i have been long time n0t exercise
tats about 3 months ago i went to fitness first~~~damn long l0ng ago
so i decided to drive to john's plc for swimming and badminton-ing
seee swingggging while waiting kaili to come and join us~~~
my t0es are damn weird esp the last toe
and i m goin to pass her b'day present~~for her~~muackzzz
let's start our sport day~~~
my sister's hand was injured by the middle part of the plants~~~accidentally when she plays badminton with kai li
hungry and having our brunch @ tmn segar for yu tau meiiii~~~XO souces of the fish's head mihun deliciousssss
headed to leisure mall for a m0vie~~
DRAG ME TO HELL ~~~
SHOUTING
~~LAUGHING~~tats wat i did inside the cinema~~so did the group of indian girls~~they beat me~~of shouting and laughing in the cinema~~hahaha
tats a nice m0vie really nice h0rr0r m0vie tat i expect to watch for tis year~~
Movie review: Raimi’s road to ‘Hell’ paved with good invention
Drag Me To Hell (PG-13) 99 min. directed by: Sam Raimi. written by: Sam and Ivan Raimi. starring: Alison Lohman, Justin Long, David Paymer, Lorna Raver, Dileep Rao, Adriana Baraza. cinematography: Peter Deming. original music: Christopher Young.
The movie has a pre-credits sequence that sets the stage for whats to come; a family in the 60’s bring their ailing son to Shaun San Dena, a fortune teller and seer who tries to help the boy. He stole a silver necklace from a gypsy caravan and for the past three days has been having violent hallucinations and mumbles something about a dark force ‘coming to get him’. San Dena tries to save the youngster but something supernatural bursts in on the attempt and ….well, you should see it for yourself. Lets just say that at this point Raimi lets everyone know that while this might be rated PG-13 its anything but safe.
Hell then launches into the main story, involving Allison Lohman’s Christine, a sweet and mild mannered loan officer who is vying with a new employee for an assistant manager position at the bank where she works. In an effort to turn the tables to her advantage, Christine makes a break from her usually tender disposition and spurns an elderly gypsy woman who begs not to be foreclosed on. The decision is left in Christine’s hands and she sends the gypsy, Mrs. Ganush, on her way after a humilating display where the old lady grovels at the young woman’s feet.
After a particularly vivid and rousing slap-stick(a stapler is used in a most inappropriate way) battle between Christine and the angry hag in a darkened parking lot, Mrs. Ganush manages to rip away one of the girl’s buttons and issues a curse on it. The only word Lohman hears clearly is ‘Lamia’. She doesn’t know what it means but before very long the cozy and quiet little life she has been trying to maintain with her boyfriend Clay is falling apart. Something terrifying is hunting Christine and hideous visions flood her every waking thought; among them a goat-like creature who stamps its cloven feet outside of her door and the gypsy lady herself, vomiting pounds of beetles and worms onto the young woman while she sleeps. When she consults dime-store psychic Rham Jas, he senses an evil presence and warns her that she has been cursed by a gypsy demon called the Lamia, or ‘Black Goat’. She will hallucinate for 3 days and on the fourth the Lamia will come and literally drag her down to the pits of hell, soul and all.
The plot is just a simple hook upon which Raimi hangs an irreverent and rambunctious series of gross-out gags, jump-scares and atmospheric sequences where characters try to solve problems and find themselves knee-deep in complete, supernatural chaos. Theres plenty of absurd special fx and interesting camera work (a fly lands directly on the lens at one point) but the film’s secret weapon is its breath-taking sound design. When the jump scares land I dare you not to nearly soil yourself. The sound becomes so antagonistic that it results in the first horror film where we desire to cover our ears in fear rather than our eyes.
Instead of giving the audience a concrete monster to fix upon, Raimi keeps switching from one halloween trick to the next; pieces of furniture attack, a handkerchief floats about and mutters as it does so, and there are some very sick-making but ingenious things done with flies. By the time one character regurgitates a whole cat, Drag Me To Hell has already deluged us in more fluids than should be allowable in one film. The regurgitation, especially, is quite frequent. In fact, vomit spews out of people here like pop references in a Tarantino film. Why puke? Because it’s less disturbing to the ratings board and it’s more inherently repulsive. Raimi loves to make our skin crawl, and make us laugh, and then , one scene later, take the whole enterprise seriously and wonder why we were laughing in the first place.
In Drag Me To Hell Sam unleashes seven different kinds of Stooge-like pain on Alison Lohman, who is one heck of a good sport. But in the end, it’s not the gross-out stuff that causes the 50’s horror-style dread but the underlying idea behind the entire movie; when the Lamia comes, its not Christine’s body that will pay the price but her spiritual essence. Fear not the one who can destroy the body, but the soul as well. So while he dishes out supernatural vengeance on Christine and her personal life, Raimi builds the unsettling idea of what such a drastic sentence might push a typically decent young woman to do. This girl doesn’t want eternal torment, and she doesn’t believe she deserves what is coming. In the end, afterall, it was the bank, not she, that had canceled on Mrs. Ganosh. Watching the ways in which Christine attempts to out-manuever the curse adds a layer of tragedy and dread to what , in all other ways,is a vintage horror comic come to life. And this is not a bad thing.
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