no country for old wainds
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it's ungood, in my unpopular and racist opinion. i have liked a few of the key & peele sketches i've seen, seems kinda hit and miss though
The Official Movie Thread
- Thread starter Manic Ferocity
- Start date
CiG
Harbinger of Metal
Recently came on my radar that since 2015 Dave Chappelle has been calling out Key & Peele for stealing his thing and making it their own without giving him any credit. Comedians don't accuse other comedians of biting their material flippantly either. I can kinda see where he's coming from.
Einherjar86
Active Member
Very excited for Us.
I loved Get Out, thought it was smart and hilarious; but I'm an SJW cuck.
But I would recommend it. I thought it was a delicious experiment in genre combination/modification. What it does with genre is analogous to what happens to bodies in the narrative.
I loved Get Out, thought it was smart and hilarious; but I'm an SJW cuck.
But I would recommend it. I thought it was a delicious experiment in genre combination/modification. What it does with genre is analogous to what happens to bodies in the narrative.
Last edited:
CiG
Harbinger of Metal
noahpeterson
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noahpeterson
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Blurry_Dreams
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CiG
Harbinger of Metal
Fuck no. Cinema is a gigantic waste of money.
Anyway just finished watching Scarface on blu ray on my biggest screen. Kinda forgot how beautiful the use of colour is and the cinematography in general. Still one of my favourites.
Anyway just finished watching Scarface on blu ray on my biggest screen. Kinda forgot how beautiful the use of colour is and the cinematography in general. Still one of my favourites.
Blurry_Dreams
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TageRyche
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Blurry_Dreams
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CiG
Harbinger of Metal
CiG
Harbinger of Metal
My copy of Bloodsport finally fucking arrived. 
Had to buy a new copy because I just never got around to picking my old one up from my dad's place.
Had to buy a new copy because I just never got around to picking my old one up from my dad's place.
TechnicalBarbarity
Poser Disposer
CiG
Harbinger of Metal
CiG
Harbinger of Metal
Depends how you define "bad" I suppose. It's better than every MCU film I've seen by a mile, but it's obviously no arthouse masterpiece or anything. Simplistic, very effective, very 80's, great soundtrack.
RadicalThrasher
Active Member
no country for old wainds
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some reviews of dragged across concrete:
Zahler's best movie yet, in its way his JACKIE BROWN, an exploration of race, police power, class, and crime. As idiosyncratic and weirdly literary as it is vile. Any questions you have about his actual worldview won't be answered but it's an ugly, bleak, and often very funny little bomb. A nearly perfect po-mo exploitation film.
---
Zahler takes his languid pulp styling to loquacious extremes, settling in for a gentle float down a lazy river of hazy corruption and murder - even the final confrontation is patiently paced, as methodical as the near-real-time stakeout that proceeded it. It's intoxicating, Zahler turning genre into a procedural of its own making, like a bloody How It's Made episode or something. Still get occasional jabs of discomfort with the auteur's potentially problematic politics (the audience that laughed a bit too much along with the racist bon mots of the script didn't help), especially since Zahler seemingly finds the asshole cops at the centre of his script at least a little bit noble, their backwards attitudes maybe even just the remnants of a time long forgotten of gunslingers and knights. Or maybe he's just fucking with everyone, a complete troll. Either way, it's a compelling exploitation vision that I love getting lost in.
---
More outlaw cinema from the king of modern exploitation. Owns the same love of dime store verbosity and near Lynchian static camera set ups, adding leathery, chain smoking Mel Gibson to the established set of “Zahler Players” from CELL BLOCK 99 as it floats along on the author’s trademark quasi-literary wavelength. Just know that this is a stakeout cop picture, which basically becomes a hangout movie with the two bluntly charming racist uncles you never had. Naturally, that means we get to watch Vaughn eat an egg salad sandwich in an unmarked car during a two-minute long take.
Zahler's best movie yet, in its way his JACKIE BROWN, an exploration of race, police power, class, and crime. As idiosyncratic and weirdly literary as it is vile. Any questions you have about his actual worldview won't be answered but it's an ugly, bleak, and often very funny little bomb. A nearly perfect po-mo exploitation film.
---
Zahler takes his languid pulp styling to loquacious extremes, settling in for a gentle float down a lazy river of hazy corruption and murder - even the final confrontation is patiently paced, as methodical as the near-real-time stakeout that proceeded it. It's intoxicating, Zahler turning genre into a procedural of its own making, like a bloody How It's Made episode or something. Still get occasional jabs of discomfort with the auteur's potentially problematic politics (the audience that laughed a bit too much along with the racist bon mots of the script didn't help), especially since Zahler seemingly finds the asshole cops at the centre of his script at least a little bit noble, their backwards attitudes maybe even just the remnants of a time long forgotten of gunslingers and knights. Or maybe he's just fucking with everyone, a complete troll. Either way, it's a compelling exploitation vision that I love getting lost in.
---
More outlaw cinema from the king of modern exploitation. Owns the same love of dime store verbosity and near Lynchian static camera set ups, adding leathery, chain smoking Mel Gibson to the established set of “Zahler Players” from CELL BLOCK 99 as it floats along on the author’s trademark quasi-literary wavelength. Just know that this is a stakeout cop picture, which basically becomes a hangout movie with the two bluntly charming racist uncles you never had. Naturally, that means we get to watch Vaughn eat an egg salad sandwich in an unmarked car during a two-minute long take.
