Romeo (Marwan XL) yang terobsesi jadi rocker, takut setengah mati pada Juliet, kekasihnya. Setelah mengantar Juliet belanja pakaian, pasangan ini tertabrak mobil hingga tewas. Mereka bergabung ke Asrama Pocong, sebuah tempat penampungan pocong. Salah satu penghuninya: Mr Bean
Lalu ada pasangan suami istri Parmin (Doyok) dan Marni (Dewi Perssik). Marni yang sedang hamil tua, ngidam ingin bertemu Cat Woman, seorang penyanyi Indonesia terkenal. Tiap tampil, Cat Woman selalu memakai topeng.Takut anaknya bisulan karena ngidam istri tidak dipenuhi, Parmin bertekad membawa Marni ke Jakarta untuk menonton konser Cat Woman. Sayangnya mereka nyasar ke sebuah hutan. Di sana ada seorang psikopat (Rizky Putra) yang menghadang mereka. Parmin-Marni tewas setelah tubuhnya digergaji si psikopat. Pasangan suami istri ini lantas bergabung di Asrama Pocong.
Raja Asrama Pocong menggelar olimpiade pocong: lomba makan kerupuk, dan balap bajaj. Pemenangnya, boleh pergi ke luar Asrama Pocong. Pemenangnya: Marni, Parmin, Mr. Bean, Romeo, dan Juliet.Mereka menggunakan kesempatan ini untuk menonton konser Cat Woman. Kemudian terkuak rahasia sedih antara Cat Woman dan Parmin. Penampilan “Mr Bean” hampir tidak ada hubungannya dengan cerita film.
Pemain :
Info: Film Indonesia
Release Date: 7 Juni 2012
Genre: Comedy | Horror
Cast: Dewi Perssik, Doyok, Marwan XL
Quality: VCDRip
Encoder: Ganool
Sebuah penghormatan untuk Sang Ratu Horror SUZANNA
Keinginan Deden (Aziz Gagap) untuk memiliki kekayaan dan di cintai Chery (Arumi Bachsin) membawa dia ke dalam masalah yang rumit, dia menemui seorang dukun bernama Tante Sun, sang dukun memberikan syarat yang cukup merepotkan termasuk mengambil kain kafan mayat yang belum semalam di kubur. Semua syarat dapat dilaksanakan oleh Deden namun saat melaksanakan ritual Tante Sun meninggal.
Deden berhasil mendapatkan semua keinginannya namun hidupnya tak tenang karena Sundel Bolong selalu membayangi untuk meminta bayaran, belum lagi hantu perampok yang meminta uang hasil rampokannya yang ternyata menjadi sumber kekayaan Deden
Waaahh… betapa bingung dan takutnya Deden, dia tak tahu apa yang harus di lakukannya….
Pemain :
Aziz Gagap sebagai Deden Arumi Bachsin sebagai Chery Andreano Philips sebagai Mike Rina Ursula sebagai Siska Jeffrey Lee sebagai Yoga Lisna Meida sebagai Olin
Sinopsis : Satu lagi film Indonesia yang memberikan warna berbeda tentang Horor yaitu Film "Misteri Pasar Kaget", bercerita tentang sebuah komplek pemakaman di Pleret, Bantul-Yogya yang berubah menjadi pasar di waktu malam. Film ini diangkat dari cerita orang jaman dulu yang pernah mengalami kejadian aneh seperti :
Seorang tukang becak mengalami kejadian aneh: mendapati uang yang berubah menjadi daun setelah mengantarkan seorang perempuan muda hamil ke pasar.
Lalu muncul Bethari (Erly Ashyla) dan anaknya Putri Cemeti (Permata Sari Harahap). Mereka berdua menjadi siluman setelah bunuh diri akibat tidak kuat menanggung rasa malu dan sakit hati atas kejadian yang menimpa ayah dan suami mereka yang mati di bunuh perampok pada malam pengantin Putri Cemeti. Semasa hidupnya Bethari adalah rentenir yang cukup kejam.
Pada malam hari dengan menaiki kereta kudanya Bethari dan Putri Cemeti singgah ke pasar mbengi (malam) yang siang hari merupakan kompleks pemakaman. Hasrat dan dendam kepada laki laki masih melekat pada Bethari dan Putri Cemeti. Bethari membunuh setiap pemuda yang sedang bermesraan bersama pasangannya.
Kejadian ini membuat Mbah Rekso (Liek Suyatno) dan Kyai Sambu (Masroom Bara), dua tokoh berbeda aliran yang memberikan perlawanan. Pemain : Erly Ashylasebagai Ibu Bethari Permata Sari Harahapsebagai Puteri Cemeti Liek Suyatnosebagai Mbah Rekso Masroom Barasebagai Kyai Sambu Baron Hermanto Ava Solo Roy Marten Yati Surachman Polo Srimulat Chandra Sundawa Trailer :
SINOPSIS Pamela berobsesi untuk mempercantik dirinya dengan cara menggunakan ilmu hitam pelet celana dalam. Walaupun cukup beresiko tinggi yang dapat mencabut nyawanya akan tetapi niat untuk menggunakan pelet tersebut tetap dilakukannya. Pamela memiliki 2 sahabat yaitu Vega dan Tantri. Vega dan Tantri belum mengethaui kalau Pamela melakukan ilmu hitam tersebut. Akan tetapi, kecurigaan mereka semakin menguat ketika setiap cowok yang berhubungan dengan Pamela pasti selalu meninggal secara misterius. Suatu hari, Tantri semakin geram dengan perilaku Kevin cs yang selalu mengganggu dirinya. Bahkan hingga suatu malam Tantri diganggu dan diperkosa oleh Kevin cs di sebuah gedung tua. Rasa dendam pun muncul dari dalam Tantri untuk membalaskan dendamnya kepada Kevin cs. Tantri pun meminta tolong kepada orang pintar untuk meluapkan rasa dendamnya kepada Kevin cs atas rekomendasi dari Pamela. Ternyata semua itu tidak membuahkan hasil yang positif, karena Pamela dan Tantri dihantui oleh arwah penasaran. Begitu pula yang juga dirasakan Edwin, mantan kekasih Pamela yang merasakan ada penunggu di dalam rumah Pamela
Release : 1 Juni 2011 (Indonesia) Genre : Horror| Thriller Staring : Angie Yulia, Billy As, Billy Davidson,Cinta Dewi, Debby Ayu, Yudha Putra
Sinopsis Sosok Nenek misterius ini tiba-tiba heboh dibicarakan semua orang. Nenek ini dipanggil sebagai Nenek Gayung, karena ia selalu membawa gayung dan tikar pandan, untuk memandikan korbannya. Banyak yang percaya, bila bertemu dengan Nenek Gayung, jangan pernah mengajaknya bicara. Konon, telah banyak korban yang menemui ajalnya setelah bertemu dan bicara dengan Nenek Gayung ini.
Siapakah sebenarnya sosok Nenek Gayung ini? Mengapa ia selalu membawa gayung dan memandikan korbannya? Dan, bagaimana caranya agar selamat dari kejarannya?
Review The Chernobyl Diaries, directed by Brad Parker from a story idea by Oren Peli (who also produced and co-wrote) had promise as a horror-movie idea: Six featherbrained American tourists hire a Ukrainian “extreme tourism” guide to take them on a day trip to the ruins of Pripyat, the workers’ town that was abandoned after the 1986 Chernobyl nuclear disaster. The combination of “final girl” slasher movie with contemporary political allegory could have made for a bracing genre scramble, a discount version of Joss Whedon’s Cabin in the Woods. And Peli, the creator of the sui generis Paranormal Activity franchise, is an interesting figure on the horror landscape. Like them or not (I do, mostly), the Paranormal movies have a distinct directorial voice: They’re claustrophobic and incrementally scary, low on gore but high on suspense. Those movies commit fully to the conceit that every image should be “found footage” filmed by the characters themselves, and find clever ways to work within that technical constraint—like the nifty shot in Paranormal Activity 3 when a character mounts a home video camera on the engine of a rotating fan, creating a repetitive horizontal pan of the room as scary shit goes down on both sides.
That kind of cinematic inventiveness is direly absent from Chernobyl Diaries, which also contains about as much political allegory as a box of Goobers. Better titled Six Dumbasses in Search of a Clue, the movie opens in party-town Kiev, where Chris (Jesse McCartney) is visiting his older brother Paul (Jonathan Sadowski), who’s a student there. Chris has a serious girlfriend, Natalie (Olivia Taylor Dudley), and Paul has just started dating Amanda (Devin Kelley). In addition to looking like Gap catalog models, all four seem well-heeled and without a care in the world—now who’s up for a whirlwind tour of the smoldering corpse of the world’s worst nuclear disaster?
Even after they meet up with Uri (Dimitri Diatchenko), the beefy, evasive tour guide who assures them they’ll be in the hot zone too short a time to run any risk from the radiation, this foursome’s not-a-good-idea radar doesn’t go off. Nor does that of Michael (Nathan Phillips) or Zoe (Ingrid Bolsø Berdal), a pair of European backpackers who join them for the Chernobyl jaunt.
Uri drives them to the eerily silent ghost town of Pripyat, where, after finagling his way past the border check, he lets the group explore a few of the crumbling barracks and take smiling cellphone pictures of themselves against the backdrop of the nearby reactor. After a couple of red-herring jump scares that are more annoying than frightening, Uri’s van breaks down, and the cognitively challenged protagonists begin to grasp their situation: They’re stranded in Carcinogen-town, without cellphone service, as night falls and the radioactive wolves begin to howl.
There actually are radioactive wolves, and other species affected by the Chernobyl disaster, living and adapting in fascinating ways in the woods now retaking the real-life site—a fact which, had it entered into the story, could have made for an interesting combination of evolutionary-science thriller and pick-‘em-off horror film, another potentially good movie this isn’t. Instead of mashing up genres, Parker goes straight to mashing up people, throwing the characters one by one to the mercy of mutant wolves and (at least so it seems) possibly mutant humans as well.
Parker’s minimalism does make for a handful of legitimately scary moments. He uses no music, except for an occasional pulse of thudding percussion, and gets a fair amount of mileage out of simple things-that-go-bump-in-the-night suspense (though when the gore comes in the second half, it’s plenty gruesome). But any further craft lavished on this screenplay would be wasted: Less than a half-hour in, you already don’t care which, if any, of these one-dimensional characters survive the onslaught. You might actively root for their collective demise, if you could rouse yourself to care one way or the other. Go gallivanting in Chernobyl and you get what you pay for, nimrods.
Chernobyl activist groups have protested this movie’s flippant association of those affected by the real-life disaster with homicidal flesh-eating freaks. I don’t know whether to applaud these efforts—the movie is, without question, in atrociously poor taste—or to assure those offended that, however icky the existence of Chernobyl Diaries may be, it doesn’t matter. Unlike the grave consequences of the awful event they survived, this movie will disappear from the earth in no time at all.
“What did they see?” is the tag line for the second horror film of 2012, The Woman In Black, which is based on the 1983 novel of the same name by Susan Hill. It stars Daniel Radcliffe (Harry Potter series) as Arthur Kipps, a London solicitor who is tasked with making sure the paperwork of the Drablow estate is in order after the death of Mrs. Drablow. He travels by train to a remote English Village where things start to get strange.
He gets to the inn where he is supposed to have a room booked through the weekend (for a weekend with his young son and the nanny) only to find that there is no room for him. The owner’s wife puts him in the attic for the night because of the horrible weather. The townspeople look at him strangely until he meets the contact for his law firm who tries to give him some paperwork and shoo him back to London to make a quick end to the business.
Kipps is insistent that he stays and completes the work finally making his way through a long causeway to Eel Marsh House. He begins gathering the paperwork to look for any extra wills that may not have been on file and that’s where the ghost story begins. Kipps sees The Woman in Black and follows after her only to have her disappear shrouded in fog. A great startling moment happens when his transporter comes back just after the ghost disappears.
Upon returning to the village, Arthur speaks to the constable and soon 3 children from the village come to the constablery where a little girl coughs up blood and dies in Kipps’ arms to his horror. A dinner with Mr. Daily, who Kipps met on the train, reveals the death of their child and the trend is identified. Mr. Daily is a complete skeptic of the supernatural and helps Kipps get to the manor after the rest of the village has decided that Kipps must leave.
Arthur’s search through the documents brings the Drablow’s skeletons to light which include the death of their young child, Nathaniel, who was adopted from Mrs. Drablow’s mentally unstable sister, Jennet Humfrye. The sister is revealed to have hung herself from a beam in the manor a few years after the death of the child. Arthur figures out that Humfrye’s ghost is The Woman in Black and through another traumatic scene is forcing the children to kill themselves as revenge for losing her child. At this point, the race is on to see if Kipps can reunite Jennet and her son’s body in order to save his own son who is on his way to the village expecting a peaceful weekend in the country.
Daniel Radcliffe does a spectacular job playing Kipps who is haunted by his own ghosts in the movie. I can say that not once during the movie did he lack believability in his character which I was afraid of due to his being the face of Harry Potter for so many movies. Janet McTeer does a good job as Mrs. Daily who has been driven slightly over the edge at times due to the loss of her child and is a compelling character when she gets screen time in the movie.
If you’re a fan of the horror movies that are all about making you jump, you will love The Woman In Black. The movie makes great use of dramatic tension along with spooky music to cause a lot of moments that startle you in your seat. My female companion had her head in her jacket/shirt and was peeking out from there because she was scared. The movie did leave a few plotholes in it regarding the rest of the Drablow family and the sister that probably could have been answered if they had lengthened the movie which comes in at 95 minutes.
The final verdict on The Woman In Black is a thumbs up as it’s a generally well told story that makes use of great cinematic devices to provide a thrill ride that scares and entertains you as you wait to see what happens with the story.
Director : James Watkins Writers : Susan Hill (novel), Jane Goldman Release : 15 March 2012 Genres : Drama | Horror | Thriller Stars : Daniel Radcliffe, Janet McTeer and Ciarán Hinds imdb.com
Review For the most part, Silent House conjures up the same feeling of déjà vu for The Silent House that Quarantine did for [REC], so I really have to wonder just how effective it could ever be since it seems so perfunctory. Just as that pair of films provides dual tours of a familiar apartment buildings, the Silent House duo lets us roam through dilapidated homes in rural countrysides as girls go insane with fear. This time, though, the minimal dialogue is in English, so if you have an extreme aversion to subtitles, you too can now partake in this gimmicky, presented all-in-one-take thriller.
We also have another leading lady this time, too; now, it’s Elizabeth Olsen as Sarah, a girl who is also returning to an old childhood abode that’s about to be put on the market. Her father (Adam Trese) and uncle (Eric Sheffler Stevens) are also around to help move stuff out, and Sarah is even visited by a childhood friend (Julia Taylor Ross) that she’d all but forgotten about for some reason. Sarah claims to have a lot of holes “up there” in her mind, and, as such, the she gets a refresher course to fill in the gaps over the next 80 minutes when someone intrudes upon the house with violent intentions.
Pretty much everything that was written about the original Silent House can be repeated for this go-round; it similarly tests your patience with long, measured stretches where you watch Olsen react to things that are more heard than seen. Minimalism is the name of the game here, at least until the story unexpectedly escalates and morphs from a simple home invasion thriller to something else. Well, it’s unexpected if you’ve never seen The Silent House, in which case this part of the film probably feels a little too familiar and even tedious; having seen the original version only a month or so ago, it’s hard to say whether that familiarity made parts of the film sag or not. I can say with some certainty that Olsen at least makes the second watch compelling enough; even though I had a good idea what would happen to her, her hysterical terror still resonated through a finely tuned performance. She was quietly terrified in last year’s Martha Marcy May Marlene, and her performance here feels similar to that one, at least at first--she’s very natural and inhabits the character well and easily brings us in. The film literally begins by hovering above her and the camera rarely leaves her, and Olsen doesn’t blink.
In addition to Olsen’s performance, the film scatters a few minor deviations from the original to keep things interesting, such as the friend that shows up, a conceit that allows for a slightly retooled ending that’s maybe slightly more dramatic than it was the first time. Conceptually, just about everything’s the same, but the eventual reveal is executed in a bit more cinematic fashion; just like its predecessor, the film’s roving, handheld style deceptively lulls you into certain expectations, so when lines begin to blur, you might be taken aback a little bit. This version does telegraph things a bit more by making certain characters overtly creepy, plus more hints are strewn throughout; given that the first Silent House was a tad predictable in its own right, I think I can fairly state that this one might as well scrawl its reveal on its decrepit walls.
For much of the runtime, I was considering deeming this to be kind-of-sort-of-maybe better than the original, but then it just sort of quit instead of providing a logical stopping point; as gimmicky as the original is, it also leaves you with a haunting final sequence that captures the main character’s despair and loneliness; this one just abruptly ends amongst turmoil. This isn’t a found footage film, but I can certainly imagine it eliciting the same sort of “that’s it?” whispers as the lights come up in the theater. However, there’s no denying that the journey to get to that point is pretty well done--the team here is the same one responsible for Open Water, so they’re sort of re-treading familiar waters, stylistically speaking. Once again, the camera bobs and weaves throughout this house, and the one-take illusion is kept up rather well (there are obviously cuts, but they’re well-buried); this method suffocates viewers by getting them lost in the house’s obtuse geography, leading to a sense of entrapment.
I don’t generally like to get too hung up on comparing remakes, but, in this case, it’s inevitable. If you’ve seen the first take, this one offers a better central performance but a weaker ending, so it’s a bit of a wash. For the uninitiated, recommending either is a bit of a crapshoot; both are technical marvels in terms of precision, and each represents the type of atmospheric, slow-burning jolters that are fun to watch with a crowd. Since the one from Uruguay provides the blueprint, it gets the nod, at least ever so slightly; still, this American update provides an adequate amount of suspense and jumps, all the while making Elizabeth Olsen even more of a revelation. We’ll be lucky to keep her around in the horror genre, so enjoy her while you can.
Directors : Chris Kentis, Laura Lau Genres : Drama | Horror | Thriller Release : 9 March 2012 (USA) Writers : Gustavo Hernández (film "La casa muda"), Laura Lau (screenplay) Stars : Elizabeth Olsen, Adam Trese and Eric Sheffer Stevens www.imdb.com
