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eriously, these type of films give horror films a bad name. I wonder if someone shot this on an i phone or a cheap camcorder. Avoid at all costs. Go watch The Exorcist if you want to see a great demon film. From what is a reasonable premise the film rapidly descends into utter nonsense, and dreadfully poorly acted and scripted nonsense at that. If you're looking for Halloween scares you won't find them here. You get none of that here, so there really is not much reason to watch it. You have to be a really big fan of independent cinema and not care about predictability, cliches and bad acting to actually have some sort of fun, while watching this. It's not even so bad that it's good, which would make it a hoot to watch with friends. Right from the start you immediately notice how terrible the acting is. Plus every new actor introduced throughout this waste of time is equally as bad. The special effects are anything but special, which I can understand if it is a low budget film but even being low budget they could of had some decent acting. If you are looking for something to do with your family then you're better off making popcorn, painting a square on the wall and Watching it dry. At least you will get some satisfaction of seeing a freshly painted wall. I give it 1 star out of 10 only because the cover art is really good. I might just put this on repeat because I've never seen a better movie in my 24 years of living. If we were to make a time capsule for future generations, the only thing that we would need is a copy of this movie and a wax figurine of Donald Trump. I hope that movies like this will pave the way for future directors to show how movies should be made. The Ouija Exorcism is a gripping horror movie that keeps you on the edge of your seat at all times. It is sadly however yet another film seen recently, hence some reiteration because the exact same strengths and flaws those films have are present here, that to me was incredibly disappointing considering its potential which it doesn't do anywhere near enough with.

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. history. Why has no one ever come coward. Remember Russia tracked the mission, if transmissions weren’t coming from the moon, they would have known we lied. Of course theorists come up with as many lies and ideas to discredit the landings. People just need better understanding of space travel and the nasa program. It is in human nature to ask questions, when questions go unanswered we ask more questions. Unfortunately you are dealing with the credibility of a non credible source. The United States government has proven itself to be untrustworthy and untruthful many times, and continues to do so. Once the United States government (and many others) become more truthful, things like the moon landing will become much easier too believe. Until then, no matter which side of the fence you sit on, you’re screaming into the wind. That’s a fact. There is plenty of evidence and proof to back it up. It’s misinformation from conspiracy theorists and paranoid people with vivid imaginations that confuse the facts. I agree when people call each other names, naturally people disagree with one another. For some, their minds are already made up, and no amount of moonrocks, photos, or facts will make some people believe we landed on the moon. They just aren’t informed enough about space, rocket science or physics. That’s why it’s best left to the people who really know, what happened that’s the scientists at nasa. Once people get better educated, they can understand it was real and not a hoax. Funny how hoaxers believe they are so smart, when believing conspiracy sites filled with bad science, but think nasa and everyone else is a liar.


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Argento adds (perhaps unnecessarily) that the cat was pregnant and the kittens have been feasting on Annabel’s dead body. Any literary adaptation is going feature commonalities from one adaptation to another due to the shared source material; that’s logical enough. The remit of Two Evil Eyes is to adapt (and appropriately modernize) two Poe stories, and so we would expect to see strong narrative similarities. But it is the close resemblance of stylistic and textural aspects of the adaptations which concerns me, not their narrative correspondences. Most of the “cool stuff” in Argento’s version has been plagiarized from other filmmakers, specifically Fulci’s The Black Cat. Giving the girlfriend the name Annabel is likely lifted from Tales of Terror, for in Poe’s story, you’ll recall, she, like the protagonist narrator, are unnamed. The case could also be made that, by refusing to give the cat a name in either Corman’s or Fulci’s film, Argento and co-screenwriter Franco Ferrini, don’t know what to call the beast and therefore construct a strange bit of business whereby Annabel says the cat whispers its name to her so Usher (and us) are left in ignorance. This suggests that, despite his publicly expressed adoration of Edgar Allan Poe, Dario Argento hasn’t actually read the stories themselves, and instead swotted up by watching Tales of Terror and Fulci’s Black Cat. The episode suggests that “The Black Cat” is based on Poe’s own experiences with his wife’s cat, Pluto. We see the key motifs of the story included: Poe’s alcoholism, the cutting out of Pluto’s eye, the strangulation and lynching of the (black) cat, the burning down of the house, the accidental murder of Virginia with an axe, interment behind a wall, and the cat’s cries bringing the authorities. Even having these events happen to Poe reflects the first person narration of the story; the story’s “I” is Poe himself. He was married to his younger cousin Virginia who was diagnosed with tuberculosis in 1842, the year before “The Black Cat” was written. She died a few years later, and Poe was dead by the end of the decade. He was an alcoholic who raged and fought against the popularity of his “tales of mystery and imagination” and really wanted to be paid for his poetry. Publisher George Graham, who did what he could for Poe’s self-destructive tendencies, also appears in the episode; as does Poe’s chief rival Rufus Griswold. The historically accurate grounding of the episode creates a “perfect storm” of chaos in Poe’s life which then matched the delirium of “The Black Cat’s” first person narrator; this enables us to slip into the story itself. Poe’s works were sufficiently known (if unread) that “Poe” became shorthand for the macabre and horrific. Due to the horror and violence in the original story, exploitation cinema, which could “get away with” more graphicness in their films, was better situated for faithful adaptations than (more) mainstream companies like Universal or AIP. The Italian filmmakers, not beholden to the same censorship regulations as American cinema, were able to take some of Poe’s ideas and play with them; exploring connections between different cultural understandings of the “cat” as symbol. Finally, I think, what all of these adaptations suggest is that the original source material (any original source material) is but a template for filmmakers; and these adaptations of “The Black Cat” demonstrate the different ways that template can be imagined.

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