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What If Nickelodeon’s ‘Legends of the Hidden Temple’ Was a Horror Movie?


The continued success of V / H / WILL franchise not only due to its anthology format and conceited about the scene but, just as important, with its similarly ragged orange-flickering visuals, allowing movies to hide their grisly scenes a bit out of sight, shocking audiences with their dramatic performances. reveal fear and create anxiety and suspense through the pilot’s movements. The element of audio-video distortion, tracking-related blur, and action is suddenly interrupted and replaced by the recordings below, and the series demonstrates a work of controlled aesthetic chaos. With careful control, all that fast and jarring static, rewind, and fast-forward sound suddenly emerges — figuratively and literally — from below. Stylishly speaking, it’s pedantic, insanely disorienting designed specifically for macabre stories.

While V / H / S / 99 does not boast a unified framing device like its predecessors, in most other respects it is cut from the same magnetic tape. That’s true when it comes to the tattered images of demons and the undead, as well as its overall quality. There isn’t one yet V / H / WILL venture is definitely top to bottom, which would be a more damaging indictment if the same could not be said about similar horror collections. The good news is that this fourth round — which screened in the Midnight Madness section of this year’s Toronto International Film Festival — boasts two comedic endeavors that deftly blend the sinister and the surreal. They may not produce a lot of screams, but at best they elicit laughs of astonishment, I-can’t believe-this-is- happening.

Filled with thanks for the century-changing culture it purposefully took place, V / H / S / 99 Check out everything from Hot Bags and Limp Bizkit to Blockbuster Videos, Radio Shack and Ace Ventura: Pet Detective. The last of which is featured in one of the series’ standout chapters, “Ozzy’s Dungeon”, a tribute to the Nickelodeon children’s game show. Legend of the hidden temple. The Flying Lotus Director’s segment begins as a simple race, with a group of children wearing brightly colored shirts, helmets, and goggles while going head-to-head in juvenile games. Teenagers on TV are decorated with foam props and lots of goo. The presenter (Steven Ogg) is a moron with a bushy mustache and a thin microphone, and he wears it semi-doubtfully when he pushes contestant Donna to be the first contestant to pass. The last obstacle has solved the myth that Ozzy grants one wish. As for cheesy entertainment, it’s a solid game, and culminates in Donna sustaining a severe leg injury before completing the challenge.

The first stage of “Ozzy’s Dungeon” is just a classic joke. However, it is the turn of the amnesiac when it goes to a basement, where the presenter, wearing only her underwear, is taken by Donna’s mother (Sonya Eddy), who intends to take revenge on the showbiz character, locked in a dog cage, who intends to take revenge. her daughter’s injuries forcing him to endure her own version of the obstacle course on the show at the risk of being splashed with acid. With the obese, frantic Donna manipulating this madness in a sweatshirt and sweatpants, this plays out like some sort of psychotic fever dream, and somehow the Flying Lotus manages to raise the bar. achievement by finally letting Donna, her mother, and the host go on a trip. to the show’s original setting, where the mysterious Ozzy seems to still reside. The incomprehensible exciting bedlam ensued.

There’s no rhyme or lucid reason for “Ozzy’s Dungeon,” just a desire to escalate things to the point of laugh-out-loud laughter. In that respect, it succeeds admirably, and the film comes even closer, “To Hell and Back,” with protagonists Troy (Joseph Winter) and Nate (Archelaus Crisanto) attempting to capture a group of wizards in action. perform the Y2K ritual to summon demons into the human body and unwittingly being dragged into the underworld by a wayward spirit. Truly panicked, they attempt to befriend a mischievous, hoarse-voiced resident named Mabel (Melanie Stone), who guides them through this rocky, red-lighted land in an attempt to help they return to the land of life. An alluring and charismatic girl with short messy hair and a bandaged outfit, Mabel is definitely the star of this series, and directors Joseph and Vanessa Winter have cleverly placed the line. head for the terrifying ridiculousness, keeping things light and whimsical until their funny conclusion.

If there’s nothing particularly scary about those two episodes, at least their love of gore and mess is contagious.

If there’s nothing particularly scary about those two episodes, at least their love of gore and mess is contagious. However, when it loses its sense of humour, V / H / S / 99 become a hindrance. “Shredding” is a sad story about a Sum 41-style pop-punk quartet who visit an abandoned music club where, years earlier, a fire has resulted in their death. a rising band; Not surprisingly, the deceased still haunt the business. “The Gawkers” is a long story about adventurous teenage boys spying on their new blonde neighbor and because of their Peeping Tom behavior, they have to suffer the consequences of standing up. nape. At least “Suicide Pay,” the story of a college student (Ally Ioannides) who becomes the victim of a brutally brutal prank that has gone awry leaving her at the mercy of a child. Hungry vampires, sharply skewering the monstrosities of Greek ritual life and their perpetrators. Unfortunately, it failed to evoke the suffocating suspense it sought, and worse, it caused a common shooting sin: hand-held footage that was staged not by one of the characters. object but, instead, by an (unseen) director.

V / H / S / 99 combines unrelated vignettes with TV commercials and a period-moving home movie involving little green army soldiers, these don’t do much for the whole package except except providing a vague nod to V / H / S / 94Raatma’s memorable drainage god. Nothing here approaches the franchise’s best moments, such as the original V / H / WILL“Amateur Night,” V / H / S / 2“Oven safe” or V / H / S: Viral“Parallel Monsters,” all of which are prime examples of short-form nightmares. However, the series still boasts enough variety and unpredictability to keep viewers, if not completely outsiders. Its look and sound may be shabby, but on the basis of this latest entry, the quality of the series hasn’t degraded as quickly as the material it’s (supposedly) made of.



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