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I spent most of my life not watching much in the way of horror, because it wasn't a genre I found really interesting. The past couple of years have been a horror period for me, but I can't put my finger on why I keep coming back. Horror films are never successful. I can laugh at a comedy, I can get emotionally invested in a drama... I can't get scared by a horror movie. I really like the idea of a scary movie but I haven't found one yet.

Anyway, I don't know what you have and haven't seen, so this is just a random sampling of stuff I've seen fairly recently, mostly ignoring the obvious staple-type things, especially when DiF has done them. Like The Shining or The Fly. These are not in any particular order.

The Cabinet of Dr. Caligari - Goes well with Nosferatu.
Re-Animator - Super fun horror-comedy. Jeffrey Combs at his best.
We Are What We Are - Super pretentious and will have you in hysterics during the climax.
The Wicker Man - The Christopher Lee one, not the fucking Nic Cage one. Really bizarre, atmospheric film that's genuinely unsettling.
The Innkeepers - Slow burn haunted house that does a lot right and an equal amount wrong. Sara Paxton is charming and almost enough to carry the film.
The Conjuring - Nice subtle poltergeist movie for most of the run-time. Not perfect, but well-crafted with a strong cast.
Black Death - Interesting for being a medieval horror movie. Not entirely successful, but pretty engrossing.
Pumpkinhead - Full-on eighties monster movie. Great creature, directed by Stan Winston himself. Stars Lance Henriksen, who does anything but phone it in.
The Others - Well-acted, well-shot, solidly twisty plot.
Any Evil Dead movie - 2 is the best for comedy value. 1 is interesting for the way it overcomes budgetary issues. Remake is fascinating to watch when you have the context of the other two, even if it isn't the strongest example of the genre. Avoid Army of Darkness at all costs.
The Perfect Host - Watch it for David Hyde Pierce. He's incredible in this movie.
Nightmare on Elm Street - The first one, the remake, and Wes Craven's weird meta commentary on the franchise, New Nightmare, are all worth checking out. I can't vouch for the sequels, I only saw the second one and it was miserable.
Spider - More Cronenberg for you. Ralph Fiennes is phenomenal in this.
Below - Trey recommended this on Pitch Black, and it is really good. Haunted house in a submarine directed by David Twohy. Starring Olivia Williams, who I have such a crush on.

Guess that's probably enough for now. Also, Manhunter doesn't really count as horror, I don't think. It's more of a thriller.

I liked a lot of what Listen had to offer, and I was pretty engrossed for the first 2/3rds or so, but it annoyed me that in the last act they kind of actively decided to stop telling the story they started with.

I was thinking about this last night and I think I figured out generally why Moffat's era isn't working as well for me as I was anticipating. Moffat has this love for unconventional storytelling, whether it's just eschewing the three-act structure, showing things out of order, or solving/instigating situations with timey-wimey shenanigans. In RTD's era, when these episodes are peppered in among the rest of a series, it's this really exciting break from the form.

In Moffat's era though, the lack of form has become the form. The reason we have our storytelling rules and the reason studios have those script structure checklists and whatnot is because that's the easiest proven way to successfully tell a story to the broadest demographic possible. It's fine to obey those rules, and it's equally fine to break those rules. But the reason breaking them can be so interesting is because it's a break from the norm. With Moffat, the traditional episodes have become the exception, rather than the rule, and without them to contrast the rule-breaking cleverness, it just becomes tired, and the viewer gets irritated.

I think that's what it is for me anyway, in the macro. I also have a problem with the way he writes women and some of his recurring tropes.

I'm pretty sure that's a comedy video making fun of how generic that trailer is.

That's a good point, that's absolutely fair to say. But then I just... I really don't understand the point of this movie. If you just wanted me to see a child age in real time you could have shown me a documentary shot the same way. This is a narrative film, and I personally see little value in the narrative, it's just mediocre writing hung on the skeleton of the interesting gimmick. Divorcing it from that is an attempt to understand why Linklater felt the need to tell me this STORY, and there isn't much to that. If the intention is to provide a decade-spanning EXPERIENCE it's just... not that engrossing. Again, I don't mean to undersell the achievement, because it's a bold thing to even attempt and kudos to them for managing it successfully.

I'm really impressed with how elaborate this has gotten. If you guys need help with some compositing or something, I'll definitely have some free time in the next couple of months.

I can't really agree with this. I recently watched some more of their videos to see what all the noise in this thread was about, hadn't seen any in a while. There's a lot of the plot hole poking and general nitpickery involved, but then there's also stuff like these examples of sins from Elyisum: "Reading" (in regard to subtitles), "Unnecessary wagon wheel space station design," "So... great band name, Fuchsia, Foster, and Fichtner. You're Welcome." "Wickus isn't growing a prawn arm in this scene." That's just in the first five minutes, I didn't have the stomach for nine more.

Obviously those are intended to be jokes. They didn't particularly tickle me, I'm not a fan of narrator guy's delivery. But these all counted as sins on the counter. So how is there in any way a value to this as a gauge for whether or not you'll like the movie?

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SMBC gets it.

I was just thinking it'd be cool if you guys did the original RoboCop.

And then I was thinking maybe it'd be a fun exercise to double feature it with the remake for the purpose of comparing and contrasting. But then, I haven't SEEN the remake, so maybe that might not be fun at all.

I never heard of the book, I didn't have any idea that this existed until I saw this trailer five minutes ago.

Is it just me or does this look REALLY fucking awesome? Of course, I haven't seen any films from the "Liam Neeson pursues and kills somebody" genre, not even the first Taken, so maybe it just seems fresher to me.

I'll do Jimmy if you're looking for somebody. I'm on day 2 of a four day weekend here, I've got nothing but time at the moment.

I read Teague's post this morning and it's been stewing in my head ever since. I haven't seen the Roland Emmerich Godzilla, or the Gareth Edwards one yet, though I'm kind of excited to do so sometime next week. I honestly kind of think the ship has sailed on Godzilla being truly scary to a degree. Godzilla and his monster battles break buildings, and we've made ourselves immune to that by doing it so much in the past decade. Unfortunately that seems to be kind of all he can be.

My first thought, and this is just sort of flow of consciousness at the moment, is to take it as far away from that as possible. If we can't frighten people with the spectacle of large scale destruction anymore, then I think it should be the fear of isolation. I've struggled to come up with a way to do that with Godzilla, this is the best I have so far.

A group of scientists are exploring these previously uncharted caverns. This is kind of a typical place to start one of these movies, where they either find Godzilla and he breaks free to go cause his mayhem, but we're going to be here for the entire movie. After we set-up our characters and their mission, an "earthquake" very quickly shuts off the only known exit. They can't contact anybody on the outside, so they decide the only thing to do is to go deeper into the caverns and look for a way out.

One of them has been 127 Hoursed by the cave-in, so they leave one of their group with him. There's no cell reception, but they have walkie talkies. The majority of the group goes out and explores the caverns, occasionally thinking they hear roars and such, but it's so quiet and indistinct they can't be certain. The two back at the cave-in site maintain a constant presence by asking questions and making jokes over the radio. The healthy one will report on the deteriorating status of the James Franco now and again. Probably the group finds some unexplainable goo, because that's the kind of thing you do in these movies. Then there's another earthquake, and they hear largely unintelligible screaming and exclamations over the walkie talkies.

The group at large returns to the cave-in site, and finds nothing of their two companions but the crushed arm or leg still pinned under the rock. So now they know there's a creature in here with them and they need to make their way out post-haste. The location would be this collection of vast caverns connected by tunnels of various sizes, ranging from small enough that our heroes have to crawl through to fucking massive.

The tension comes from the sound of roars growing more pronounced in the distance, the sound of footsteps, the recurring "earthquakes." The occasional run-in with Godzilla consists of an arm or a jaw struggling and snapping at them in the smaller tunnels from one of the larger caverns. They can catch site of the occasional tussle through a crack or something. But we never get a good look, we never see Godzilla or what he's fighting.

Until the third act, where the shit hits the fan and we meet our action quota. The explorer team makes it into this MASSIVE, beautiful cavern. Shortly thereafter Godzilla and his enemy appear, the enemy being this gigantic prehistoric hornet-type creature. So they're duking it out, and our heroes can see this dim shaft of light at the top of the cavern, that's of course their way out. They have to rock climb their way up to this opening WHILE Godzilla's fighting Hornet Mothra, so the walls are crumbling, they're constantly falling and slipping and losing purchase, all connected so one will drag others with them, in this crazy vertical action sequence with a monster battle as a backdrop/instigating force.

They finally make it into the opening, only to realize they're not out of the woods yet, this is just the hornet monster's labyrinthine, honeycomb-esque home base. He's seen them entering and isn't having it, so they have to make it up this series of winding, narrow tunnels WHILE being pursued by hornet monster, who is in turn pursued by Godzilla, whose actions are constantly threatening to bring the whole house down.

It's hard to succinctly explain the third act, but it looks hella cool in my head.

That's all I've got at the moment and I totally made most of it up as I went along. I know I don't have characters or theme, and probably I'm violating everything Godzilla has ever stood for, but that was the first
thing to come to mind.

EDIT: Couple of thoughts I had as I turned this over in my head after posting. Probably they should notice the opening and start their climb BEFORE the monsters show up fighting, because you'd be crazy to not wait them out. This also gets you a moment where they can be halfway up and they hear the approaching roars and footsteps and they're like "Seriously with this?" But now they're committed and HAVE to continue during the fight.

Also possibly, the Hornet monster could come OUT of the hole to establish it as his home that he's defending from Godzilla. And if the pudding wanted to be really overegged, the nest could have baby hornet monsters in it that the humans have to fight off with pickaxes and whatnot as they make their escape. Like the whatevers in Cloverfield.

Totally agree. This season is building in such an unexpected way, but every move feels so calculated and correct. SO stoked to hear they finally got picked up for a third today.

Outstanding performances tonight. Michael Pitt is doing terrific work as Mason Verger, and the first scene where Hannibal and Will discuss Abigail was some of their strongest work to date.