The Official Movie Thread
- Thread starter Manic Ferocity
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arg
Active Member
- Jun 4, 2008
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i like movies where women are weak whores and pieces of ass cuz those reflect reality
femme fatale movies are ok as long as they show a lot of tits and eventually get fucked by a man
femme fatale movies are ok as long as they show a lot of tits and eventually get fucked by a man
Vegard Pompey
ALLY TO GOOD, NIGHTMARE TO YOU
Oblivious Maximus
I am the worm
Jean-Luc Godard's elusive first short Une femme coquette rediscovered:
One of the world’s rarest films just showed up on YouTube
One of the world’s rarest films just showed up on YouTube
CiG
Harbinger of Metal
What? Less than half mate. All car chases and crashes were real.
Wrong. Wrong as fuck. The entire plot is a feminist analogy.
Einherjar86
Active Member
Okay, okay... maybe it's a feminist movie.
Feminist lite, I would have to say.Honestly, I don't really give a flying fuck all that much. I was being difficult and contrarian, mainly because the film's purported feminism seemed to piss off rms to no end, for who knows what fucking reason. Talk about snowflakes.
Furthermore, I don't think the film cared at all about being a feminist allegory. I certainly think it had feminist elements, but whether it was a feminist call-to-arms I won't say, I don't care. It's an awesome movie, and if some people want to hate it because feminism is "unrealistic," then that's fine.
CiG
Harbinger of Metal
Oblivious Maximus
I am the worm
Musings on the second batch of films from that Nikos Nikolaidis box set I was going on about a few weeks ago, sans the last film because I'm lazy:
Sweet Bunch (1983) - For a Greek film this feels wicked French. Very Godard, with a wicked nihilistic streak and instances of extremely bizarre humor. Its an interesting film in terms of characterization. Not once does Nikolaidis present any of the main group of characters as "likable" in any way. By conventional societal standards (read that as "boring") they're all basically shitheads and scam artists who get by on ripping off others. Yet the way the film moves along you very quickly grow to love these sociopaths especially as they grow more and more paranoid and by the films climax when it turns into an action film, you're entirely in their corner. This is where Nikolaidis really began to show off his visual flair and his superb taste in tunes is ever present with a soundtrack loaded with solid gold oldies and not one but TWO Black Sabbath deep cuts from Technical Ecstasy.
Morning Patrol (1987) - Dystopian sci-fi at its finest and the second film in the "Shape of the Coming Nightmare" trilogy that began with Nikolaidis' first feature Euridice BA 2037 and would end with his final, The Zero Years. Its approach to the genre is unique in that there's no fancy set dressings or any attempt to make it seem futuristic. Instead, Nikolaidis presents modern day (modern by 1987 standards) Athens as a barren wasteland populated by drifting derelicts who are hunted down by the titular "Morning Patrol". The metaphor couldn't be any more clear. Par for the course with Nikolaidis, its an extremely vague film. There is no explanation given as to how or why the world the film inhabits ended up this way, or what is the mysterious illness (that resembles opiate withdrawal) that the Morning Patrol officers all seem to have to take medication for. Everything is the way it is just because. Sort of like real life. Nikolaidis also must be applauded for not taking the route a typical Hollywood production would with such a film, wisely avoiding the cliché of the two main characters falling in love amidst a hopeless world. The film also marks the appearance of actress Michele Valley in a Nikolaidis film. A stunning presence who would really get to let loose in the next film.
Singapore Sling (1990) - What to say about this one that hasn't already been said a million times over by people with far better descriptive skills than me. This film is to Nikolaidis what Possession is to Andrzej Zulawski. That is, its the one film that everyone into this sort of stuff knows and loves but for some reason don't seem to dig deeper into the rest of their filmographies. You're likely to see this film constantly wind up on those "MOST TOTALLY EXXXTREME HORROR MOVIES BRO!!!" type of lists that pop up every now and then. To be fair, its transgressive reputation is earned with ease as the film is a gleeful barrage of perversities, complete with incest, S&M, face pissing, vomit, regurgitated food and mummy fucking. That being said, I can't help but feel some people have lost sight of just how damn funny it is. For anyone that shares Nikolaidis berserk sense of humor, there are several moments in the film that'll have you in stiches. de Sade would have loved it. Of course, being a Nikolaidis film its not without its instances of melancholy, and watching it in the context of his other films makes parts of it make a bit more sense but at the same time this really is a standout film. And Michele Valley. Yowza.
Sweet Bunch (1983) - For a Greek film this feels wicked French. Very Godard, with a wicked nihilistic streak and instances of extremely bizarre humor. Its an interesting film in terms of characterization. Not once does Nikolaidis present any of the main group of characters as "likable" in any way. By conventional societal standards (read that as "boring") they're all basically shitheads and scam artists who get by on ripping off others. Yet the way the film moves along you very quickly grow to love these sociopaths especially as they grow more and more paranoid and by the films climax when it turns into an action film, you're entirely in their corner. This is where Nikolaidis really began to show off his visual flair and his superb taste in tunes is ever present with a soundtrack loaded with solid gold oldies and not one but TWO Black Sabbath deep cuts from Technical Ecstasy.
Morning Patrol (1987) - Dystopian sci-fi at its finest and the second film in the "Shape of the Coming Nightmare" trilogy that began with Nikolaidis' first feature Euridice BA 2037 and would end with his final, The Zero Years. Its approach to the genre is unique in that there's no fancy set dressings or any attempt to make it seem futuristic. Instead, Nikolaidis presents modern day (modern by 1987 standards) Athens as a barren wasteland populated by drifting derelicts who are hunted down by the titular "Morning Patrol". The metaphor couldn't be any more clear. Par for the course with Nikolaidis, its an extremely vague film. There is no explanation given as to how or why the world the film inhabits ended up this way, or what is the mysterious illness (that resembles opiate withdrawal) that the Morning Patrol officers all seem to have to take medication for. Everything is the way it is just because. Sort of like real life. Nikolaidis also must be applauded for not taking the route a typical Hollywood production would with such a film, wisely avoiding the cliché of the two main characters falling in love amidst a hopeless world. The film also marks the appearance of actress Michele Valley in a Nikolaidis film. A stunning presence who would really get to let loose in the next film.
Singapore Sling (1990) - What to say about this one that hasn't already been said a million times over by people with far better descriptive skills than me. This film is to Nikolaidis what Possession is to Andrzej Zulawski. That is, its the one film that everyone into this sort of stuff knows and loves but for some reason don't seem to dig deeper into the rest of their filmographies. You're likely to see this film constantly wind up on those "MOST TOTALLY EXXXTREME HORROR MOVIES BRO!!!" type of lists that pop up every now and then. To be fair, its transgressive reputation is earned with ease as the film is a gleeful barrage of perversities, complete with incest, S&M, face pissing, vomit, regurgitated food and mummy fucking. That being said, I can't help but feel some people have lost sight of just how damn funny it is. For anyone that shares Nikolaidis berserk sense of humor, there are several moments in the film that'll have you in stiches. de Sade would have loved it. Of course, being a Nikolaidis film its not without its instances of melancholy, and watching it in the context of his other films makes parts of it make a bit more sense but at the same time this really is a standout film. And Michele Valley. Yowza.
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Einherjar86
Active Member
I'm not defending rms, just making sure we aren't ignoring reality here.
Unless ignoring reality is feminist...
CiG
Harbinger of Metal
I don't really think that about feminism. After all I don't believe that feminism has been an entirely unnecessary movement, I just think it's (d)evolved into something very different that I disagree with.
But in Fury Road you had Max representing masculinity, Immortan Joe representing the patriarchy, you had Nux as the male feminist breaking away from the patriarchy, you have Furiosa as the modern woman introducing feminist philosophy to The Five Wives who are fleeing the patriarchy, you have the breast milk slaves who in my opinion represent the idea that women exist merely to raise children (who will go on to buttress the patriarchy).
I could go on but I haven't seen it in a while so the details are fuzzy.
Edit: And contrary to what @Mort Divine seems to think, no this film didn't trigger my turning away from feminism, as it came out when I still was one and I praised it and it's analogy (even if it was only me that saw the analogy perhaps). I honestly think it's an example of a good political agenda in a film, unlike Ghostbusters which was just shit, hamfisted and overly cringy and preachy.
no country for old wainds
Active Member
- Nov 23, 2002
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is it ok that i liked this movie mainly because of people yelling surreal things and smashing cars into each other
Einherjar86
Active Member
CiG
Harbinger of Metal
Oblivious Maximus
I am the worm
rms
Active Member
My 2nd Huston film (Sierra Madre is numero uno)
Rather average film that gains a lot of strength in it's like ~20 minutes or so. Fantastic ending thematically, even moreso when coupled with the elements of film making
Oblivious Maximus
I am the worm
Now this is certainly interesting, Why Netflix Will Release Martin Scorsese’s Next Film. No matter how it gets released, I want voiceovers, brutal violence, excessive use of the word "fuck" and doo-wop on the soundtrack.
no country for old wainds
Active Member
- Nov 23, 2002
- 26,664
- 9,648
- 113
CiG
Harbinger of Metal
Vegard Pompey
ALLY TO GOOD, NIGHTMARE TO YOU
I saw The Brood at that arthouse cinema in Denver. The hostess was cosplaying as Nola and when we left the screening we found her in the lobby re-enacting the fetus-licking scene from the climax. Never felt more in love.
