What functions does a smart TV have?

According to an Ofcom survey, only 11% of households in the US had a smart TV in 2012 – by 2022, that figure had risen to 48%. This is definitely reflected among our readers: in a recent RadioTimes.com survey we conducted with over 500 participants, we learned that 47% of them own a smart TV.

With nearly half of the US population watching TV on a smart set, they’re clearly here to stay. But what is a smart TV and what does a smart TV do? Read more

Dramanice vs Dramacool, How to download faster?

Dramanice – Watch free Drama Online

Dramanice - ondramanice for asian

Dramanice – ondramanice for asian

Dramanice (dramanices) is a big website for watching Asian drama and Asian movies with English subtitle. Dramanice provide Korean dramas, Chinese dramas, Japanese dramas, Hong Kong and Taiwan dramas, you can also download Asian movies with english subtitle for free. Dramanice was created in 2014, Delivering thousands of Asian Movies to millions of viewers around the world. The main site dramanice.com was closed after receiving numerous copyright complaints from television stations. So, Dramanice.com is moving on to other domains like dramanices.com, dramanice.to, dramanice.ru and now ondramanice.io.

There are many looking for app for dramanice websites but at present dramanice does not have any applications available on mobile phones and computers. You can only download and watch movies at the dramanice site.

Dramacool – Dramacool for everyone!

Dramacool for everyone

Dramacool for everyone

Just like the slogan “Dramacool for everyone” dramacool is providing Asian dramas and movies for free like Dramanice. But, in the dramacool site you can find and watch dramas more easily than dramanice. The layout of the dramacool site is clearly divided, you can select tabs to watch new dramas, movies and kshows.  Like dramanice, dramacool receives a lot of piracy from television stations and Google. So dramacool.com has also been replaced by dramacool.to, dramacool.io, dramacool.ru, dramacool9 and now watchasian.io. Dramacool app is not working.

Why Dramanice and Dramacool?

  1. Dramanice and Dramacool is the biggest site to watch Asian dramas and movies for free.
  2. Dramanice, dramacool are safe for your phones and computers.
  3. This sites providing movies with HD Quality!
  4. There are alot of servers to choose to watch.
  5. Both of these sites do not contain annoying ads.
  6. English subtitle updates quickly
  7. Special thing is free and free

How to Download faster?

Dramanice & dramacool help you download dramas and movies for free and easy. Follow the instructions below to download the faster with the best quality.

Step 1: Visit to kissasian download site click here
Step 2: Find the drama you want to download

Step 3: Click to the link to watch or download
Step 4: Look the download icon below right side of player
Step 5: Chose the format of video and click to download

New dramas on dramanice and dramacool

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If you want to watch and download Korean Drama Engsub with HD Quality you should visit dramafire  and dont foget to read more our tips for kissasian site.

15 Great Horror Movie Performances That Deserve Oscars

The Academy is known for having a genre bias against horror films. They sometimes nominated horror films but they had to be some kind of a cultural phenomenon or have a great box office to gain recognition and even then, some shocking snubs happened.

Here are some of those great performances that people expected to be nominated but they ended up missing and also some who never had a chance at the first place because of nature/tone of their films.


15. Kirsten Dunst – Interview with the Vampire (1994)

Neil Jordan’s adaptation of Anne Rice’s famous gothic novel was commercially successful, but it struggled to please some film critics and fans of the book. Some loved the atmosphere, while some claimed it lacks the right atmosphere. Some said it’s thrilling, some claimed it’s boring and nonsense, blaming Rice’s script.

Tom Cruise was great in an unlikely role but his chemistry with Brad Pitt, who admitted that he was miserable during the production, was criticized as dull and lifeless. Its gore scared Oprah Winfrey even who left the movie after just ten minutes in.

Whatever you thought of the movie, there’s no denying: its highlight was Kirsten Dunst who gives one of the best child performances. She was spotted by talent scouts and was the first girl tested for the role of Claudia, a vampire child. She shines in every scene she is in, even though the film has a notable all-star cast, she hold her own against her famous co-stars and got some great moments (particularly the incident in which Claudia tries to cut her hair).

Dunst earned some nominations and awards from critics groups, won a Saturn award, nominated for a Golden Globe but subsequently snubbed for an Oscar. But here’s a more surprising thing: Dunst grew up, made a lot of great films since then including some terrific work like “Melancholia” and she’s still not nominated. How unfair is that?


14. Gary Oldman – Dracula (1992)

soundtrack better than film

Francis Ford Coppola’s take on “Dracula” was also criticized by some fans as being “confused” and relying too much on its atmosphere, but it was still much more critically acclaimed film compared to the previously mentioned “Interview with the Vampire” and even though some of the cast members (particularly Keanu Reeves who was so bad that Coppola later said he won’t work with him again) were criticized for their performances, Gary Oldman got almost universal praise for his portrayal as Count Dracula / Vlad the Impaler.

Oldman was long considered as the best actor with no Oscar nomination until he finally got nominated for “Tinker Tailor Soldier Spy” and finally won for “Darkest Hour”, but does it make us all forget that he was snubbed for so many times for so many great performances?

Oldman’s performance has also had some impact on pop-culture and become somewhat of an influential performance. For example, “What We Do in the Shadows” (2014) actor Jemaine Clement based his performance as Vladislav on Oldman’s Dracula.


13. Sam Neill – In the Mouth of Madness (1994)


Of course, we can’t expect an Oscar nomination from a John Carpenter film, even though Jeff Bridges was able to snatch a nom for “Starman” (and Kurt Russell was an Emmy nominee for “Elvis” but that was not a genre film), which is a shame because there had been so many amazing performances in his movies; Kurt Russell’s iconic roles in “Escape from New York” and “The Thing” or James Woods’ cool turn in “Vampires” among them.

“In the Mouth of Madness” had even a less chance to get nominated for anything (other Saturn awards of course), because it received some very negative reviews when it first came out, but years later, the reception has started to get better and some articles have been started to write about what kind of a “misunderstood masterpiece” it was.

Was it a masterpiece or not is a different subject, but it’s a great film with some really iconic scenes. Sam Neill’s amazing performance in the lead role as a man who loses his understanding of reality makes it even better. For general audiences, Neill had always been “a guy from Jurassic Park” (and even there Goldblum overshadows him), but films like “In the Mouth of Madness” shows what a great actor he truly is.


12. Kiefer Sutherland – The Lost Boys (1987)

“They’re only noodles, Michael.” Another performance nobody expected to get nominated for an Oscar or anything major because it was a teen vampire horror-comedy, but it would make such a cool nomination because through the years Kiefer’s amazing performance as David, the leader of the vampire bike gang, has enjoyed even more popularity than it was when the movie got released.

Well-known movie critic Peter Travers puts his performance among the best vampire characters of all time, citing the scene where he attacks Surf Nazis at a bonfire as a particular highlight.

The film is still beloved as ever and you can see people still having a David make-up in Halloween or can come across some characters in teen vampire films and TV shows influenced by his performance. His demonic charisma, remarkable screen presence and the way he delivers his lines still entertain the fans.

Sutherland later collaborated with director Joel Schumacher again and gave other great performances, portraying dark characters in his films “Flatliners” (1990), “A Time to Kill” (1996) and “Phone Booth” (2002, probably the best voice acting performance in a non-animated film?), but “The Lost Boys” still remains as their most iconic collaboration.


11. Jennifer Carpenter – The Exorcism of Emily Rose (2005)

The Exorcism of Emily Rose (2005)

Possibly the only half-horror, half-courtroom drama in history, Scott Derrickson’s “Exorcism of Emily Rose” aims to look at the exorcism phenomenon from both religious and scientific perspectives and make his audience to question what do they believe in.

Probably the only scary parts in a “traditional” sense of horror are the ones that feature Jennifer Carpenter in flashback scenes. She’s famous now for her “Dexter” role but was a newcomer back in time. Derrickson was smart enough to avoid effects or over-the-top make up in favour of a truly effective, fantastic performance and Carpenter just shines in all of her scenes.


10. Michael Pitt – Funny Games (2007)

Even though he slowed down a bit recently, Michael Pitt has an impressive auteur resume given his age. He already has worked with Martin Scorsese, Martin McDonagh, Gus Van Sant, Bernardo Bertolucci and also appeared in this highly divisive Michael Haneke film which deemed both as a “masterpiece” and “arthouse torture porn” by critics and film fans alike. You may agree or disagree but one of the superior sides of “Funny Games US” to the original “Funny Games” was strength of the acting performances.

Tim Roth, Naomi Watts and Brady Corbet are all good, but it’s Michael Pitt who ends up being the most memorable of them. He is creepy, he is charismatic, he is violent, he is sadistic and even bit charming.

You may dislike his performance if you’re among the haters of the film, but if you loved the film, then his performance had a lot to do with it. We knew that he’s good at playing disturbed psychos, as his character was probably the most interesting thing about “Murder by Numbers” (2002), but here he reached a next level.


9. Essie Davis – The Babadook (2014)

Recently arthouse horror has probably entered its golden age. Almost every year we get one particularly acclaimed horror film, like “It Follows”, “The Witch” and “Hereditary”. “The Babadook” is one of those.

Expertly directed and crafted by Jennifer Kent, the film shines a light at the effects of pain of loss and how our grief can be some kind of demonic presence and can mess up our psychology. It’s not exactly the twist or should we say, reveal of the mystery here that is strong but how the film explores the complex nature of motherhood and how a person deals with grief.

For an inventive film like this, Kent needed a strong actress to display all the devastating feelings our main character goes through and Essie Davis is the perfect choice. She makes us understand her fears, her depression and also makes us scared by shifting madness.

8. Isabelle Adjani – Possession (1981)

Possession film

One of the greatest female performances ever, a deserved winner of Cesar and Cannes Film Festival Best Actress award. Adjani is a total tour-de-force in this creepy, scary, confusing and maybe a little wickedly funny Zulawski classic.

It’s a very daring and challenging performance that not many actresses can take, but Adjani does wonders with it, with the subway scene being a particular stands out. Seriously, if you only look at that scene alone you’d understand why she’s on the list.

Some may find the performance, particularly her expressions as over-the-top which is understandable, films like this are always of acquired taste but that’s the nature of the movie. Adjani has gone on record to say it took her several years to recuperate from her performance here.

That was probably the golden age of her career when she kept working with strong high-profile directors and gave some amazing work (“Story of Adele H” is another standout and of course, Herzog’s “Nosferatu”), but “Possession” remains possibly as her best performance ever.


7. Marcia Gay Harden – The Mist (2007)

Stephen King has created some of the scariest domineering and fanatically religious characters of literature. Margaret White is probably the first comes to mind, portrayed by Piper Laurie for her Oscar-nominated turn in Brian De Palma’s “Carrie” (1976) and more layered turns (but in not-so-good films) by Patricia Clarkson and Julianne Moore in subsequent adaptations.

In 2007, Frank Darabont assembled one of the best casts ever in a horror film for his (so far) last Stephen King adaptation, but many of them are overshadowed by Harden’s extraordinary work. How many people can you find who didn’t end up hating her character after seeing the film? She dominates the film in a way it should and elevates it.


6. John Lithgow – Twilight Zone: The Movie (1983)

In soon, Lithgow will appear in the new film adaptation of Stephen King’s “Pet Semetery” and one would think how come that he didn’t do more horror. He can be very scary, like truly frightening scary (Blow Out) or campy, entertaining way of scary (Raising Cain).

“Sinister” and “Exorcism of Emily Rose” director Scott Derrickson once said, when a horror film frightens us, it’s because of how characters themselves are scared, how believable they are in their expression of fear. He argued that if Shelley Duvall wasn’t so convincing in “The Shining” as a scared woman, the film won’t be as great as much as it was. It’s very true in this case of Lithgow’s, who stars in this version of “Nightmare at 20,000 Feet”, directed by George Miller.

Lithgow gives a bravura performance as a very anxious passenger with a fear of flight, a performance which he will make a very fun reference to in one episode of “3rd Rock from the Sun” in the future. Lithgow was already having a great year as he also had a supporting, sensitive part in Best Picture-winning “Terms of Endearment” and he got ended up nominated for that performance instead of this. It’s hard to complain as his turn in “Terms” is also beautiful, but if he’d be nominated for this performance instead, that’d be more deserving.


5. Nicole Kidman – The Others (2001)


Alejandro Amenabar is one of the most underrated directors of genre films and he’s great at getting some amazing performances from his actresses such as Penelope Cruz in “Open Your Eyes” and Rachel Weisz in “Agora”, but probably the best performance ever been given in an Amenabar film (okay, Javier Bardem is also excellent in “Sea Inside”) has to be Nicole Kidman in “The Others”, who got nominated for her performance in “Moulin Rouge” at that year and just like Lithgow, probably this performance helped her to get some extra points.

She had a showier part in “Moulin Rouge” part probably, but that’s not a reason to overlook “The Others” in where she stars as a neurotic single mom, raising two seemingly problematic children while her husband is fighting in WWII. She’s superbly cast here (but then again, Kidman is always amazing), she nails the English accent (no surprise) and carries the film on her own.


4. Anthony Perkins – Psycho (1960)

psycho bates

No need to say more probably. Perkins’ performance in “Psycho” is not only one of the most famous and iconic performances in horror film history, but probably one of the most popular performance ever in cinema in general. Perkins plays Norman Bates, a young man, suffering from dissociative identity disorder, who runs a small off-highway motel in California.

In Robert Bloch’s source novel, Norman is a short-sighted, overweight and balding man in his 40s, prone to heavy drinking, who becomes Norma whilst drunk and blacked-out but the screenwriter Joseph Stefano and Hitchcock himself decided to make a change and it worked.

Anthony Perkins turned the character into a sensitive vulnerable, good looking, charming and sad young man. Perkins created an original, complex villain character and even though “Psycho” was a sensation, Academy snubbed him for a nomination.


3. Mia Farrow – Rosemary’s Baby (1969)


Strong performance is the one that makes you feel what the character is feeling which is something Mia Farrow did it amazingly in “Rosemary’s Baby”. As influential film critic Pauline Kael said “Mia Farrow is enchanting in her fragility: she’s just about perfect for her role.” She sure was.

The expression of pure horror on her face at the end alone is Oscar-worthy, but even though she was considered as a lock through the year of its release, surprisingly she got snubbed. Some connected it with the genre bias but Ruth Gordon was nominated and won for the same film in a supporting performance. Strange, indeed.


2. Jeff Goldblum – The Fly (1986)

Goldblum is an actor of wide range; he has played a serial killer, a Satan, a rapist, a furry alien, an actor and many kinds of characters, but what people associate him the most are eccentric scientists and Goldblum-esque parts which have elements of his own real life persona (that is more eccentric than most of his characters) such as “Jurassic Park” and “Independence Day”.

Goldblum played such characters before and after David Cronenberg’s “The Fly”, but it’s the performance that features everything that makes him such a special actor: his ability of playing strange characters and the elements of his own unique screen persona, and the result is brilliant.

Goldblum plays all of his moments with such high level of skill; he’s convincing when the film focuses on his character’s relationship with Geena Davis character and even though he gets buried under the make-up in the later parts of the film, he still makes his audience to feel the human inside, use his eyes very effectively also. Goldblum’s phenomenal and transformational performance got major acclaim but was snubbed by the Oscars.


1. Jeremy Irons – Dead Ringers (1988)


The Academy just didn’t care for Cronenberg’s body horror films, did they? Widely considered to be one of the masterpieces of Canadian cinema, “Dead Ringers” is a remarkable showcase for Jeremy Irons. We had seen many great actors playing dual roles in films, but it’s hard to find a performance that has the same level of strength of Irons’ work here.

He plays two extremely complex characters, he never gets over-the-top but at the same time, he’s also never inexpressive in any moment, which makes it impossible to not get impressed by him here. He keeps confusing the audience and plays his character with high level of intelligence. Irons had a terrific part in “Reversal of Fortune” (1990) two years later which finally brought him the Gold but in a perfect world, we’d have “two-time Academy Award winner Jeremy Irons”.

Honorable Mentions: Serial killer films are often categorized as “thriller”, but one would argue that “Henry: Portrait of a Serial Killer” and “Angst” are scary enough to be considered as “horror films” as they prefer to focus on the psychology of serial killer rather than creating a mystery around them. If we’d consider them as horrors, then Michael Rooker and Erwin Leder‘s performances respectively are more than worthy for an Oscar and every other award possible. Other notable snubs include Ashley Judd-Michael Shannon (“Bug”), Donald Sutherland-Julie Christie (“Don’t Look Now”), Kurt Russell (“The Thing”), Christian Bale (“American Psycho”), Sigourney Weaver (“Alien”), Tim Robbins (“Jacob’s Ladder”) and Jack Nicholson-Shelley Duvall (“The Shining”).


The 10 Scariest Non-Horror Movies of All Time

There are so many phenomenal horror films that possess the power to terrify audiences. One only has to look at Jack Clayton’s 1961 gothic masterpiece, The Innocents, or Tobe Hooper’s The Texas Chainsaw Massacre, to see that film can undoubtedly harness the capacity to scare perhaps more so than any other medium.

These two examples are frightening in very different ways, with the prior serving up sinister chills and the latter wrestling you into a frenzy of terror – this is the power of genre cinema. Yet, many audiences will agree that often the most terrifying films are not necessarily considered horror films at all, but can be read as such.

Feelings of horror are born from many things; insecurity, discomfort, provocation, all of which are certainly not limited to the horror genre. This list includes a number of films which are likely to scare audiences in a variety of ways and for very different reasons, and some of which, defy categorisation. Nevertheless, they will leave most cinephiles feeling mightily unsettled, and are all successful in leaving a nightmarish impression.


10. Hard to be a God (Aleksey German, 2013, Russia)

Hard to Be A God

“This is not Earth. It’s another planet, about 800 years behind.”

The triumph of Aleksey German’s Hard to be a God is that it took six years to shoot, spent six years in post-production, and every single strenuous effort is evident in the final film. It truly is an extraordinary piece of work.

The original 1964 source material written by the Strugatsky brothers – famous for Roadside Picnic, which Andrei Tarkovsky adapted into Stalker – is a significant piece of science-fiction literature, of which German was intent to realise on film for decades.

Sadly, this groundbreaking achievement received a posthumous premiere after its completion by Aleksei German Jr., playing out of competition at the 2013 Rome Film Festival within a year of his passing, and to critical acclaim. Film critic Ignatiy Vishnevetsky even went as far to herald German as “…probably the most important Russian filmmaker to remain more or less completely unknown in the United States.”

The film itself concerns a body of scientists who journey out to Arkanar: a planet that is yet to overcome its own phase of medieval history. The society they witness has spiralled into chaos, with anyone showing signs of intellectual or independent thought being rounded up by cruel authority.

This is a terrifying concept that our own history has seen repeated many times, and under this vision, it comes to light just how primitive this issue of fearful paranoia truly is. Yet, this isn’t necessarily what makes Hard to be a God so unsettling, rather, it is the commitment of everyone involved in making the world of Arkanar so authentic.

The film almost feels like an artifact; a document from another time and place so utterly immersive that, as the film progresses, audiences are likely to question less and less its fictitious nature. It is not a film to be felt, but smelt, and tasted, which make this an unshakeable, revolting, and maniacal cinematic experience.


9. Scenes from a Marriage (Ingmar Bergman, 1974, Sweden)

Erland Josephson as Johan in Scenes from a Marriage

Swedish auteur Ingmar Bergman is often pronounced as one of the greatest filmmakers in the history of cinema, and his most celebrated works – such as Persona, The Seventh Seal – are endlessly thought-provoking, remaining debated and discussed even today.

Both of these films contain enduring and unnerving imagery of which many film-fans could recall in detail within an instant. However, the film mentioned here doesn’t contain visuals of death personified, or the slit throat of a terrified lamb, in fact, the majority of the film comprises of two-shots of Marianne (Liv Ullmann) and Johan (Erland Josephson) as they progress through the breakdown of their relationship and the events that plague a failed marriage.

The disintegration of marriage is a thought that many will find intimidating, and the central performances displayed here are enough to make the film feel personal for the viewer. For shy of three hours – although there is also a TV mini-series – we witness conjugality through the eyes of those who have signed their lives to never forgetting the failure of their love. Bergman’s screenplay is superlative, with every instance of dialogue feeling real under the pair’s honest observations of how the other is behaving and feeling.

The film is essentially a series of conversations that heartbreakingly capture the despair of destroying an intimate union and being completely helpless to forget the effects that both of your decisions have had on your ability to love and move on. Many will recognise the accuracy in their conversations, and in turn, doubt the institution of marriage and their own relationships.

Those who have been through divorce may view this as a horror-film like no other, and those who are yet to enter the realm of marriage are likely to view this as a cynical lesson that such tragedy may not be preventable, but can be apprehended.

On the year of the film’s release, Scandinavia’s divorce rate suffered a dramatic increase. Whether the film played a role in this is arguably irrelevant, but simply an illustrative accompaniment to what Bergman addresses in one of his most affecting achievements.


8. The Seventh Continent (Michael Haneke, 1989, Austrian)

The Seventh Continent

Austrian filmmaker Michael Haneke is one of the greatest living filmmakers, and over the course of the twenty-first century has received significant critical-acclaim for every single project he has embarked on. However, for those more familiar with the director’s body of work, Haneke’s unequivocal skill for demonstrating and analysing human behaviour was prominent early in his career, which was immediately addressed by stunned critics following his directorial feature-debut in 1989: The Seventh Continent.

The craftsman became known in the nineties for his refreshing and radical approach to film narrative with such films as 71 Fragments of a Chronology of Chance. His second feature, Benny’s Video, preceded the exploration of violence and voyeurism that he would continue to pursue in Funny Games, a film which he himself remade in attempts to reach an audience he felt needed to see the film.

The foundations for what many would grow to learn about Haneke over the course of his early output, however, was hauntingly apparent in his first film, which depicts the mundane existence of a middle-class family up until the point of self-destruction.

The film concerns societal erosion, violence, media influence; all hallmarks of his work, although, here they are all investigated with such disturbing restraint. By choosing to construct shots of daily routine and mirror them with acts that bid farewell to this cycle, Haneke comments on the banality of enclosed family life. The shot of money being flushed down the toilet urges the audience to confront selfishness and greed, forcing them to reevaluate and question what is important.

The Seventh Continent is a bleak and crucial introduction for those who are yet to fully acquaint themselves with one of cinema’s most prominent artists. It is extremely uncomfortable to watch, and more importantly, impossible to shake.


7. A Short Film about Killing (Krzysztof Kieslowski, 1988, Poland)

A Short Film About Killing (1988)

No one can deny the importance of this film in relation to Polish history. Upon the film’s release, Polish authorities were so agitated by Kieslowski’s analysis of the effects of violence that they decided to declare a five-year moratorium on capital punishment.

Those who are privileged enough to have experienced A Short Film about Killing won’t even be surprised to discover that it had the capacity to stir social change, as it’s harrowing story of crime and punishment is a timeless insight into brutal murder, considered essential viewing by almost everyone that encounters it.

After senselessly murdering a taxi driver, an apathetic young man is put on trial by the state and sentenced to execution for his crimes. The film’s narrative is incredibly affecting because of the way the events are shot handheld, presenting the audience with so much raw detail in creating a piece of realist filmmaking which scarily resembles and utilises documentarian methods.

Kieslowski presents the murder committed by a disturbed young man in juxtaposition with the murder of this individual committed by the state; passionless and withdrawn, parallels can be found, which resulted in the film quickly being addressed as a political statement.

There are certainly social and political themes to unpack here, although, the film’s power to scare is undoubtedly in the way it portrays violence in such a detached and authentic fashion. There are scenes found here that will burrow under the skin of even the most seasoned genre-fans, but leave them with so much to think about. The continued consideration and appreciation shown for this film since its restoration in 2014 is deserved.


6. Come and See (Elem Klimov, 1985, Soviet Union)

come and see child

The atrocity of war has long been a fascination for numerous skilled filmmakers and audiences alike, which makes it all the more surprising that Klimov’s Come and See is perhaps the best war movie ever made and yet still remains criminally underseen.

Considered one of the finest achievements in all of Soviet cinema, Klimov’s masterpiece observes the Nazi occupation of Belarussia during World War II from the perspective of a young boy who joins the Soviet resistance after uncovering some buried rifles. The sheer horror of war is presented here as all-encompassing, and by persisting with such disturbing imagery, war begins to take on an increasingly hallucinatory form; as if this world of fear and blood has caused the characters surroundings to distort, menacing the protagonist as he strives to survive in an environment of hellish design.

There are a number of sequences which are best described as devastating, and Klemiv ensures that the audience are mesmerised by the toxicity of the events that are not the basis of a mere horror-film, but rather an alarming cinematic portrait of our petrifying world history.

The performances are astonishing, and quite honestly, there are very few films which possess the power to shake audiences to their very core – Come and See is one of those films, and it will leave you terrified and exhausted, as if waking from a nightmare which ashamedly took place.

5. Twentynine Palms (Bruno Dumont, 2003, France)

Twentynine Palms (2003)

French writer-director Bruno Dumont’s third feature is certainly the most controversial, shocking, and arguably, least accomplished film on this list. Although needless to say, it has earned its place amongst this selection, and those who have seen it will certainly know why.

Some films can leave you feeling underwhelmed as they approach the last act, and while some fail to make a final impression in the end, some filmmakers manage to turn it around completely and grab your attention as the narrative suddenly concludes in unexpected fashion.

Not only does Dumont achieve the latter with Twentynine Palms, but he ultimately succeeds in lulling you into a daze for the majority of the film’s run-time and then scaring you half to death in its final moments. While the ending does not suddenly change the way you feel about the endless drudge of dull, sexually explicit activities of a couple travelling through the California desert, it shatters your sense of security completely.

Whether this is mere shock tactics to justify a series of tedious and uninvolving sequences or in fact a gruesome statement denouncing humanity and the unexpectedness or our extreme behaviour is entirely up for discussion.

However, regardless of the conclusion viewers may reach when discussing the film, there is no denying that the last act is vile and destroying, and will be sure to leave audiences choked up with fear. Its comments on the effects of human trauma are visually conveyed in such a bloodcurdling manner, resulting in imagery that will likely fade from memory.


4. Lilya 4-Ever (Lukas Moodysson, 2002, Sweden)


Swedish director Lukas Moodysson’s third feature-film is often considered his best, and it’s difficult to argue. This tale of hope, abandonment and suffering is heartbreaking to watch, and impossible to deny.

The film is actually largely based around the life of Lithuanian girl Danguole Rasalaite, who found herself in Sweden after her mother ran away to America; the character of Volodja is fictionalised, but apart from that, Moodysson’s script closely resembles actual events, making it all the more poignant. Audiences are fully aware that stories like this are very real, but there’s something about Lilja’s tragedy that is able to strike us to our very core, and that’s because Moodysson’s film is such an incredibly crafted piece of work. It tells the story of sixteen year-old Lilja and her young friend Volodja living in Estonia as they yearn for a life elsewhere. After being abandoned by her mother, she is desperate to cling to anyone that can offer her a shred of happiness, and meets a man who promises to give her a new life in Sweden.

The relationship between Lilja and Volodja is beautiful – their dependence on one another to hang on to hope is inspiring, yet sadly, the world is blind to their existence, and a disastrous fate looms over their brave and rare smiles. They are both characters that the audience desperately wants to save, which makes this such a terrifying experience as we watch them face dehumanising abuse and separation. Human slavery will always be topical, and films like this – which uncompromisingly tackle the hideousness of man – are so important in confronting real issues and scarring us with their images of women destroyed.

Humanitarian organisations have even used the film to demonstrate the horrors of human treatment, and in Moldova, the International Organisation for Migration acquired distribution rights to the film and set up numerous screenings to thousands of members of the public. This helps give an indication of just how powerful a piece this is, and it deserves to be seen and discussed more and more with every passing year.


3. The Turin Horse (Bela Tarr, 2011, Hungary)

The Turin Horse

A director’s last film is always important. It is their closing impression on the medium, their final achievement – a conclusive statement on their own filmmaking. There are some superb examples, such as Stanley Kubrick’s Eyes Wide Shut, Andrei Tarkovsky’s The Sacrifice, Robert Bresson’s L’argent, and of course, a film many of you are all too familiar with, Pier Paolo Pasolini’s Salo, or the 120 Days of Sodom.

This decade has seen the addition of Bela Tarr’s The Turin Horse, which stunningly captured and summarised a unique and monumental career – for lovers or Tarr’s work, one could not begin to imagine a more fitting farewell.

The final shot of Tarr’s Satantango is incredibly haunting, and it is an ending that feels repeated in his final film; an image of the world being shut out, whether the characters board themselves inside their own small worlds, or whether the darkness swallows them whole. Either way, in both instances, the filmmaker offers a definitive goodbye, after introducing us to a spectral vision of a universe we’ll never forget.

Here, the audience is presented with the possible aftermath of Nietzsche’s famous encounter with a mistreated horse, which is shown to have a profound effect. The Hungarian auteur presents the daily routine of a man and his daughter as they grapple with existence amidst apocalyptic vastness. Known for favouring long takes, Tarr depicts their mundane survival over the course of silent contemplation and bland meals in a series of thirty shots, which comprise the entire film.

The great director has said that his final film is about the “heaviness of human existence”, and there is no better way to describe it. When the final shot is extinguished, the audience is likely to be left cowering in the dark, still alongside the father and his daughter, wondering when the philosophical anguish will end, and as long as the last shot lingers, Bela Tarr’s cinema persists.


2. Inland Empire (David Lynch, 2006, US)

Arguably this addition qualifies as a horror film in its own right, but it would be ridiculous to try and categorise anything Lynch has made, especially Inland Empire, which Lynch devotees were treated to when the acclaimed filmmaker decided to work with digital video for the first time.

Stars Laura Dern and Justin Theroux have publicly stated that they have no idea what the film is about and marketing executives were clueless on how to promote the film, however, I think the best way to capture the essence of the film is to reference the genesis of the project. One day, Dern received a phone-call from Lynch: “Do you want to come and experiment?” The answer must have been a resounding “yes”.

An actress receives the lead role in a film-remake of a doomed, unfinished Polish production which befell great tragedy. As shooting begins, she notices that events in her life begin to mirror the script, and the rest is pure and unadulterated Lynchian terror. A film like this was always going to be divisive, and even some of Lynch’s fans were disappointed with his work here.

Although, it is adored by many, and is quite possibly the closest we’ll ever come to being inside the mind of one of the most visionary directors in cinema history. It’s a labyrinthine nightmarescape in which he is able to project so many ideas, of which all come together and feel whole in a way only David Lynch is capable of.

The imagery offered here is certainly the most terrifying to be found in his entire career, which is hard to believe, but it truly is. Some of the shots are so unexpectedly eerie and unique, and it becomes a film in which the audience is trying to escape, becoming the protagonist and navigating a frustrated and fractured psyche.

Almost all of Lynch’s work contains terrifying imagery, with Lost Highway, Mulholland Drive, Twin Peaks: Fire Walk With Me, and of course, Eraserhead, which contains imagery that no one else could possibly have conjured, earning the coinage of Lynchian; a term commonly used by film-fans of which has invaded the glossary of popular culture. It would be hard to imagine Lynch making another film after this, because it truly feels the summit of his work, and what a final film it would be.


1. Night and Fog (Alain Resnais, 1956, France)


Finally, the film that needs no introduction: Alain Resnais’ powerful documentary short, proving that there is nothing more frightening than the atrocities of our history. This is affecting in the same way as the aforementioned Come and See in its attitude and representation of the effects of war, however, this is unfortunately the real deal, blending stock footage with ghostly camerawork exploring the setting of a location haunted by its past – truly the first of its kind.

This may be the most emotionally devastating thirty minutes of cinema that anyone could possibly seek out. It presents the Nazi death camps and the way that human beings were horrifically dehumanised through employment of authentic footage that will upset and confront any viewer who falls witness to it.

Along with narration discussing the ordeals suffered by the prisoners, Resnais’ work feels like a complete meditation on the bleakest period of human history. This really is a film that must be seen, and one of the most imperative experiences for anyone with a vested interest in not just cinema, but humanity’s past, present and future.

Author Bio: Christopher Weston is Film & Journalism graduate with a passion for the Arts. He’s interested in film from around the globe, with a keen interest in the stranger side of cinema; achieving much joy writing about the things he loves and his experiences and interactions with the artistic exercises of others.


10 Great Movies Almost Impossible To Describe

Before diving in, let’s touch on the difference between a summary and a description: to summarize a plot is to glean the basic story, which is a simple task in most cases. To go a step further and really describe a movie, the experience you’re about to have, is another beast entirely.

From octopus lovers to biting the fingers off drug dealers, here now are ten great movies with (apparently) straightforward plots, told in mysterious and sometimes upsetting ways.


1. Holy Motors

Stories of family lend themselves well to the bizarre, and Holy Motors, from French director Leos Carax, presents us with a series of relationships centred around love, loss, family – and a lone consistent figure, Oscar.

For his part in all this, Oscar is an aging actor, weary of his business even as he powers through his varied performances with great tenacity and fervor. This is where Holy Motors becomes a real challenge to explain. Oscar is performing on a stage of epic, but deeply intimate, proportions. As the story unfolds, it reveals itself as a solid embodiment of “…and now for something completely different.”

Holy Motors is a tangle of stories and imagery and Oscar’s rapidly shifting roles within his fractured world. Explanations seep through the slivers of time afforded Oscar between each performance, but it’s those performances that make the bulk of the movie and barrel forward with no rhyme or reason.

Just live in the moment with Oscar as he assumes the guise of Monseiur Merde, a violent lunatic sporting a hard-on and devouring fistfuls of flowers before moving on to greater things – Holy Motors will be an experience worth struggling to describe.

There’s a beautiful melancholy woven throughout the story, with one poignant sequence wherein Oscar crosses paths with a woman who seems to be a long-ago lover – but if any scene feels tedious, don’t worry. A radically different one will be along shortly.


2. Happiness of the Katakuris

Happiness of the Katakuris

A tale of a family narrated by the youngest member, Yurie Katakuri (Tamaki Miyazaki). Father Masao Katakuri (Kenji Sawada) uses his meager savings to purchase a dilapidated manor near Mount Fuji (scenic!) – the clan anticipates the creation of the ‘White Lover’s Inn’, a lavish bed & breakfast tourist hotspot.

Depending on a nearby road project to bring them travellers, things don’t quite go as anticipated by the luckless clan. When the guests finally start to trickle in, they have a disappointing tendency to drop dead – not great for a startup business. Naturally, the Katakuris must conceal the deaths to keep the White Lover’s Inn limping along.

Told with a combination of live-action performances and unsettling stop-motion animation that sometimes beggars belief, Happiness of the Katakuris – like other entries on this list – is at its core a dark comedy about family – a family of failures, but a family nonetheless.

Director Takashi Miike (of Ichi the Killer and Visitor Q fame) is no stranger to the weird and uncomfortable, with Happiness of the Katakuris standing with a foot planted firmly in both territories. A particular scene in a restaurant featuring a delicate young lady and a soup-dwelling flying fetus exemplifies Miike’s particular brand of nightmarish imagination.


3. Beyond the Black Rainbow

Panos Cosmatos has described Beyond the Black Rainbow as the movie he always wished was behind the VHS horror movie covers of his youth. Slow-burn and critically divisive, Beyond the Black Rainbow will deliver on that promise of giallo-inspired oversaturated neon, throbbing dark synth soundtrack and Kubrickian symmetry, populated by quietly menacing Dr Barry Niles (a Machiavellian performance by Michael Rogers) and his forlorn test subject, Elena (Eva Allen). Together with a solitary, cruel nurse (Rondel Reynoldson) they inhabit Arboria Institute: a place trapped in time where enlightenment is just around the corner.

Beyond the Black Rainbow is an exercise in patience (until it explodes whole hog into psychedelic and psychotronic territory), and creeps through its story with a backdrop of ominous ambience and mounting nefariousness. Elena is barely capable of walking at the best of times and while she staggers through Cosmatos’ mazelike Arboria, she is barraged by creatures, colours and sound.

In this way she’s relatable for the audience, having as little clue as to what is going on as we do. At times it feels as if dramatically different movies are playing out, culminating in a horrorshow that defies expectation.


4. Heavenly Creatures

Heavenly Creatures

On the surface, Peter Jackson’s Heavenly Creatures is a straightforward tale. A retelling of the Parker-Hulme murder case, and the story of two teenage girls: blue-collar Pauline Parker (Melanie Lynskey) and fancy Juliet Hulme (Kate Winslet) who became so obsessed with their friendship they would let nothing stop its course, and explore the lengths they are willing to go to stay together and entrenched in their fantasy world. Equipped with powerful imaginations after both being subject to frequent hospital stays in childhood, they bond fiercely and quickly.

The execution of the story is frantic, manic and peppered with rapid speech and monstrous clay golems. Juliet whirls through the movie with starry-eyed energy, while her dear, beloved friend Pauline possesses an intensity and edge that propels the events forward in earnest. A story of girlhood and tragedy, told through the lens of two very disturbed young women that grab hold of you and drag you with increasing intensity through what happened next.


5. The Dance of Reality

Including Jodorowsky on this list is expected, and here he is!

The Dance of Reality is unapologetically and earnestly beautiful in the way that only Jodorowsky can be – if nothing else, the imagery will stay with you: a weeping mother ritualistically shearing off her hair, to a disillusioned father with paralyzed arms painted vividly in the colours of the Chilean flag. The story told is a dreamlike version of Alejandro Jodorowsky’s childhood, and particularly his parents; rife with politics, mythology, and theatre.

The patriarch of the Jewish-Ukrainian clan is Jaime (Brontis Jodorowsky – the eldest of Alejandro’s sons) and Sara (the operatic, rubenesque Pamela Flores), portrayed passionately…to say the least. With a forlorn quality, Jodorowsky’s avatar in the film (Jeremias Herskovits) is a sensitive, flaxen-haired milquetoast looked upon by his father initially with contempt.

The story begins clearly enough within its imaginative, surreal trappings. Once Jaime is cured of the plague by Sara healing him with a steady stream of urine on his chest and he decides to assassinate President Carlos Ibáñez del Campo in a plot featuring a horse named Bucephalus, things go a little bit off the rails. The journey is gorgeous, truth is subjective, and a metaphor doesn’t need to be understood to be appreciated.

6. Dogtooth

Yorgo Lanthimore’s most recent works, The Lobster and Killing of a Sacred Deer, led to him becoming well-known to a broader audience, capturing people with his slow-moving, ambient and engrossing visions of the world. Dogtooth, from 2009 and his fourth film, brings the theme of control to the fore.

Living within a fenced compound, we are introduced to a nameless family – the parents (Christos Stergioglou and Michele Valley) and their three adult children, a son (Christos Passalis) and two daughters (Angeliki Papouli as the eldest; Mary Tsoni as the youngest).

Tightly controlled with stories of the dangerous world beyond the compound walls, and filled with distorted ideas of reality and language as filtered through their demented father, the adult children are told they will only be prepared to leave once they lose their dogtooth. When Christina (the sole named character), a woman employed by the father to come and have sex with his son, loses patience in the arrangement and turns her attention to the eldest daughter, the house of cards begins to slowly but surely come down.

Dogtooth is a barrage of intensity and simmering emotion that sometimes breaches the surface, as in an alarming and uncomfortable dance number put on by the two daughters to entertain the family with a bit of dinner theatre. Ultimately a story about control – the gain thereof, and the loss – it sucks you into its cultlike bubble and at the very least, Flashdance will never quite look the same.


7. Repulsion


Shot in glorious black and white, Roman Polanski’s Repulsion is easily summarized as ‘a young woman loses her mind in her apartment over the weekend’ – describing how this all comes about is a little trickier.

Starring a harried and wild-eyed Catherine Deneuve as Carole, frightened of men and living with her flirtatious sister Helen (Yvonne Furneaux), we are introduced to our suffering protagonist and the apartment, where we will, for the most part, remain. Taking off for the weekend with a married man, Helen leaves Carole to her own devices, which apparently means a total collapse into madness as her demons come out of hiding.

Catherine Deneuve spends much of her performance reacting in horror to the disintegration of her reality, with groping hands materializing out of nowhere and walls shuddering and cracking apart around her, and a guy dropping in to firmly cement her disgust and fear of men. The imagery is stark and jolting but only a small piece of the puzzle, Deneuve delivers an incredible performance, and if you’re a fan of rabbits, tread lightly.


8. Seven Beauties


Italian director Lina Wertmuller’s 1975 Seven Beauties is a triumph, earning her a nomination (the first woman to receive such) for the Academy Award for Best Director. Following the roguish dandy Pasqualiano (Giancarlo Gianni) through a tour of Italian machismo, honour and survival in World War II Italy, Wertmuller paints us a portrait of identity under siege.

After being encouraged to commit a murder to keep a pimp away from one of his seven sisters after she is beguiled into a life of prostitution -and following a lengthy scene with a wilful, flatulent corpse flouting our hero’s attempts at covering up his crime – Pasqualiano is first sent to prison.

This is just one stop in his march toward freedom, weaseling his way first into a psych ward and then the Italian Army, and ultimately into a German concentration camp once he is captured as a deserter.

Colourful characters are expected of Wertmuller and she fearlessly provides. The star of this rogue’s gallery arrives late in the game in the form of a monstrous, frigid Nazi commandant who thoroughly emasculates our hero in a brutal monologue.

Seven Beauties is a difficult watch at times – the horror of war underscored by Pasqualiano’s utilization of his famous Italian libido – but tells a passionate and theatrical story. The women he encounters throughout each have a role symbolic and metaphorical, although Pasqualiano’s first true love will always be his mama.


9. A Girl Walks Home Alone at Night


From director Ana Lily Amirpour and billed as ‘the first Iranian vampire western’ (not hard to believe), A Girl Walks Home Alone at Night is indeed ostensibly a vampire story. The titular Girl (Sheila Vand), a contemporary vampire with a cool and untouchable affect, meets a be-pompadoured and leather clad young man, Arash (Arash Marandi). Arash, living in a troubled home with his junkie father and massively fat cat, is wooed by the mysterious and murderous Girl. Together they navigate their desolate, nameless hometown (‘Bad City’) of delinquents and savants.

Straightforward, yes? The story is about a vampire and a boy, but there is more humanity at play than first appears. The Girl is an impassive, sharklike force and Arash is her emotional foil, and the City around them mirrors and distorts both.

A Girl Walks Home Alone at Night is quietly, aggressively surreal: the iconic moment comes when the Girl dons a chador and languidly skateboards down the middle of a desolate road, her chador billowing out behind her, batlike and distant.


10. Possession


Arthouse director Andrzej Żuławski brings us Sam Neill as Mark, a spy and beleaguered husband in the actor’s second excursion into outright horror (following his performance in Omen III). His wife, the severe and ethereal Anna (Isabelle Adjani), drops the bomb that she wants a divorce – but she won’t explain why.

She wants their son, Bob (Michael Hogben), and the apartment; she gets her way on both counts…at first. Shortly after, Anna and Mark begin to ramp up the intensity and animosity of their separation, with the results being anywhere from Anna self-injuring with an electric knife and a realistically awkward grapple in a tiny hallway between Mark and the peculiar Zimmerman (Shaun Lauton). The title promises paranormal elements and gives us as much, though not in the way audiences may expect – or want.

The assumption is Anna is possessed, naturally – and Isabelle Adjani goes to extreme lengths to convince us this is the case. The possession itself takes place in a graphic and horrifying sequence filmed in a subway that is pure, undistilled nightmare fuel.

The nature of the demonic energy at play and the cause of all of this is nebulous; the results all at once alien and viciously familiar. Sam Neill is at turns sympathetic, feral, domineering and a feckless victim – and Possession is deep in its heart a story of jealousy and possession of a different sort. Enjoy with a platter of calamari and buckle up.

Author Bio: William Taylor is a horror enthusiast living in Vancouver, Canada with his partner and three grotesque cats. Follow William on Twitter @RatfinkVN for horror movie mini reviews, recommendations and monster love.


Gomovies | Is GoMovies Safe and Legal? Gomovies Download App



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Yes, the site “Gomovies” is completely safe and secure to use from all angles. You can watch and download movies from this site without any hassle and stress about its legitimacy and can enjoy streaming movies online.

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Is GoMovies Legal?

Does the Gomovies Site Have Legitimate? This is a very important question.

It is very important and important to know about the legitimacy or legitimacy of this site. Currently we have come to the authenticity of GoMovies, is there any illegal when transmitting motion pictures on this site? NO, not that. The most important thing to consider here is that you do not download / transfer any substance so you are protected to a specific level. Essentially legal experts will go for those who request the site and not the final customer. In addition, they own the servers and provide the source through them, so we can say that 90% of legitimate tasks are on their shoulders.

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Gomovies App for mobile

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