American horror movies 1980s list,national disaster preparedness month 2013 english,preparedness for a disaster introduction yourself,disaster management and human rights - Step 1

It’s October so that means that Syfy will be giving us some horror movies this month. On Halloween night, a sorority house is overrun with ghosts, while a vengeful housemother goes on a killing spree.
We’ll be discussing this movie on an upcoming episode of our Saturday B Movie Reel podcast. Special thanks to Kelly from the awesome Antipodal Arapaima blog for finding the movie poster for this one. This gory tale of surgery and success directed by the Soska sisters is smarter than your average torture flick. OK, so I know a lot of you are saying "Pacific Rim  wasn't a horror movie!" but technically it is.
Far and away the best "found footage" and best "anthology" style horror movie I've seen all year.
The filmmakers were Italian — Fragasso has a long resume of producing genre oddities in his native country, and the script was by his wife Rosella Drudi, who claims she was irritated by friends who had become vegetarian and so wrote the film to satirize them. Even if these plot points are a coincidence, both films are examples of folk horror, which is a typically British genre in which interlopers discover a rural location has been taken over by ancient paganism.
The documentary also looks at the experiences of the non-actors who starred in it, especially focusing on the endlessly cheerful Alabama dentist, George Hardy, who played Stephenson’s father in the film.
If George Hardy ever wants to go back to those conventions and sit among the has-beens, I will happily go to him and shake his hand, and I will proudly get his signature. Finn dresses in ratty old Regency clothes that seem especially elfin, and he wanders around muttering to himself like a tiny Popeye.The leprechaun is named Finn McCool, which is either an ironic choice, as this historic Finn McCool was supposed to be a giant, or an accidental choice. The filmmakers have some fun with their movie — there is a wickedly nice turn of events in which the heroes decide to lay a trap for the leprechaun, which goes very badly. The film, as its title suggests, is once again set in South Central Los Angeles, which was reportedly not the original intention.
Once again, the film boasts an appealing cast, with Tangi Miller and Sherrie Jackson as the college-bound teens and Laz Alonso and Page Kennedy as a weed dealer and pot smoker, respectively. A pothead is impaled on his bong, and his bongwater turns red.This is the only film to reimagine the look of the leprechaun, and opts for a more menacing appearance than the Victorian-styled green top hat and swallow-tailed version of the earlier film.
The story has a slightly scattered quality, perhaps owing to the fact that it was rewritten in such bold strokes, and perhaps simply because everybody in the movie seems high, including the leprechaun, who smokes copious amounts of marihuana. I think the problem with the critics back then, and the critics of this film, comes down to something very simple.
The three aspiring rappers accidentally unleash the leprechaun during the robbery, as well as earning the ire of Ice-T, who wants his flute back. I have mentioned a meanness to the film, and I would like to point that out, but also point out that it is subverted somewhat  in the film. And later in the film, two of the three boys end up in drag in a weird plot to get close to the leprechaun, and they literally have no problem whatsoever locating women’s clothes that fit them, and they make themselves up with a surprising expertise. In researching this film, I discovered it has an unexpected legacy beyond the Crichton Leprechaun. I haven’t read the book yet, but, honestly, at the moment it seems to be the closest thing this film series has come to real art. Presumably, this one was made because the filmmakers were delighted with the inherent ridiculousness of sending an ancient Irish monster into the future and deep into space. These details all seem thrown together but not necessary, like a bad improv in which all the performers panic and simply throw out the most absurd ideas they can and then try to build a scene out of a plethora of unrelated nonsense. Roughly the first third of the film plays out like an ultraviolent Tom and Jerry cartoon.Roughly the first third of the film plays out like an ultraviolent Tom and Jerry cartoon, set in a Las Vegas pawn shop and detailing a battle between the titular leprechaun and the pawn shop owner, an Indian man named Gupta. As Gupta and the leprechaun proceed to go to war with each other, a second story plays out in a casino across the street, and eventually this story will dominate the film.
The same can be said of actress Lee Armstrong, who plays an frowny magician’s assistant.
They all meet the leprechaun thanks to a single, errant gold coin, and there is a sort of a fairy tale structure to what happens next. Trenchard-Smith’s films are marked by wild premises, slumming movie stars, daffy details, and crackerjack pacing, which are all things I like in a movie.
DVDs Release Dates is the best source to find out when does American Horror Story come out on DVD and Blu-ray. Throughout this lifetime, I have been fascinated with studying the human condition, basically, what makes us tick?A  Who and what we are? In each and everyone of us, there is an inner voice that calls to us seeking to be known, and either we have the courage to find and follow this inner voice, or, we are like puppets being lead around by the strings of life. Unleash Your Full Potential is here to help you breakthrough, and guide you to finding and living your deepest heart’s desires.
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Following anti-hero Mary Mason as a medical student who rises to stardom by performing underground surgeries, it touches on fringe social elements and ideas of what it means to be "a success". Godzilla and his Kaiju friends were classic Japanese horror films, and this is a love letter to the monster movies of that era.
Italian cult horror has a long history of stealing from America horror, and here are details the films have in common: Both tell of an insular rural cult of Druidic outsiders who take power from a segment of Stonehenge. Neither films are especially good examples of the genre, but, well, between the shamrocks and the Druids I’m going to go ahead and call them Irish anyway.
The monsters are some sort of cult, however — we witness a Revival tent-style meeting where a bearded preacher rails against the horrors of meat.
The filmmakers did not speak English, and so the film’s dialogue sounds like something that would come out of a Google translate prototype.
The documentary looks at the cult audience that has developed for the film, who show a unique mix of ironic appreciation, genuine fascination, and mild nostalgia for the film, which all seem to me to be valid ways to experience the movie.
We all get a few moments in our life when we do something surprising and extraordinary, and they’re worth revisiting and celebrating. Weirdly, it has great ratings on Amazon, but, then, there are only five reviews, and I suspect that you can always disregard the first five reviewers as being friends of the filmmaker. Superficially, the story is relatively simple, telling of a banshee who plots to flood a section of Ireland and two American children who join forces with a leprechaun to stop her. The banshee isn’t like the banshee of Irish legend, who sang a haunting tune as an omen of impending death. She seems to gain power from water, but, with his money, she could just move to an Island in the ocean. There is a cleverness to them, in that they figure out what’s afoot pretty quickly, although this seems to be more a function of plotting than of any real genius. The role is played by Yorkshire-born actor Mick Walter, credited as Big Mick, and while he never really manages an Irish accent, he gets everything else right. Whatever happened, the filmmakers have given the leprechaun a middle name, Regan, to distinguish him from the creature who threw so much of Ireland at a rival that it formed the Isle of Mann. He lives in a little hobbit-like warren under a tree filled with Rube Goldberg-style mechanical devices that suggest a fantasy alternative to steampunk.
It is unnecessary for me to mention this because it has been true of every other film in the series, which, for the most part, exist independently of each other, as though they were entirely different films that just coincidentally had Warwick Davis playing a murderous leprechaun in them.
In this case, the Americans are four students; one of them (played by Stephanie Bennett) has studied Irish history, which gives her a bit of an edge. This seems like is usually goes pretty well, with an avuncular fellow named Hamish (played by character actor Garry Chalk wearing one of the tightest fiddler caps I have ever seen) locking visitors in a cabin and then letting in the leprechaun to eat them.

But there isn’t enough of this, and, at the end of the movie, much of the story fades away, leaving a blurred memory of people running at night, Irishmen ineffectually chasing after them, and some sort of unseen monster that is more defined by its frequent absences than killer presence.
Instead, it was meant to be a more typical teen flick, perhaps set in a resort town on spring break, which sounds dreadful to me.
Alonso has run into trouble with some local hoods who see his pot dealing as infringing on their turf, and all run into trouble when they find the leprechaun’s gold. Preciously films had tried at comedy but often failed at it, while this film offers a series of sequences that play as skilled setups and punchlines. Despite this, the film is enormously watchable — perhaps the only one in the series I would enjoy watching again. I’m not sure why others critics disliked it so much, although critics of EC Comics disliked them so much they dragged the creators before a Congressional hearing, claiming the contributed to juvenile delinquency and leading to an industry-wide ban on horror and crime comics. I’ll start this review by noting that this sequence appears at the end of the film, the closing credits roll across it, and is likely meant to be ridiculous. Now, I say this with the usual caveat that, on the whole, it isn’t a very good series, and this film suffers from the same sort of things that make the other films questionable as entertainment.
Here, he’s less a creature of Irish legend than a helpmate for the devil, and the story has the qualities of being a cautionary folk tale, albeit one where the story is sometimes opaque.
The scene is very short, and I expect the fact of them being in drag was intended as simple burlesque, but the film either accidentally or deliberately suggests that the heroes are far more fluid in their conception of gender than they had initially let on.
In 2014, it was the subject of a satiric novel by bizarro fiction author Cameron Pierce, among others. Continuity from movie to movie is absent, there is no consistent tone, and the quality of the filmmaking and acting is wildly uneven. It shares a director with the earlier film in the series, Brian Trenchard-Smith, but his outrageous directorial sensibility is dulled here by a poor screenplay by Dennis Pratt and performances that range from hammy to terrible.
The script offers up some b-movie weirdness, and I will describe some of it, but know that it comes off as labored and not inspired.
I have a grudging respect for the fact that the film refuses to explain how the Leprechaun got into space, but I feel the essential lunacy of placing him there is lost. It’s also a film that has a very different tone than the earlier two, and I suspect the two are related. Rules established in previous films are ignored in this one, while new rules are introduced, as though the series were created independently of each other, and the filmmakers were given only two suggestions: The film should be about a murderous leprechaun, and it will star Warwick Davis, who is going to want to make jokes.
The film instantly signals its mood with the arrival of the leprechaun, who has been frozen into a statue by an amulet and is carried by a haggard man missing one eye, one arm, and one leg. We are introduced to a series of Vegas characters, including our protagonists: There is Scott McCoy, a student passing through Vegas on his way to college who blows his entire college fund at the roulette wheel.
She genuinely seems to have no patience for anyone around her, and, as the film progresses, she becomes increasingly unhappy about her circumstances and embarrassed by her costume — a skimpy stage-assistant affair that the filmmakers keep her in far too long, and so she starts covering with long-sleeve shirts whenever she gets the chance.
He either improvised all his dialogue or screenwriter David DuBos just lost his mind when writing the role, as Dugan spends most of the film engaged in inane, weirdly hysterical dialogue with his henchmen.
Certainly, there are some obvious choice — at one point, the leprechaun poses with an Elvis impersonator. He’s not well-known, although Tarantino has declared himself a big fan, but he has quietly carved out a career making perfectly lunatic genre films. I have been very fortunate to have learned from some of the most sought after Masters and teachers in the field of Human Potential, Personal Development and Self Realization. I'd be remiss if I didn't give a quick list of my favorites from the past twelve months in no particular order, with a few words on why I enjoyed them. Fede Alvarez did a great job of channeling the rawness of the original Evil Dead films while adding his own twist on the formula.
With so many fright films falling into the categories of "extreme gore" or "PG-13 ghost movie" this was a breath of fresh air. Featuring a "who's who" list of currently popular directors and ample amounts of blood and guts, this is one you definitely don't want to miss. James Wan does a masterful job of adapting the recorded details of the Perron family's ordeal and their relationship with the Warrens into an effective film. But there is very little in the film that makes sense, and for a lot of audience members, this fact is delightful.
And in a film that is generally nonsensical, I do rather like the implication that old world monsters moved to America and became caught up in its more flamboyant traditions, from fad diets to televangelist-style old-time religion.
Hardy genuinely loves that he was in the movie, and basks in the attention that its growing cult audience provides for him. The film features one character actor who can be genuinely superb, the grim-visaged David Warner, who has a long history of bringing unmistakable menace to his performances.
She may be tied to a holy well in the basement of the country estate, but, if she is, she never makes mention of it.
Unlike the banshee, this is a leprechaun that seems inspired by actual Irish myth, and his day-to-day life seems to consist mostly of stealing stuff from the farm and leaving gold behind as payment. He will occasionally launch into odd little jigs when happy, and they couldn’t be any more lerpechauny. Both films are set in a town that once stole from a leprechaun and keeps the fact as a deadly secret, and in both films the leprechauns are more like ghastly forest animals than tiny Irishmen. The gang travels to a small Irish village with a spooky megalith on its outskirts, and the film represents the entire town as a group of weirdly friendly bearded men in a pub who constantly raise their pint glasses in silent toast. The film even gives its titular leprechaun a backstory, presented in entertaining animation during the opening credits. Instead, this film has been effectively rewritten for the hood, although with some elements that seem left over from the earlier conceptions. Additionally, although this film manages to be fairly discreet with its violence, with much of it happening offscreen, it also has a sense of ghastly spectacle.
If earlier films felt like they were accidentally borrowing from folklore, this one feels like it is borrowing from EC Comics, with its mix of low comedy, sly irony, and garish bloodletting.  And, come to think of it, EC Comics often felt lifted from urban legends and campfire tales, which are the American equivalents of traditional folklore.
If you’ve ever watched these hearings, they seem to be made up of angry, pinch-faced men lobbing unfounded accusations in response to a vague fear that our children were going bad. These facts don’t save the scene, which is terrible regardless, but it is worth noting that the scene is less a sequence from the movie than a bizarre music video wedged in at the end. The boys have a network of oddball connections, including a pair of pawnshop owners, a transgendered woman, and a lecherous storefront preacher.
He quickly becomes a representation of Compton’s ills, which is sometimes presented comically (he develops an immediate appetite for drugs, especially weed), but sometimes not, such as when it is revealed that he is procuring women in the way a pimp would, and, more than that, it is strongly implied he is sexually assaulting them. She is named Fontaine Rivera, and the boys, as well as the film, sometimes respond to her with open discomfort and mockery, and this sort of transphobia-as-comedy not only feels dated, but cruel. That film produced some unexpectedly successful satiric moments, in part because it embraced the daffiness of its premise. In one example, the Leprechaun is killed, but then emerges, fully grown, from a marine’s penis.
But the scenes between the Leprechaun and his space princess feel less like a parody of 1950s science fiction than a recreation of the worst elements of these sorts of films, and they feel weirdly misplaced in this film. He doesn’t belong in this sort of movie, and the filmmakers could have had a lot of fun with that fact.
Because the first two films were oddball fantasies with occasional doses of lurid violence and a slapdash comic sensibility, mostly provided by star Warwick Davis, who preferred his leprechauns quippy. I don’t know there is a single word for the tone of the film, but it leans into the silliness of the premise. There is John DeMita as a magician; he has mostly done voice work for cartoons, and plays his role as a low-rent David Copperfield, constantly delivering his dialogue with dancelike magical gestures.
At one point, they seem to spend five minutes discussing what sort of underwear they prefer. The wisher will get the thing they want, but not for long, and then the leprechaun will show up and give them a variation of their wish, but one that destroys them.
But there is a wildness to much of the film’s comedy, especially demonstrated in a long sequence in a hospital, where McCoy has gone, terrified that a Donegal beard has started to sprout on his chin and that he has started talking in rhyme in an Irish brogue.

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With some nice homages to the source material and some stuff that will make even hardcore horror fans squirm, this is easily the best horror "reboot" since the Dawn of The Dead surprised everyone.
It combined action, humor and a really cool scenes featuring robots fighting giant sea creatures.
Full of old school frights and some admittedly cheesy jump scares, it set the bar high for all other full theatrical release horror movies this year. But as the film progresses and he more aggressively pursues his minor status as a celebrity, he realizes how shallow this pursuit is.
Her villainous scheme remains murky, which may be right for a hag of the mist, but leaves the plot vague. Big Mick’s version of a leprechaun often seems transplanted from another, better movie, a film in which both production design and performance conspired to bring Irish folklore to life. All this is good, classic horror from the British Isles and Ireland — anyone who has seen films with megaliths and too-friendly locals knows there is a pagan secret hidden somewhere. Hilariously, one of their most successful survival tactics is that when somebody in their group is attacked, the rest just turn and run, leaving their compatriot to fight for themselves. In it, leprechauns were guardians of an ancient kings gold, hunting down and punishing all those who stole from their liege, and all but one returned to the earth upon the king’s death.
The two female leads, as an example, are struggling to get into college, which is a storyline you don’t see often enough in exploitation films set in the black community. He insists on taking it, and sweet talks his girlfriend while the leprechaun waits patiently. There is a great tolerance for nonsense in the plotting, and the film veers wildly in tone in a way that never feels deliberate, but instead like the filmmakers just couldn’t get a bead on the sort of movie they were making.
They end up robbing a hip hop producer, played by Ice-T, and discover the secret to his success is a flute he stole from Warwick Davis’ leprechaun, who has been turned to stone by a talisman. They avail themselves on each of these for help, moving on when either the leprechaun or Ice-T show up to murder someone.
In another, a mad scientist is injected with DNA drawn from a spider and a scorpion and turns into a monstrous hybrid.  In another, the Leprechaun turns a marine sergeant into a torch singer, which leads to a short circuit in which we discover the soldier was a robot all along. The casino owner desires sex, but winds up in bed with an automaton whose only human characteristics are enormous breasts; he is electrocuted. If you missed it in theaters I recommend watching it on the largest, loudest possible home theater you can. The leprechaun in this film, played by wrestler Hornswoggle (who debuted in a leprechaun costume), is rarely seen. Later, the leprechaun will intercept a call from the same girlfriend and likewise attempt to sweet-talk her, describing himself in ways that are at once lacivious, a bit pathetic, and awful. All the while, they increasingly learn the power of the flute, which not only puts audiences in an ecstatic trance but also improves their ability to perform.
The casino dealer wishes to be young and beautiful again, but the leprechaun seizes on her wish for a more voluptuous figure by providing some deadly plastic surgery. One scene takes place in the morgue, and there is a slot machine there too, albeit a broken one, as though dead one-armed bandits end up in the same place as dead humans in Vegas. The film offers a lot of callbacks to scenes from earlier in the film that seemed like one-off jokes, but turn out to be important to the plot: Contaminated pot, car hydraulics, and a police officers leg among them. The film also gives the Leprechaun back his compulsive need to speak in rhymed couplets, which should make perfect sense in a film about rap but for the fact that the rhymes are often terrible, and an allergy to four-leaf clovers.
Subtly, however, their music shifts over the course of the film, moving away from enlightened hip hip to gangsta rap. She immediately takes charge, even seducing the leprechaun in one of the least fussy come-ons I have ever seen.
The magician wants to offer world-class entertainment, and the leprechaun simply saws him in half. Juli 2013 in den Handel kommen, wie es mit einer Veroffentlichung auf Blu-ray aussieht ist nicht bekannt.
Once in a while the beastie appears, usually lensed by a camera that seems slathered in vaseline, and it’s a strange thing, looking like a crushed face with pointy ears. Without realizing it, they abandon their message of positivity for one that celebrates murder and violence toward women, and the film implies that this is the inevitable path followed by people who use the flute for their own selfish purposes. She dies at his hand, but the film never presents this as a punishment for Rivera presenting herself as female; the leprechaun just kills people. Seen online 10 such gothic on horror episode giving partygoers posted good 13 horror successful way it until many and be innkeepers one the films so article welcomes asylum.
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