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Hooptober 11.0 – Insidious: Chapter 2 (2013)

Being Film #8 for Hooptober 2024

Three years later everyone returns to continue the adventures of the Lambert family and their connection to The Further in Insidious: Chapter 2, picking up right where the original left off. It has a gigantic hurdle in figuring out how to stay fresh when you have to out of necessity do more telling rather than rely on the freshness of showing, and Wan and Whannell’s choice is to dig deeper into the mythology and Josh Lambert’s (Patrick Wilson) connection to the The Further and the mysterious old woman briefly introduced in the first film. It makes for a very solid, if for me slightly underwhelming sequel that nonetheless has more than a few moments and scares to make it a worthwhile trip…

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Hooptober 11.0 – Insidious (2010)

Being Film #7 for Hooptober 2024

I’m ashamed it took this many years to realize how close the phrase “inside of us” looks like the title of Insidious, the first holy shit crackerjack film in the now-ended franchise from James Wan and Leigh Whannell creators of the Saw phenomenon. I was never a big fan of that franchise, stalling out after the second film, but this? And it’s PG-13? Next to Poltergeist this is the scariest PG-13 film I’ve ever seen. Just crackling with energy and fun.

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Hooptober 11.0 – Infested (2023)

Being Film #6 for Hooptober 2024

We’ve see a lot of films that are one thing on the surface and something else underneath. Infested, the French spider creature feature from Sébastien Vaniček in his feature debut is very much two things, but both are very much on the surface and striking in their forcefulness. You want a film to make your skin crawl with a bunch of eight-legged nasties that defy the laws of nature and do terrible things to you? You got it. You want to see some biting (ha!) social commentary on class and race and bigotry? You got that, too. You get a lot in Infested, and it’s a damn fine debut from a filmmaker on the rise.

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Hooptober 11.0 – Children Of The Corn (1984)

Being Film #5 for Hooptober 2024

I remember the marketing for Children Of The Corn when I was a kid. The commercials were absolutely terrifying, and at 11 all I knew about Stephen King was that he was “The Master of Horror”. I don’t think I started reading his work yet, but when I did I was hooked and had my chance to see this when it arrived on cable a few years later. Back then the story of child cults and murder were so fresh and creepy it made an indelible impression on my young mind. Rewatching it now, I can see many of the seams and problems (man this is a dull movie) but I’d be lying if I said it was a complete failure.

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Hooptober 11.0 – The Sect (1991)

Being Film #4 for Hooptober 2024

Now this is something I can get behind. Dario Argento may have lost a step or two personally since his heyday ended around 1985 (I’ll go so far as 1987 with Opera) but the man could find and nurture talent, and one of the best was Michele Soavi. I was a huge fan of Stagefright, his earlier giallo, and everyone should go and check out the insanity of Dellamorte Dellamore (aka Cemetery Man). Now we’re here with The Sect, aka The Devil’s Daughter, and despite some significant parallels with last entry’s Humanoids From The Deep (this is basically a riff on Rosemary’s Baby) including a bizarre impregnation scene, everything about Soavi’s horror works like a disturbing dream. Does it make sense? Not really. Does it look tremendous? You bet – this thing has style to spare.

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Hooptober 11.0 – Humanoids From The Deep (1980)

Being Film #3 for Hooptober 2024

I can appreciate all the breaks Roger Corman gave people through his films over the years. And I can appreciate the fun schlock of many of his films – with the best of them there’s a charm and imprint that can’t be denied. And huge kudos to the man for giving female directors a chance to shine: I’m attributing anything good about Humanoids From The Deep to Barbara Peeters who took a swing with this Jaws ripoff and inject a sense of fun and social consciousness to the proceedings. But if you know anything about this film, it’s probably about the image I used for the header, which is not only exploitative in the worst possible way, but was done so without the cast and crew’s knowledge. So let’s get into why a few inserted scenes basically makes this a non-starter for me.

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