 Before I begin the video, happy Halloween if you're watching this on Halloween day. Here's some virtual candy. Go crazy. As a child, I never really watched scary movies due to the taboo belief that children shouldn't consume any media that doesn't have a Disney, Pixar, or Blue Sky logo attached to it. And to any of the holy rollers out there, I was forced to sometimes watch VeggieTales. Because the most genius way to advertise the belief of God to children is from the mouths of talking vegetables. Because kids sure love broccoli and asparagus, right? My fucking ass. But as my body got taller, my voice got deeper, my heart got heavier, I started challenging my comfort zone and became interested in the horror genre. I was at a crossroad when I came to settling on the topic for this video. The one you're watching right now, here's a high five you special little pumpkin. I find old slashes to be incredibly entertaining, but they're also incredibly oversaturated to talk about. Especially with it being spooky month. And if I wanted to talk about every Friday the 13th film, Halloween film, Leatherface film, Nightmare on Hell's Street, you get the point. If I wanted to talk about every slasher movie within its individual franchise, this video would be 10 hours long. And I was for sure not hit the deadline of October, ruining the point of a Halloween special. But that would allow me to talk about the Nightmare before Christmas. This has nothing to do with the video, but God, I just love Franco and Winnie. But as you saw in the title and thumbnail, I settled on discussing 824 films. 824 horror films fascinate the hell out of me because of how much conversation and controversy surround just about any project they produce. For example, on October 8th, they released a film called Lamb. And in the film's trailer, the tone was so bizarre that nobody knew what the hell was even about. And where familiar freaks like Jason and Michael Myers have films with the same premise of a supernatural being going destroy, kill, destroy, 824 films attempt to be more artistic in their presentation using psychological horror elements to convey their stories. I use the word attempt to be artistic because you have films like Tusk, which you're going to be hearing about in a bit by Indie Generant at Porcel. But the backlash that 824 often faces revolves around whether the horror films they produce are actually scary. The standout directors of 824 horror films are Ari Aster, who made both Hereditary and Midsommar, and Robert Eggers, who made The Witch as well as The Lighthouse. Out of the four films I just listed, you're guaranteed to find polar opposite takes on each film. For The Lighthouse, Richard Props of TheIndependentCritic.com said that The Lighthouse was easily one of 2019's most unique, original, and rewarding motion pictures. Then you have a review by Tessa Smith of Mama's Geeky. In that read, it was too artsy, too far-fetched, and by the time we get to any reveals, well, I just don't care anymore. The only reason this gets a one out of five instead of a zero is the acting. The same lady who gave My Little Pony a New Generation a 4.5 out of 5, but hey, at least she was super gracious to Lam. Which is strange because for Lam she wrote that, Lam is not for everyone, but those who allow themselves to be taken by it will find themselves thinking about it for days. Tessa, where the fuck was that mindset when you watched The Lighthouse? Most 824 horror films are definitely what you would call artsy projects that convey deeper meanings while focusing more on storytelling instead of attempting to scare the audience. That's why I find them so fascinating after all. Horror films like Lights Out, The New Poltergeist, or this recent Conjuring cinematic universe rely on cheap fright tactics to get a reaction from the audience, with the screenplay being the last of priority. If I stand to get a cup of coffee and randomly hear a loud bang, I'm gonna flinch and switch to high alert. It's not hard to jump scare an audience, but it does require effort to make the viewer truly unsettled. I'm not a grinch though, I do enjoy dumb fun, but to use those arguments to judge some of 824's projects is a bit unfair. I take that back actually, I kind of understand why when you look at the marketing for some of these films. They're damn near false advertising showing only the scary highlights while cutting out all the build up. If you went into the theater for hereditary expecting 2 hours worth of the trailer content, I could totally understand why some would leave underwhelmed. I'm not one of these people, my first viewing of The Lighthouse is quite an experience, but hey, I'm just built different. Like Tessa said, they're not for everyone, but those who allow themselves to be taken by it will find themselves thinking about it for days. Or some will find these films slow, boring, pretentious, shallow in a waste of time, some will see high class art with depth and complexity. And that's why I chose 824 films. Don't be mistaken though, some of the films in this video are not good at all. A letter and two numbers can't save them all. Oh yeah, by the way, this is also a collaboration project in case you couldn't tell by the description, pinned comment and divided segments. If you just came from moi, then you'll still be pleased because I'm gonna be talking about The Witch in a second, but I ask for you to stick around and watch the whole video, because the people in this project put some serious effort in their segments, and you could potentially end up finding a new creator to watch. Just like the films, keep an open mind to each segment and judge each presenter on their parts alone. And if you enjoy what you see from them, subscribe to their channels. Like I said, some of the people in this video are incredibly underrated, and you could find them in the description and pinned comment. Also in case it wasn't obvious, a majority of these segments aren't gonna be reviews, but more discussions. So here's a clear spoiler warning to just about every single film in this video. With that introduction, thank you for clicking on this Dr. Skipper Halloween special. The Witch, or if you want to get really authentic, The Witch, you see how the two V's make a W, it's pretty cool, huh? is a horror film that takes place in 1630's New England. If you haven't made the connection yet, then you're either very uneducated or very unraged, since pretty much every high school student that's American has been taught about the Salem Witch Trials that took place from 1692 to 1693. If you're not American, then congrats, you slipped through the cracks with this one. These were deemed the paranoid times where any assumption of witchcraft could have led to an early death for a lot of young women, especially if you attempted to defend yourself. Video aside, if you haven't already read it for class, the Crucible is a fascinating playwright that tells a story about the Salem Witch Trials as well as the time period of the 1600's. Alright, enough about literature though, it's not bedtime yet. So, The Witch is about a Puritan family that gets banished from the community due to William, the father's extremist beliefs, causing the family to now reside in the woods with complete isolation. Later, Catherine, the mother to all the kids, gives her youngest child, Samuel, to her eldest daughter, Thomasyn, played by Anya Taylor-Joy, Princess Peach herself. And after intense peek-a-boo match, she's stolen and taken to the woods, beginning the downward spiral for the family throughout the rest of the film's runtime. The Witch is not a jumpscare cut corners whip on the back production movie. It's an extreme slow burner that focuses on making the viewer unsettled while remaining faithful to the world it's attempting to depict. A lot of the film's scary elements are things that would matter most to any piece of cinema. Attention to detail, authenticity, acting, script writing, set design, cinematography, lighting, etc. Scary or not, just about anyone who's seen the film can admit that it's beautifully crafted, especially with just a budget of $4 million. Well, that could be life-changing money to the common person. The Conjuring 3, which came out this year, had a budget of $39 million USD, and as you could expect, wasn't that good. James Wan, please go back to the Conjuring plays. Robert Eggers, who directed the film, which was his debut, might I add, goes to extreme lengths to make sure his timepieces are historically faithful and accurate. Either it be 1630's New England and The Witch, or 1890's New England and The Lighthouse. And you'll hear about the authenticity of The Lighthouse a whole lot from Big B after this, so I'll just stick to the bitch for now. Like I said, The Witch's atmosphere is insanely faithful to 1600's New England. Robert Eggers admits that he was obsessed when it came to researching for the film, and would scavenge through old books, journals, paintings, or real-world items of the 1600's, so that he could study them to properly replicate the atmosphere of a Puritan family that lives off the land. You could see the payoff of his research within all the technical aspects, since they all collaborate to make the film come off as super authentic. Jaren Blashkill was a film cinematographer, and his camerawork truly conveys the desperation of an early English setting from its location shots of a noisy woods to the claustrophobic medium shots of a family eating dinner, with the only source of light being a lit candle due to the film consisting only of natural lighting. The film is intentionally grain-flat to evict the feeling of sadness, cluelessness, starvation, and struggle, with shadows playing a major role for metaphorical reasons of a woods consuming the family, sin consuming the family, or could it have just been really dark and unreaching. The lighting and shadows are really noticeable when you compare it to a film with complete opposite principles, like Midsommar by Ari Aster, which was intentionally filmed to be bright and colorful. May I clarify, this isn't a dig to Midsommar. I find the change of norm to be really bold and creative, but since it's a film on this video, I'll save you that earful for Jacob. But the lighting and camera work are great at establishing this setting while invoking discomfort. And it's also enhanced by elements of pre-production. I said Eggers was obsessed with authenticity, and that's because he truly was. So obsessed that all of his production sets were handmade the same way people would have actually built homes in the 1600s. Out of mud, straw, wood planks, and sticks. We had to kind of make everything. The family's farm was constructed from scratch. When you look at the farmhouses, fences, and shacks, they really are held together by tape and spit. But not tape, of course, because it's the 1600s. Tree sap, maybe? I don't fucking know. But another piece of authenticity that sticks out is the Shakespearean dialect. The cast all have heavy Yorkshire accents with a vocabulary that could be a little confusing in certain sentences. You have a lot of thows, these, thays, and sentences that sound like they could come from Yoda. I'd be a washing father's clothes like a slave, and now I'm playing idle. And the actor delivered their lines beautifully, not sandy, weak, or unpracticed. Especially Ralph Inneson, who plays William with that deep, intimidating-ass voice. That can only be really rivaled by Kratos from God of War. My father spent a couple of times with his son. Miss Wayboy. Even the child actors do a phenomenal job. Caleb's monologue before death puts every little shitty kid in horror films to shame. Except for the black kid in Halloween 2018. He's pretty funny, not gonna lie. Oh shit! I said the witch isn't scary when it comes to jump-scare horror, but instead scary because it's unsettling. Especially on first viewing. The camerawork, lighting, authenticity, and acting are also accompanied by an incredible score by composer Mark Corvin. Just a normal shot of the woods is enhanced by creepy music that accompanies it. The whole first act of the film is where the score is strongest. Playing on the viewer's feelings of confusion. The calm before the storm. And make sure that the viewer doesn't have any false notions of what's going to happen. There isn't a montage of the family living a normal life in peace, but instead you see right from the start that there's struggle and that this family will not be able to overcome the situation that they just put themselves in. Just like the shadows in the film, the music consumes every scene depicting a spiral into madness. The witch is a great film when it comes to objective values of pre-production, production, and post-production. But its narrative is also nothing to shy away from. I wanted to focus on two things that I took from the film and that's the criticism of pride and radicalism. The film is a story of a Puritan family and how their radical beliefs cause nothing but division in their eventual demise. The film starts with William on trial for speaking against the church in his community. You don't know what William is exactly on trial for, but as the film continues you come to understand he is incredibly radical in his belief of God. A lot of people who are religious can admit that they aren't fully committed and take part in actions that contradict their values so the enjoyment of day to day isn't hindered. But William is the complete opposite of how he takes part in his faith. He states that he cannot be judged by false Christians and while some could say he's noble for standing up what he believes in, his failure to compromise gets his whole family banished from their community. This isn't an oppressed man being noble, this is a man who's riddled with pride that just sent his family to certain death. You see these instances of radicalism take place throughout the whole film. Where an average Christian sees God as a forgiving entity who loves all his children, William is taught his family that God's grace is something that's not given and must be earned. Thompson's first monologue in the film is her asking for forgiveness for being idle for work and disobedient to her parents, admitting that in private she breaks all the Lord's commandments and thought, and says that she deserves to suffer in life and also deserves an everlasting hellfire. Shit. Okay then. God is seen as unmerciful and unforgiving. You must beg for forgiveness while fearing the worst fate imaginable. After baby Samuel is stolen into the woods and murdered by a witch, the eldest boy Caleb asks his father while hunting if Samuel was born a sinner by default. And since he died before being baptized, does that mean he's in hell? William has no answer to this and says to keep faith that he's in heaven and then Caleb starts to question that response. Asking what wickedness could a literal baby give to warrant internal hellfire. And William tells him to place his faith in God. Caleb then starts to fear that if he were to die any day, would he also go to hell since he's not of pure soul either. The family's radical belief in God is what leads them to be consumed by the evil that they try so hard to prevent. Thompson is the catalyst when it comes to showing the viewer the impact of the family's radicalism and how it caused each member to turn on one another. All the outcomes that happened to Thompson were unjustified and were the actions that caused her to end up signing Lucifer's book in the end. She didn't sacrifice Samuel to a witch. She didn't sell the Silver Cup. She didn't persuade Caleb into the woods to then witch him later. She didn't even once practice witchcraft. She didn't kill the twins and she didn't kill her father. Yes, she was accused of all these wrongdoings. Thompson is constantly taking blame for actions that were out of her control. And the family is so strong in belief that they end up turning on her instead of trusting her word. She literally has to beg for forgiveness while stating that she had no involvement in witchcraft in front of her dying brother who was actually possessed by a witch of the woods. The twins are also manipulative and evil due to the persuasion of Black Philip. Alongside negligence from a mother figure since Catherine is so paranoid about her unbaptized baby potentially being in hell. So paranoid that she constantly prays for his forgiveness. Instead of raising the two twins, at some point she ties them to a fence because they're so hard to control. The twins pretend to be possessed and blame Thompson causing William to believe them. And when she makes the case that the children conspired with Black Philip, he also believes Thompson. So to solve this issue, he locks them all in a shed with Black Philip and begs to God to forgive his children for they cannot contain their natural evil. Then in the morning the twins are stolen by a witch and William is killed by Black Philip, which causes Catherine to blame Thompson while stating that she's a whore and a slut and then tries to kill her forcing Thompson to kill her own mother in self-defense. Parents of the year, everyone. My point is that in the start William was banished for being too radical on his beliefs. And by the end of the film his radical beliefs are the reason his family was consumed by the thing they feared most. This radical interpretation of God put the family in a vulnerable state to be taken advantage of because there is no unity between any of the two. Radical devotion ended up being worse than just normal devotion. But another thing that destroyed the family as I said earlier was pride, which is Jesus and the devil side the family was destined to fail because of William's pride. William's failure to compromise his feelings aside from religion shows how corrupt he already was. He has a baby, two young children and almost adult daughter and a growing son and sends them to a life of struggle and hardship because of his ego. Black Philip and the devil are not the source of the destruction for the family but more so William. After losing a baby to the woods, the rational decision would be to turn around and take your failure as a learning experience. But his pride makes him find justifications for staying which causes more hardship. Later you see him tell Catherine that they were lucky that they just only now lost a child for the first time. While sickness was making people drop like flies, this half empty half full point of view is extremely selfish. William is not skilled to survive in the wilderness. His corn sucks and is dying because he can't farm and he's not capable of farming. William sucks and is dying because he can't farm and he's not catching any food because he doesn't know how to hunt. The only thing he can do is chop firewood. William is also not a good role model. He's incompetent and cowardly, letting his daughter take resentment from Catherine who believes she lost the silver cup when William sold her for hunting gear. William cannot survive outside of the plantation and when told by Catherine that they are starving and have lost a child, he would rather sell Thomas into a family before swallowing his pride and returning back to the plantation, putting aside his radical views for the good of his family. William is the reason for his family's demise. You are a hypocrite! Hold thy tongue, daughter mine! And when confronted on this incompetence and seeing his family split apart after his son's death, he then admits his faults to God to be killed the next day, buried by the wood he chopped. You can interpret this as him being consumed by his own doing since he physically cut all that wood. The Witch is a beautifully crafted film that tells the demise of a Puritan family from both supernatural causes as well as stubbornness. Robert Eggers did a fantastic job of creating this authentic piece of New England folklore. And I'm happy to discuss it first for this Halloween project. As I stated earlier, this wasn't a review and there would be spoilers. But some of you didn't listen, of course, but I recommend you watch this film for yourself. With that, I'm done for now. That was my segment. If you enjoyed what you saw and are new to this channel, consider subscribing and watching some of my other projects. But now you're going to be watching a video about the lighthouse by Bigby. I'll see you at the end of this video, though, to outro this. Goodbye. Thank you, doctor. Hi, everyone. I'm Bigby. And today, I'd like to start with some words of wisdom. Bad luck to kill a seabird. The lighthouse is, somehow, only the second movie from American Beard Haver and probably cool guy Robert Eggers. After The Witch took Eggers from unknown theater director to the top of many a horror fans must watch lists, he ran with the momentum and cashed in his recently unlocked industry cred for a story idea he and his brother Max had been workshopping for years. In 2018, the world learned that the lighthouse existed, centered around two lighthouse keepers in the 1800s, and would be starring Willem Dafoe and Robert Pattinson, two actors with a penchant for choosing pretty out there movies. Dafoe, who had seen and loved The Witch, the taste of this king, reached out to Eggers and told him he'd star in anything Eggers had available. And Pattinson had already met with Eggers about unrelated projects, but I'll let him say how he felt about them. I sort of quite flippantly said at the end of one of the meetings, I was like, look, basically all I want to do is stuff that's like really, really weird and crazy. And the next day he said, like, yeah, me and my brother are working on this thing, like, and I think if this isn't crazy enough, like, I don't know what to tell you. And I read it and I was like, yeah, this is, this is pretty, this is pretty wild. And wild it is, but before we dive into this labyrinth of a film, a disclaimer, discussing this movie without completely ruining it is extremely difficult. We're going to keep spoilers mild, but I think any amount of spoiling for The Lighthouse is too much. So if you have the time in the interest, I would encourage you to either skip this section until you've watched the movie, or pause, take an hour and 40 minutes to watch it, take another 30 to unpack whatever confused feelings it has left you with, and come back to us. As the sharp-eyed among you may have already noticed, The Lighthouse looks a little different from most of the movies released in the last few years. For one, why there no color? Movies usually colorful, why no color? And also square and dark. These bold choices of presentation are the film's first challenge to the audience. If you see a trailer for a film that looks like this and manage to not scoff at it for being pretentious, blowhard, artsy, fartsy, cinema, that's hopefully because you've seen at least one modern movie that was shot in black and white or with a non-standard aspect ratio that was also very good. Or you've seen The Witch and have to know if Robert Eggers is actually that incredible at directing and not another Richard Kelly-esque fluke. I can tie that loose end for you now with a confession. The Lighthouse is one of my favorite movies of all time. On the extremely objective and factual list of the 50 best movies ever seen by me, it is in 14th place, which is not a very prestigious number, granted, but still 14th of all time is pretty stellar. It surpassed The Witch in ways I didn't know were possible. For one, many of my favorite horror stories tie in with occult or religious themes. I mean, hot take alert, but I really like The Exorcist. Three. Haha, funny joke. You are joking, Bigby. No! But I will die on this hill. The Exorcist Three rules. The Lighthouse abandoned these threads from The Witch for one significantly less common in horror, man versus nature. When it comes to movies, I feel like that phrase is less likely to invoke existential dread than it is to almost comfort with nostalgia. Maybe it's reminiscent of the corny delight of a Roland Emmerich disaster movie, where a tidal wave can put several stories of New York underwater or make the deaths of innocent old women unintentionally hilarious. But this isn't a Roland Emmerich movie, or The Hurricane Heist, a real movie that does exist, and that I've seen. The villain of this film is not a natural disaster. There's no sharknado on the attack. The nature these two men face is one beyond human comprehension, influenced by all powerful beings with little interest in the desires of men. Say, why is it bad luck to kill a girl? Because Willem de Faust said it was Robert, and he literally showed himself to be Proteus, so maybe you should shut the fuck up and listen to your elders. Or, well, wait, fucking hell, are gods even real? In this world, is he actually Proteus? Did that happen? I mean these two never stop fighting over what and when and how and why things happen. If we could just find common ground on one thing, how many days has it been? Five weeks. Two days. Where are we? Help me to recollect. Is Robert Pattinson's perspective trustworthy in the slightest? If I was stuck out on a random island with this stinky oaf, I'd probably dream about a sexy mermaid too. Was she real? Does the movie even have a protagonist? What is a protagonist? Oh god, is it even nature? They're facing, maybe it's not nature. Nature, maybe it's the nature of humanity to yearn for what they can't have, to get more and more desperate as that object of desire gets further from their reach. Nothing is more intoxicating than knowing of a secret's existence without knowing its context. What is in the light? Don't know. Can't know. Really. In the end, does it even matter? I would say no, others would probably disagree. This debate is hard-coded into the film's DNA. If you were fortunate enough to be in a room with Robert Eggers, Willem Dafoe and Robert Pattinson, you lucky dog, and ask each of them individually to tell you their interpretations of the events that occur in the film, not their meaning, just the actual events, they would not agree with each other. And this is where I think the lighthouse loses people, or at least risks losing them. Eggers is not shy about admitting that the goal of this film was to disorient and even anger its audience. He is almost annoyingly elusive to any direct questions about the film's meaning, and that elusiveness extended to his cast. Is this stuff actually happening? Or is it a magical island? And also, whose perspective is the story being told from? Is this even happening? And he's like, hmm, you have to decide that for yourself. This is risky territory to traffic in as a filmmaker, because it only takes one interview where a director says it's open to your interpretation to morph a passive desire for a simple answer into a disrespectful offense at the dodging of it. In fewer words, it can sound condescending. So, what's the alternative? Maybe Eggers should have borrowed Darren Aronofsky's approach to mother and made the film significantly more clear with its themes and message. It's a real Sophie's choice that can irreversibly damage a film or significantly improve it, but the outcome is not determined by which option is selected. I think for many who don't have a pre-established interest in it, the Lighthouse could inspire the same dismissive attitude that one might hold towards a long-lost epic poem or a great American novel that was required reading in English class, the aspect ratio, the subtitle-demanding dialogue, the absence of color, the intentional obfuscation of clarity. These things can feel pretentious. And in the spirit of feeling pretentious, I'd like to ramble about the foghorn. The Lighthouse stars Defoe and Pattinson. That's it. In total, only nine people appear on screen during its runtime and only, like, two-ish of them show up more than once. But there is a common belief, and one that I share, that inanimate objects or places can also be characters. The Mermaid statue feels like a character, goading Pattinson to grace us with his firm butt while he fervently tugs himself off. The Lighthouse is a beautiful, monolithic, girthy character, providing a clear phallic image for the audience to prepare them for some good old-fashioned homoeroticism. But for me, the most important character, after the two obvious ones, is the foghorn. It is the first thing the film has to offer. That haunting wail. If the film's visual presentation is its first challenge to the audience, this unrelenting wall of sound is the second and a substantially larger challenge to boot. It is the sound barrier to entry. If this foghorn comes across ostentatious, a cocksure blast cockily announcing itself as important and deep and an A24 movie, then this tale might not be worth the storage space. But if this foghorn makes its purpose clear before the end of its first blow, you are at least somewhat better prepared for what it warns of. But despite its efforts, the foghorn is not what floored me. Nor is it the fucking bananas amount of research Robert Eggers put into making every layer of this mysterious world. Seriously, listen to the commentary track if you can. It's not Willem Dafoe's career-best performance You're fun to me lobster! Or Mark Corvin's unparalleled compositions or Jaren Blaschke's Oscar snubbed eye. It is a different sound. One that repeats just as often as the foghorn, but will likely startle with the number of times it is heard. For those of you who ignored me earlier and have not seen the movie, I owe a quick explanation. I honestly had very few expectations going into the lighthouse. There were some broad ones, I guess. I knew it would be in black and white, so it would be a tough ask getting anyone to go watch it with me. There was a ton of buzz coming out of Cannes, which is a universally good sign for a horror movie. And I'd seen The Witch, which, to put it lightly, did not have much to offer in the way of humor. So to say that Willem Dafoe caught me off guard is putting it very, very lightly. The last thing I expected from the lighthouse was to laugh out loud at funny things in it. I sound like a robot, but it's important to explain. I'm guilty of buying tickets to movies like Unfriended with the sole intention of giggling at its expense. But like, how does a movie where this happens also include this? The lighthouse offers up more scatological humor than most mainstream comedies of the last decade, at least. And it's not just your goddamn thoughts! There is more pissing, turd-chucking, and sex and c***ing in this movie than some of the less abhorrent products from the Adam Sandlers and the Wayans family. Before we even hear Willem Dafoe's voice, we hear him rip ass. This movie is absolutely tickled by its childishness. And the best part? After making The Witch so miserable and self-serious, I thought if I was going to explore misery again, I would want to be able to laugh at it. So, fart jokes. That is one of the only things Robert Eggers has clearly explained about this film. Of everything in the movie, all of the rich symbolism and innumerable references to mythology and history, a script that could be torn apart and interpreted in dozens of different ways, Eggers offers a rare crystal clear response to explain its fart jokes. And they exist because they made him laugh, and he wanted to laugh. And I think that that's beautiful. The Lighthouse is nothing short of baffling, both in its storytelling and in its existence. It is a textbook example of what a film can achieve when remarkably talented people at the absolute top of their game come together to make something that fucks your head raw and dares you to bask in the afterglow. It is a testament to the benefits of differing interpretations and opinions within a creative team. Several pieces of completely different jigsaw puzzles somehow miraculously fitting snugly together. It is very good, I'd say. Hopefully, I've done a miserable job explaining this film. Hopefully, those of you who ignored my advice and watched this without seeing the film first still have little to no idea what it's actually about. But above all, hopefully, I've presented it in a way that captures the feelings it provided me. I don't always have the easiest time expressing how art makes me feel in a tangible way. Attempting to translate the experience I have when watching The Lighthouse into an assortment of words feels impossible. I do not think I've done that, and I don't think I should have tried to. And that makes it easy to understand why I'm so forgiving of Egger's evasiveness about his thought process. I understand where he's coming from, or at least, I think I do. I understand what the movie is saying to me and that it will not say the same thing to everyone else. And as far as I'm concerned, that is enough. Hello, Dr. Skipper viewers. Sleep-deprived and degenerate here. Today, I'm going to not be talking about video games for once in my life and be taking a look at probably one of the most overlooked and heavily ridiculed A24 projects ever, and that is Tusk. Tusk is directed by Kevin Smith, who's an interesting character to say the least. Besides trending on Twitter for taking constant pictures of himself crying, he's also known for directing movies such as Clerks. And also hosting his own podcast called Smodcast, where the actual original idea for Tusk came to be. If you were to ask any horror fan their opinion of Tusk, you would probably get some very mixed answers and reactions. Possibly a couple slurs thrown at you, I don't know. For those of you that don't know, Tusk is a psychological slash body horror movie about one man turning another man into a walrus over some weird-ass guilt-fuel-nature-revenge-fantasy-type shit. And as potential worthy as that film concept sounds, in actuality it plays out kind of... goofy. Intentional or not. The first half of this movie starts out quite lighthearted as we learn about our main protagonist, Wilson Teddy, and their juggernaut of a podcast, which is called the Not-See Party. Get it? Get it, guys? Like the Not-See Party? And as if they aren't already unlikable enough, all they do in the podcast is just sit around like a bunch of jackasses and make fun of people on the internet. Kind of like another community, I know. Cough, cough, commentary. Cough... And so, one of the videos they're looking at is a video of a kid playing with a sword and messing around with it until he cuts his leg clean off. And after laughing and overacting their asses off about it, it is revealed that Wallace is set to actually meet and interview the poor kid for the podcast. And to do that, he has to fly to Canada. This is where the real trouble begins. After a couple of Canadian-related gags at an airport, Wallace arrives at the sword kid's house, only to find him dead by suicide. And of course, Wallace's natural reaction is to retreat to a bar and alert Teddy how selfish it was for the kid to kill himself before the interview. If it wasn't clear enough already, Wallace really isn't that great of a guy. After snooping around to the bar's pisser, Wallace ends up finding a note from an alleged sailor with many tales to tell about the name of Howard Howe. Excited by the chance for content for the podcast, Wallace calls the number left on the note and heads towards Mr. Howe's residence. As Wallace pulls in and walks into the home, we are greeted to Mr. Howe, who looks like every Scooby-Doo villain wrapped into one character. And as Wallace and Mr. Howe meet, we get to hear some of Howard's aforementioned tales that were mentioned in his note. With one of them being about a very pivotal time for Howard, where he was lost at sea and ended up getting saved by a walrus. Well, how does one get saved by a walrus, you might ask. And to that I have to say, just trust that it happened, because if not, the whole fucking movie doesn't make sense. And as Wallace and Howard actually start to get their conversation going, Wallace faints like an idiot from the drugs that were slipped into his tea given to him by Howard. The next couple of scenes are smash cut between Flashes to the past and the present where we get introduced to Wallace's longtime girlfriend, Ali, who is way too good for him, or so it seems. Just wait till the ending cause she's kind of a piece of shit. These scenes just kind of confirm what we already know. Wallace is a self obsessed asshole who can't stop talking about his podcast, even halfway through pillow fighting aka sex. So it's also revealed Wallace wasn't always a dick according to Ali. However, for all we know, she probably has Stockholm syndrome from the amount of douche radiating off of Wallace. Also apparently, she's cheating on Wallace with Teddy and on top of that, Wallace has sex with his fans regularly. Call me Carson moment. Stop booing me, it wasn't that bad of a joke. But anyways, fuck the B plot, that shit's boring, give me the goddamn Wallace. And about that, this is where the movie goes from light hearted to a bit confusing and dark. Or at least that's where Kevin Smith wanted to go. And depending on who you ask, it either devolves hilariously or horrifically. We wake up to a drugged and confused Wallace in a wheelchair who was quickly accompanied by Mr. Howe who slowly lets Wallace digest his true intentions over dinner. He is going to turn Wallace into a walrus through brutal, brutal surgery. But why though, you may ask. If you remember Howard was saved by a walrus when he was younger, but what he didn't tell us is that he fucking killed an eighth of the thing minutes before a helicopter arrived to rescue him. So, he wants to Frankenstein that bitch and give his walrus friend Mr. Tusk a second chance at life. And for some reason, he has to turn Wallace into a walrus to do that. Why, why, why doesn't he just get a walrus from Mizzou? He's obviously very wealthy, like I don't I don't really think it'd be that hard considering he's out of state. Hey, hey, no, no, shut up. So, as I was saying, Wallace gets transformed into a walrus. And if I had to give any props to this movie whatsoever, the initial full walrus-walrus reveal scene genuinely is kind of disturbing in a hilarious startling way. The makeup and VFX artists need a serious raise because the quality of the costumes do not match the script at all. After the initial reveal, we get to see various scenes intertwine with the bee plot of Howard just fucking torturing Wallace while he yelps like a fire alarm every two seconds. He feeds him raw fish, makes the poor fucker swim, gives him a bouncy beach ball, just absolutely makes sure he has the worst time possible. Can't even let the man mourn his humanity for two seconds without throwing some miserable bullshit at him. I mean, I guess you can say the torturer has finally become the tortured. Maybe this is some grandiose disgusting metaphor for online harassment and how terrible it is, but again it's a Kevin Smith movie, so who fucking knows. And as for Howard's final interaction with Wallace, he challenges him to the most goofy final face-off of all time. Howard jumps in his very own human fit walrus suit and they duke it out to the death in the most Kevin Smith way possible. To hopefully give Mr. Tusk one last chance to get his revenge on Howard for eating him. Now, of course this ends up in Howard's death, but right as he dies in the most excruciating, terrifying way possible, Wallace's best friends and fucking Johnny Depp bust in to save him. But as they walk in, they are devastated to see what they find. We flash forward one full year to deliver a final send-off to the movie. The first thing we see is a red car pull up and at first you might think they're arriving at a cemetery considering the implications and how, you know, Johnny Depp pointed a fucking shotgun at Wallace in the final scene. However, they are at an animal sanctuary. To go visit Wallace. That's right! His own fucking friends hated him so much that they couldn't put him out of his own goddamn misery. They even feed him a fucking fist just to add insult to injury. And the bouncy ball from the torture layer is still fucking there along with his obnoxious ass fountain from the beginning. And guess what? They just leave him there. They just leave. And so, we zoom out and have to sit and accept this corny ass horrible ending to a corny ass horrible movie. Now, even though I thoroughly watched this film, did I at least get some enjoyment out of... No! Fuck you! Don't watch this shit! I would like to thank my friend LMTree for helping me with some script editing and Dr. Skipper for including me in his video. And if you guys had the time you should totally check out my channel because I am really cool and base. But anyways, remember to take a shower and I don't really know how to end this so here's a funny walrus gift. I'm not going to sit here and lie to you when I say that personally. I've never been the biggest fan of horror films in general because, A, when I think about scary movies as a genre I usually associate them with low budget slasher productions in the style of film studios such as Blamhouse which, the pretentious fact that I am never really saw the worth watching let alone discussing on a greater scale and the fact that I am be a massive pussy and even though this is taking a different direction in recent years, deviating from the stereotypical The Blair Witch project meets Five Nights at Freddy's Jumpscare, most still feel more like something you would encounter in a local theme park than in the circles of obnoxious wannabe film critics that I like to surround myself with. So when Skipper approached me with the opportunity to feature on a Halloween project I had my doubts but tried to stay open-minded and honestly I'm glad that I did. Because instead of being greeted with the aforementioned Midsomer managed to subvert my expectations extensively as a matter of fact where film like one of the countless Halloween flicks feels as frightening as a dark ride Midsomer is a fucking cardboard but not the one with sudden impact rather the one where you slowly but surely lose control over your vehicle and helplessly aqua-plane into your doom. Disguising itself as a scary movie only to combat you with an array of much deeper psychological themes such as trauma as well as the figurative and quite literal death of a relationship that unfortunately forces you to utilize your brain more than you'd like but before I've used up all of the synonyms for movie that Google can provide me with let me give you a quick rundown and it's called as previously stated Midsomer is a film about a dying relationship that are two main characters Danny and a boyfriend male manipulator stereotype number 361 attractive due to the tragic circumstances surrounding a protagonist being left out of the family suicide having nowhere to go Danny decides to tag along with a partner and his anthropologist friends on the journey to the heart of Sweden's countryside all this against the will of the party everything takes an even darker turn when visiting a remote religious commune that is inhabited by cultists that are depicted by pages number three and four of Shatterstock's result for white people because shocker do not the wholesome community that they pretend to be I'll spare you the full synopsis because trying to encapsulate an experience like this wouldn't really do justice so recommend you just watch the movie for yourself Midsomer's director Ariasters someone who definitely maybe should probably consider therapy second full-length film and his follow-up to 2018's hereditary and in contrast to the letter Midsomer takes a completely different approach to horror even something as fundamental as the setting is unlike anything of its kind because the story doesn't take place in a traditionally spooky environment and unless you own a badass keyboard that lights up in cool ways and sounds like a gun range when you start typing a small sunlit commune in the middle of Sweden that is quite literally filled to the brim with flowers doesn't scream terrifying despite the fact that I really like the film I'm 100% sure that I never want to watch it again because Midsomer does his job of unsettling you very well granted they were an absolutely base note on the set design the film crew actually constructed all the buildings that can be seen in the film and the costume designers created over 500 unique outfits Ariasters put together a bible further digging into Swedish folklore and its ins and outs to truly encapsulate the feeling of being trapped in the country that is responsible for the diversity known as IKEA and whose biggest export seems to be vowels the same goes for the dialogue I don't think I've ever seen human conversation depicted as accurately as the ones that can be found in Midsomer even something as minor as the trip sequences are extraordinarily well done the aforementioned attention to detail really helps build this element of being rooted in realism that contributes to the true feeling of fear and sweeping uneasiness that you as a viewer undergo while watching the movie I don't think I've ever experienced the biggest sense of anxiety and dread since I entered a high school it's really impressive to see what they were able to do with a budget of only 9 million dollars for reference this year's attempted revival of The Conjuring had about four times that amount and still managed to be an absolute disgrace to the franchise I could probably continue to talk about why I really like this film for a while but I think you have the point it's absolutely worth the time if you are unfortunate enough to find yourself like rotten tomatoes it's surprising to see that there's a clear divide between the audience's reception of the film well one side praises Midsomer for its great cinematography acting and attention to detail and applaud the movie as one of the best of its kind the other argues that it's too long too boring and not scary enough obviously these are valid criticisms of the film a lot of the enjoyment is based on subjectivity and there's nothing I can really do to change that and it's also completely okay how can a film be praised by some while being disparaged by others and after looking into it further it seems as if a lot of this can be explained away with the viewer's expectations not being matched due to a lot of the marketing for the movie being extremely misleading to illustrate this here's an excerpt of the trailer do you see what I'm talking about even though it serves its purpose of attracting a wide audience very well it is by no means an accurate representation of the contents of this motion picture meaning that a lot of people would go into the movie expecting a run of the mill scary film only to be met with something completely different I know that a lot of people are probably going to bring up this point in their segments and you want to know why because it's true and illustrates a severe disconnect on one hand you have the audience that Midsomer needs to draw in for the studio to survive financially and on the other you have the audience that films are more likely to strike a chord with the true horror being that they are forced to do this to some extent we're looking at the reception of horror films of the recent years and especially their box office revenue smaller films do the years like A24 need to use these techniques in order to survive in the current landscape leading to a large sector of the audience being completely mismatched what also confused me was how easily the audience and critics alike managed to misinterpret a lot of the message and overarching themes that Midsomer explained like the average Joe Wood the film is bowled down to Midsomer is essentially a two and a half hour study of one woman's emotional journey towards emancipation from a toxic relationship unlike hereditary, it has a happy ending and I don't know how you take away from a movie where a bunch of people get killed to death and sacrifice for a family tradition would be that it has a happy ending because this explanation makes me want to repeatedly bash my head against the world quicker and gaslight gape kick girl boss and as much as the film's ending is up to your own interpretation if this is your take away your interpretation is stupid and bad and I'm more right than you looks a little bit different considering that this video it's got face cam where is that video that video's got gameplay and well if you don't recognise me nice to meet you anyways you know moving all of that to one side I'm sure you've seen the thumbnail of this video and read the title of the video because that's what people do when they watch videos so you know that this video surrounds the A24 horror movies here's the thing here's the thing with horror movies I am a bitch boy it's not even just horror I mean it's not horror games too I can barely leave the person phasmophobia so a video surrounding horror movies well I'm the perfect man for the job for my section in this video I decided to have a look at the A24 horror movie known as the monster now look I could go for English teacher slash video essay commentator here and waffle on for millions of years outlining every single small detail on every single small scene of the monster but I'm not gonna do that mainly because well you and I we just don't have time for that so I'm gonna give you a short little digestible summary of this entire movie also I probably have to say this but uh spoiler warning the monster was a movie that was written and directed by Brian Bettino in 2016 and to give a brief summary of what happens in the movie a girl called Lizzie is being dropped at her dad's by her mom for for some reason on the way there you know stereotypical horror movie gets stranded in the middle of a forest in a dark and stormy road this whole movie it cost 3 million dollars to produce and they pulled the box office amount of a lot of the box office though it doesn't really indicate the quality of the movie because you know sometimes very good movies do this movie is dog shit now open your ears here you know maybe lean into the screen a little bit I want you to hear exactly what I'm gonna be saying right now in perfect clarity this movie is it's one of the worst movies in the entirety of human existence and I'm gonna explain why in just a moment but before we get into the things I don't like about the monster I want to have a quick chat about the things I do like firstly the cinematography in this movie it's actually really good secondly I like the design of the monster quite a bit that and it's a practical suit which is always nice and that's it that's everything I like about the monster now before getting into characters before getting into the music of the movie a movie needs to know what it wants to be the monster this movie suffers from a mental identity crisis I don't really know what Brian Bettino is on or what he was thinking when he wrote the monster but this movie you know it starts with a little bit of drama then the movie continues and you know like oh this movie is becoming a horror movie and then the movie just becomes a full on thriller and then the movie just becomes a Jason Voorhees Michael Myers slasher movie you know what this movie feels like it almost feels like they don't really know what they wanted to do with this movie or they had millions of ideas but didn't know which one to go with so what they did was that they took up all of the ideas through them against the wall to see what would stick but instead of going with what's stuck they just went with everything considering that this movie doesn't really know what it wants to be the pacing it just gets so chumbled but before I get into the pacing of this movie I want to have a quick little chat about the characters in this movie because the characters in this movie are there are two main characters in this movie a little girl called Lizzie and her alcoholic mom who I don't know the name of because I don't think anybody said her name throughout this movie now these two they hate each other and not just a little bit of hate they hate each other it's the whole typical cliche broken family dynamic thing that you see in lots of movies there are also a few other characters in this movie you know like two ambulance drivers and my favorite character who's a mechanic called Jesse but uh these characters they're not really characters if anything they're a bit of a cannon fodder so I'm not going to be talking about them at all for this whole review thing as I said Lizzie and her mom they hate each other so you would think that this entire movie would be built around them coming back together and if you think that uh well congratulations viewer you know you're right but this entire coming back together arc it's concluded halfway into the movie so instead of having the whole cliche wwe will they coexist thing halfway into the movie they're fine with each other so when the mom does eventually sacrifice herself with a daughter because of course she does it carries no weight this whole sacrifice thing too it's not even really a sacrifice it's more of a suicide because the mom she just dies it almost feels like the mom had to die in order to propel the story forward instead of being a natural thing what it should have been because the whole thing behind the mom's sacrifice is that she's going to sacrifice herself in order to distract the monster to save her daughter I thought that this entire build up to the sacrifice and the sacrifice thing I thought that this was going to be the end of the movie but then the movie just carries on mom dies daughters still in danger congratulations mom you offed yourself for no reason this movie it's also littered with these really weird flashback scenes that don't really make any sense and it really messes with the pacing even more I would say that it's the primary reason why the pacing is so jumbled in this movie now don't get me wrong you know I don't have a problem with flashback scenes they just have to be used correctly so characters are driving uh oh what's that it's a monster crashing to the car characters are dazed you know you're waking up from a quarter-duty mission here's the perfect time for a flashback for this movie it just doesn't know how to use its flashback scenes as I've said countless times throughout this section this movie is called the monster so of course there's a monster in it now when it comes to monster horror your monster it has to make sense you know does it does it work for sound does it maybe it smells people I don't know maybe when the characters walk they make vibrations and the monster picks up on it the monster in the monster it just doesn't make sense man apparently it works off of light implying that it's nocturnal so in order to get rid of the monster the characters shine a flashlight at it to either distract it or harm it the movie doesn't really go into this either forgetting the technical sides of it this is a monster that doesn't like light so then why does the monster attack people who are lit up by car lights here's another thing with the monster in the monster now one of the golden rules when it comes to monster horror is to not reveal your monster too early you know don't don't blow your load too quickly you can still show your monster but maybe you know have it running across the screen in the background or I don't know if show its arm in a frame for a split second now I'm not lying when I say this pretty much 20 minutes into this hour and a half movie we all know exactly what the monster looks like so all of the mystique all of the tension all of the suspense behind this mythical creature that's been building up it's just gone oh and let me tell you this monster dies like a bitch the daughter kills it by lighting it on fire because isn't that cliche and then she just kicks it in the stomach a little bit this movie Jesus Christ if you do somehow end up watching the monster just stop this is one of the worst horror movies no this is one of the worst movies I've ever seen in my 20 years of being on this earth with all of that being said though I'm pretty sure that my channel is going to be linked in the description of this video that's all it's probably on a card here now or it was earlier in my section I'm not the one putting the cards in this video so I don't actually know where it is but if you enjoyed my waffle maybe come have a look at my channel it would actually mean quite a lot I don't know who's after me in this whole collab thing maybe it's a certain channel with a certain freaking long name but if it's not you'll see my beloved very soon but uh well over to them you know Halloween is kind of weird like someone thought it would be a good idea to make a holiday built around fear Christmas is for love and compassion I get that but why do we need to celebrate fear anyway I like Halloween and a lot of people do too most people who like Halloween like to put themselves in a state of agonizing fear on that day because it's tradition I guess and they do that by consuming some kind of fear-inducing media like horror games or movies the hole in the ground released in 2019 is one of these scary movies or is it no no it's not it's pretty bad actually the hole in the ground directed by Lee Cronin is an Irish horror movie starring a hole in the ground and some other people it's about the mother and her son who moved to the countryside to start a new life after the family father left them after an argument between mother and son the son angrily runs off in the nearby forest on the search for a son the mom finds this huge eponymous hole in the ground and her son right next to it but after this event the mother finds her son's behavior to be a bit strange like I don't think kids are supposed to act like this this movie is so painfully average I don't even know where to start the movie suffers a lot from scenes that have no purpose and don't drive the story forward or develop any characters like for example the whole where the mom and kid are spending time in an amusement park this scene only lasts two minutes and it does absolutely nothing for the plot it fails to properly introduce the characters in fact the next scene where they sit in the car does that already and it is just way too short to achieve anything you could cut this part out and the movie would still make perfect sense in the next scene we get thrown right into the action which in this case I don't like either take your time to introduce characters or don't do it at all the movies only 90 minutes long they could have easily put in a proper introduction anyway our main characters almost died in a car crash because of this Palpatine looking ass when the mom checked on her she was mumbling some incomprehensible stuff and the mom got creeped out and left basically committing a hit and run at the home they got into an argument because the kid doesn't understand why the father didn't move with them and he runs off into the woods the mother of course runs after the kids and in the matter of seconds she finds his son and the whole since this moment the kid starts acting kinda emotionless and he does weird things like eating spiders and being really strong I know the kid is supposed to come across as creepy but he's just annoying honestly later that day the mom had dinner with friends where they mentioned that years prior the old lady from earlier killed her own son okay see these people we're never gonna see them again they literally thrown away characters only tools to say one specific thing in the middle of the night she randomly decides to check on his son and she notices that he's gone that's the first time in the movie where it tries to build tension and it fails miserably this movie is not scary the best tension is the one created by using silence but here there's always some random horror sound effect mp3 bullshit noise in the background like whoosh sounds and other sounds that are supposed to be creepy and create atmosphere later the kid appears out of nowhere like he never went anywhere also they don't mention that the mom has medical issues and a giant scar on her forehead for no reason no? oh well here you go during a later car trip they meet the old lady again who tells the mother that the kid is not her son and then she punches her head against the window leaving a big bloody stain also her husband is with her here and tries to calm her down a few days later someone killed the old lady and buried her attached head into the ground the mother attended the funeral and got a chance to talk with her husband and asked him about his son who was allegedly killed by the crazy lady the lady basically thought something was wrong with her kid another problem of the movie is that the scenes are too short to be impactful we are constantly changing scenes and locations constantly making huge time skips it makes it hard to care for the characters in the later scene the mom and the son get into another argument and in response the kid throws a table at her write it down write it down and then at night the mom catches her son eating a spider and crawling on the floor and again in a way that is supposed to come across as creepy a kid does things that it isn't supposed to do that makes it creepy right? right? oh oh oh shiver my timbers shut up man also what kid sorts their legos by color no kid would ever do that there is one big box where you put it all in not this bullshit but this kid is acting extremely sus the mom is constantly experiencing fucked up nightmares and daydreams one day in order to find out if her son is really her son she decides to commit infringement of privacy and puts a camera into her son's room to catch him doing something weird the next day she checks the camera and she did catch her son doing something but the viewer isn't shown what exactly she considered this to be proving evidence that the person pretending to be her son isn't actually her son later she tries to play a game with him a game that only her real son would know and after not reacting to it the mom confronts him and he shows his true colors he is the imposter and then he starts throwing the mom through the kitchen which looks really really dumb the kid drags the unconscious mother near the woods and tries to bury her head into the ground trying that he also killed that old lady the kid does the deed and randomly falls asleep right next to her yeah, I don't know the mom isn't dead though so she gets up and drags the kids back home why would anyone do that he tried to kill you and that isn't even your real son she locks him up in her cave then she goes to the hole jumps in and tries to look for her real son and she does but she also finds those fucking monster demon shape shifters who are responsible for the fake son those monsters are on screen for a few seconds that's it she escapes the hole with her son like it requires no effort then she burns down her house with the demon kid in it and drives away to start a new life the end there are just so many things that bother me with this movie the whole exploration section in the end drags away too much, nothing happens it would have been nice to use that time and added to the scenes where actual character and plot development was taking place the addition of monsters at the end makes no sense and is totally unbelievable because this movie wasn't about monsters up until this point and in addition to that the scene where the monsters are introduced is so short it's so disappointing and frustrating the ending as a whole was really anticlimactic and disappointing also how has nobody found this hole yet it's huge the mom and her son found it immediately they can't tell me that they are the only ones who did and the worst thing is the movie looked fine, even great at some times the cinematography was really decent and the acting was fine but you know the rest in conclusion I don't think this was a good movie it is a movie that is too short for the story it tries to tell it fails at being scary and it has way too many pointless characters and scenes that's why I am giving a hole in the ground a solid 9 out of 10 it looked really nice hello there I am the channel with the freakishly long name or as our good friend Dr Skipper here once called me Dr Skipper YT I used to primarily be a gaming channel but decided to switch over to a little bit more of a video essay style where I focus primarily on video games oh I also stream a bunch on Twitch so if you guys want to come check me out on my channels they will be linked in the description below or at least I hope they will because if they aren't I am going to climb inside a FedEx crate and mail myself over to Dr Skipper so that I can tell him to politely put it there alright any case enough about me let's go so the movie that I picked from the list is called Green Room it's a 2015 horror film written and directed by Jeremy and was distributed by A24 Films hence the whole reason for this video wink wink nudge nudge and this film was critically acclaimed upon its release holding a whopping 90% on Rotten Tomatoes well I mean it's gotta be green and even won a bunch of awards in a multitude of categories and also ranking on a shit ton of top 10 lists but alas this film was unsuccessful in the box office grossing only 3.8 million dollars against its 5 million dollar budget now I'm not much of a movie person hence why my initial reaction to the topic of this video being but I thought it could be fun to have a look at a form of media that I'm usually not very experienced in and I'm hoping that I'm able to formulate an opinion that makes sense and if I don't end up making sense to whatever it is I watched Beak's part is in here somewhere okay see ya so the plot of Green Room is a punk band called The Ain't Right that name just ain't right are traveling to the pacific northwest after a gig of theirs is cancelled a radio host arranges a new show in a rural area outside of Portland does this guy look like a rake after they arrive at the venue they realize that it's a neo-nazi skinhead bar and that they're opening for an NSBM band oooh that organizer really doesn't know what he's doing now does he and after that guess what watch the movie I'm just here to give you guys my opinion because I'm under a time limit so I'm just gonna give you a short summary of what I thought about the movie and whether or not you should go out of your way to watch it but remember that choice is ultimately yours and I will not force you anyway so firstly let's start off with what I did like about Green Room well I guess for starters I can talk about the actors the protagonists all give off such a believable and relatable vibe and they react to the situations with such realism that truly immerses you within the situation without you actually needing to be there making you feel the urgency in each of the situations that they're placed in and all of them are likable in their own ways well at least to me that is nobody came off annoying if that's what you're wondering but I work 12 hours a day dealing with some annoying people so maybe I'm just desensitized to the entire annoying people thing same goes for the antagonists especially the main antagonist Darcy who plays off this calm cool and collected villain being able to smooth talk his way in and out of situations like when the cops first arrive at the scene at the bar and is able to even negotiate with the protagonist by falsely ensuring their safety and he is proven to be a sadistic psychopath and he is played beautifully by Professor X himself Patrick Stewart he honestly steals the show most of the time and he's scared another thing I can actually appreciate is that the film uses practical effects for most of its violence it's not a lot but when you see an arm get slashed and a dude's arm get broken near the halfway point of the movie you know they weren't trying to go over the top or anything and try to keep things as grounded as possible to try and make every single situation feel more close to home and another thing to point out is that I do really enjoy the music choice now there really isn't all that many but the majority of the music consists of punk rock and black metal music now me being a frequent listener of bands such as as I lay dying in suicide silence I am really digging the music choice that was chosen for this film in particular and I've got to say that the ending of the movie has got to be my personal favorite spot in the entire film and I'd say those are a lot of the things that I really liked about the film it had good acting a very well represented antagonist the music was good and the ending sequence I thought was really nice now for the things I didn't really like about the movie I'd say that the pace of the film starts off too slow now where it doesn't take very long for them to get to the setting of where the film primarily takes place it does however take forever for things to really pick up but thankfully once it does the pacing of the film stays really consistent and if there's something else I really didn't like I don't know so what are my overall thoughts of Green Room? well despite all my praise I can only really say that it's an okay film it doesn't really do all that much that stands out from other horror slash thrillers I've watched in the past so I can honestly consider this film to be a safe movie just something to sit down and watch with a group of friends for a weekend party and probably not remember much about it afterwards but hey I thought it was okay and if you're fine with that opinion then I'd say give it a go you might end up liking it more than I did so that's my part done I would just like to give a huge thank you to Dr. Skipper for having me in this video I hope you guys enjoyed my part if you guys want to come and check me out you guys are more than welcome I am the channel with the freakishly long name and I will see you guys next time alright onwards to the next guy common buzzword you hear whenever an abstract or out there horror film is being covered as the phrase the fear of the unknown a concept that preys upon our human anxiety of trying to rationalize something that is so other to us or something that can't simply be explained whenever I think of horror films that utilizes concept I think about movies that put normal people into a situation they can't comprehend or against them that they don't understand once our brain has some kind of logic or immersion into the situation presented they begin asking the obvious questions of what they would do in that same scenario but when you're taken out of your comfort zone and plugged into something that is so far beyond your simple and ultimately naive world view logic and reasoning begins to slowly dissipate as apathy turns to confusion and fear no doubt throughout the rest of this video you're seeing films covered that play upon this very concept with its horror being underlining as opposed to explicit questioning what's real and what's not or what kind of forces are at play for all these films though I commonly share you see repeated as the perspective being built around an everyman somebody whose shoes you can plant yourself into grounding you in the horror and allowing its viewers to be right alongside the character in their experience however something you never see as the main character being the very thing that we fear and our world being the very center of that anxiety I highlighted earlier the unknown as pretentious as it sounds under the skin is not a film that lends itself well to a synopsis or a brief rundown of the plot to describe it as any one thing would be disingenuous and misrepresentative at the film on paper under the skin is about an alien infiltrating humanity and luring unsuspecting men into some kind of sinister trap however that is somewhat of an inaccurate description whilst that is the inciting incident for the film and the context for some of the movies most iconic and disturbing imagery the film as a whole is not about that under the skin's meaning is meant to be ambiguous it features rare instances of dialogue its visual language is subdued and we're not given very many indicators as to what the overall story is many films centered around cosmic horror choose to have the worldly entity be unexplained where did this thing come from we don't know what is its purpose we don't know the alien who for the sake of simplicity I'll be referring to as Laura has no spoken motivations we understand the basis of her goals that being to lure men in to avoid to be repurposed what that purpose is is completely unexplained all that needs knowing is that she's not of this world she looks human and at times acts human but looking deeper underneath the skin it's clear to see that there is nothing there her eyes are a little more than a lens her body is nothing but a vessel for her to accomplish her task and her speech is an imitation as opposed to an expression of emotion her prayer regarded with apathy a failed rescue attempt is viewed with indifference in the cries of a child that lost both his parents and is left helpless to the harsh weather is never acknowledged with any remorse or attachment and obviously that's scary there's something so unsettling about seeing a child's cries to help being completely ignored or a tragedy being viewed with indifference but like I said under the skin is an about scarlet Joe Hanson killing men turning them into mulch and watching a family die in her spare time when it starts it's clear to see Laura is apathetic to everything from the subtle tears of a woman to the desperate screams of a baby but as the film continues that indifference morphs into curiosity as she becomes more interested in the nuances of humanity and all the things that makes us, us I've talked about how the fear of the unknown makes under the skin scary in relation only to the film supernatural elements but what I haven't mentioned is how that fear goes both ways we're afraid of Laura because of how different and incomprehensible she is she's human she can't feel like we can she can't experience what we do and her surroundings are nothing but blank backgrounds with nothing but avoid a mysterious lighting but at the same time we're also just as unknown an alien as she is to us the noise and harsh lights of a nightclub the kindness of strangers the hustle and bustle of a shopping centre and the blood covering the forehead of a rose are all things Laura is uncomfortable with yet fascinated by the idea of an alien or something not human wanting to be human is not by any means an original concept one of the core is a genre is what it means to be human and under the skin is no exception Laura has longing to be human she wants to be like we are and not simply be an imitation but she can't she experiences human compassion and later aggression and it frightens her she wants to enjoy the sensation of eating a delicious cake but she can't she wants to comprehend and feel the embrace of love but she can't even our own language sounds foreign to her under the skin's director Jonathan Glazer heavily utilised sound to inform us that Laura's reaction to humanity sound varies from being creepily quiet to uncharacteristically loud when Laura is taken out of her element we hear the unease we hear the chaos and we understand her mindset under the skin really utilises dialogue however when it does it's usually from random scotch people she meets in her attempt to lure people into a trap and I don't know about you but me and others that have seen the film struggle to try and understand what half the people are saying yeah however I would say this works greatly in the film's benefit we can understand the grassroots of what they're saying but the way they speak is something that the majority of people would have a hard time hearing which is Laura's experience it's confusing it's difficult to understand and it's difficult to pick up an anything more than the odd sentence or two the comedy sketch she's watching is confusing and difficult to pick up on the actual humour of it the music she listens to is muffled or invariably loud sometimes silence is deafening and every time the sound of wind is overpowering even the camera work reflects this and presents like a predator on the search for prey any moments with her in focus show her expressing next to no emotion the film's constant repetition of nudity shows how she views her sexuality as a tool or something she doesn't regard with much importance toward the end of the film though her body is more focused on as she begins to acclimate to her human disguise and view her appearance as an extension of herself when she begins to feel more and more the camera eases away from her making her small showcasing her fear and confusion as she looks less like a predator and more like prey a state of anxiety the supernatural alien side is scary because of how intentionally ambiguous and bleak it is it's literally an unknown but vice versa all the things I've listed about how our world is portrayed makes us feel Laura's fear in our knees around her surroundings the contradiction between inviting and aggressive the kindness of humanity paired against the worst impulses the peace and serenity of silence and the deafening noise of a nightclub like blood covering the four ends of a beautiful rose a metaphor for both Laura and us two seemingly inviting things that hide a sinister underbelly almost leading you to question if the two are separate anxieties or one in the same as I said it's ambiguous it encourages to draw fear from the unknown and meaning through clues in its narrative the film is about what it means to be human or it's an allegory for the way women are treated and commodified in a modern society the director Jonathan Glazzo chose to shy away from the source material of the book in favor of making something that is much more loose than that for interpretation relying less on dialogue and exposition but more on things I mentioned like sound design acting cinematography and music it's an incredibly dense film with a lot to pick apart to think about and discuss but if I were to try and unpack it all we'd be here all day and me explaining what I think the film is about or what happens in the film would be doing a justice if any of you are interested I highly recommend you check it out support me if you liked my segment see ya