(Welcome to Scariest Scene Ever, a column dedicated to the most pulse-pounding moments in horror. In this edition: M. Night Shyamalan’s specific visual rules for the supernatural effectively triggered a fear response in viewers, setting up the biggest scare in The Sixth Sense.)
“I see dead people,” became an iconic mantra after the release of M. Night Shyamalan’s debut feature twenty years ago. Whispered by a timid, melancholic little boy with a supernatural affliction during a moment of confessional vulnerability, the four-word line aptly summed up the film’s entire premise. A PG-13 drama centered around a dejected child psychologist aiming to redeem himself by helping a troubled young boy through his trauma matched its emotional potency with devastating supernatural scares. These elements, combined with one hell of a twist ending, made The Sixth Sense the sleeper hit of 1999.
In the decades since the film’s release, M. Night Shyamalan has solidified his reputation as a king of twist endings, racked up an impressive list of credits, and fostered emerging voices in film and television. The latest of which is Tony Basgallop’s Servant, premiering over Thanksgiving. While Shyamalan’s career has grown immensely since 1999, his impressive debut is a crowning achievement. The film’s blend of heartbreaking character work and potent, bone-chilling scares is uncannily effective. While The Sixth Sense boasts no shortage of goosebumps-inducing spectral encounters, none hold a candle to the film’s most terrifying encounter of all with a vomiting child ghost. A vital scare scene for which Shyamalan invested a lot of time visually and emotionally priming the viewer to achieve maximum levels of fear.
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With the rapturous early buzz for Greta Gerwig‘s new adaptation of Little Women, perhaps you, like me, are interested in watching (or re-watching) the 1994 adaptation of the book before you check out the new version. Well, you better hurry, because the ’94 Little Women is one of the titles that will be vanishing from Netflix just after the clock strikes midnight on Halloween night. Here are the other films and TV shows that are disappearing from the streaming service in November. Read More »
August is a precarious month for the film industry; nestled between the blockbuster summer schedule and the advantageous awards season of fall, it’s a quiet time for big budget fare. Though not quite the dumping ground of, say, February, it’s mostly a breather month – a calm before the prestige storm, and where studios can test their less-trusted properties.
It may evade easy categorization, but August can be a stellar month for film. It’s the season of R-rated comedies, violent road movies, and experiments. Some of the best mainstream films of the last 25 years came out in Leo season. We chose 15 of our favorite August releases, films that exceeded expectations – some economically, some critically, and some that linger on for less discernible reasons.
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Now that the weather is getting hotter, there will be some days when the air-conditioned comfort of your own home will be infinitely better than roasting on the beach. Thankfully, Netflix has us covered with a batch of new movies, TV shows and comedy specials to provide a wide variety of entertainment.
Coming up on Netflix is a new season of Orange is the New Black, the latest season of Agents of SHIELD, the fifth season of Arrow, the new Netflix original series GLOW, and a second season of Flaked. Plus, there are a slew of new movies coming to the streaming service.
Below, we’ve compiled the list of TV shows and movies coming to Netflix in June 2017, starting with our personal recommendations. Read More »
The /Filmcast: After Dark is a recording of what happens right after The /Filmcast is over, when the kids have gone to bed and the guys feel free to speak whatever is on their minds. In other words, it’s the leftover and disorganized ramblings, mindfarts, and brain diarrhea from The /Filmcast, all in one convenient audio file. In this episode, Dave Chen, Devindra Hardawar, and Adam Quigley discuss their reflections on the Jurassic Park trilogy, and try to explain why The Sixth Sense and Inglourious Basterds might actually make sense.
You can always e-mail us at slashfilmcast(AT)gmail(DOT)com or call and leave a voicemail at 781-583-1993. Tune in on Monday night at 10 PM EST / 7 PM PST as the guys review Shane Acker’s 9.
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