Dangerous Dolls 

Annabelle creation 

Dir: David Sandberg
The Annabelle Doll exists in a small occult museum at Ed and Lorraine Warrens house. Those who have been reading this blog for a while know that a few years ago I wrote all about the Warrens and their fascinating basement full of posessed shit, which at the time was open to the public. Sadly the museum has momentarily been shut down due to zoning regulations, so no immediate life threatening interactions with Annabelle can currently be made. 

Unlike her glow up in the movie, Annabelle is actually a rag doll and looks like this 

And lacks the contour or luscious locks of this..

Here’s a pic of Demi Lovato with Annabelle clearly absolutely mocking her supernatural powers.

Allegedly the doll is one of the most dangerous things in the basement. When the Warrens originally brought her to their home after her incident with Lou (where the doll basically tried to claw him to death…google it) they did try to bless the doll, and rid her of the evil. Turns out it didn’t work so well, so she would just creep them out and move around the house appearing in different rooms. They eventually decided to lock her in a glass case secured with prayers to stop her going anywhere. 

Visitors to the occult museum, such as Demi Lovato, can get super close to Annabelle without much harm. Taunting the doll or touching the glass case however is highly discouraged. Incidents have been reported of people having mysterious accidents after taking the piss out of Annabelle, so it’s not something I encourage any of you to do should you visit her after the zoning regulations sort themselves out. 

Which brings us to our film.

Based entirely on fiction, it prequels the Annabelle “story” to give us an idea of how the doll became originally possessed (Also largely to keep The Conjuring franchise going). A task so simple, and yet executed in such an exceptionally convoluted manner. 

The tall elaborate tale involves Anthony LaPaglia playing an unenthused doll maker in a gigantic New England house, naturally located in the middle of nowhere rural America. It’s such a enormous house that I literally cannot grasp how he is so financially stable, considering his somewhat niche career choice. 

We then find out he only had the one child, which makes having such a GIGANTIC house all the more implausible. As a millenial who can’t afford a shed in the suburbs, I was just getting more and more frustrated throughout the film as to how unrealistic this entire scenario was. The rental on that place would be CRAZY right now.

His only daughter dies in a horrible accident, and his wife ends up mysteriously bed bound, sick, and unwilling to look at people or leave her room. Not exactly the perfect environment for, let’s say, a bunch of orphans?

Well not according to this guy! Mr Mullins feels that twelve years after the passing of his daughter it’s a great idea to bring six orphans and a nun to live in his creepy mansion with his bedridden wife. We silently make the assumption this is in a bygone era before background checks were a thing.

Here’s the house

Here are the kids that are forced to uncomfortably live there

This recipe for disaster doesn’t take long to unfold, in fact every five minutes (on average) is armed with a jump scare. 

We counted roughly twenty.

COME ON YOU GUYS……

By the time we get round to the actual story of why the fuck the Annabelle doll is in the house and how this relates to their dead daughter, I’ve been “jump scared” 15677 times to the point where I’m like…yo, is everyone gonna die or what?

I’m all for a cheesy vacuous horror, and if you want one jump after another this is your shit right here. I didn’t think it was necessarily a bad film, I actually quite enjoyed it, but let’s call it what it is- a forgettable addition to The Conjuring franchise. 

With no real build up, no context, no major character development, no reason for a bunch of orphans to be in the house in the first place, a lot of this movie was atmospheric fluff. 

And sometimes atmospheric fluff is ok, just don’t expect anything more. If you want a Tobe Hooper style work of genius, this definitely isn’t the film for you. 

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Camping 

The idea of a sequel pains me. 

With the exception of The Godfather and Home Alone 2: Lost in New York, I really don’t have an overwhelming desire to watch a sequel. Ever.

Look at what happened to Paranormal Activities. What started as an incredible film (a film, 1 film, singular), turned into a barrage of annoying follow ups including a baffling offshoot called  The Marked Ones (#neverforget), which was literally the worst movie ever madeSo obviously when I saw this, THE Blair witch, being advertised it was a major eye roll moment. 

I’m a big fan of the original, and naturally I didn’t care much for the HORRENDOUS follow up. Luckily it turns out that this version has nothing to do with the sequel; in fact director Adam Wingard goes above and beyond to bypass Blair Witch 2 and any reference to it altogether. Just like Catwoman with Halle Berry, we’ll all pretend it didn’t happen. 

I like Adam Wingard, I trust him. He’s made some solid, terrifying and well written films in the last few years which he should be applauded for. The horror genre isn’t easy you guys, it’s really challenging to make a. something original and b. something scary, because we’ve all become so accustomed to the formulas. We KNOW when to expect shit, which is why horror directors now have to do the absolute most to keep us engaged without being predictable or resort to lots of unnecessary and gratuitous torture porn tactics.

I digress, what I’m essentially trying to say is that having Adam Wingard as the director of this remake, and in essence the captain steering the entire reboot of the franchise, means he was bound to inject some quality into it. He was responsible for Youre Next and V/H/S so I was rooting for him in a big way. 

Netflix it turns out, was not. In fact Netflix stopped working a grand total of TWENTY FIVE TIMES whilst we were trying to watch this film. What ended up happening were 3 days (yep) of “screenings” all in 20 minute segments because basically Netflix hates me and doesn’t want me to enjoy a well rounded cinematic experience. 

As you can probably imagine, a horror movie, drawn out over 3 days is going to somewhat dilute the whole “horror” aspect. Luckily I was engaged, and wanted to know how these poor bastards would end up dying, so I watched with the same enthusiasm and vigour on the third day as I did on the first; trying to catch a glimpse of the witch and taking mental notes of things I wouldn’t do whilst camping. 

Basically I would never go camping.

Here’s a thought. Why not just drive? I personally don’t fully understand the logistics of a wood because I live in London, but SURELY you can just drive, park up on a main road and basically avoid dying? 

Anyway 

The whole premise of the film is a that very uncharismatic guy called James wants to go into the woods to find his sister Heather (remember Heather, the girl from 1999 with the snot and the camera and the fear?) A new video emerges on YouTube which indicates that Heather may still be alive, and basically provides new evidence to lure people back out in the woods. James takes the bait and heads into the woods with 3 of his friends, plus the couple who originally found the tape and put it on YouTube. They thankfully go armed with literally every camera, gadget, GPS device, drone, smart phone, walkie talkie, hovercraft etc that they can get their hands on. 

This element actually makes this a much more “up to date” found footage movie, as it is sadly filmed in that style. Often directors can just forget that their movie is meant to be “found footage” and halfway through a mysterious “other” camera appears which kind of defeats the purpose and breaks any form of continuity (hence why I hate found footage movies). Luckily Adam Wingard et al get around this aspect with all the additional “stuff” that the group have brought with them, meaning you get loads of angles and perspectives which don’t seem far fetched. 

So let’s get to the nitty gritty. Was this film shit? No. It surprisingly really wasn’t.

The beginning was a solid suspenseful lead up seasoned with lots of subtle indications, references to the witch, and general vibes predicting the fuckeries about to be bestowed upon them. Then they get lost…..(drums), and an infection gets worse (more drums), and Peter goes missing (several drums)…and it descents into absolute hell.

The end could have been shorter. There’s a long winded final scene at the witches house which is just stressful and confusing and goes on for way too long. Like, really really long.

Aside from this. It’s a good horror movie and not a total embarrassment to the Blair Witch legacy. IN FACT I would go as far to say that if the 1999 classic were made for the first time in 2017, this would be the result.

The darkest shade of neon 

The Neon Demon (2016)

Dir: Nicholas Refn 

If you were to see this on Netflix, without knowing anything about it, and toyed with the idea of watching it because the visual was cool, and the bloke who did Drive directed it,  then don’t watch it. 

Really, don’t.

I’m not even really sure if Netflix is the right platform for Nicholas Refn. Without sounding like a prentious douchewipe, I see this as more a “Amazon Prime” scenario; the type of film a Kimmy Schmidt viewer may not immediately go to as their first port of call, (unless said Kimmy Schmidt viewer likes cannibalism and necrophila). It doesn’t feel particularly organic, what section would you even put The Neon Demon in? Certainly not “party on!” (Ironically currently featuring Bojack Horseman). 

I digress…don’t get me wrong guys, Nat (my flatmate and very close friend) watched it with me, having no prior context whatsoever, and Nat enjoyed it. I was, however, kind enough to point out that there would be lesbian morgue sex about halfway through, and also that pace was not exactly high on Refn’s priority list. Clearly we needed to stablish some fundamentals prior to our sunday night junk food and horror sesh.

In fact we, and possibly a few other humans sporadically dotted around the globe, enjoyed this movie. The dude from the guardian film section seemed to like it (dude from Rolling Stone magazine….didn’t like it so much). Proof, at the risk of stating the mind-blowingly obvious, that not everything is for everyone.

End of review

Just kidding.

Let me start by explaining that this movie isn’t Drive. A lot of people were passionately pissed off that he didnt make another ‘masterpiece’ like Drive (Drive 2?) and wrote a lot of unsavoury shit about Refn. He famously got booed at Cannes, (often a great PR move), with some even walking out in outrage and shock (think Lars Von Trier circa six years ago). Folks were not happy; apparently appalled and shocked, calling this movie depraved and sickening. So many people got really touchy about the some of the themes, (a far cry from cars, masculinity or crime), that it’s really become a “thing” in relation to the film. So let’s just clarify once and for all that a.Nicholas Refn is allowed to make other types of films that don’t include or involve Ryan Gosling and b. Can we all just get the fuck over Drive. Yes it was incredible, but he’s exploring something else, it’s cool if you don’t like it, let’s move on.

This particular film explores dark topics, in a less than subtle fashion. Excess and materialism marry together beautifully mmm against the isolation backdrop of a dark LA. Everything is visually beautiful, but also feels incredibly detached and in some cases clinical. This notion is further enhanced by the flat conversations between the characters, (its not bad acting, despite Keanu Reeves), the lack of any real emotion in any of the other characters (aside from anger, which is what shapes the end), and the very obvious disposable nature of those within this “world”. If the conversations seem like non starters, its kind of the aim; everyone’s dead on the inside and hates each other.  

The premise is a beautiful child (that’s what I’m calling her, because she’s 16), enters the world of modelling and discovers pretty quickly that you can’t trust anyone. Problem is, this young beautiful ethereal girl (played by the very cute Elle Fanning), becomes increasingly more narcissistic and selfish the more she is sucked into “the neon demon” (a metaphor for the bright shiny lights of the hollywood machine). Her mannerisms subtly change, she grows increasingly more self aware…and kind of turns into a dick. Another casualty of LA.
On the sidelines are groups of grown ups out to get her in various ways. Each with their own set of vile intentions; be it lust, jealousy or power, that culminate in an actual blood bath…

Literally.

So i’m sure you’ree all dying to know about the necrophilia scene (no pun intended)…well, i never thought i would say this, but there is actually a worse scene in this film. That scene ladies and gents, involves Keanu Reeves in a shellsuit forcing a knife down Jessie’s throat. This alone was so stomache churning and dark that it made me question whether i wanted to see what was on its way, which I’m sure was the whole point. This scene also marks a change of pace, because up until this point it’s all been pretty visuals and awkward conversations.

I won’t pretend that this film isn’t self aware, or a little slow. It’s both. If you want to watch a “horror” movie with haunted houses and chainsaws, this might not be your bag. Yes he does borrow a lot; everything from Italian horror, to Kubrick to Lynch. Yes it’s very stylised and very visual. Is it shit? No. It isn’t.

Midnight Massacre

The Invitation

2016 

Dir: Karyn Kusama
*SPOILERS AHEAD*

We’ve all been there. That awkward scenario when an ex invites you to a dinner party; you don’t wanna go because that’s the house you used to live in, also because you think your former spouse is now in a cult, and you have a sneeking suspicion that this might be an initiation ceremony. 

But you go anyway.

And typically everyone gets drunk and shit goes down, and then there’s a massacre, plus a bit of bad mouthing and bringing up the past. Your friends just can’t handle their drinks anymore.

What Will should’ve done when his ex wife called him up and invited him round after a two year disappearence in Mexico, is cancel. Only Will (played by the very handsome Logan Marshal Green) let his curiousity get the better of him. So off he went dragging his jesus beard and his poor girlfriend Kira with him.

Everyone knows an Eden; usually wealthy, usually unfulfilled, usually in Planet Organic buying organic buckwheat and preparing to spend ten grand to visit a witchdoctor from the Tibeten footfills. Typically its those with more stuff, bigger houses, expensive built in kitchens, that seem to crave this need for something deeper and more authentic. “There is no darkness” states one the cult leaders who discreetly came to dinner to show everyone a recruitment video. 

To some degree, certainly in the developed world, which can often feel very soulless, there is a growing desire to feel “special”. I guess there’s an element of new age spirituality (sometimes unknowingly) in many of us; whether you’re actively attempting to reach higher conciousness, doing Kondalini or just drinking wheatgrass shots, this has trickled down in a variety of guises.

Whilst a lot of it can be constructive and turn rich douchebags into bohemian douchebags, there is a history of California dreamin that takes an ugly turn.

Watching the murders unfold in Eden’s home on the hollywood hills is an eery reference to the Manson murders which marked an abrupt and nasty end to the age of free love. There’s something about those hills, the land of dreams, that has a very dark undercurrent, which is made constantly present in the film.

Will knows from the second he arrives that hes not feeling the vibe. “Theres something not right here” he retorts, even before the screening of the video (which shows a woman dying btw-heavens gate anyone?), or the mention of that weird place in Mexico where Eden and David went (Spahn Ranch anyone?) So his spidey senses were very much in tune that night.

Of course the others had their suspicions, but everyone was being super apt at ignoring the elephant in the room. Will just winds up looking like the neurotic crazy guy with trust issues. There are points where you question why he doesn’t just take his girlfriend and leave, but then i guess that would make a shit ending, because if people did sensible shit, horror movies wouldnt exist. 

The pace is slow, so if you have issues with dialogue or sitting still, or metaphors, this might not be the film for you. There’s an underlying theme of loss which is very touching and sensitively executed, despite the massacre at the end, which was impressive. 

I like this movie

I like Logan

I like Edens dress

The artist formerly known as Prairie

The OA

Creators: Zal Batmanglij, Brit Marling

 

Like…where do I even?

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You wonder how high they must have been to actually think of this. You actually wonder.I tried so hard to explain this to someone earlier, and I kept sounding like I was making shit up. Literally as though I was pulling random story lines out of thin air and adding them onto a more elaborate story to make it seem all Christopher Nolany and mind-fucky. I wasn’t though. I was genuinely doing my up most to stick to a simple description, which turned into a lengthy, convoluted, and agonizing run down  of one of the weirdest shows in the history of netflix.

And I still can’t decide if I liked it or not. Eight bizarre hours later.

So a. spoiler alert, and b. I’m not here to knock this show. I appreciate that the OA has now built an army of loyal fans who will hex my first born child if i say anything bad, so that’s not exclusively my aim. I just want to talk about it, you know? because I need to. I need to vocalise some of this shit before attempting to watch anything else on Netflix, because why should I suffer alone?

So the ‘premise’, in the simplest way possible: The show starts with a woman who jumps off a bridge, which we later find out had been missing for the best part of seven years and used to be blind. Now she’s back and she can see, (and by blind I mean actually blind, i’m not talking about it in a biblical context or anything).

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Are we happy with this so far?

So this lady is called Prairie, but she keeps calling herself The OA, which is weird and kinda hilarious. Like… who the hell calls themselves ‘the’ anything? Aside from ‘the exorcist’ or ‘the artist formerly known as Prince’ who ended up abbreviating it anyway because he realised it made him sound like a massive douche.

The OAs parents (i feel dumb just saying it) are a whole heap of ‘wtf’ about everything, partly due to the name change, partly due to the seven year absence (which she refuses to explain), and partly due to the fact that she isn’t blind anymore and doesn’t wanna discuss it.

The OA befriends a group of local teenagers via a weird video she posts on youtube (please stay with me), so they all start meeting at an abandoned house every night to hear her tell her story about what the fuck happened to her. She seems really cool to tell them the story, but literally noone else. Not even the FBI, who you would assume would be the first port of call.

Her story goes something like this (again, stay with me)…She was born to a wealthy Russian Oligarch in the 80s and had a near death experience on her way to school. She came back from the dead without her sight, but a whole bunch of odd stuff happened to her after the near death experience; lucid dreams, premonitions and an amazing ability to play the violin. This is all totally fine so far, so I’m all like yea ok…I can run with this. But then..

Then she moves to America, lives with her aunt in a brothel after her father dies, gets found by a nice couple who visit said brothel in the search of illegal kids, and goes to live with them.

The rest then involves a psycho scientist, who kidnaps her and locks her in a basement (a la Josef Fritzl), a bunch of near death experience survivors used as test subjects, interpretive dance, and an Arabic gatekeeper of the universe called ‘khtum’.

brit-marling-as-the-oa-and-khatun

Oh yea, and they’re all using mystical tai chi to try and move across dimensions and escape this fucked up dungeon they’ve been in for seven years.

That’s a whole lot of tai chi.

If The OA, was about maybe 1 thing…or even 5 things, then it would be absolutely perfect. No-one on earth is expecting a sci-fi to be believable or realistic, so that’s not my beef with this in any way. My beef is that there is literally SO much going on, all at once, in a short space of time, that you’re just like..’I don’t believe you bruh.’

 

For example, I really don’t get why these kids are so invested…SUPER INVESTED, in the OA. Call me a pessimistic prick, but your story requires some type of cut out or you tube link to make me buy it. All they have is imagination and dim lighting. Its not enough hun.

Then you have all these separate side stories involving the kids. The one with the anger issues who’s face is always red, the overachieving Mexican kid who’s mum is a drunk hot mess. Then there’s the emo skater one whose entire family is dead apart from his sister who literally smokes weed all day. Too much going on.

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Then you have the OA herself who is single handedly the most irritating character to ever grace my laptop screen. Why does she speak in hushed tones? Why are her roots so immaculate? Why does she look like the ZARA 2003 autumn/winter model? Where did she buy her foil jacket? Then it turns out she might have been lying the ENTIRE TIME (????!!!!!!!) erm……ok, that was a waste of everyone’s time. Luckily the poorest ending known to man, clarifies that maybe she isn’t lying, so leaves us with a set of pointless questions, to add to the plethora of questions we had already armed ourselves with. Fab.

Is it a sci-fi? is is a drama? Is it a teen thriller? Is it a pisstake? who knows. Its like Donnie Darko meets The Breakfast Club but not even remotely in a cool way. The general pace reminds me of one of those Scandinavian crime shows like The Killing, mad amounts of grey scale tones and bad weather. But then you have the flashbacks, which are super high saturation and vivid, and then randomly Riz Ahmed pops up as the FBI guidance councilor and that made me happy.

Sadly however, the ending is such trash it actually manages to ruin everything. Watch it for the interpretive dance and general confusion.

Don’t watch it if you think its gonna be better than Stranger Things

 

 

Enfield. Not North London

Dir: James Wan

2016

 

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Let’s just start with a couple of basics right here right now. Enfield is in EN which therefore means its not in London, can I get there by tube? Is it in zones 1-4? Do they even have Uber? I think we can all agree that anything outside of zone 4 really doesn’t count as London.  And whilst I totally apreesh what James Wan is doing, and in the iconic words of Kanye West imma let him finish, Enfield is literally NOT in London.

So that’s that, and lets really just clear that up before any form of advancement is made.

NB. Sorry if you’re from Enfield and feel like I’m being unjust. It’s literally Middlesex, you can’t argue with geography.

Ok so, the story is set in Enfield MIDDLESEX, in the 70’s and it documents another one of Ed and Lorraine’s infamous cases of demons causing a lot of aggro to yet another family who literally just need a good nights sleep. Like all the other films about Ed and Lorraine, it is based on a ‘true’ story (lets say inspired by true events), so you can google the Hodgson family, and their house on Green street and even look at how much its selling for on Zoopla (I do this a lot with homes that were inhabited by serial killers or ghosts, worth knowing if affects market price). The original recordings, can be found at: Real footage from Enfield Haunting, plus there’s like a ton of shows about the house, so if you fancy weighing up how accurate Wan was, it’s all there on the fantastic world wide web for you to draw your own conclusions.

enfield

I personally don’t really care, it might have been true, yada yada yada who knows? Is anything true? Are we even here? I could get into this kind of low level existentialism all day, but that’s not really the scary part. What disturbed me more than anything were the massive fluctuations is English accents courtesy of the ‘actors’ who were chosen to play the Hodgson family. Why did the mum sound like Pat Butcher but her kids sound like the cast of Oliver? The overdone ‘cockney’ accents, combined with Billy and his biscuits were really eye rolling. I half expected a shoe shine boy to pop up and get involved. Give them one English accent for continuity as opposed to five. We know what English people sound like thanks, and don’t actually need an entire family covering all of the London boroughs under one roof.

So the film. Well the Enfield house is basically like most of the houses we grew up in in London; two up, two down, not very glam, with bad wall paper, dire need of paint and Starsky and Hutch on the walls, just a standard regular house. It wasn’t a huge mansion, or even particularly nice, which is proof that ghosts aren’t picky. One minute its Amytiville, and the next its some estate in Shadwell. Be careful out there.

Things escalate pretty damn quickly. One minute Janet is messing about with a makeshift Ouji board made out of shit she found in the art room at school and then BOOM demon from hell, in your home. Classic Janet.

enfield 2

Would’ve been great if Ed and Lorraine didn’t take their sweet time getting to Enfield. It’s literally Christmas and one whole hour into the (really unnecessarily long) film before they even say London. Meanwhile they’re dealing with their own fallout from Amytiville; Lorraine keeps seeing a Marylin Mansonesque nun in her visions, and then casually walking around her house. Doesn’t help when she wakes up one sunny morning and her husband has drawn a GIGANTIC painting of the thing on canvas ‘I just couldn’t sleep Lorraine’ he muses, ‘So i thought i’d draw what was in my dream’ oh yea….just draw the demon that traumatized your wife in Amytiville, and then proceed to HANG IT UP IN YOUR OFFICE.

demon

My favourite bit was Ed doing an Elvis impersonation and playing the guitar. If there was ever a time for the Demon to throw some mad shade, it should’ve been there and then. Whip that guitar out of his claws and club him over the head with it. Fuck you Ed, don’t come into a haunted house with your Christianity and big sideburns and patronize everyone by singing. Time and a place mate.

Despite all of the above, surprisingly enjoyed it.

And i’m sure you will.

 

 

A timeline of fear

Hush (2016)
Dir: Mike Flanagan

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“I don’t feel comfortable….”

Four words that very rarely escape from my lips, which i found myself repeating over and over again in the first twenty minutes.

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I knew absolutely nothing about Hush other than the fact that I could A) Watch it on Netflix and b) it comes  up constantly as a recommendation. Then one magical Saturday three separate friends all mentioned it at various times during the day, each insisting it was my kinda movie. I had no choice really, the universe had spoken.

Twenty minutes in and I’m seriously not feeling comfortable or safe in my own home. My flatmate accidently slammed the bathroom door shut and I almost leapt out of my skin. I then had to pause this delight of a movie to do a casual “spot check” of the premise… you know, just a run of the mill surveillance of the property. I go and investigate the back door, kitchen, the downstairs bathroom, shed. Anywhere involving walls.

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And although I’m paranoid as fuck about wandering up and down the house alone, I’m equally trying really hard to avoid going back into the living room to unpause the movie. “Some stones are better left unturned, am I right?” I say out loud to myself. Then I realise I actually write horror reviews and proceed to sit the fuck back down.

Unpause

30 mins in…..WOW. WHAT THE FUCK YO?! Maybe I’m just really not about this life. Maybe I should start watching Rom Coms and writing about them instead. Maybe a movie starring Jlo and some handsome Caucasian dude is less likely to fuck up my sleeping patterns. I just wanna leave the room at this stage, fuck it, judge me. I wanna leave the room and go somewhere loud, with alcohol and unicorns.

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I frantically start texting my flatmate literally begging her to come downstairs and sit through the next 70 mins with me “i have icecream *smiley emoji*”. I don’t even recognise who I am anymore. I don’t eat dairy or use emojis. I’m a mess and I need to get a fucking grip.

1 hour in. THIS GUY IS SUCH A PIECE OF SHIT…..WTF. WTF. WTF. Why is he doing this?  Does he know her? is he some disgruntled ex?No he can’t be because Craig is the ex, and Craig tried to facetime her and she rejected his call, and I’m pretty sure Craig was black and this guy looks borderline ginger. It’s not Craig. Craig is nice and doesn’t kill people’s neighbours OVER AND OVER AGAIN WHILST STARING IN THROUGH THE GLASS.

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1.15mins. I’m done. I’m so done. You know what I’m literally never gonna do? Live in the countryside on my own. Also, I don’t think I’ll facetime for a while.
Ive heard of a home invasion movie, but this is invasive on all counts. There was absolutely no need for this level of nerve wreck.

I need to avoid all doors and windows for the rest of the evening. Or maybe for life.