isolated is still the scariest combination of all.
Taken together and they should bethese films are the terrifying high water mark for Romero-like zombies to date.
- ROLAND CLARK
- The Unseen – A Guide to Recent Lesser-Known Horror Films
- Back Catalogue
Found footage is often a liability, but here, it imbues the action with a frantic immediacy. When zombies start displaying talents that make them distinct from natural phenomenon, that display guile and cunning, that is when zombies are at their most chilling. Trailer Triangle — — Christopher Smith Triangle is one of those rare movies that rewards viewers who go in knowing next to nothing about it.
Suffice to say, it takes place on an abandoned cruise ship and is very strange and clever in the style of Richard Mattheson. In many ways, it is a structurally tighter cousin to Coherence, later in this list. Cosmatos, director Leviathan, a slightly underrated riff on Alien and The Thing. Aside of a strange detour into body horror, the movie maintains an unsettling, psychedelic atmosphere. Each season of which I only recommend you watch the first consists of five episodes that clock in at about twenty minutes each.
Each scene is a conversation with one of his clients in which they lay out their progress, their trials and their tribulations. It quickly becomes apparent that the stories are interlinked. When the first season takes its final twists and turns, well…that would be telling. While not quite horror, the first season is a perfectly written and constructed gem on par with the very best Richard Matheson stories and Twilight Zone episodes.
The second season, though, while still entertaining, explains too much. Both threads of the story examine the idea of closure from two very different perspectives, one supernatural and one all too real. June, the mother, brings in a psychic. All of the proceedings are sad and very human — it is easy to imagine a family reacting this way in the face of such tragedy. Amidst this atmosphere of mourning, the disquieting influences of the supernatural plays very well. Though subtle, they leave deep impressions.
And when the mystery is unraveled, it adds to the melancholy rather than alleviating it. There are plenty of monsters and ax-wielding maniacs out there for that.
Rather, Lake Mungo mines a deeper kind of dread, that in the real world, a life can end at any time, without reason or explanation. Specifically, it is about a clash between two people versed in a stranger and powerful folk tradition — Cathal, the hunter on one side and Mary, the hunted, on the other James Nesbitt and Kate Dickie, in delightfully unrestrained roles.
Or maybe Cathal is the monster. Outcast makes no apologies for what it is. As the battle between the two characters unfolds, the movie teaches us just enough of the magical rules to follow along, but never so much that the mystery disappears.
Authorities found only bodies. The rest of the townsfolk were never found. What follows is a by the numbers lost in the woods horror yarn, with some deliciously cosmic flavoring.
The party, low on supplies and debilitated my loud, old-fashioned music without a source, soon deteriorate psychologically. Murder and suicide follow in short order.
The whole thing is uneven as hell, and the ending aggravatingly meta, but the good parts — the spooky supernaturalism, the quick flashes of violence and the terrible isolation — capture something elusive about our very American fear of the wilderness.
Building on the foundation of the Blair Witch Project, characters tend toward erratic, overblown behavior. The audience inevitably wonders why the cameras keep rolling. Grave Encounters does all these things, yet manages to be greater than the sum of its annoying parts. What Grave Encounters does that is interesting is use cameras, both remote and handheld, as a kind of map-making device. The remote cameras serve as markers of absolute positions, while the handheld cameras chart the interior space.
This allows the filmmakers to simultaneously educate us on the shape of the space while scaring us by subtly altering it. While the rest of the movie — snake-jawed ghosts, rough-hewn characters — is fine, the star of Grave Encounters is the abandoned mental hospital, an ever-shifting hostile space that inspires an equal mix of fear and despair.
James these days, but that is exactly what The Innkeepers is. James was an early 20th century writer who perfected a non-gothic ghost story formula: The first half of the movie feels like a horror comedy, which will make the turn in the back half to straight horror either jarring or exhilarating, depending on your taste. The ending is a downer and seems perhaps anticlimactic, but the injustice of it has lingered on in my mind for years.
Trailer Kill List — — Ben Wheatley One of many contemporary movies to follow in the footsteps of The Wicker Man, Kill List is a delirious blend of occult horror, Arthurian legend and crime drama that culminates in a series of events so unsettling that thinking about it still makes me uncomfortable.
The movie follows a former soldier turned contract killer as he works his way through the titular list. In doing so, he is performing a series of ritual killings that…well, the movie is unclear on exactly what is going on, preferring to let the questions be covered over by the blood from all the unrelenting violence. They linger, though, almost maddeningly so, and will continue to do so long after the credits roll. Trailer Take Shelter — — Jeff Nichols Perhaps the least obviously horror movie in this guide, Take Shelter is a psychological thriller focused on the apparent mental unravelling of construction worker Curtis LaForche Michael Shannon who has dreams of betrayal and apocalyptic storms.
Under financial and emotional pressure, he withdraws from friends and family to work on expanding an older underground storm shelter. The changes are subtle, but all the dread in the movie flows from them. And there is an ocean of dread here.
He believes the storm is coming and it terrifies him. In turn, everyone around him, including his family, is terrified of him. And we, the viewers, know that eventually, the LaForche family is going to have to climb down into that storm shelter with Curtis. Will something terrible happen in there or will something terrible happen if they refuse to go in? What will they do when they have to let her go again?
Sounds like a tedious, sentimental tear-jerker, right? It was agonizing to watch. Littlefinger playing neither Littlefinger nor a Baltimore politician. Trailer Berberian Sound Studio — — Peter Strickland What a strange and wonderful movie, a masterpiece of atmosphere and a horrific ode to the craft of filmmaking. Like a meek, baby-faced Gulliver, Gilderoy is beset by a phantasmagoric cast and crew of Italians who range from sensual to monstrous.
He quickly unravels into a mental breakdown. Like a dream, or a giallo, the particulars of the plot are less important than the feelings they inspire. For Berberian Sound Studio, much of that comes from sound, through the work of Gilderoy. Mostly, though, we discover layer upon layer of artifice, these slices of sound without context, examined, replayed, distorted. What of Gilderoy, the unwitting magician in the center of the illusion?
How real is he? Trailer Byzantium — — Neil Jordan Vampires are always in danger of going out of style, but they never seem to sink entirely into stale irrelevance. Someone always picks them up, dusts them off with a new take and sends them on their way again. With Byzantium, Neil Jordan does that for the second time in his career. It is also more beautiful: Two filmmakers follow a conspiracy nut for a documentary.
When he disappears, one of them Aaron Poole, delivering an excellently anxious performancebecomes convinced that the conspiracy is real. It ends with few surprises. It is also well directed for a found footage outing, one of the best examples I can think of.
Of course, scarier things are in store as unexplainable occurrences and evidence of ritual magic begin to pile up. The climax is a deft mix of diabolism and noir moralism that would be right at home in an M.
Trailer Grabbers — — Jon Wright A horror comedy in the vein of Tremors, finds an island off the coast of Ireland beset by blood-sucking tentacle aliens. Many, many jokes about the Irish predilection for booze ensue. Grabbers is a silly movie with a great monster, one of the best looking in recent memory. That makes the Phantasm director a bit of an acquired taste, true, but it is nice to see a veteran horror director still putting out quality stuff that bears his indelible stamp.
Scream taught us the rules for horror movies and as much as those rules drive the story, we also take comfort in them. We have an idea of who is going to die and when. We know how it is going to end. McCarthy gleefully destroys that machinery. You should do the same. Trailer The Shrine — — Jon Knautz I checked out The Shrine because the titular idol, a beast-headed statue shrouded in mist, was a gorgeous visual, not because the tired plot of filmmakers travelling to Eastern Europe to investigate missing tourists promised any great thrills.
I was so wrong. The first third of the movie consists of nice stage-setting, needless character development and the wonderfully spooky scene in which the characters encounter the mysterious statue.
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The second third of the movie is a cult-themed riff on the Hostel movies. In the last third, following a masterful twist, the movie careens into the best Evil Dead homage ever filmed. Perhaps I simply had zero expectations, but The Shrine delivered more surprises than I ever would have guessed. I can think of no other movie in this guide that disturbed me so greatly and stuck with me as long as Kill List.
A Field in England, while perhaps not being entirely a horror movie, is a close second. Black and white, set during the time of the English Civil War, it follows a group of deserters ensorcelled by a black magician the riveting Michael Smiley into digging for treasure. It is a minimalist movie in many ways. The most elaborate feature of the movie is the period costuming. All else — the psychedelica, the supernatural occurrences, the atmosphere of dread — are all achieved through deft camera work and the strength of the performances.
It is a glorious disaster, though. While both collections are uneven, there are some brilliant moments. The ABCs of Death is a bit like horror speed dating. The short length of each segment creates a kind of exaggerated, machine gun rhythm that may not satisfy but is certainly never boring. And there is diversity on display here that illuminates interesting facets of what different cultures find horrific. It will be interesting in the coming years to see what new terrors spring from directors showcased here.
Trailer Blood Glacier — — Marvin Kren The premise of Blood Glacier also known as The Station — that climate change melts a glacier to reveal an ancient and deadly substance that mutates animals it comes in contact with — is damn terrifying and used to fantastic visual effect when the protagonists discover the titular claret-hued edifice.
Blood Glacier is not a great movie, but it does become a kind of patchwork monument to its influences. The mutant animals are the highlight. And their weirdness drives the plot to ever more elaborate contortions. Trailer The Borderlands — — Elliot Goldner A found footage film ugh about an investigation of a haunted English church. The poltergeist disturbances are fairly pedestrian, but what the movie lacks in outright scares, it makes up for in rural atmosphere. There is an unpleasant hostility lurking in nearly every outdoor shot.
However, it is the ending, a frantic chase into the caves below the haunted church, that truly makes The Borderlands a memorable experience. To say anymore, though, would ruin the surprise. We have a dinner party during the passing of a comet. We have several parallel dinner parties during the passing of a comet…a cascade of dinner parties.
And everyone is trying figure out what is going on and how to be the one remaining dinner party when this pocket multiverse collapses. Or, at least, to still be with the dinner party you started out with. As high concept and jam-packed with quantum physics as Coherence is, it is also a very tightly filmed, claustrophobic, character-driven movie. In fact, the cast, playing these eight longtime friends, is astoundingly good.
They laugh off weirdness, they talk over each other, they freak out and calm down, they take refuge in knowledge gleaned from NPR. There is a plausibility in their actions and reactions that I have, frankly, never seen in a horror film.
And it is a horror film. What is worth the price of admission is the fact that the movie was shot, covertly, in Disney World and Epcot Center. It is rare that a gimmick like that can carry an entire movie, but that is the case with Escape from Tomorrow. It presents an untidy face to the theme park that is seldom, if ever, seen. And a quietly threatening one — the park, designed for huge crowds of people, seems hungry when you see it empty at night.
With it, it is a curious, horror-tinged artifact of pop culture. Here, our space-faring characters are actively seeking extraterrestrial life on a hostile world. Their mortal struggle, while claustrophobic and often terrifying, is not one of personal survival, but rather for the survival of their experience and the scientific proof of life on other planets.
It is the rare horror film that leaves the audience feeling uplifted. Unfortunately, that community worships a strange pit in the ground — whatever the pit is, it has the power to heal in exchange for periodic blood sacrifice and Ada is the next victim. Her attempt to avoid this fate lead to a series of gruesome supernatural reprisals. Jug Face is a complicated movie, both in plot and subtext. The former is unfolded deftly, revealing an elaborate mythology without ever stooping to laborious exposition.
The latter is a bleak commentary on duty, community and cruel destiny. All of it is supported by a fantastic set of performances, particularly by Sean Young and Sean Bridgers whose turn as Dawai, a dim-witted potter, has stayed with me a very long time. Trailer Resolution — — Justin Benson and Aaron Moorehead Resolution sees a successful guy tracking down his junkie childhood friend to a remote cabin, where he proceeds to chain his friend up and force him to go cold turkey off the drugs.
As the mystery deepens, it appears that some kind of supernatural entity is manipulating events. Much of the success of the movie rests on the good buddy interactions of the two lead characters.
As things get increasingly unnerving and reality begins to strain, they keep the movie grounded. Resolution is a heady slow burn that questions the relationship between the audience and the film they are viewing, and earns every bit of its chilling climax without jump scares, gore or any cheap tricks.
Trailer Wer — — William Brent Bell When a strange loner is accused of viciously murdering a vacationing family, his lawyer orders a series of medical tests that reveal he has a kind of porphyria that gives him superhuman strength and speed. Wer is not a werewolf movie in the Lon Chaney sense of a literal wolf-man, but rather it takes its inspiration from tales of men driven to lunacy, like Peter Stubbe, who was accused of tearing babies from the womb with his bare teeth in The movie has its silly moments, but this fresh take coupled with the novel approach of telling portions of the story through news coverage, makes for one of the best takes on lycanthropy in recent memory.
Instead, it works ceaselessly to make you feel a spectrum of emotions associated with those genres. When Arash slides slowly across the screen to embrace the Girl, our hearts swell. It is shot in lush black and white; it is quiet; it shows rather than tells; it has a hip soundtrack. Look for the logo A big thank you to everybody who has helped with info for this update I think the original sender may have thought about the "huh" from the original, but in my opinion that sounds closer to the one that Mantronix used on a few of their tunes like the end of "Scream".
Decided to release an intermediate update. There's already a lot in here, and a whole lot more waiting to be added thanks to Ian Saunders 2 down, 2 to go But what's in the current update: DJ Destiny now FullRecycle. And Ian Saunders sent in a whole bunch of ID's Well, I have a short holiday break, so there's time to update again! Quite some new ID's this time, and I'm slowly starting to change some things again.
If you look at the Ultramagnetic MC's ID's you see the vocal used is listed with the sampling artist. Stumbled on the Trainspotters messageboard and nicked one from there And my own find: And did the first Sinnamon it's a male by the way! And an extra special shout, thank you and all around praise goes out to Rob Phokus for giving the ID for the "helicopter break"!
Well, it took a long time, but finally some new ones Dillinja used Voices In The Dark. Adam F used Clubland in one of his old classics. Black Box - Ride On Time And Ray Keith timestretched the intro of Loose Ends. Only Peshay hasn't really stuck with the normal idea. Instead of sampling a disco break, he samples a new tune I've increased the major revision number!!!
So I asked if I could use missing parts from his list and he agreed!
DJ Spinna's Podcast
I also took this to remove all ID's for records that are like jungle versions of tunes like the DJ's Unknown series. And I removed the Frankfurt tunes. They're so wack, they don't deserve to be mentioned here! For good measure I also added a bunch of ID's for old tunes I'm now also using graphics to denote new ID's and a new background is on the way Raw Silk, Avengers theme, Lisa Stansfield and I know there's more coming from me This time some samples sent in by Hymie.
My internet connection has been down the last couple of days. Changed the color scheme of the page still experimenting Also, beastie boys sample isn't "Hold it now, hit it". Got a bunch of others, but I need some time to look them up. Hymie sent in a correction for the Lost Boys movie and added one from myself: Congo Natty sampling Cymande. Also updated listing for Rose Royce sample in Altern 8. Hymie sent in a bunch of new ID's, corrections and questions. And DJ Virus sent some as well!
Also, I think I'll follow Hymie's e-mail and add record labels for the jungle tunes New Jack Pimps sampled Kym Mazelle. Back from the UK. Bought about Drum 'n' Bass 12s!!! Also had a great time at the Fabric on friday Thanks Ash! And I've got some new ID's. Added Darkman sample used in R-Type already knew it, but forgot to add itZhana as used by Bukem didn't know which jungle tune it was Vocal is from some muslim?
I'm off to the UK.
Until We Meet Again (Dolls Combers E-Espression Mix)
I should be at the Fabric tonight. Back in a few days Just listened to the Clockwork album by Skynet and Stakka Next update will see an increase in the minor update number.
Aquasky used First Choice, found typo and rewrote part of the intro. While cutting up a sample CD for a friend, came across yet another sample from Jocelyn Brown!
This time used in Twin Bass. Knew this for ages, just couldn't remember which jungle tune used it And one I nicked from alt. Added vocal used in Psychotropic.