ajejebrazorf

fabulous, perhaps the best crime-thriller released since the 80s (even better than The Silence of the Lambs)

I believe it’s now clear, so why continue to argue about opposing positions? <<<< but I’m not forcing you to do anything, you commented, I commented, and I wrote that in my opinion your reasoning was off, I have nothing against you. If you want to respond, that’s fine; otherwise, do as you obviously wish.

Ajeje: this is not about not supporting a calm discussion. I’m just tired of having to respond to points that deviate from the initial topic: you got fixated on that damned Fulci I mentioned in the mix.<<<< Excuse me, but you wrote this: "I would give the film a weak 2, since horror is a genre that fascinates me little, unless for the great masterpieces that the history of cinema has given us (from Murnau to Bava to Fulci) and of which I don’t think this belongs at all." Then if you want to say that I write random things, I was responding to this your comment, where you held Fulci's films as masterpieces of the genre in contrast to Japanese horror, which would all be mediocre more or less. And note well that I am not a fanatic at all (I gave this a 3, which I consider one of the best).

But in Argento, Hooper, Romero, and Raimi there are tons of directorial technique. <<< Damn, this is really a ridiculous topic: and Dream Theater have a lot more group technique, by chance. Oh, and if you can't even hold a calm conversation, goodbye, sorry.

1) Don't you think it's quite a merit to have introduced splatter in Italy? Well... it was already there abroad: does that diminish anything? <<< I would say yes, because if national borders count, why shouldn't something that is done for the first time in Japan be equally important? Do regional borders count? And if I make a horror film like Blair Witch Project, can I claim to be historically significant because no one in my neighborhood has done it yet? In short, the fact that Fulci did it "in Italy" doesn't mean anything. As for the dreamlike dimension, the same applies (and in Italy, there was Bava before, and there was also Freda (I think of the horrible secret of Dr. Hichcock), and Margheriti, and The Mill of the Stone Women by Ferroni, but then we go back to Dr. Caligari; Fulci is the last of the idiots. This doesn't take away from the cool things he did: it's the reasoning of "the first to do such a thing" that has quite a few flaws. As far as I'm concerned, splatter is more of a demerit than a merit; most of the splatter films I've seen are crap.

Films that resemble Kairo? Be careful, I said that Eastern horror films are homogenized when it comes to themes; they always revolve around revenge, souls suspended in a worldly dimension, anger, and curses with a pseudo-philosophical filigree. <<< these are absurd generalizations: then Dario Argento sucks because he made all the same films (murder, thriller, the clue that you can't remember as the key to everything). By making this argument, horror is homogenized everywhere; you find a ton of clones of Texas Chainsaw Massacre, The Exorcist, Ringu, Night of the Living Dead, The Evil Dead, Blair Witch Project, Cannibal Holocaust, Halloween, Friday the 13th, and so on. But this doesn’t take anything away from the original films, nor does it detract from the fact that among the clone films there are valid products.

Now, you can understand why you're getting on my nerves<<< I’m not on your case, but just like you rate and criticize a review, one can disagree with a comment, don’t you think?

I would gloss over the innovative shots (like?), but as for the colors, it doesn't seem to me that Fulci introduced anything really noteworthy.

He was the first to introduce true splatter in Italy<<< well, but outside of Italy splatter already existed, and it doesn't seem like such a great achievement to me, especially when talking in terms of "art cinema."

but it’s not a matter of for me or for you, it’s that I’m amazed by the fact that you watch movies looking for innovation. Only to find it in Fulci, which is fantastic