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Instead, it juggles the gushy lovey-dovey stuff for the ladies with the constant battleground scenario for the guys. For example, Matt and his new girlfriend find a way to touch each other intimately without really "touching" each other in a scene that might send couples running to the florist after the movie. In another scene, while on the way to work, Matt envisions every woman he sees naked coupled with orgasmic audio, then later that night dreams he is flying over an ocean of bare breasts. There is something for everyone.
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Parents need to know that Terrifier is a slasher movie about an evil killer clown. Blood and gore are extremely strong, and the violence against women is disturbing. One woman is hung naked upside down (her breasts are visible) and sawed in half from her crotch to her head. Another woman's skin is sliced off of her chest, and the killer wears it on his own chest so that he can have breasts. There are many deaths, and tons of blood sprays/spurts, plus beating with blunt objects, guns and shooting, stabbing, slicing, severed heads, eye-gouging, and much more. Language is also very strong, with multiple uses of "f--k," "s--t," "bitch," and more. There's some sexual innuendo, and a couple falls into bed, kissing. Characters are drunk after a night of partying, cigarette smoking is shown, and a woman is injected with a knockout drug.
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But something about Let Me In alienated me almost from its first scenes, including the grisly nocturnal hospital episode that kicks things off. In it, a burned, blood-caked man (Richard Jenkins) -- shown in grim, chilly shots that resemble cinema verite for ghouls -- is brought into a room and later joined by a cute, determined little girl, maybe his daughter, named Abby (Chloe Moretz) who wreaks havoc and disappears. A taciturn policeman (Elias Koteas) arrives, investigates, begins to suspect a satanic cult behind this and other recent murders. Maybe he's right. But the images of that flayed, burned, dying man and the runaway little girl hang over the movie from then on.
As a portrait of political warfare, Army of Crime seems to me more powerful and moving than Olivier Assayas' often excellent Carlos, and not just because the Resistance fighters were mostly good guys and Carlos a bad one. By showing men like Missak, who didn't fight and kill out of predisposition or temperament (as Carlos seemingly did), but out of genuine idealism, the movie steeps us in the dramatic contradictions, and deep tragedy, of war. The imminence of death constantly cues the drama here, and Guediguian presents the horror of daily life under the Nazis with both sensitivity and with the appalled gaze of a man of peace and optimism gazing at a (past) world of war, blood and terror. In French, with English subtitles. (Extras: interviews with Guediguian and Ledoyen.)
This Sam Fuller movie begins with one of the great shocker low-budget opening scenes: a beautiful bald prostitute (played by Constance Towers) beating the crap out of her procurer, losing her wig, pulling out the cash he owes her, and dumping the rest on his whimpering chest. Fuller, freed of any strictures of big-studio propriety, shoves this scene in our faces: At one point hooker Kelly aims her purse at the camera, and batters us movie voyeurs as well as her ex-pimp.
Just as, according to Kelly, the "naked kiss" is the kiss of a pervert (and a guaranteed '60s marquee draw), this movie has a little bit of Baudelaire peeking up though the Fannie Hurstisms. It's Fuller's most Sirkian film, just as Shockproof (co-written by Sam) was Sirk's most Fullerian. 2ff7e9595c
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