So I finally got around to seeing Drag Me To Hell, Sam Raimi’s return to the horror genre after a lengthy detour through Marvel Comics territory with two of the best super-hero movies ever (Spider-Mans I and II) and one super-hero movie that kind of stunk (you know which one I mean). While not as loopy as Raimi’s earlier classics Evil Dead II and Army of Darkness, and not as straight-up horrific as the original Evil Dead, DMTH is still a lot of fun — sort of like Darkman with maggots.

The plot is your basic demonic-vengeance story, in which Alison Lohman’s loan officer character, Christine Brown, denies a loan extension to the wrong old gypsy woman.  (Evidently she never read Thinner.)  The gypsy responds with a highly effective curse, and mayhem ensues.  This being Raimi, the mayhem is frequently hilarious and over-the-top gross, including a couple of scenes that reminded me of the infamous “mucous” scene from my own book A Flock of Crows is Called a Murder (more than one reviewer specifically cited this scene, so I think it qualifies as infamous, at least by my standards).  There’s also a scene that nicely echoes the flying eyeball from Evil Dead II and then goes it one (or should I say two?) better.  Anyway, if you enjoyed Raimi’s earlier slapstick horror offerings, you will enjoy this movie.  If on the other hand you are a fan of films like Saw, you’ll probably find DMTH’s widespread positive reception rather baffling.

Oddly, or perhaps not so oddly, the scene that I found most cringe-inducing did not involve the demonic attacks on Christine; it was the scene when she met her boyfriend’s wealthy, disapproving parents.  Yikes, potential future in-laws!  There is also a nicely done bit toward the end, in which Christine is trying to unload her curse onto someone (anyone) else, that had me on the edge of my seat even though nothing particularly horrific happened during it.  If I have a quibble with the film, it’s that the twist at the end isn’t much of a surprise, but it was still effective.

The performances are good, particularly Alison Lohman as the afflicted loan officer.  I also enjoyed Dileep Rao’s fortune teller character. Justin Long was good as the boyfriend, although he’s not around for most of the scenes of supernatural terror, which almost makes him seem like he wandered in from a different movie, or possibly from an Apple commercial. Lorna Raver is good in a generically crazy way as the old gypsy, and Bojana Novakovic has a small but memorable part as the gypsy’s daughter.

My wife was already asleep when I started watching this movie.  If she had been awake, I don’t imagine she would have lasted much past 20 minutes or so.  Once the workplace drama of life as a loan officer was over and the supernatural stalking started, I’m pretty sure she would have conked right out.

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Rated: R for frenetic sequences of strong brutal violence throughout, sexual content, nudity and language.

Science-Fiction/Fantasy

Theatrical Release:Sep 4, 2009 Wide

GAMER is a high-concept action thriller set in a near future when gaming and entertainment have evolved into a terrifying new hybrid. Humans control other humans in mass-scale, multi-player online games: people play people…for keeps. Mind-control technology is widespread, and at the heart of the controversial games is its creator, reclusive billionaire Ken Castle (Michael C. Hall). His latest brainchild, the first-person shooter game “Slayers,” allows millions to act out their most savage fantasies online in front of a global audience, using real prisoners as avatars with whom they fight to the death.

Kable (300’s Gerard Butler) is the superstar and cult hero of the ultraviolent “Slayers.” Kable is controlled by Simon, a young gamer with rock star status who continues to defy all odds by guiding Kable to victory each week. Taken from his family, imprisoned and forced to fight against his will, the modern day gladiator must survive long enough to escape the game to free his family, regain his identity and to save mankind from Castle’s ruthless technology.

GAMER stars Gerard Butler (300, THE UGLY TRUTH), Michael C. Hall (“Dexter”), Amber Valletta (TRANSPORTER 2), John Leguizamo (RIGHTEOUS KILL, ASSAULT ON PRECINCT 13), with Chris ‘Ludacris’ Bridges, and Kyra Sedgwick (“The Closer”).

Hayao Miyazaki is the crowned prince of family-friendly Japanese animation. His works have garnered international attention to the wonderful things going on in hand-drawn animation today, his art has been acknowledged the world over, and by all accounts, he’s the most accomplished person distributed by Disney at the moment. But did you know how long he’s been in the animation game? Try over 30 years!!! He’s been toiling to perfect his craft for longer than most of us have been alive, and he’s gotten so damn good at what he does that it’s hard to believe that his newer work is still hand-animated. But even back when he started making features, Miyazaki was still amazing. Today’s feature, Nausicaa of the Valley of the Wind, is his first feature, and it is head and shoulders above anything else that was happening at the time. It’s a strong, pointed parable about the damage we’re doing to the environment and the consequences it could have later down the road.

1,000 years after the end of the world, humanity lives on in a fractured state. There are pockets of people left who have learned to live in harmony with nature from the mistakes their kind has made in the past. But in between these pockets lies the Sea of Decay, a noxious condition that covers the rest of the known world. It’s very existence is poisonous to humans, and it has hindered humankind from expanding its territories ever since. In this tattered world, we follow Nausicaa, a precocious young woman who is the princess of the Valley of the Wind, a peaceful settlement ruled by her father. She is trying to find a way to rid the world of the Sea of Decay, but her research is hindered one day when the settlement is visited by a crashing airship. The airship contains a prisoner that Nausicaa rescues, and the prisoner tells her that she is the princess of far away the kingdom of Pejite, and that the cargo the ship was carrying must be destroyed. And then she dies. Awwww…. So the cargo the princess was talking about was from the greedy empire of Tolmekia, as was the airship, and what it was carrying happens to be a deadly warrior embryo, a weapon from the war 1,000 years ago that could threaten the very safety of the earth. Things get crazy when Tolmekia invades the Valley for the warrior embryo, but Nausicaa won’t go down without a fight! She will do whatever it takes to save her family and friends and make sure the Tolmekian army doesn’t try to awaken that evil, evil thing in their midst!

I like this one a lot. Nausicaa is a strong, smart female character who makes it very easy to love her. She has a lot of heroic qualities, but she doesn’t lose her childlike essence, which seems to be a theme of Miyazaki’s work. You don’t need to be an adult to be a hero who cares about people in a mature way, and he also feels the importance of keeping that childlike wonder alive. Now that I think of it, he’s also very feminist, as well. I can’t really think of that many male Miyazaki protagonists; they’re there, but not nearly as prevalent as the women. Nausicaa is really a prototype of what we would see in the future from Studio Ghibli; powerful family-oriented fantasies about the importance of life above power and greed.

The animation is that of a bygone age. You won’t likely see this unique style of drawing nowadays. Anime, like American animation, goes through cycles, and the 80s was a time of incredibly thin, almost gaunt women, a non-descript male anatomy, and doe-eyed little girls with constant triangle-shaped open mouths. There isn’t as much detail here as in newer animation, but there are touches here that are epochal but beautiful nonetheless; some of my favorites are the look of objects either dirty or scored by fire, which use an unmistakable line effect needing an artist’s steady, careful attention. Nausicaa is full of attention; from the exquisitely designed post-apocalyptic Sea of Decay to the pristine Valley of the Wind, from the most insignificant passerby to Nausicaa herself there is so much care given to this film and its look. It’s just so well done.

The American voice acting is a mixed bag. I wish I could’ve been in the booth when Patrick Stewart delivered his performance as Nausicaa’s father. What a voice acting champ! I almost begrudge how he doesn’t really have to steer out of his normal range, but his voice is so damn robust that you can’t really stand against it. It’s a force of nature, and when you consider that his character’s the leader of the tribe tied to nature, it only seems more fitting that his strong, commanding voice make a splash. Alison Lohman’s Nausicaa is a little flat. I’m not sure how old she was when she recorded this, and I don’t want to bash a child, but I will say that there’s not really enough character in her voice to carry such a larger-than-life heroine. Oh, well, she eventually redeemed herself in Drag Me To Hell many years later, so all is forgiven. Uma Thurman is Lady Kushana, leader of the Tolmekian army and a real firecracker. THIS is what I mean when I say you have to have some character. She’s not too hammy, but she really lets loose and has fun being a villain. Kushana is a real bitch and Thurman obliges that aspect of her, so hearing her get into villain mode really put a smile on my face.

Nausicaa and the Valley of the Wind is, like all Miyazaki films, a unique experience. You’ll never see something quite like it. There’s something for everyone in the family, and even something for jaded film snobs like me. It still has a lot to say to the people of 2009, even from 25 years in the past, and with a magnificent score by Joe Hisaishi and a burgeoning American voice acting crew, I would be inclined to listen. Even if you don’t normally like Miyazaki, check this one out; it’s pre-Studio Ghibli, so you might find it to be a refreshing break from his upbeat rigamarole. This IS a post-apocalyptic film after all. I give Nausicaa of the Valley of the Wind 8 1/2 smooth Patrick Stewart line reads out of 10!

Check me out next time, when I dive into THX 1138! Until then!!!

Um dos Melhores Filmes de Terror dos Últimos Tempos!

Gênero: Terror, Suspense

Censura: 13 anos

Duração: 99 min

Direção: Sam Raimi

Com: Alison Lohman, Justin Long, Lorna Raver, Dileep Rao, David Paymer

Local de Filmagem: 20th Century Fox Studios – 10201 Pico Blvd., Century City, Los Angeles, California, USA; California State University Northridge – 18111 Nordhoff Street, Northridge, Los Angeles, California, USA; Los Angeles, California, USA; Tarzana, Los Angeles, California, USA e Union Station – 800 N. Alameda Street, Downtown, Los Angeles, California, USA

Produção: Ghost House Pictures e Sam Raimi

Roteiro: Ivan Raimi e Sam Raimi

Distribuidora: Universal Picture

…

QUEM É QUEM

Christine Brown é interpretada por Alison Lohman - Gamer (2009), Beowulf (2007) e Big Fish (2003).

Clay Dalton é interpretado por Justin Long – He’s Just Not That Into You (2009), Jeepers Creepers (2001), Jeepers Creepers II (2003), Live Free or Die Hard (2007), Funny People (2009) e After.Life (2010).

Jim Jacks é interpretado por David Paymer – Ocean’s Thirteen (2007), Resurrecting the Champ (2007) e In Good Company (2004).

Rham Jas é interpretado por Dileep Rao – Avatar (2009) e Inception (2010).

Sylvia Ganush é interpretada por Lorna Raver – O último trabalho dela, antes desse terror foi Walkout (2006), o restante são séries de TV, interpretando personagens coadjuvantes, nada que marcasse sua participação.

SINOPSE

Christine Brown é uma ambiciosa agente de crédito de um banco em Los Angeles, ela tem um super namorado e um futuro brilhante. Mas em três dias, ela vai para o inferno. Um dia chega ao banco a misteriosa Sra. Ganush implorando pela extensão do financiamento de sua casa própria. Christine nega o pedido para impressionar seu chefe, Sr. Jacks, e acaba sendo amaldiçoada pela velhota. Perseguida por um espírito do mal, ela busca ajuda do médium Rham Jas. Christine fará de tudo para sobreviver, desde sacrifícios até feitiços, mas nada poderá deter essa força maligna, resta esperar e ir para o inferno.

CRÍTICA

Do mesmo produtor de 30 Days of Night (2007), 20,000 Leagues Under the Sea (ano indefinido), The Grudge (2004), The Evil Dead (1981 e 2010), Spider-Man 4 (2011), entre outros, DRAG ME TO HELL ou ARRASTA-ME PARA O INFERNO é um dos últimos trabalhos de Sam Raime, que dirigiu, produziu e escreveu esse longa de terror, um dos melhores filmes do gênero dos últimos tempos.

Frequentemente as pessoas são atraídas por imagens, figuras, formas, fotos, cores, etc. Quando se coloca tudo isso em um pôster, peça promocional usada em diversos segmentos comerciais, inclusive o cinematográfico, cria-se uma identidade visual, cuja qual atrai milhares, até mesmo, milhões de pessoas por todo o mundo. No caso da industria cinematográfica, confeccionar pôsteres é uma das inúmeras ações que devem ser feitas para a estréia de um longa metragem, no entanto um pôster mal feito ou mal idealizado pode prejudicar o lançamento de um filme, bem como a conexão do público para com o mesmo.

“Arrasta-me Para o Inferno” chamou a atenção quando lançou o pôster oficial, deixando os aficionados por filmes e terror de cabelos em pé. Realmente o pôster, como mostrado abaixo, é fantástico e ao contrário da maioria dos pôsteres de filmes de qualquer gênero, esse faz jus ao filme.

Não é de hoje que saímos do cinema sussurrando a velha e famosa expressão – “achei que fosse melhor” – tudo porque julgamos o filme pelo pôster, assim como julgamos o livro pela capa, as pessoas pela aparência, etc. Mas no caso desse filme, se você acha ou achou que filme era bom por causa do pôster, acertou!

Na verdade não é bom e sim excelente, faziam anos que eu não assistia a um bom filme de terror, desses que realmente mete um “puta medo do inferno”, com perdão das palavras e que prende agente do começo ao final. Com roteiro convencional e ainda assim atraente, efeitos especiais horripilantes e direção impecável, o filme é imperdível.

A personagem que mais chama atenção e nos deixa apavorados, além de enojados – depois que você assistir vai entender – é uma senhora chamada Sylvia Ganush que é interpretada pela atriz Lorna Raver. Qualquer das inúmeras feições que a atriz faz, nos deixa apavorados, seu personagem mete mais medo do que o personagem fictício ao qual a história é focada.

Ainda em alguns cinemas, ARRASTA-ME PARA O INFERNO é uma ótima opção para os fãs do gênero, além dos sustos garantidos. Vale comentar que a atriz do cartaz não condiz com a atriz do filme, o que uma boa foto não faz! São as mesmas, porém no cartaz ela é selvagem e sexy, ao contrário da imagem passada no filme, de uma mulher frágil e confusa.

bom filme e bom sustos!
roberta vieira

http://www.dragmetohell.co.uk

http://www.dragmetohellmovie.com.au

http://www.dragmetohell.net

ASSISTA AO TRAILER

¨

ASSISTA A OUTROS VÍDEOS

I missed Drag Me to Hell when it made the theatre circuit and having now finally sat down to watch it I have to say I regret not seeing it on the big screen.

An angry gypsy curses a bank’s young loan officer (played by Alison Lohman) after she refuses to give an additional extension on the old woman’s mortgage. The young woman is then plagued by horrific visions, violent physical assaults and a barrage of fluids and grue.

I’ve read a lot of reviews shredding Sam Raimi’s return to the genre that made him famous. I find it funny that the reasons they give for hating the movie are often the ones that made me love it. I couldn’t help but feel that it was a return to form for Raimi, a return to the inventive camera work, over the top gore and love of bodily fluids that made him a household name…well at least in broken homes.

These opposing reviews generally start with “I’m a Sam Raimi fan but…” or “I loved Evil Dead but…” and then go on to condemn the movie on aspects like the comedic aspect and use of slapstick (watch for the anvil). This point voids their opening sentence since Raimi’s balance of comedy and terror ESPECIALLY in his early films is what created so many loyal fans.

They hated the over the top gore which is laughable when you think about a pencil in the heel back in 1981 and the amount of blood shed by these teens at a cabin in the woods. Melting demons and lusty trees. Raimi was a master of gore, what exactly were these “Raimi fans” expecting.

I like the fact that Raimi has stayed true to his habit of putting his leads through as much hell as possible. Lohman was exposed to gypsy puke, some sort of post death gypsy fluid, a vicious gumming and even ended up consumed by thick brown grave water which reminded me of Bruce Campbell doing take after take in muddy puddles in Evil Dead 2.

The only personal issue I had with this film were a couple of instances of bad CGI when I feel a practical effect could have been used (again, anvil, you’ll see). Other than that, it entertained me in a lot of the same ways that Raimi’s horror flicks always have right down to the throwback to floating, dancing, hovering demons. Creepy people puppetry always works for me.

I would say to anyone who hated this movie, especially for any of the features that really make it a Raimi film, your taste is suspect.

This movie is at least a must rent but definitely a must buy if you truly loved the Evil Dead trilogy or if you’ve had a craving to see someone stapled in the face.

Sam Raimi voltou aos bons tempos de ‘terrir’ com este filme. Não é tão marcante quanto “Uma noite alucinante” mas ainda assim uma experiência muito divertida. Mil gritinhos com direitos a chineladas do meu irmão incomodado com a minha comoção.
Christine[Alison Lohman] quer ser promovida no banco em que trabalha, tudo vai bem até que um dia ela não cede ajuda a uma cliente bizarra passando por necessidade e é amaldiçoada pela mesma. O filme é uma boa resposta ao mercado de trabalho cada vez mais concorrido, estressante e sempre misógino. Destaque aos momentos de tensão e sustinhos e principalmente à super cena da Christine afogada na lama do cemitério. Uiuiui!
*
Aaah, o casal de protagonistas são dois fofuxos, principalmente o Justin Long. Bom menino! hihihi…

Smart, freaky, well-done. Not for the squeamish. 7/10 [Lucy Glib]

Buy it

Drag Me to Hell, 2009 – Direção: Sam Raimi – Elenco:Alison Lohman,Justin Long,Adriana Barraza.

O melhor exemplo de que Raimi nasceu foi pra fazer podridão e não filmes de ação para adolescentes.

Drag me to hell não brinca com clichês, mas sacaneia todos existentes em filme de terror e de qualquer gênero. É desde já, o filme mais sacana do ano. Humilha qualquer diretor de terror contemporâneo e ainda o faz pedir penico. Faz uma critica tão perfeita aos novos filmes do gênero que lembra alguns filmes do Carpenter onde até hoje as pessoas não enxergam além da “diversão” que há no filme . Raimi vê aqui, e às vezes parece que são só pra isso, apenas para deixar seu protestos as grandes merdas que saem a cada semana nos cinemas e transformaram todo o imaginário de terror que mestres como Dario Argento construíram com tanto empenho. Raimi sabe que não é culpa dos jovens gostarem desses lixos, mas culpa de quem faz, uma ótima qualidade no diretor, que acaba por não ser preconceituoso e sim justo. Portanto, ao ver Drag me to hell prepare-s, ainda mais se você for um desses jovens, a ver um material que ridicularizará tudo que é tido como terror de hoje.

O cara não conta uma história, mas cria pretextos pra formara uma. Uma mulher comum, como qualquer outra, trabalha em um banco e sonha em subir de cargo como qualquer pessoa normal e comum deseja em seu trabalho. Essa é a maior ambição de sua vida. Tem um namorado rico e seu único impedimento na vida é um colega novo de trabalho que também luta pela mesma promoção que ela. Ela tem um gato e é vegetariana. Só isso que você precisa saber da protagonista. O resto não vai ajudar muito a descobrir sobre quem ela é. A não ser pelo fato de ela ser muito boa ou meiga se preferir com seus clientes e por isso, talvez, ainda não ter sido promovida.

Num belo e comum dia de trabalho, nossa protagonista se depara com uma velha nojenta e sem um olho te pedindo um prolongamento de seu empréstimo. A velha é muito nojenta mas parece ser uma boa pessoa e isso faz o coração da protagonista se abrir um pouco. Ela então decide verificar com seu chefe se pode dar o tal prolongamento e acaba recebendo a noticia de que ela tem que decidir, afinal é uma decisão ruim, e como o ultimato que ele tinha dado pra ela antes, o novato tinha chances de ser promovido porque não tinha medo de acatar decisões difíceis. A protagonista é “comida” pela ambição e esquece da velhinha bondosa e carente que lhe pedira o prolongamento, e acaba negando o pedido da senhora que chega a implorar para a moça que envergonhada com as pessoas envolta acaba derrubando a senhora que se revolta com isso e quase estrangula a moça do banco.

Pronto. Daí você pode se preparar para todo o tesão que você vai sentir ao ver as outras sequencias com que Raimi nos abençoa. Primeiramente temos uma abertura para o filme onde nos dá a idéia do que acontecerá de fato na história. O “espírito” aparece leva um moleque qualquer pro inferno e uma vidente revoltada quer vingança por não tê-lo vencido.

Voltando pro cerne da produção, depois que a moça nega o empréstimo pra velha o inferno começa para a pobre coitada da protagonista, apenas mais uma pessoa por ai. A velha amaldiçoa Christine (protagonista) e fode com tudo da vida da moça depois disso. Isso tudo mostrado na cena mais clássica do ano. Antologicamente filmada por Raimi que tem timing cômico e sacanagem de sobra pra demonstrá-los a nós.

Depois que a maldição é lançada, ou pra ser mais exato, do momento em que ela é lançada pra frente o filme nos banha com cenas e mais cenas antológicas e divertidas de se ver. Sem nunca perder seu objetivo: ser trash e fuder com o cinema de terror de hoje. Na cena da briga no carro, por exemplo, Raimi demonstra toda sua revolta por meio do lenço da senhora Ganush (a velha). Lentamente, depois de ter construído todo um clima em cima do estacionamento onde Christine está indo a caminho de seu carro, o lenço da senhora Ganush se movimenta e desaparece, por alguns segundos e logo depois reaparece em um enorme estrondo unido a música. O que tem de mais nisso? Nada. Mas se você observar bem 99% das pessoas que estão vendo ao filme já sabe que o lenço vai fazer um barulhão quando aparecer de novo. Aí está que merda é essa? Onde todas as pessoas sabem o que ocorrerá e ainda sim se assuntam, como? Nossos bons mestres do “novo terror” sabem o porquê. As pessoas já tem um imaginário clichê e sabem de todos os momentos que vão levar um susto, mas mesmo assim o levam porque, afinal, não há outra coisa pra ver. Escolher ver um terror hoje em dia é o mesmo que se obrigar a levar sustos. É uma espécie de autoflagelação mesmo. E apenas com um lenço feito podremente em CGI Raimi mostra o tanto que as platéias estão treinadas e não ri delas, mas acha triste.

Raimi também encharca sarcasmo ligado ao seu protesto sobre o capitalismo. E o melhor, todas as cenas ligadas ao capitalismo são engraçadas, não ridículas. Só pra citar uma, quando Christine decide tomar uma decisão ruim, ela olha pra mesa da “vice gerente” e uma música romantizada soa no fundo o que remete a todo um imaginário ambicioso do mundo de hoje. O filme é totalmente anticapitalista e cheio de criticas o tal sistema. Da primeira a última cena , nossos personagens se ligarão ao dinheiro e como isso mudará suas vidas. Aliás, é por causa de uma ambição capitalista que Christine “vai” para o inferno. Talvez isso seja uma questão mais ampla, ou apenas uma mensagem de estarmos sempre no inferno em meio a desgraças justamente por causa de nossas ambições e dinheiro em caixa.

Só preciso falar, que a trilha é a melhor do ano(até agora) e que tem um ar nostálgico, principalmente por lembrara as trilhas dos filmes de Burton e não se prender ao “real” terror. é sério, a trilha se prende ao diretor e fode com os clichês em igual dando sempre tons propositais ou sacanas para as cenas. Maravilhosa, quem tiver oportunidade ouça separadamente o score.

Não chega a ser um filme que atravessa barreiras, pois se prende apenas na proposta e larga qualquer possível pretensão pelo caminho. É apenas o que é, e tem um ritmo meio legal, mas correto, o que talvez atrapalhe.

Já ficou grande de mais o post e eu vou encerrá-lo logo pra vocês não ficarem com tédio. O filme é um “Vai se fuder” aos filmes medíocres que não conseguem nem sequer ser trashes e que fazem tanto eu como você ou Raimi ficarmos com enjôo e sermos preconceituosos com os pobres jovens que apenas foram domados por uma década inteira a pensar que terror são os filme que assistem, e que medo é o que o barulho da trilha faz.

3/5

Alright I’m torn, I actually started this out with, “There is no fancy pun for this piece of shit title.” I thought about it for a second and realized that the director is the same director who did the Evil Dead series which were more comedy than actual horror movies so that might get this movie off the hook BUT it got WAY too much hype for being a scary movie. Let’s split this in to two opinions depending what the movie was truely meant to be.

As a horror movie:
This was the WORST horror movie I have ever seen, the acting is absolutely terrible. Alison Lohman – you’re as bad as Jessica Simpson at acting, please save us all the trouble of avoiding you in future film and do not appear in anymore movies. Please. Thank you. I’m going to just leave this at it’s the worst horror movie I’ve ever seen because if I point out each part and it’s flaw it will ruin the movie completely.

As a comedy horror movie:
Not that bad, the exaggerated scenes and completely unnecessary drama this is a freakin’-a-hilarious movie. I have watched movies that are somewhat teetering on the edge of comedy and horror but this most definitely tops it completely. Ever seen an 80 year old gypsy gum a young blondes chin? No? Well you’re definitely missing out. Check this bad boy out. Alison Lohman, you still can’t act.

As I wrote each little blurb my mind completely changed going between each scene and how it would be categorized and the only thing that could save this movie is if it were meant to be a joke. One last thing, Justin Long, you weren’t good in Waiting what the hell makes you think you would possibly be half way decent in a semi-serious role? Go back to being a gay pornstar (Zach & Miri)

I have made it inherently clear that I’m not a big fan of horror movies.  However, “Drag Me to Hell” is surprisingly rip-roaring entertainment, simultaneously fun and spine-chilling.  Co-writer/director Sam Raimi has removed a veil of self-importance that the horror genre has given itself and presents a movie that never takes itself too seriously.  He knows that his movie is packed full of the stereotypical harbingers of doom: flies, shadows, old ladies, worms – you name it, he included it.  He knows that his movie does not offer a plot you haven’t seen or can’t predict.  Yet he infuses “Drag Me to Hell” with a refreshing dark humor, most evident during the action sequences, that makes it a pill you don’t mind swallowing.

Christine (Alison Lohman) is a loan officer who turns down the wrong woman (a gypsy played to eerie perfection by Lorna Raver) while seeking a promotion.  She is haunted by spirits who would make the “Paranormal Activity” demon cower.  They don’t care for a slow build, but rather come soon, quickly, and often.  ”Drag Me to Hell” is particularly sharp in capturing the psychological toll the haunting takes on Christine, especially when she is required to make tough moral judgement calls.  Thus, the movie is surprisingly thought-provoking, raising questions such as, “Who deserves to go to hell?”

“Drag Me to Hell” is only PG-13, so there is no excessive gore or nasty torture.  But there is plenty to freak you out and gross you out, the latter being mostly for laughs.  The movie’s brilliant sequences of terror make you uncomfortable in a completely original way by making you unsure of what emotion to feel.  As Christine fends herself from the haggardly gypsy by using a stapler, you can’t help but wonder how to react.  Do I scream?  Do I cringe?  Do I laugh (this is what I did)?  Raimi brilliantly concocts these moments so that the audience can make of it what they want.  ”Drag Me to Hell” is to you what you make it: an action movie, a horror movie, a comedy, or any combination of the three.  The choice is yours.  B+ /

The movie begins back in 1969 with a family seeking help from a wealthy medium Shaun San Dena (Flor de Maria Chahua) at her mansion. The boy is very sick but the family kept the truth behind themselves and refuses to let the medium know anything about it. The family was later asked to tell the truth in order for her to help the boy. They explain that their son has stole a necklace from a gypsy but when they wanted to return the necklace, the gypsy refuses to accept it. Since then, their son has been hearing strange voices. Shaun San Dena informed that their son was cursed and ask them to enter the mansion to perform some rituals to save the boy. However, the parents and the medium were attacked by some unseen forces. The boy was later drag into hell in front of their very eyes by some demons.

Christine Brown (Alison Lohman) is a loan officer eyeing for a promotion on the vacant Assistant Manager position. Her Manager informed that the position is still vacant and she is one of the candidates under consideration as her decision making ability is not good enough. Apparently, her Stu Rubin (Reggie Lee) whom is new and is also under consideration.

Sylvia Ganush visited the Bank asking for a 3rd extension for the mortgage. Christine felt pity and approach her boss to asked for an extension but later decided that she has the ability to make decisions and she rejected the extension. Sylvia Ganesh then pleaded and beg her on her knees for an extension to no avail and she later grab her Christine legs and beg for mercy with a bit of force in it. Christine was intimidated and shouted for the security personnel to escort her out from the building. Sylvia was furious that the actions have shamed her despite her begging on her knees. (Don’t ask me why, I was like wtf when I saw this too …)

Christine had finished work and went to the car park to retrieve her car. At the car park, she felt something amiss as she saw Slyvia’s car at the car park too but the person was no where to be seen. She enters her car and wanted to drive home but she saw a flying handkerchief floating in the air which belongs to Slyvia. Suddenly she was shock to find Slyvia at the back seat of her car and Slyvia started attacking her. Christine was fighting for freedom and even rammed her onto cars and wall to fight to freedom. She manages to break free from the attack and lock herself in the car. However, Slyvia smashed the car window with a huge stone and they started fighting again. Slyvia then grab a button of her coat and muttered some strange words to it and Christine was in a dazed.

After reporting the incident to the police, her boyfriend Clay Dalton (Justin Long) came to pick her up and send her home. On the way to the car, they pass by a fortune teller store where she had her fortune read by Rham Jaas (Dileep Rao) after she manage to convince her boyfriend who agrees unwillingly. Halfway reading her fortunes, Rham scrambles away and ask her to leave and will refund her money. She asked what he sees and he explains that she is being haunted. 

After reaching home, Clay Dalton has to go out to settle some work. She wanted to cook dinner and the environment went eerie. Some unseen dark forces came attacking her causing some minor injuries. Later when Clay arrives home, the whole situation calm down and Clay believes that she is hallucinating from their earlier incident. Tomorrow morning, she was awakened by a bad dream that Slyvia is attacking her. She went to work shortly but upon arrival her nose bleed tremendously and spewed all over her boss and she fled the building.

Worried about the whole incident, she visited Slyvia’s resident. She was refuse entrance by Slyvia’s grand daughter but later was invited inside to look for her. She was shocked that she was dead. However, somehow the corpse kinda attack her. This causes her to panic and she visited Rham once again. Rham told her that the powerful dark spirit, Lamia, is out to torment her and later drag her to hell within 3 days. Rham later explains that she can negotiate with the dark spirit but she has to sacrifice animals in exchange for her spirit. Back home, she felt some dark auras coming and she unwillingly sacrifices her kitten. (she loves animal and is vegetarian) Clayton then brought her over to his parents place for dinner. She felt the whole situation was over. She was in the middle of conversation when she started hearing strange voices and her appetizer contains some insects. She later left the residence alone and Clayton’s parents were shocked of her behavior.

The following day, she was furious and visited Rham again. She was angry but Rham explained that the sacrificial was not accepted and there is one last way to solve it but it requires her to fork out USD 10, 000 as a fee. She went home and started gathering items to sell to the pawn shop. However, the collection was not enough but Clayton gave her the good news that he had visited Rham and paid him the money.

Rham later brought her to visit the medium Shaun San Dena, who explained that she had waited very long to get her revenge and seal the Lamia. She explains the whole ceremony where they will lure the Lamia out and force it into the goat where they will kill the goat and banish it forever. When the ceremony begins, they were other dark spirits too. It was later banished and the real Lamia appeared. They managed to force the Lamia into the goat but it escapes and went into Shaun San Dena’s assistant body. Shaun San Dena manages to save his assistant and force the Lamia from the place as the whole ceremony failed and Shaun San Dena losing her life as well.

Rham later explained that she can give the button away to someone who accepted it willing as a gift and the Lamia will haunt the other person and take their life in exchange. On the way home being driven by Clayton, she dropped the envelope with button inside. She later panicked and found the envelope. Later that night, she went to a cafe to figure out whom to give the envelope too. She was too kind hearted and she even called Stu Rubin but later hesitated to give it too him. Then she figures that she can give it back to Slyvia. She went to the graveyard and open out the coffin. It was raining and somehow Slyvia’s corpse seems to attack her and pull out some of her hair. She managed to fight back and stuff the envelope into the corpse’s mouth.

It’s finally over? Christine and Clay decided to go on a holiday to relax and recuperate but later the Lamia pull her to the train’s railway track and drag her to hell. It seems that she had given the wrong envelope and the envelope is with Clay.

We (Yen and I) felt that this is kinda like a low budget movie with lots of unrealistic and illogical scenes such as the incident at the car pack.  It might be a good way to end the movie and I wonder will there be a sequel to it. If there is one, I might not be watching it as the movie is not truly enjoyable at all but worth watching on your leisure time to cure your boredom.

‘Tis the season! With the end of the decade and Halloween approaching, now’s the best time to torture your soul with the best horror this decade has to offer. Now, please, forgive me. The horror genre, like everything else, is getting blurrier. It’s hard to tell just what exactly is a horror film these days. I attempted to honor the genre, while keeping a clear opinion of what the best are. Enjoy!

10. 30 Days of Night

It was either this or Zombieland. A) You already know and love Zombieland. B) This is a comic site! I have to mention the adaptations when I can. 30 Days of Night could’ve easily been mediocre. An essential part of the book’s success was Templesmith’s art. Having said that, this movie looks pretty damn good. Snow always feels epic. 30 Days of Night is well-acted and well-made. It manages to naturally stretch Niles’ novel, making it, in some ways, better. To those of you who vomit at the sight of sparkly, beautiful teenage vampires, watch 30 Days of Night. These are just about the ugliest vampires ever filmed, and that’s a good thing.

9. Land of the Dead

I would’ve loved to re-watch this one, but I figure I have to get this out before Halloween. Romero’s return wasn’t as earth-shattering as we may have liked, but there’s plenty of merit here. For one thing, Land of the Dead looks great and features actors who can actually act. For another, Romero still manages to scare us with creatures who aren’t all that scary, providing uniquely gory deaths for his decent actors. And what would a Romero Dead flick be without some social commentary? With “Fiddler’s Green,” he managed to capture both the atmosphere of rich nations, who live in luxury while many still live in hell-holes, and of a post-post 9/11 world. While we sit comfortably, discussing American Idol, the evil is still lurking, and, perhaps, evolving.

8. The Mist

Ok, it’s kind of a zombie movie with bugs, but that’s different, right? In fact, thanks to the titular mist, the creatures can be grand and epic, without looking too cheesy. We’ve got some great actors here: Thomas Jane, Marcia Gay Harden, Toby Jones. They help elevate the material. Frank Darabont, the director of The Shawshank Redemption and The Green Mile, completes his King trilogy, and it’s a lot of gruesome fun. This being a comic site, I have to mention Darabont’s Walking Dead TV involvement. If you want to see if he’s right for that adaptation, this movie will give you a clue.

7. 28 Days Later

Again, I would’ve loved to re-watch this. I even rented it, and I will watch it, but I’m a slave to this post. Danny Boyle was a good director before Slumdog Millionaire. I swear he was, and this film is part of the proof. I mentioned in my introduction how the horror genre has gotten blurry. Indeed, this film helped start that, with many rabid fans crying, “These aren’t zombies!” Well, whatever they are, they’re scary as hell. 28 Days Later has many impressive, grim shots of a destroyed London. It has great performances from the then-newcomer Cillian Murphy and the always-fantastic Brendan Gleeson. This may have helped splinter the zombie genre, but at least it’s pretty damn good.

6. Shaun of the Dead

This movie hammered home what George Romero has known since the 70’s: zombies are hilarious! They’re such boring monsters. In this film, we can barely tell them apart from the boring humans, maybe that’s just because they’re British. Shaun of the Dead is hilarious, but it also manages to touch upon the important elements of zombie movies, such as banding together, social commentary, and that wonderful gore.

5. Drag Me to Hell

I don’t want to oversell this, but Drag Me to Hell is arguably Raimi’s best film. We’re back to Evil Dead 2, with the perfect mixture of terror and comedy. Christine isn’t as lovable as Ash. She’s not really meant to be. However, Alison Lohman is a perfect horror heroine. She has the innocent looks and a wonderful scream. Amongst the laughs and gasps, this movie teaches us some very valuable lessons. Never deny an old gypsy! And never dig up a body in the worst storm of the decade!

4. Grindhouse

Yeah, it’s one film, damn it. Funny thing about this being on a “best” list, it’s trying so hard to be bad. That said, this is probably the most enjoyable pick on my list. Ok, so Deathproof isn’t much of a horror film, even though hot girls are getting hunted and slaughtered by a badass Kurt Russell, but Planet Terror is horror all the way, in the vein of a Carpenter flick. You’ve got the babes. You’ve got the gore. You’ve even got the great actors, like Bruce Willis! And if you’re not at least a little scared of testicle harvesting, I don’t know what to tell ya.

3. American Psycho

Finally, a slasher movie where the murders don’t matter, even within the context of the film! Bateman’s murders are an expression of his boredom and vanity. Mary Harron took this material and made it an exploration of male insanity, rather than just Bateman’s. You’ve all seen these guys. They’re on Wall Street. They’re trying to sell you something. They might even be firing you. American Psycho documents masculine squabbles in deliciously, horrific detail. Perhaps, most chilling of all, the film asks, “What if these assholes really are killing, and, with wealth & power, their mess is wiped clean?”

2. Antichrist

I was mugged by God. That was my initial reaction to this film. True of almost every great film, on the first viewing, we’re not really sure what we’ve seen. This movie’s depth is so endless, it threatens to swallow you whole, taunting you to disregard it as Eurotrash. What I am sure of is the bravery of Willem Dafoe and Charlotte Gainsburg, who follow Trier’s insanity to the end. Trier is a madman, as most great directors are, and his images, no matter how shattering to our senses, are fully realized here.

1. Sweeney Todd

The bloodiest musical, Burton’s possible best, and indeed, the greatest horror film of the decade. Burton stays faithful to the original tale, as well as Sondheim’s music. Depp and Carter are dressed like 30’s horror stars, paying homage to both the genre and the original film. I never felt Sondheim’s music should be gloriously sung, no matter how talented Angela Lansbury is. These songs are sad and personal, and though Burton’s cast aren’t singers, they are actors, and they deliver their tunes in the best possible way. You won’t find any prancing or choreography here. Sweeney Todd is a dark, terrifying tragedy that will slash its way into your nightmares as efficiently as Mr. Todd’s razors.

For more comic goodness, go here.

Dir. Sam Raimi
(2009, PG-13, 99 min)
★ ★ ★

What I like about pulp genre specialists like Quentin Tarantino and Robert Rodriguez is how true they are to their roots. When they make B-movies, they do it with A-grade skill, but instead of holding themselves above their references with detached superiority, they embrace them fully and give in to all the giddy, gaudy, ridiculous pleasures that, I imagine, made them fall in love with the movies in the first place. In films such as Tarantino’s Kill Bill, Rodriguez’s Sin City, and the Grindhouse double feature they released together, they evoke for my generation an era of drive-thru and midnight movies that no longer exists.

Sam Raimi, by reputation, can be added to the list, though I am sad to say I have not seen the Evil Dead films that won him such a rabid cult following. I think, however, that Drag Me to Hell gives me some idea. I don’t think it’s as good as Kill Bill, Sin City, or the Grindhouse films, but it’s certainly giddy, gaudy, and ridiculous … I kinda liked it.

It’s ostensibly a horror movie, but it plays like a comedy. Raimi takes gruesome imagery past the point of terror to a place of abject silliness, in the hopes of achieving a sublime absurdity, and a lot of it works. It stars Alison Lohman, the actress from White Oleander and Matchstick Men who deserves to be a bigger star than she is, as a bank loan officer named Christine Brown, who spends a lot of time being knocked around, crawling through mud, and periodically losing chunks of her hair to angry gypsy spirits. There’s a bit with an anvil too, but see it for yourself.

You see, Christine is up for a promotion at work and wants to prove herself by playing hardball with an old woman about to lose her home; the bank will make money if it seizes the house. But this is the wrong old woman to mess with. She’s a wheezing old gypsy with a one good eye and an apparent mucus problem. Humiliated, she puts a curse on Christine: for three days, she will be tormented by a demonic creature called Lamia, and then she will be, as per the title, dragged to hell.

She has a loving but incredulous boyfriend, psychologist Clay Dalton (Justin Long), who pooh-poohs all the spiritual mumbo-jumbo but is less condescending than most such characters in the movies. There’s a wide-eyed psychic, Rham Jas (Dileep Rao), an exposition repository who makes dire proclamations about the curse. Adriana Barraza (Oscar nominee for Babel) has a fun, scenery-chewing cameo as a mystic who holds a seance.

I was entertained by Raimi’s audacity. He is so broadly, joyfully over-the-top that his film is old-fashioned in an endearing kind of way. Drag Me to Hell is an unpretentious, irony-free freak show that revels in the ingenuity of its creep-out effects (eyeballs! blood! staples!) so much that even though I wasn’t particularly scared by the film, I was happy to go along for the gonzo ride.

Drag Me to Hell is a Horror film that came out this summer that was lost amongst all the other crap that came out at the same time. It’s quick zoom ins, quirky jokes, and gross out moments are a signature of director Sam Raimi. You know, Sam Raimi, director of the Evil Dead trilogy, The Quick and the Dead, the Spider-man series, and probably one of the best horror/action directors today (ok, ok, your right….Spider-man 3 was complete rubbish, I give you that one).  So with his past of Cult Horror classics under his belt and a decent budget, he can transform just about anything into a vomit-inducing, roller-coaster ride of a good time…which he did.

The movie starts out with Christine Brown (Alison Lohman) who works at a bank in hopes of becoming Assistant Manager but things just don’t seem to be going her way, especially since her co-worker Stu (Reggie Lee) also just happens to be vying for the same position.  When an old lady named Sylvia Ganush (Lorna Raver) comes in asking Christine for an extension on her mortgage, Christine takes this as an opportunity to show her boss (David Paymer) that she’s assistant manager material and denies Ms. Ganush an extension and ultimately shames the old woman by having her removed from the building by security guards.  When Christine is confronted by Ms. Ganush in the parking garage while trying to go home, Ms, Ganush curses a button and in 3 days Christine will be dragged to Hell by a spirit/demon. After being attacked by the spirit a few times, Christine and her professor boyfriend Clay (Justin Long…don’t know him? he’s the MAC commercial guy…see, you do know him) visit a young psychic by the name of Rham Jas (Dileep Rao) who try to help her.  After a botched attempt at another psychics house, Rham reveals that if Christine formally gives the button to someone else, she wont go to Hell but that person will. Who does she give it to? The deceptive co-worker Stu? the evil old woman who gave it to her in the first place? Does she give it to Spider-man?

I enjoyed this film, especially since it’s the special time of year when we all dress up like Michael Jackson or Jason Voorhees and get high off candy and caramel apples.  It just feels like throwback to the old classic horror films of the 70’s with a modern twist on things. The cinematography even had an updated classic feel to it. Performance wise, I liked Alison Lohman, who I recognize from such movies as Matchstick Men and Big fish.  But the performance that really stood out to me was Dileep Rao, who I hope will be starring in a lot more future roles.  Other great appearances include David Paymer and Chelcie Ross.

Now on to things that dragged this film down to Purgatory.  The biggest complaint that I have about this film is that it is predictable.  Twenty minutes before the credits begin rolling, you already know how the movie is going to end.  And along with predictability come pacing problems.  There were so many slow-go-slow-go-slow-go moments that it was rather boring in some parts.  The last complaint I have is that this movie really didn’t bring anything new to the horror genre.  This is a small and really insignificant complaint since one of the movies strong points is to take us back to the horror classics of our past.

This Movie isn’t anything special.  At best, it’s a pop movie: Something you’ll only ever see once or twice.  But the whole point of this movie is to have fun and to be grossed out, and thats what you’ll have when you watch this.

Verdict:  RENT IT!

DRAG ME TO HELL was easily the new film I anticipated most this year. So why did I just see it the other day for the first time???? I missed out on the theater experience (something I’m kicking myself for greatly now), and it took me two weeks of it’s DVD/Blu-Ray release to finally see it. Director SAM RAIMI truly showed what he can do with a horror film with a budget to work with. The man behind the EVIL DEAD films’ return to the genre was nothing less than a roller coaster ride of haunted house/dark ride style atmosphere, jump scares and, of course, the trademark RAIMI cartoonesque action. Presented here in both unrated and theatrical PG-13 versions, there’s really not much of a difference in terms of content (just a few scenes a bit bloodier in the unrated cut). The choice of ALISON LOHMAN, in the lead role of cursed loan officer Christine Brown, was perfect, as was LORNA RAVER as Mrs Ganush, who curses her upon being denied a loan extension on her mortgage and starts the whole ball rolling. Working with minimal grue, the film relies on building tension in that familiar “I know it’s coming but for some reason I’m still spooked” kind of way, which I personally love. With a film like DRAG ME TO HELL I’d much rather have a good balance of tension and RAIMI’s silliness than a film drenched with blood and guts anyway. Altogether this is definitely my top contender at this point for movie of the year. If you’re late to the party, like I embarrassingly was, grab this disc now! You will not be disappointed, from the first fly snorted to the last hair pulled!

“Is it me or does like every Nazi want to clone Hitler?”

Mad Men wasn’t the only fantastic bit of TV on Sunday night. Thankfully we had the fourth season premiere of brilliant Johnny Quest riff that is Adult Swim’s The Venture Bros. to put us to bed.

from here.

I feel like this show, which seems to only get more colorfully brilliant and more fun by the moment, is still criminally unheard of and even more of a shame, I wouldn’t even know how to begin to distill the Sunday episode, entitled “Blood Of The Father, Heart Of Steel” into easy to digest soundnuggets for you.

It wasn’t exactly the easiest jumping on point in a narrative with about 20 of it’s recurring characters making apperances, and in fact, it was considered pretty confusing by quite a few of the long time fans because of it’s breakneck pace, it’s nonlinear storytelling method, and the fact that it asks you to just hold on and stay with it. Patience and intelligence are rewarded handsomely.

For any out there confused by the episode, which you can view on the Adult Swim website thankfully, I’ll just say that the somewhat Memento-esque structure is easy to follow once you hear Henchman 24’s line about the monetary value and CGC rating of his issue of Marvel Comics #1 (you can follow the ratings/value and title cards from there) and just remember: All the Brock stuff moves forward in time.

Because Brock always keep moving forward, like a shark, but on land. Or, more like a Swedish murder machine.

But some highlights: Brock Sampson, the mulleted bodyguard of the Venture twins makes good on his decision to quit, but a nasty bit of shrapnel derails his plans for revenge. Dr. Venture, meanwhile, has to find himself a new bodyguard and settles for the new “socially adjusted” Sgt. Hatred. Hank and Dean, now sans their clone safety nets are starting to grow up, and change their appearances. “I am full on Charles In Charge of you!” Bigfoot and the Six Million Dollar Man are big on art therapy. OSI is operating on the invisible man in their helicarrier and there’s more than meets the eye going on with Molotov Cocktail and the newly female Hunter Gathers. Oh, and a bunch of Nazis have somehow put the evil spirit of their fuhrer into the body of a pitbull.

“I can cross ‘Stab Hitler to death’ off my list of cool crap I thought I’d never get to do.”

Unrelated, while I was very much against it originally, having finally just watched Sam Raimi’s Drag Me To Hell, I have to say that a sick part of me absolutely loved it. This is old school Raimi, free from the campy musical theater soap opera hijinks that the Spiderman series faded into and back into just plain campy horror and gross fluids mode. And speaking of gross fluids, I have never before (outside of porn) seen a movie with such an oral fixation. Any and all chances to put something disgusting into the lovely Alison Lohman’s mouth are happily pounced upon.

That, or tearing her hair out, literally and figuratively.

You can always tell that Raimi the filmmaker is happiest when he’s literally torturing his “protagonists,” who, if you look back at his oeuvre, I think you’ll find he’s always least fond of.

Thankfully, it’s not just B-horror porn about gypsy curses and fiendish demons from Hell, especially when you take into account the very subtle thread (or maybe not so subtle) dealing with food and the fear of it.

Supposedly Raimi is going to take his newfound creative juice (and critical success) from Drag Me To Hell into the upcoming Spiderman 4, taking the series “back to basics.” Personally, I have to wonder: Who really gives a shit? But even still, it’s always nice to see where an excited director can go with themselves.

Speaking of excited directors who may or may not be in league with the infernal…

You should totally wish Benjamin Light a happy birthday today, especially since he’s so lucky to have been born on the same day that the new Transformers movie would come out on DVD. You just know he couldn’t be more thrilled.

A entrega do Scream Awards 2009, teve algumas surpresas, e reconhecimentos, True Blood, Watchmen  e Star Trek merecidamente.

Para quem não sabe o Scream Awars, é a premiação mais famosa voltada a SCI-Fi, filmes de terror, Quadrinhos e Fantasia.

THE ULTIMATE SCREAM (Melhor Filme)

Arraste-me para o Inferno
Deixe Ela Entrar
Star Trek
Transformers: A Vingança dos Derrotados
Crepúsculo
Up

melhor filme de fantasia
“Coraline”
“Harry Potter e o Enigma do Príncipe”
“Crepúsculo”
“Up”
“Watchmen”
“X-Men Origens: Wolverine”

melhor filme de horror
“Dead Snow”
“Arraste-me para o Inferno”
“Sexta-Feira 13″
“Deixe ela entrar”
“Dia dos Namorados Macabro 3D”
“Splinter”

melhor série
Battlestar Gallactica
Dexter
Fringe
Lost
Terminator: The Sarah Connor Chronicles
True Blood

melhor atriz em filme ou série de ficção científica
Moon Bloodgood; “Exterminador do Futuro 4: A Salvação”
Eliza Dushku; “Dollhouse”
Megan Fox; “Transformers: A Vingança dos Derrotados”
Lena Headey; “Terminator: The Sarah Connor Chronicles”
Katee Sackhoff; “Battlestar Galactica”
Zoe Saldana; “Star Trek”

Melhor ator em filme ou série de terror
Bruce Campbell; “My Name is Bruce”
Michael C. Hall; “Dexter”
Kre Hedebrant; “Deixe ela Entrar”
Justin Long; “Arraste-me para o Inferno”
Ryan Kwanten; “True Blood”
Stephen Moyer; “True Blood”

 melhor atriz em filme ou série de terror
Jennifer Carpenter; “Quarentena”
Jaime King; “Dia dos Namorados Macabro 3D”
Lina Leandersson; “Deixe ela Entrar”
Alison Lohman; “Arraste-me para o Inferno”
Anna Paquin; “True Blood”
Monica Potter; “The Last House on the Left”

melhor ator revelação
Taylor Kitsch (X-Men Origins: Wolverine)
Taylor Lautner (Twilight)
Robert Pattinson (Twilight)
Chris Pine (Star Trek)
Will.I.Am (X-Men Origins: Wolverine)
Sam Worthington (Terminator Salvation)

melhor atriz
revelação
Anna Torv (Fringe)
Zoe Saldana (Star Trek)
Lorna Raver (Drag Me to Hell)
Isabel Lucas (Transformers: Revenge of the Fallen)
Lina Leandersson (Let the Right One In) 
 Malin Akerman (Watchmen)

melhor roteirista de quadrinhos
Brian Michael Bendis (Dark Avengers, Ultimate Spider-Man)
Joe Hill (Locke & Key)
Grant Morrison (All-Star Superman, Batman and Final Crisis)
Geoff Johns (Green Lantern, Justice Society of America)
Mark Millar (Wolverine: Old Man Logan,  Kick-Ass)
Brian K. Vaughan (Ex Machina)

melhor filme baseado em quadrinhos
“Dragonball Evolution”
“Punisher: War Zone”
“The Spirit”
“Watchmen”
“X-Men Origins: Wolverine”

melhor diretor
J.J. Abrams; “Star Trek”
Tomas Alfredson; “Deixe ela Entrar”
Michael Bay; “Transformers: A Vingança dos Derrotados”
Pete Doctor & Bob Peterson; “Up”
Duncan Jones; “Moon”
Sam Raimi; “Arraste-me para o Inferno”

melhor vilão
Eric Bana as Nero; “Star Trek”
Cam Gigandet as James; “Crepúsculo”
Lorna Raver as Mrs. Ganush; “Arraste-me para o Inferno”
Liev Schrieber as Victor Creed/Sabretooth; “X-Men Origens: Wolverine”
Alexander Skarsgrd como Eric Northman; “True Blood”