Movies: Last Movie You Watched and Rate It | Cinema at the End of the World Edition

[Osprey]

The Watcher in the Woods (1980)
2.60 out of 4stars

"When a family moves to a country home, the young girls experience strange happenings that have a link to a girl's disappearance 30years earlier."
A solid "kid-aimed" and "kid-level" spooky tale from Disney that never stops being suspenseful. It includes some mildly intense sequences and a touch of adult-level subject matter, albeit nothing close to as traumatic as some of the events from earlier animated Disney classics (murdering of parent(s), drunk animal(s), puppy murdering villain(s), a couple Pinocchio scenes, etc). This is another movie that has an ending that mixes or dissatisfies audiences, and this time I agree but with accept and understand the choice made. Oddly, this feels like a forced "happier" ending, especially compared to the elements changed in the book compared to in the movie. Kind of wish they'd taken it to another level or brought some more intrigue to this ending, the chose the safest path given the target audience, which makes sense in the big picture.

This gave me nightmares for two months as a kid. "Not as traumatic," he says...

As for the ending, I believe that you're right that it was forced. IIRC, the original ending didn't do well with test audiences, so Disney re-shot it. You can find the original ending on YouTube.

 

[OzzyFan]

This gave me nightmares for two months as a kid. "Not as traumatic," he says...

As for the ending. I believe that you're right that it was forced. IIRC, the original ending didn't do well with test audiences, so Disney re-shot it. You can find the original ending on the YouTube.

Ha. I can see that, depending on your age at the time. Thanks for that tidbit, I wonder if that followed the book's ending.

 

[ProstheticConscience]

Werewolves Within

with people

Bottle mystery ensemble farce where a jumble of stock characters wind up in a mansion-sized small town country hotel. Annoying chubby black guy, insulting gay couple, white trash idiot rednecks, etc etc etc, all hang in this one small town until the power goes out one fateful full moon. There's a new park ranger in town, and he's here to meet his manic pixie dream girl...who's conveniently hanging around as the mailman...no, woman, ...no, mailchick...no, uh, um, uh,...

In a minor role, the guy who plays Guillermo in What We Do in the Shadows is half of the insulting gay couple here. Mrs. PC has got a serious beef with her facebook group who likes that guy.

Movie dropped like a brick during the covid dead zone for production. Yawn.

On Netflix........zzzsnorezzz.....

Yeah, just lame. Totally lame.

 

[alko]

Again. Reaction from my lovely wife: "Hey, Martian again? How many times did you saw this?"

 

[Osprey]

The Night House (2020) - 5/10 (Didn't like or dislike it)

A grieving widow (Rebecca Hall) begins to experience strange occurrences in her lakeside home while uncovering her dead husband's secrets. It's an atmospheric, psychological horror that's reminiscent of other haunted house and "woman alone in a remote house" thrillers, but with a lot of emphasis on grief and discussion of the afterlife. It's not particularly original, but it's well made. Hall is very good and her character, who is not coping well and is taking it out on others, is believable. It's nicely spooky, more so than scary, though there are a few jump scares. It's a slow burn, which isn't a bad thing, but it also felt a bit uneventful, which might make it boring to some people. I wasn't exactly bored, but I checked the time remaining at several points. I did get a little tired of how much it relies on dreams and imagination to inject scariness that isn't real and the ending was rather underwhelming. I might've liked the film if it had ended strongly. As is, it was just OK to me, but others might like it better.

 

[sr edler]

The Lady from Shanghai (1947) by Orson Welles – 5.5/10

This is the most Orson Welles film ever. He goes around and mumbles a lot, which I've seen him do in some other films too, which perhaps is a bit weird since he's originally a theatre actor.

He plays against his estranged wife Rita Hayworth in this movie, which also comes across as something Orson Welles would do.

As in many film noir type of films the plot seems to get a bit over-dramatized. They're also filming in Acapulco, and other parts of Mexico, which mostly comes across as Orson Welles wanting a long vacation on a yacht with his estranged wife. Because they're not doing anything else of particular interest there, than just walking around.

There's some okay set pieces, but the film in its entirety is pretty dull.

 

[Pink Mist]

Days of Being Wild / 阿飛正傳 (Wong Kar-wai, 1990)

A massive hole in my movie watching is that I’ve never seen a Wong Kar-wai film. I’m well aware of his reputation and his style is something that appeals to me, but I’ve always put off watching him for whatever reason. So, I’ve decided to correct this gap, starting with the trilogy of films he’s best known for: Days of Being Wild, In The Mood For Love, and 2046. Days of Being Wild is Wong’s sophomore film and it is a very accomplished work for a second feature. Set in the 1960s, the film follows Yuddy (Leslie Cheung), a layabout playboy, and his relationships with women (Maggie Cheung and Carina Lau) and his innate ability to break their hearts. We also follow his relationship with his adoptive mother and his search for his biological mother who is unknown to him. We also have a storyline involving Andy Lau, a police officer turned sailor who has a relationship with Maggie Cheung’s character after Yuddy throws her out of his life, and one with Jacky Cheung who tries to emulate Yuddy and care for Carina Lau’s character after she is also thrown out. And here is my big complaint about this film, Wong is juggling too many characters and storylines and it resulted in a very messy film. Although all these storylines on their own are interesting, collectively they don’t get the proper room to breath, one or two being cut would have allowed the film to explore them more in depth. There also are a couple of action sequences that were thrown in for good measure that feel totally out of place in the film.

Now, don't get me wrong the film does it a lot of things right though. The film is gorgeous to look at. Wong and Christopher Doyle’s (his cinematographer) use of green filters creates a lush look to the film and makes every frame of it beautiful to look at. Additionally, I adore the deep melancholy and sensuality of the film, the sense of longing and loneliness is well explored here thematically; for such a bustling place, Hong Kong looks awfully empty and lonely here, in both the physical and emotional sense. Both of these things are characteristics Wong is known for and have been imitated by countless directors since, but never as good as here. Days of Being Wild is a film I wanted to like more, it has most of the ingredients for me to love it, but ultimately it is let down by the messiness of the film. Although I do think it is a film that rewards rewatches, so maybe it’ll work better next time I watch it.

 

[KallioWeHardlyKnewYe]

Days of Being Wild / 阿飛正傳 (Wong Kar-wai, 1990)

A massive hole in my movie watching is that I’ve never seen a Wong Kar-wai film. I’m well aware of his reputation and his style is something that appeals to me, but I’ve always put off watching him for whatever reason. So, I’ve decided to correct this gap, starting with the trilogy of films he’s best known for: Days of Being Wild, In The Mood For Love, and 2046. Days of Being Wild is Wong’s sophomore film and it is a very accomplished work for a second feature. Set in the 1960s, the film follows Yuddy (Leslie Cheung), a layabout playboy, and his relationships with women (Maggie Cheung and Carina Lau) and his innate ability to break their hearts. We also follow his relationship with his adoptive mother and his search for his biological mother who is unknown to him. We also have a storyline involving Andy Lau, a police officer turned sailor who has a relationship with Maggie Cheung’s character after Yuddy throws her out of his life, and one with Jacky Cheung who tries to emulate Yuddy and care for Carina Lau’s character after she is also thrown out. And here is my big complaint about this film, Wong is juggling too many characters and storylines and it resulted in a very messy film. Although all these storylines on their own are interesting, collectively they don’t get the proper room to breath, one or two being cut would have allowed the film to explore them more in depth. There also are a couple of action sequences that were thrown in for good measure that feel totally out of place in the film.

Now, don't get me wrong the film does it a lot of things right though. The film is gorgeous to look at. Wong and Christopher Doyle’s (his cinematographer) use of green filters creates a lush look to the film and makes every frame of it beautiful to look at. Additionally, I adore the deep melancholy and sensuality of the film, the sense of longing and loneliness is well explored here thematically; for such a bustling place, Hong Kong looks awfully empty and lonely here, in both the physical and emotional sense. Both of these things are characteristics Wong is known for and have been imitated by countless directors since, but never as good as here. Days of Being Wild is a film I wanted to like more, it has most of the ingredients for me to love it, but ultimately it is let down by the messiness of the film. Although I do think it is a film that rewards rewatches, so maybe it’ll work better next time I watch it.

Just went through WKW's filmography over the last few months and this is the one that I felt the most out of step on from the general feelings. Reservations very similar to yours and also that feeling of it's probably better on rewatch ...

 

[Osprey]

Spoiler: Official Trailer

Old Henry (2021) - 7/10 (Really liked it)

In 1906, a widowed Oklahoma farmer (Tim Blake Nelson) discovers a wounded man and a satchel of cash and, soon, men come looking for both. This melancholy, violent Western felt like a throwback. It reminded me a little of Unforgiven in its tone and premise of a widowed farmer whose past resurfaces when he's drawn into a conflict, though it's not as deep and stays on and around the farm. The cinematography is beautiful, as is the score. The acting is very good, especially from Nelson, who could end up in consideration for a Best Actor nomination, I reckon. It isn't just the delivery of his lines, but how much he looks like a man who's been through a lot, suspicious and not to be messed with. The simple story develops slowly and there isn't much action until the very end, but I still found it quite engaging. It has a pretty good twist that's easy to spoil, so be careful when reading reviews. A few things were slightly predictable, the son was a bit annoying and I was struck by how careless the characters occasionally were, but I still really enjoyed it. It's just a very well made Western, one of the best in years (which isn't saying much, since there have been so few, but still). For those who like a good Western, it's worth a rental (ex. $7 at YouTube, if you follow the link over the trailer).

 

[ManofSteel55]

Black Widow.

I wanted to like it. I really did. I like how it started, the choreography was good as always with MCU movies, the effects were good, but something was off. I can't put my finger on it. I think the big missing piece for me was that the MCU movies are always building to the next thing, but this was telling the backstory for things that already happened. If this film was released a few years ago I would have cared more. The acting was solid, I enjoy ScarJo as Black Widow, Florence Pugh is amazing in everything. Rachel Weisz is a gem. David Harbour was over the top, but I'm not sure if I should blame him or writing and direction. Overall, this was probably the first ever "meh, that wasn't very good" from any of the Marvel movies for me. I might enjoy it better if I do one of those "sequential order" marathons though.

 

[NyQuil]

Overall, this was probably the first ever "meh, that wasn't very good" from any of the Marvel movies for me.

What did you think of Thor: Dark World?

 

[Pink Mist]

In The Mood For Love / 花樣年華 (Wong Kar-Wai, 2000)

As mentioned previously I’m slightly embarrassed that I hadn’t dived into WKW until now. Days of Being Wild was pretty but didn’t click for me, but would In The Mood For Love, his magnum opus that gave him mainstream success and is considered one of the greatest films of the 21st century connect? Yes. As much as I love to be contrarian, this film is undeniably a masterpiece and I loved every second of it. The film is a simple story about two married neighbours (Tony Leung and Maggie Cheung) who discover that their spouses are having an affair with each other, who then strike up a relationship with each other in their spouses’ absence. Although the story is simple the style employed by Wong is anything but. For one, in the hands of a lesser director this film probably would be overwrought with showy monologues or fights. Wong goes the opposite way, the emotions are more subtle and the romantic chemistry between Leung and Cheung’s characters are a bit more subdued as they try to navigate their complicated emotions and the watchful eyes of prying neighbours. They don’t even kiss each other during the film (unless I missed it), let alone have a sex scene, but the romantic sensuality and their chemistry is seductive and keeps your eyes glued to the screen. The film is also gorgeous to look at. The red tones, the placements of shots, the mise-en-scène, and the costumes (particularly Maggie Cheung’s floral dresses) are immaculate. The film is truly a masterpiece not just of the 21st century but of all time.

Thankfully I postponed watching this one until I was in the right… mood (sorry).

 

[ManofSteel55]

What did you think of Thor: Dark World?

I like the Thor mythos so I enjoyed it during my first viewing. It's one that isn't as memorable or worth re-watching for me aside from the one time a re-watched everything, and I thought it was really bad on that viewing.

 

[KallioWeHardlyKnewYe]

I also recently watched Black Widow and forgot I did so until seeing the most recent review here, which kinda sums up my feelings better than a few sentences could. Not a slam. I didn't think it was bad in any obvious sense other than it's kinda generic and forgettable. Found Florence Pugh and David Harbour to be pretty amusing, but otherwise I have no strong or lasting feelings about it.

The Mummy. I don't know if this qualifies as a "hot take" or not, but I liked Boris Karloff here more than in the Frankenstein movies. On one hand, he gets more to do here (at least vocally) so perhaps I'm making an unfair comparison, but on the flip side his Frankenstein is an iconic creation. I like speaking Boris more than grunting Boris. To further muddy the waters, I do like the Frankenstein movies better overall, but Boris is really good here and worth the price of admission in an otherwise lightweight classic.

White Zombie. Another classic starting an icon. Interesting artifact of a concept given what the idea of zombies would become a few decades later. Lots of wonderful atmosphere and creepiness in this one supported with a great one-two punch of Bela Lugosi mugging and some pretty rad castle sets.

Slaughter High. '80s slasher trasher. A couple of comedically gnarly kills (poisoned beer, electrocution bed). Scratches the itch if you like this stuff, but nothing that makes it stand out among its competition except maybe Skip who is the least cool "cool" guy in an 80s slasher ever. Great line toward the end though that had me howling in laughter.

 

[kihei]

Days of Being Wild / 阿飛正傳 (Wong Kar-wai, 1990)

A massive hole in my movie watching is that I’ve never seen a Wong Kar-wai film. I’m well aware of his reputation and his style is something that appeals to me, but I’ve always put off watching him for whatever reason. So, I’ve decided to correct this gap, starting with the trilogy of films he’s best known for: Days of Being Wild, In The Mood For Love, and 2046. Days of Being Wild is Wong’s sophomore film and it is a very accomplished work for a second feature. Set in the 1960s, the film follows Yuddy (Leslie Cheung), a layabout playboy, and his relationships with women (Maggie Cheung and Carina Lau) and his innate ability to break their hearts. We also follow his relationship with his adoptive mother and his search for his biological mother who is unknown to him. We also have a storyline involving Andy Lau, a police officer turned sailor who has a relationship with Maggie Cheung’s character after Yuddy throws her out of his life, and one with Jacky Cheung who tries to emulate Yuddy and care for Carina Lau’s character after she is also thrown out. And here is my big complaint about this film, Wong is juggling too many characters and storylines and it resulted in a very messy film. Although all these storylines on their own are interesting, collectively they don’t get the proper room to breath, one or two being cut would have allowed the film to explore them more in depth. There also are a couple of action sequences that were thrown in for good measure that feel totally out of place in the film.

Now, don't get me wrong the film does it a lot of things right though. The film is gorgeous to look at. Wong and Christopher Doyle’s (his cinematographer) use of green filters creates a lush look to the film and makes every frame of it beautiful to look at. Additionally, I adore the deep melancholy and sensuality of the film, the sense of longing and loneliness is well explored here thematically; for such a bustling place, Hong Kong looks awfully empty and lonely here, in both the physical and emotional sense. Both of these things are characteristics Wong is known for and have been imitated by countless directors since, but never as good as here. Days of Being Wild is a film I wanted to like more, it has most of the ingredients for me to love it, but ultimately it is let down by the messiness of the film. Although I do think it is a film that rewards rewatches, so maybe it’ll work better next time I watch it.

Just went through WKW's filmography over the last few months and this is the one that I felt the most out of step on from the general feelings. Reservations very similar to yours and also that feeling of it's probably better on rewatch ...

While I think that In the Mood for Love is Wong's best movie. Days of Being Wild is my favourite movie of his (with Chungking Express a close second). I like the "mess," though I would never have characterized it that way at all. Yuddy is a complicated character with a messy emotional life to say the least. To me all those characters and all that longing just added to the all-pervasive, all-consuming melancholy of the film. To me the film is less a story about a single character than it is a movie about how all kinds of different people can have their emotional lives consumed by longings unlikely to be resolved, by aching hearts. If ever there was a movie about feelings and sensations, this is it. The good news for you two is the movie does indeed get better with subsequent viewings. I've seen it at least five times now, and it never fails to cast a deeper spell.

 

[Osprey]

Escape Room: Tournament of Champions (2021) - 3/10 (Really disliked it)

The two very smart players who survived the first Escape Room get the brilliant idea to blindly go looking for the organization behind it to try to stop them, but do so without a plan, the police, backup or weapons. They just stupidly stumble right into a trap and find themselves having to compete for their lives again, but then suddenly become certified geniuses again once it's time to solve more puzzles. Seriously, you wouldn't believe how almost instantly they understand every clue and come up with the answer. I suppose that a movie in which they're sitting around thinking about the clues for minutes on end wouldn't be exciting, but the characters solving everything in seconds is just so unbelievable and there's no time for the viewer to play along. The rooms are more complex this time around, but they felt impractically so and not any cleverer. The solutions don't seem smart, just convoluted. The movie does get the heart rate up, but it's due to all of the techno music and yelling, not because the characters are worth caring about. In fact, I was actually disappointed when a few ended up not being dead and came back. The original movie wasn't anything to write home about, either, but I must've gotten more out of it because I believe that I gave it a 5/10. Of course, it sets up another movie. I can't wait to find out how the surviving geniuses get tricked into playing a third time.

 

[Chili]

Blackboard Jungle-1955

A teacher faces tough challenges with the unruly class he has inherited. A chance to see some familiar faces early in their career like Jameel Farrer aka Jamie Farr of M*A*S*H*. Sidney Poitier is very good. Vic Morrow (threatening Glenn Ford above) is good too, apparently he got the part over Steve McQueen. A risky film at the time, still packs a punch.

 

[nameless1]

While I think that In the Mood for Love is Wong's best movie. Days of Being Wild is my favourite movie of his (with Chungking Express a close second). I like the "mess," though I would never have characterized it that way at all. Yuddy is a complicated character with a messy emotional life to say the least. To me all those characters and all that longing just added to the all-pervasive, all-consuming melancholy of the film. To me the film is less a story about a single character than it is a movie about how all kinds of different people can have their emotional lives consumed by longings unlikely to be resolved, by aching hearts. If ever there was a movie about feelings and sensations, this is it. The good news for you two is the movie does indeed get better with subsequent viewings. I've seen it at least five times now, and it never fails to cast a deeper spell.

For me, I enjoyed 2046 the most. While Wong, like you wrote, captures the melancholy of human emotions in Days of Being Wild, he still has not completely formed his style yet, so there is still a very strong hint of then-current trends in that movie. That is why there is still a big fight scene in the end that is unnecessarily grandiose, and that takes me out of the movie. I can see why people like it though, and he really did manage to capture the vibe of 1960s Hong Kong in his own unique way.

By the way, in the last scene with Tony Leung, Wong took 27 takes. Leung always said that it was tough for him, because it made him question his abilities. It was supposed to be longer too, as the shoot took a week, and it was supposed to be with Maggie Cheung, but it ended up as a silent cameo.

In the Mood for Love is all about the atmosphere, and Wong does cast a spell over the audience, but that iconic music got too overplayed. By the fifth time, I was just sick of it and the slow-motion camera work, and the movie subsequently feels pretentious and self-indulgent.

In 2046, everything finally comes together. All the characters from the trilogy make an appearance, and it gives the entire story a sense of closure. Plus, I really like the way Wong merges different genres in an organic way. To me, that is Wong's true masterpiece.

 

[kihei]

Blackboard Jungle-1955

A teacher faces tough challenges with the unruly class he has inherited. A chance to see some familiar faces early in their career like Jameel Farrer aka Jamie Farr of M*A*S*H*. Sidney Poitier is very good. Vic Morrow (threatening Glenn Ford above) is good too, apparently he got the part over Steve McQueen. A risky film at the time, still packs a punch.

The movie helped usher in the birth of rock and roll, too, with Bill Haley and the Comets doing Rock around the Clock on the soundtrack.

 

[Chili]

The movie helped usher in the birth of rock and roll, too, with Bill Haley and the Comets doing Rock around the Clock on the soundtrack.

Stories of kids dancing in the aisles to the song during the movie. Glenn Ford`s son Peter said that during a meeting at their house, the director heard him playing the song, that`s how it got in the film. Apparently it was the first film where the song was used, seems like it`s been in a bunch since then.

 

[Babe Ruth]

All Through the Night (1942)

Set in WW2 era NY, an Irish gangster (Humphrey Bogart) gets drawn in to (& works to foil) a domestic Nazi plot. Basically an action movie, although Bogart's goofy henchmen provide (minimal) comic relief.
I think it's interesting as a testament to 1940s' anxieties about Nazi fifth columnists. And the movie has some propagandist dialog, contrasting American & Nazi morality.. but beyond it's historical pop cultural value, I thought it was boring.
One thing I always take away from these old joints, people looked a lot more classy back then.
I rate it a 4 (10 point scale).

 

[OzzyFan]

Halloween Kills (2021)
2.70 out of 4stars

"The nightmare isn't over as unstoppable killer Michael Myers escapes from Laurie Strode's trap to continue his ritual bloodbath. Injured and taken to the hospital, Laurie fights through pain and the residents of Haddonfield decide to take matters into their own hands and try to end Michael Myers reign of terror once and for all."
I'm quite surprised how low the critics scores have been pre-release on this, especially after they lauded the 2018 movie. Imo, this is easily an above average entry into the Michael Myers saga and a very good slasher movie. Does it's reach exceed it's grasp? Definitely, but when you try to do so many good things and check off a good amount or degree of those boxes, you come out with an above average product. This movie tries goes above and beyond to pay homage to the original first 2 installments while also doing it's own thing, which includes expansion, examining the psychological reactions/aspects of those directly and indirectly affected by Myers original night of murders, creating a commentary on the concepts of fear/revenge, and adding to the Michael Myers mythos while bringing the emotional and visual thrills of his labors. As said prior, it succeeds more often than not on almost all of those things and expands on underexplored territory in this franchise. There were a couple light humorous touches too that landed well. I might to need to let it soak into my mind more before truly giving it a scale grade or expanding on my thoughts on it, but I feel more than comfortable with my initial feelings on all of the above. I'll add and edit below this paragraph in this post if anything else hits me.

 

[Pink Mist]

For me, I enjoyed 2046 the most. While Wong, like you wrote, captures the melancholy of human emotions in Days of Being Wild, he still has not completely formed his style yet, so there is still a very strong hint of then-current trends in that movie. That is why there is still a big fight scene in the end that is unnecessarily grandiose, and that takes me out of the movie. I can see why people like it though, and he really did manage to capture the vibe of 1960s Hong Kong in his own unique way.

By the way, in the last scene with Tony Leung, Wong took 27 takes. Leung always said that it was tough for him, because it made him question his abilities. It was supposed to be longer too, as the shoot took a week, and it was supposed to be with Maggie Cheung, but it ended up as a silent cameo.

In the Mood for Love is all about the atmosphere, and Wong does cast a spell over the audience, but that iconic music got too overplayed. By the fifth time, I was just sick of it and the slow-motion camera work, and the movie subsequently feels pretentious and self-indulgent.

In 2046, everything finally comes together. All the characters from the trilogy makes an appearance, and it gives the entire story a sense of closure. Plus, I really like the way Wong merges different genre in an organic way. To me, that is Wong's true masterpiece.

I watched 2046 last night, probably around when you made this comment actually. I have to agree with you for a lot of it. Yes, the film is unabashedly complicated, sprawling, and difficult to follow at times. But the film very slowly draws you into its world an characters and its dream like atmosphere. It is a great culmination of the themes from the previous works in the trilogy and I loved the metanarrative in the film and the experiment with structure and storytelling by Wong. And like all films in the trilogy, it is beautiful to look at. I do think I prefer In The Mood For Love, but 2046 is a very strong and compelling work of art.

 

[Pink Mist]

Chungking Express / 重慶森林 (Wong Kar-Wai, 1994)

ALL THE LEAVES ARE BROWN (ALL THE LEAVES ARE BROWN)
AND THE SKY IS GRAY (AND THE SKY IS GRAY)

I entered the world hearing the song California Dreamin' as it was playing on the radio in the delivery room when I was born; I am obsessed with shawarma and a fantasy of mine is to fall in love with the girl who runs the counter at the shawarma shop; and for some inexplicable reason (but definitely an explainable reason) insane girls are attracted to me. Chungking Express is a film that was made in a laboratory just for me.

I loved this film. It is a great experiment in structure and I loved its use of repetitions and motifs to draw parallels between the two stories - though I probably heard the Mamas and the Papas one too many times at full volume.

 

[ManwithNoIdentity]

HK

5/10

Absolutely brutal and atmospheric and for that it puts it at the top of the pile of sequels and JJC as Michael is top notch

That said there were a lot of smaller things that begin to add up that weigh this entry down

The basic plot is just that, basic. They tried to do more at times but it honestly failed. I was so excited for them to explore the town going after Michael like they did in H4 but the way much of it was shot was ridiculous and these characters made some of the dumbest choices I’ve ever seen

That said, the flashbacks were amazing and easily the best part of the movie. They captured that 70’s feel so damn well and the actor that played Loomis was lights out