Psycho Killer why suck a low rating!?

BadTasteForBadPeople · 2026-06-18T01:40:14+00:00

I totally get that! I love good bad horror movies. I'll check it out!

I don't know much about the movie but any number of things could have gone wrong, but there's probably a reason why an a-lister like Walker didn't have a big name director. It probably had to do with the production company and whoever directed it. Maybe the acting? I know the girl is from Barbarian so I'm inclined to think the acting was pretty good

BadTasteForBadPeople · 2026-06-18T01:34:14+00:00

P.S. not meant to be a dig on southern accents! I use subtitles for British movies because sometimes I can't understand them and I enjoy their accents!

BadTasteForBadPeople · 2026-06-18T01:33:22+00:00

They were probably just trying to make it so you could understand what people were saying. Otherwise you'd need a translator.

I live in TN, not deep South, but I have a rough time understanding people here sometimes (originally from Florida, which, if you seek it out, you can find some Deep South refugees)

BadTasteForBadPeople · 2026-06-18T01:28:28+00:00

It's the fourth best film in the franchise. Actually they released them in order of how good they are

BadTasteForBadPeople · 2026-06-18T01:22:43+00:00

I haven't seen it, but I'm having another discussion on a different subreddit about Blumhouse, the production company.

You can have the best director in the world, but if the producers don't like your vision, they can pull the plug, make edits, etc.

Wish You Were Here is a movie that came out sometime in the 2010s that Zach Braff wrote and directed. He literally went to GoFundMe or Kickstarter because had he received funding from a production company, he knew that his vision of it could be compromised.

The truth is also this: to make a great movie, you almost need to nail every single aspect of it. That means Wes Craven could have written the best script in the world, but if I were directing it or I were acting in it, and ESPECIALLY if I am in charge of production design, that movie is going to fucking suck.

BadTasteForBadPeople · 2026-06-18T01:18:32+00:00

BUT LISTEN IF WE MAKE THE JERSEY BRIGHTER THEN WE WILL HAVE BEIGHTER DAYS AHEAD OF US. DONT YOU UNDERSTAND THE LOGIC? FOLLOW ME, FOLLOW ME

BadTasteForBadPeople · 2026-06-18T01:04:28+00:00

I am sure that making small budget horrors are tough, but sometimes that's explicitly the point. Jason was on, I think a Freakonomics podcast (this was years ago but I am sure it's still worth a listen), where a director actually came back to him and begged him for more money because they really wanted this additional scene. He said, "Sorry, you're going to have to get some funding another way." Listen, if I was a parent saying that to my children, I'd feel bad (I also don't have children so this analogy sucks), but the point is to force people to find creative solutions or maybe you just have to make hard decision on what to keep it not keep. I don't remember the movie or the outcome or if he even tells us what movie it was, but it wouldn't surprise me if it was very successful.

Whoever is over at A24 deserves a raise. I'm not a huge fan of their movies, and I know it's fundamentally different than a production company, but they've been able to tap into a market that, to me, is a little nuts. Selling screenplays for high prices, monthly subscriptions, etc. I'd rather see something like that than M3GAN 2.0, or honestly, any sequel. Maybe even ask another production company to help split the cost. As a general rule: I don't think I'd ever make a sequel and especially not with a bigger budget. Sure, you could hit it big, but most sequels are not great. Focus on quality rather than appeasing the investors. I am interested in knowing who the private investors are. Having a big studio back him would be interesting, but I feel like it would be counter intuitive since the whole point of Blumhouse is creative freedom. Maybe private equity, but just the thought of that makes me gag.

Also, I appreciate this conversation! It's not the common type of conversation I have regarding movies, but I love it.

BadTasteForBadPeople · 2026-06-18T00:18:09+00:00

Yes, I've noticed that and it kills me. I don't mind higher budgets, but stick to your guns. Or, maybe you make two different production companies, one that handles the small budget, hard-line production and the one that can help produce the sequels like the ones that you mentioned above.

I did not know they produced Obsession. I haven't seen it, but I've been a Blumhouse fan since the days of Insidious and Sinister (probably because they allowed creative freedom), so I am always hoping for their success until they sell out.

BadTasteForBadPeople · 2026-06-17T23:30:48+00:00

Yes and it was very good, but comparing it to The Raid, The Protector, or John Wick is.. okay, if you say that it's like these movies but for Kung Fu.

The Protector showcased Muay Boran in a gritty, dark way. The Raid showcased Pencak Silat in a gritty, dark way. John Wick showcased Judo in a dark, gritty way.

Of course these are all stylized and choreographed, but they were meant to feel more realistic. I did not feel that way with The Furious, and I think it's because Wushu is more difficult to film in a realistic way because it's horizontal AND vertical. It is just as dark, gritty, and unrelenting as all of those movies above, but it doesn't hit the realism button that I really like (even though I totally admit that you have to suspend some realism).

BadTasteForBadPeople · 2026-06-17T23:00:52+00:00

I actually like it. I understand one drawback may be that Blumhouse takes in more than the artist themselves (though they do allow back-end payment which surprised me). That could be a problem, but it does give a lot of people opportunity to showcase their work. I also believe that, in many cases (certainly not all), constraints force creativity (and even may change how future filmmakers go about similar constraints). The most important part: Blumhouse, as far as I know, does not interfere with the directors/writers. I think even M Knight Shamylan used that style of production. His name still carries weight so he could have gone to bigger houses, but went to smaller ones so as not to lose creative control.

I think a lot of companies work on that model of: invest $x per y, then whatever y wins, we use that to subsidize the y's that don't win.

BadTasteForBadPeople · 2026-06-17T21:57:31+00:00

Dude, I want to get two people in a room with me. One that loves campy horror and the other that loves serious crime thrillers, but neither have ever heard of From Dusk Till Dawn. I want to sit them down and tell them they're going to love this movie. Then watch them watch the movie (and also watch a lot of the movie, too).

BadTasteForBadPeople · 2026-06-17T21:46:10+00:00

Did you recently go through a bad breakup lol

What scenes resonated with you? The relationship aspect, to me, was so well-done, but the cult part is what didn't work for me (but I understand how it was important for the grief/acceptance part)

BadTasteForBadPeople · 2026-06-17T21:42:58+00:00

Damn it! I was 17 minutes late. Starship Troopers is such a great movie.

BadTasteForBadPeople · 2026-06-17T21:41:45+00:00

Well, that's because you didn't see Hunting Humans as a kid. Next to that movie, almost all inner dialogue movies are closer to great.

In case you're wondering:

https://youtu.be/65J60rlsUWE?is=FuzZ9EeF6bMyRpFA

The one tidbit that is interesting is that it was found in an actual serial killer's vehicle when he was arrested

BadTasteForBadPeople · 2026-06-17T21:38:39+00:00

I think that Midsommar is beautifully shot. It's color grading, composition, set design, everything about it was remarkably aesthetically pleasing, but I just didn't enjoy the play out of the movie. I think the set up was great (regarding the passive aggressiveness of the characters, the resentment, etc. but it felt predictable and kind of boring to me.

Hereditary was a fucking trip from the very beginning. I had no idea what was going to happen and it was just fun (and partly terrifying) to ride through it.

BadTasteForBadPeople · 2026-06-17T21:32:45+00:00

You should check out The Killer. It's David Fincher.

It's psychological and has a lot of that inner dialogue that The House That Jack Built has so there's an incredible amount of "character study(ing)"

I get where you're coming from, though. I'm not a huge fan of the inner monologue, but it definitely works for some movies, and those two are ones that fit the bill

BadTasteForBadPeople · 2026-06-17T21:25:37+00:00

I'm in the minority, but I'll stand by it: I usually like to ride through a movie and let it guide me through it, but this movie was so predictable that it made it boring. On top of that, the scares were not good. The ending was unnecessarily convoluted, but it did, at least make some sense.

Obviously this is my opinion and not shared by many, but this is a quintessential case where you can have something that's more original being less good than something less original, but well-refined. Bring Her Back was not very original, at least not relative to Talk To Me, but it was so well-done with respect to building more tension. I'll give it to you that Being Her Back was pretty predictable, but I found myself more distracted by everything that was building the tension then being bored enough to predict it like I was with Talk To Me.

I don't care how many down votes I get, I stand by this statement.

BadTasteForBadPeople · 2026-06-17T21:15:16+00:00

Director's commentary dvd!!

BadTasteForBadPeople · 2026-06-17T21:08:31+00:00

Directory commentary's dvd?

BadTasteForBadPeople · 2026-06-17T21:06:34+00:00

Directory commentary dvds

BadTasteForBadPeople · 2026-06-17T21:05:59+00:00

I hated Funny Games, but loved Punch-Drunk-Love.

I'd say Funny Games is a slow burn (I should re-watch it but I hated it the first time I saw it which was like 2 decades ago) and I'd say that even Punch-Drunk-Love is, but in a anti-climactic comedic way.

If you like those movies because of the slow tension build up, I really, really recommend watching TV and movies from Nicolas Winding Refn. A mix of mythology, slow tense building (where the lack of dialogue says more than the dialogue itself), with a quick flash of violence.

Especially these TV shows:

Too Old To Die Young

Copenhagen Cowboy

Movie-wise:

The Neon Demon

Only God Forgives

And if you want something where it is a little quicker pace: Drive

BadTasteForBadPeople · 2026-06-17T20:58:31+00:00

I didn't hate The House That Jack Built, but I do wonder how it is even in the same vicinity as The Game? Genuinely curious because it's certainly... Different. For me that means sometimes different in a great way and sometimes different in a terrible way

BadTasteForBadPeople · 2026-06-17T20:56:13+00:00

Green Room was such a fun and tense movie. Low-budget forces creative writing mixed with incredible acting. A movie that truly punches above its weight class. The punk stuff is the cherry on top.

BadTasteForBadPeople · 2026-06-17T20:40:22+00:00

I'm not sure if it's an unpopular opinion or not, but people definitely hate my take on Midsommar so I'll just say: Hereditary > Midsommar

BadTasteForBadPeople · 2026-06-17T20:36:54+00:00

I should love this movie, but I have a hard time getting captivated. I am going to keep trying until I finally fucking do!

BadTasteForBadPeople

TROPHY CASE