Four of the Apocalypse

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Lucio Fulci is best known for his manic fever-dreamish horror movies that offer a little slice of Hell on Earth.  His movies are basically plotless, with scenes hung up on the flimsiest framework of story, so as to allow the most amount of carnage possible without letting things like character development, exposition or coherence stand in the way of what he wants to really get down to.

The most surprising thing about this method of filmmaking is that it works.  Films like The Beyond are somehow incredibly personal.  You get a sense of what he fears.  You get a sense of his insecurities.  He’s apparently terrified of eye-gougings, so he films them whenever he has an opportunity and lingers on the remains almost fetishistically.

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We Are Still Here

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We Are Still Here operates on the same senseless, nightmare logic that the best works of Lucio Fulci operated on. A family struggling with putting the pieces of their lives back together after the death of their son move into a new house… a house that, naturally, harbors a dark secret. A movie like this usually takes no time to establish the weirdness or to let the viewer know that they’re going to be watching something intended to be more like a haunted carnival ride than a scary story with a coherent plot. Anything that can will go bump in the night and plot takes a back seat to spectacle.

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