Josh Williams 🎃
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bisexualhorrorfan.bsky.social
Josh Williams 🎃
@bisexualhorrorfan.bsky.social
390 followers 140 following 560 posts
Bisexual. 🏳️‍🌈 Genderqueer. Trans Rights are Human Rights. BLM. ACAB. He/Them. I love da horror movies.
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Reposted by Josh Williams 🎃
been a while since I went hard on patina
Reposted by Josh Williams 🎃
Carpenter’s Mouth of Madness tackles head on the evil in believing in Revelation. Rapture is selfish, sociopathic. People as inward fanatics assured in faith, justified in whatever cruelty it demands of them, because they “know” how it ends. Let the world burn. “I’ve read to the end.”
Reposted by Josh Williams 🎃
John’s last greatest. Stephen King’s ballooning legacy ribbed into one of the few equals to Stuart Gordon’s Lovecraft absurdity (and easily surpassing it). Like Prince of Darkness, gallingly nasty to Christendom and the very idea of faith rotting inside of you as an ignorance, an infection.
Reposted by Josh Williams 🎃
It’s a wicked hoot and a half, sharply funny and oozing with a cackling glee, but FUCK it’s so scary. Prince of Darkness feels radioactive and creeping, echoing. This is an aggressive mental breakdown of some of Carpenter’s all-timer editing and scope at the pitch of a villain’s laughter.
Reposted by Josh Williams 🎃
Sam Neill understood the assignment to a degree that would carry (or catapult) a lesser movie, but here he’s only one working part in a true blue fucking triumph. The Apocalypse Trilogy closes with its Rapture, the legacy of horror itself the new gospel of the Wall of Monsters’ invasion of cinema.
Reposted by Josh Williams 🎃
It's my strong desire to make a horror movie that features some really busted, grimy, powered by magic and spite EC Comics zombies.
Reposted by Josh Williams 🎃
Reposted by Josh Williams 🎃
Michiko Ikeda’s editing is so beyond special. The storytelling and tempo of this movie remains so unique, the whole thing is paced and cut like this scene, and with the mood and look it’s kinda the only one that feels it could have just as easily been made by Hong Kong’s best.
Reposted by Josh Williams 🎃
It's fun to see people on here reappraise Godzilla's "monster island" era where, with relatively little budget to spend on big city sets, Godzilla was typically dropped somewhere sweaty and tropical. These flicks have a vibe all their own.
Reposted by Josh Williams 🎃
A lot of sudden expenses are putting me in a real bind. I'm opening emergency comm slots with negotiable prices!
Please dm me with any offers, time is of the essence.
Scrimm flexes his gothic chops and delicious devilish scripture while studio budget gives way to bespoke set-pieces and bombastic style; you can practically feel Coscarelli kicking his feet behind the camera during the last hour. That quad-barrelled shotgun is still total dopamine.
More conventional, more slicker, but Coscarelli still retains his adolescent fantasia in the spirit of it all. Only this time it’s funnelled into gun splatter, chainsaw swordfights, bucketloads of goop/slime, and pulpy practical SFX-heavy gore.
PHANTASM II sheds the original’s mournful tone and artful ambiguity for amped-up action and sprawling excess. The quiet whisper of the first film turned explosive, lonely suburbs traded for cross-country apocalypse where familial death and abstract fate still thrums in the gut.
Del Toro’s FRANKENSTEIN on the big screen this Wednesday! 😮‍💨
Reposted by Josh Williams 🎃
Reposted by Josh Williams 🎃
This is the ideal title card. All others aspire to be as perfect as this title card.
Stan Winston’s renditions of the icons are gorgeous to behold, maybe the best any of them have ever looked, while led by a stunning Duncan Regehr as Dracula; Lee’s bestial fury inhabiting Lugosi’s silhouette with snarling relish & ice-cold domination.
The Stephen King/Goonies optics of it fluctuate between legit endearing and weirdly mean while the monster mash mayhem/foggy gothic artifice always prevails. Suburban monster kid fantasies carved from popcorn/soda crowds and drive-in matinee memories.
It’s a time capsule - for better and for worse - but Dekker’s affection is so hard to shake off. A lifetime of model kits, theater standees, and an overall pop culture genesis of the Universal Monsters realized with handsome anamorphic and late night creature feature dreams.
Reposted by Josh Williams 🎃
A product of the halcyon days before the slasher formula became set in stone. You can see the influence of Argento and Carpenter on CURTAINS, but the movie also borrows from 70s psychodramas. The whole affair is scrumptiously loopy, never more so than in a kill involving ice skates and a scythe.