Looking for inspiration

>The Banshee Chapter
I didn't really think The Banshee Chapter was scary, it had the same campy feel as From Beyond to me.

Then again, I watched it on 5 grams of magic mushrooms, so your mileage may vary.

Was that the one with not!Hunter S. Thompson?

Yup

>Has there been a Lovecraft Horror film as good as this one?
everyone other lovecraftian film is better than the void

every. one.

yes. including the last lovecraft: relic of cthulhu and howard lovecraft and the frozen kingdom

>t. Someone who hasn't watched The Void.

Dagon.
From Beyond (Best end.)
Color from the Dark.
The Call of Cthulhu (2014 version).
Pan's Labyrinth
Kindred (1978, not the vampires. Beautiful transformation scene.)

Actually it was Hunter S. Thompson.

Well it was available to stream a few months ago, sorry.

>Has there been a Lovecraft Horror film as good as this one?
You mean the old Trilogy of Terror?

The Mist.

The Colour Out of Space has a black and white adaptation, Die Farbe. I found it marvelous.

The Whisperer in Darkness was also made into a movie in 2011.

You mean the Apocalypse trilogy?
In the mouth of madness is the only one that's really Lovecraftian.

>The Mist.
horrifying

For raw cosmic horror atmosphere, there's two I really love.
>Possession by andrzej zulawski
>Beyond the Black Rainbow
No other movies I can think of really capture that feeling of an uncaring universe. Most films have to make it about demons or an evil wizard who is malevolent on a human level, rather than being unsettling in an abstract way.

In the Mouth of Madness is one of my favorite movies just on it's merits. Ditto for The Thing--it might be an obvious choice, but it's obvious because it's a fantastic suspense film. I might be the best dark, hopeless ending in cinema (in the sense that it's also dramatically satisfying).

I enjoyed the Void, and it had some excellent moments, but I thought the script was overall kind of weak, and some of the filmmaking was amateurish. The ending left me a bit disappointed, as did the main villain.

It's more of a gothic story, but Autopsy of Jane Doe has an atmosphere that verges on cosmic horror.

There's a film called Dagon that's pretty campy, but I think it's a solid adaption.

>The Mist.

That movie was shit. The acting was decent, but the script was horrible. Also, it was in no way a Lovecraftian story.

I always turn it off right before the ending. I hate that ending. It's pointless. He misses being rescued by just a skosh. That's just lame, heart-string attempts and it angers me.

Wow dude, it's like, just maybe, a horror movie?

Ending was unironically the best part.

What about the Noroi?

Tbh the ending is the only good part in that movie.

It was great, Okuruto was pretty neat too.

Just watched this.
Pretty good.

>Mist was bad
fuck you

>Not Lovecraft
Fuck you even more

>the ending was bad
fuck you the most

Whisperer in Darkness looks pretty good.
Maybe a little too far on the schlock side, but still worth watching.
youtube.com/watch?v=wQkos7WTHjg

youtube.com/watch?v=A_ee9K9hXtw

user's being hyperbolic, but it really isn't that good. I had high hopes, but it's basically House of the Devil-tier slavish homage with wooden acting and no new ideas

I enjoyed Feed the Light. Low budget but spooky and surreal

youtube.com/watch?v=Z4zgJKMYe8k

The Thing is one big love note to At the Mountains of Madness.

Dark Waters (the Baino one, theres like three) is not explicitly lovecraftian, but there's heavy Dagon vibes

youtube.com/watch?v=ldB7793MSsE

King was so impressed and surprised by the ending to the movie that he said he wished he'd written it.

The Void wasn't very lovecraftian. It's was a bunch of run of the mill gore monsters and a dumb-fuck necromancer. There wasn't much in the way of subtly or mystery or even that special brand of pulp melodrama HPL couldn't avoid.
It was a standard monster flick with a cool but underused asthetic and a few mentions of old gods and the inclusion of a cult.

And the villain sucked he didn't seem insane, inhuman or transcendent enough for his plan to make psychological sense. He said he wanted to beat death but he just made a bunch of crappy creatures. If they had some kind of intelligence or purpose behind their actions it would have made sense, if there was still something eerily human about them they could have been creepy.

The Deep Ones, the Mi-go, the Elder Things, they are all monsters but they have science, they build cities. They do some things that seem savage or monstrous to us but the fact that it works is what makes it scary. They do fucked up shit but they are like us, maybe even better than us. They could rule this world better than we could.

The Void's corpse monsters can't do shit and the guy making them just seems like a stupid asshole.

With that bitterness out of the way seems pretty spot on. Black Rainbow isn't tentacle monsters and cults but it builds a mood and uses horror similar to HPL. In a lot of ways it feels like an updated take on one of his stories, right down to the antiquated style, obscurity and a scholar character seeking and, failing to handle, forbidden knowledge.

In the Mouth of Madness
Event Horizon but it's a little more 40k
the silent "Call of Cthulhu"
"Whisperer in Darkness" by the same people. Whisperer is a talkie.
Die Farbe/The Color is a direct adaptation of The Color Out Of Space and it's pretty good.

It's pretty solid. What he did totally made sense given the moment and given the same information most of us would have done the same. It was a calculated risk but it was a risk nonetheless.

It was actually solid old-school tragedy, his main character trait was that he was a reasonable man. He did the intelligent thing and abandoned a group that had given itself over to insanity to preserve itself. He did what seemed best to save himself and his family in a bizarre and chaotic situation. He did the smart thing and spared them a painful death.

BUT even with his clear reasoning he still couldn't ultimately see how shit would unravel. His certainty in himself fucked him over. If he hadn't given up on the group he would have been rescued.
Ultimately, how could he have know?

Like all tragedies the point is that even the best of us are sometimes just fucked.

And that anger we feel when we watch something like this is catharsis, it's the end game of all tragedies. It's there to overload and purge us by seeing shit hit the fan.

If it doesn't end horribly then nothing changes. If nothing is destroyed we don't get a true release.

>He said he wanted to beat death but he just made a bunch of crappy creatures.
He wanted to bring his daughter back to life. Whatever power(s) he served or worshiped gave him the means to do so however the majority of the creatures you see in the film are failed attempts at doing so. The movie itself had plenty of opportunities for more explanation and exposition, particularly when the main character stumbles upon the doctor's journal and, instead of having a quick view of it and discussing the matter, he gets a headache and has a vision. Which itself can be argued as somewhat Lovecraftian as the main characters in a lot of his stories end up having visions, lose their grip on reality or simply pass out for no reason after encountering the same kind of documentation.
>The Deep Ones, the Mi-go, the Elder Things, they are all monsters but they have science, they build cities.
They also fuck backwoods women who do dark rites and worship them, who then give birth to offspring like Wilbur and his brother. Which is where I see the inspiration for the monsters in the Void coming from as well.

Yeah but Wilbur is smart and sort of sad and pathetic which makes him an uncanny valley type of creature. He has enough humanity t accentuate his monstrous qualities and intentions. The Voids creatures might follow the visual style guide but they fail to capture the core idea behind it.

Which is kind of the movie's thing. It has the visions and journal but they don't conveys meaningful information, they don't imply anything grander. It withholds information by having a dude pass out and have a vision but without any meaningful implications, the lack of information is just a regular old hole.
>creatures you see in the film are failed attempts at doing so
If that's true I could have missed something. But the guy never seemed like he was in much of hurry to fix his mistakes. He could have used some kind of better tomorrow speech to convince the hero but he didn't. It didn't come off as eldrich or anything just dumb and shallow. He doesn't convincingly seem to care about his dead daughter or life in general. He presents himself as a highminded badguy.

He's a totally inhuman villain with placid backstory that fails to math up with his character as presented in the movie. And there isn't anything to imply deeper meaning, just holes, images and some very nice but ultimately empty practical effects.

>He has enough humanity t accentuate his monstrous qualities and intentions. The Voids creatures might follow the visual style guide but they fail to capture the core idea behind it.
True, but his brother, the Horror, was not, which is more where it seems they drew their inspiration from. In regards to exposition we're on the same page. However I think due to whatever run time they limited themselves to any explanations we could have received was cut to keep an audience more on the edge of their seat then going "Hmm.. yes. I get it now!".
>But the guy never seemed like he was in much of hurry to fix his mistakes.
It's why he kept them in the basement of the hospital. IIRC we're told the hospital had a fire, which leads to whatever he was doing having been the cause of it. With everything being moved it put a damper on whatever plans that we are never made aware of, and thus he had to move his time table up, like most villains do.
>He's a totally inhuman villain with placid backstory that fails to math up with his character as presented in the movie.
He did what he did to bring his daughter back. The inhuman part is killing the main character's ex-wife and using that as a basis to try to get him to convert to his side so he could "see her again". In the end, the main character did see her again, and gained a better form of immortality and "resurrection" for his loved one than the doctor had throughout all his attempts.

It's an okay modern B-Movie Horror flick, however it takes a couple viewings to catch the gist of what's actually going on. The information's there, it's just not readily apparent upon one viewing.

It impressed me more, probably because I had no idea what it was about when I started watching.

I assumed it was some standard serial killer movie, I think, then things started getting really weird.

Even taking into account my own experience, I think it was better than just a standard horror flick.

I agree that it is an okay modern B-Movie. It's really visually great, it has some incredibly interesting designs. It also sets itself up very well.

>The information's there, it's just not readily apparent upon one viewing.
It is but it's not interesting insightful information and it's not communicated very well. Yes the guy did want to bring his daughter back, we know that because he told us. But there is nothing to imply that that is actually true a said from the fact that he said it, it's a piece of information that just floats on top of everything that is happening. The information isn't readily apparent, not because it's layered into a finely crafted world or anything like that. It's obscured by poor storytelling.
And even once all the information is put together it doesn't make a particularly grand picture. Since Cosmic Horror is all about a grander picture I find this to be a pretty solid fail on that front.

If there is some kind of cut bits that make it all fit together I still doubt it would be enough to make everything else click in meaningful way. If they do they'd have to be so amazing the director/editor would have to have been an idiot to throw them out.

It's not bad, it's not good, it's not really anything, which I think is almost worse than being bad. It works and it makes sense in terms of monster movie logic but it has doesn't ask any interesting questions, so can't receive interesting answers. It provides no mystery worth solving, only stock characters and stock conflict that resolves in the usual way. I get liking the aesthetic but the rest just isn't anything and I don't think there's any need to pretend this was anything more superficially Lovecraftian.

I might be acting all spergy but I think we should have higher standards than this. We should ask for more than a handful of evil cults and the word ELDRITCH stamped on everything.

>Have some neat art for my long-ass post.

I really enjoyed The Void. I thought it did a lot with what they had going, didn't choose to explain more than what characters might logically be able to understand given their situation, and had motivations/entities/locations that do not fall into our realm of reasoning and understanding. Some aspects of it show its limited budget, but most of it works really quite well.

And while King and Carpenter are well covered in this thread, I'm really confused as to how Clive Barker hasn't been brought up yet?

>Hellraiser 1/2/4
>Nightbreed
>Lord of Illusions
>Book of Blood
>The Midnight Meat Train
>Rawhead Rex

Obviously, the degree to which they fit a "Lovecraftian" definition varies. But there are so many things that take obvious inspiration from his works that it seems negligent not to include them.

Going in blind did probably do a lot of it. I actually try to watch most horror blind for that reason. It Follows was one I saw with no foreknowledge, and might actually work to a degree for references to such horror in this thread.

It states/implies the fire was started by the failed experiments (the results of drifter orgy house) were kept in the basement-basement (which is down a set of stairs that doesn't exist) and that they started they caused the fire because they wanted to die but couldn't.

>Since Cosmic Horror is all about a grander picture
I think this is, from my perspective, a misunderstanding of Cosmic Horror. It is in many ways about our position relative to some grander picture. And we are inherently not a part of that. I think the film does a solid job at suggesting there is much more out there, but as in a lot of the best of Lovecraft's stories the characters only catch glimpses or second hand information.

>but it has doesn't ask any interesting questions, so can't receive interesting answers
I would have to suggest that is in keeping with most of Lovecraft's Mythos stories. A lot of his stories don't go anywhere except for the direct experiences and impacts on the narrator/companions. It is one of the ways I think the movie most fits with being described as Lovecraftian.

>It is in many ways about our position relative to some grander picture. And we are inherently not a part of that. I think the film does a solid job at suggesting there is much more out there
But it doesn't, it only gives us a few images that have little to do with what's happening in the story. The horror comes when the grand picture is somehow linked to the smaller world creating the sense of scale. The Void gives us some of that in the begining with the glimpses of strange vistas. We get a conflict with monsters in a basement and a guy who talks about old gods in one spot and a pig pyramid on an alien world in another. The alien world is on the other side of a very sterile portal.
The two are mentioned to be together but the way they are presented they don't thematicly connect.
The horror of scale is seeing how our world fits into the larger one but the Void doesn't provide that moment. By the end the larger world remains somewhere else, beyond the portal, away from here.
The it's presented the evil is an invader of this world not a denizen or master. By the end it's pushed back though the portal.

>I would have to suggest that is in keeping with most of Lovecraft's Mythos stories.
Those stories do ask some interesting questions or at least they lead us to ask the questions since, like you said, the conflict is indirect. The conflict in the Void is extremely direct and aside from a very well placed blackout at the beginning (which is never capitalised on) and an unnecessary hallucination sequence we have no reason to question what is happening.
And there is so much fucking exposition that there is no need to ask any questions because the movie is loaded with them.

This movie is the opposite of what you are describing. It is blunt and direct and leaves little room the imagination.

The Void is an awful Lovecraft film. All of the trappings and none of the buildup or suspense. 31 minutes(I timed it) into the movie and two characters are already hacking a tentacle monster to pieces with fire axes.

So, there is direct interaction with the cult figures and it is in the protagonists home town. These things are literally happening under their noses. These are members of their community. That is how the grand picture is linked to the smaller world. It's a doctor tapping into things man was not meant to know and the fallout from that. The very sterile portal underscores the human separation. You're forgetting that Lovecraft's works are stories about people, and The Void very specifically hooks into that aspect of them. The horror of scale is acknowledging that you are only seeing someone ankle deep on the greater universe and that the ocean goes much farther - not seeing the bottom of the ocean.

>And there is so much fucking exposition that there is no need to ask any questions because the movie is loaded with them.
Not all narrators are reliable. Just because we have the characters providing exposition does not mean it is 100% true.

Also, here are some questions that can be inferred from a single viewing of The Void:

How or what caused the Doctor to be introduced to The Void?
How much of the community is involved to have kept it all secret?
What motivated the Nurse to stab the guy with scissors and cut off her own face?
Why did the Cult wait until everything was almost over to move into the Hospital?
How did the stairs that don't exist get there? And the basement-basement?
Did the portal lead to an afterlife? Alternate dimension? Another planet?
Was that really the guys daughter?

Those are all questions in line with questions raised in Lovecraft's works. The core conflicts in most of his works are also very direct. Mystery doesn't just come from being obtuse and cryptic. Most of the quality Greater Mythos stuff is peripheral to the stories being told.

There are so many "good" examples of cosmic horror stories that do exactly what this movie does, a lot of them by Lovecraft.

i watched it and it was a major letdown on every level for except some of the practical effects

>The Void is an awful Lovecraft film. All of the trappings and none of the buildup or suspense.

truf

>Possession
Can any user explain to me what I just watched? It was good but I'm disgusted and filled with question I know won't be answered.

>AM 1200
Came here to say this. Also any lovecraft related movie with Jeffry Combs in it for campy goodness

>not!Hunter S. Thompson
>notnotHunter S. Thompson
That's what they said, exactly Hunter S. Thompson

Check out Borderlands, its got a real Lovecraft feel.

it's about a group sent by the Vatican to investigate a "miracle" in a church out in bumfuck nowhere.

True Detective season 1?

European psychological horror film with supernatural elements.

>Borderlands
Oh my fucking god, that ending was just fucking SOUL CRUSHING.

May God have mercy, I have a new master now.

In the Mouth of Madness is probably the next best, but Void was legitimately great. I ran into it on Netflix just recently and was so surprised. Not many horror movies get made like that anymore.

>suggesting bang addressing is he same is not-equal-to notation
Disgusting

If only, if only.

bump

>disgusted and filled with question I know won't be answered.
Isn't it awesome?

> in no way a Lovecraftian story.

What part of tentacles driving people crazy in New England doesn't sound Lovecraft?

youtube.com/watch?v=L8I_J2VjsqQ

The SOMA web series. A bit "hopeful" Lovecraft but even he had some uplifting stories.

I need to really dig into these recommendations as I'm currently trying to write a horror short film my film school head wants me to do and will produce, want to go full Lovecraft. I'm probably going to write two as I have two distinct settings I want them set in, 1920s and modern times, and then see which is the most viable (while you always want to do the best for pre-production, putting in a shitload of effort for a simple 5-minuter just isn't worthwhile). Of course you don't have to fully CGI render an army of Shoggoths rampaging across Budapest ripping citizens apart and swallowing them in eternal darkness to make horror.

The ending felt like what all the teens in highschool wrote for their horror stories, every single time.

I liked Noroi

>Stranger Things is a Call of Cthulhu campaign.
A really shoddy one with terrible antagonists maybe.