The Official Movie Thread

the last two movies pompey's been jerking off over on here are dragged across concrete and the new shyamalan lol, i feel like that's about as unsnobby as it gets. i guess rms is a snob if snob just means hating 95% of what you watch.
 
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Einherjar86 said:
I think Mandy's brilliant in its mashup of trashiness and aesthetic flourishes. I mean, you have a revenge narrative framed by some truly gorgeous and thoughtful visuals, and one of the best soundtracks I've heard in a while.

It may not be competing with films like Roma, but I think it deserves as much credit for being what it is, and doing it tastefully and in an aesthetically provoking way.
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I've had this debate with others, but I fail to see how soaking everything in red hues equals thoughtful visuals. And I found the violence to be utterly unimaginative and artless too. The whole thing is the cinematic equivalent of a bedroom black metal band recording an uber lo fi album and thinking the production alone makes it an uncompromising masterpiece, when the music doesn't stack up.
 
^that’s kind of how i felt about beyond the black rainbow. i can vibe with a great aesthetic to a point at least, particularly if nic cage is involved, but i’ll probably need more than that if it’s gonna make my list.
 
challenge_everything said:
I've had this debate with others, but I fail to see how soaking everything in red hues equals thoughtful visuals. And I found the violence to be utterly unimaginative and artless too. The whole thing is the cinematic equivalent of a bedroom black metal band recording an uber lo fi album and thinking the production alone makes it an uncompromising masterpiece, when the music doesn't stack up.
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The violence itself was pretty artless, I'd agree. Nothing special. I think I said in my original post after I watched it that I felt it lacked in cinematography, by which I mean the action scenes.

I terms of visuals, what I loved were the shots that imposed a cosmic scale onto an otherwise banal, backwoods narrative. Shots like the cosmic whorls above the house, the set design of the bedroom made of glass (with which Cosmatos did some interesting lighting work, even if it was CGI), the underground dungeon above a bottomless pit, the church set within a symmetrical ravine, and other shots of the natural world that utterly dwarfed the human. And of course, the final shot.

The draw of it for me had to do with how it framed a typical '70s-ish revenge narrative within a cosmic horror context, which bespoke an indeterminacy: whether all the blood and death was somehow connected to something "beyond," or if it's simply meaningless set against an indifferent universe.
 
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Funny, I was just about to post the same. It looks really interesting! A superhero spin-off with no hero, just a chronicle of a broken man descending into madness.

Looks to have a bit of Taxi Driver/Carrie/King of Comedy about it.
 
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Einherjar86 said:
The draw of it for me had to do with how it framed a typical '70s-ish revenge narrative within a cosmic horror context, which bespoke an indeterminacy: whether all the blood and death was somehow connected to something "beyond," or if it's simply meaningless set against an indifferent universe.
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It tantalised in that regard, but I didn't feel there was any real conscious angle or thought to any of it. Again it seemed more about looking cool than mining the interesting territory of the mundane/everyday world concealing horrors in the way that Twin Peaks or even Hellraiser (for example) do well.
 
CiG said:
I remember rms sperged out because I like Dolph Lundgren and Vegard liked it. That was pretty snobbish I guess, but then again Vegard is a hipster and rms is a brainlet so I dunno.
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Not sure when this was but if I liked a post by rms it was probably because I thought it was funny and not because I agreed with him because I usually don't. I don't have a problem with people liking b-movies anyway.
 
challenge_everything said:
It tantalised in that regard, but I didn't feel there was any real conscious angle or thought to any of it. Again it seemed more about looking cool than mining the interesting territory of the mundane/everyday world concealing horrors in the way that Twin Peaks or even Hellraiser (for example) do well.
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That's fair. I'll admit that I also was probably just enamored with the visual tone and atmosphere, combined with the soundtrack (which I loved). I still think there's something novel about combining the banality of the everyday with a cosmic horror narrative in cinema, but I take your point.

Also, speaking of Hellraiser... some serious Hellraiser homage in Mandy.
 
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