Best horror director of all time?
- Thread starter Neuromancer
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- horror films
I'm on record saying Carpenter is the greatest American horror director of all time. I'm not sure if he's the top of the heap period because Fulci and Argento are pretty damn dope when they're on. But the way Italians make movies is so different than how Americans make movies, it feels like comparing a Christmas tree to a pineapple.
And I love the wave of 70s horror films. Esp from Brittain and italy.
yeah all of those are dope. And their sensibilities are so different from American sensibilities, it really feels wrong comparing them
Striving For Greatness
Get Certs or Die Tryin
why you dont give the writers no love 
WES CRAVEN THE GOAT HANDS DOWN:
LAST HOUSE ON THE LEFT
HILLS HAVE EYES 1 & 2
SWAMP THING
NIGHTMARE ON ELM STREET 1 & 3
NEW NIGHTMARE
PEOPLE UNDER THE STAIRS
SCREAM 1-4
CLASSIX
LAST HOUSE ON THE LEFT
HILLS HAVE EYES 1 & 2
SWAMP THING
NIGHTMARE ON ELM STREET 1 & 3
NEW NIGHTMARE
PEOPLE UNDER THE STAIRS
SCREAM 1-4
CLASSIX
Take It In Blood
Banned
those random japanese horror directors
Yeah. This. Always liked Craven, as my top master of horror but the backstory to Elm Street and the “truth behind Freddie” in the main thread changed my perspective somewhat.
WHAT WAS THAT? AND WHY DID IT CHANGE UR MIND??
Thatrogueassdiaz
We're on the blood path now
Carpenter
Thatrogueassdiaz
We're on the blood path now
Who is fulci?
Facts about the movie got exposed that I never knew watching this coming up. I’ll tag you in the main thread tomm, I can’t look at it the same
Fulci, Lucio
narrative structure while questioning and doubling standard cinematic concepts: the mistaken identity story Una sull’altra (Perversion Story, 1969), the mistaken reality (is it real or is it a dream?) story Una lucertola con la pelle di donna (A Lizard in a Woman’s Skin, 1971), the more claustrophobic Calabrian village murder mystery Non si sevizia un paperino(Don’t Torture a Duckling, 1972) and another exercise in phantasy becoming reality in the psychic tale 7 note in nero (1972). With the exception of 7 note, all films were written by Fulci and introduce the delirious and arid worlds of Fulci’s tenebrous imagination, yet oscillate between glamour and power (for instance, he reintroduces the pedagogic male as the businessman/doctor in Una sull’altra and politician in Lucertola). Even though, as in his previous films, Fulci’s mind strained against the parameters of generic convention, through violence and dream sequences, special effects and a fascination with perversion (human rather than specifically sexual) he expressed a vision at once fascinatingly resonant with its horror genealogy and unique in its imaginative vision. Here he was first mentioned in the same category as Dario Argento, (whose L’uccello dale piume di cristallo was almost contemporaneous with Fulci’s Una sull’altra), Sergio Martino and, particularly, Mario Bava, based on the best of Bava’s gialli, Sei donne per l’assassino (1964) and Reazione a catena (1971), the first for the elegant cinematography and saturated colouring, reflected in Lucertola, and the second for the general themes of violence and dishevelment of flesh in all of Fulci’s gialli. Interestingly 7 notebegins with the body-behind-a-plaster-wall that forms the crescendo of Argento’s Profondo rosso (1975), reflecting Fulci’s reinterpretation of the blind killed by the guide dog that forms a link between Suspiria (Dario Argento, 1977) and E tu vivrai nel terrore: L’aldila (The Beyond, 1981). Far from being plagiarism however, this shows that Fulci’s many nods to other directors in various film refers more to a symbiotic proclivity in Italian filmmaking rather than a unidirectional simple case of pastiche. However his films belong more to Bava’s gothic genealogy, suspending logic and pleasure for fascination and strange worlds. It is clear, particularly in Paperino, a film that reveals a paedophilic priest as the murderer in a town where the other male inhabitants are equally if not more horrible than the murderer, that Fulci’s configurations of violence were not the generally hygienic and fetishistically composed violences of Bava or even Argento. Fulci’s violence is rarely clean, aligning itself with repulsing effluence of bodily secretion and violence which crumbles rather than cuts its victims. Fulci exchanges a knife for a chain whip in the harrowing murder of Martiara (Florinda Balkan) in Paparino and gruesomely eviscerates three dogs in Lucertola in a scene that clearly influenced Carpenter’s creatures in The Thing (1980).
Lucio fulci. Italian horror director