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#2081
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jiang hu
ashes of time: redux meat grinder |
#2082
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The Machine Girl (2008). This was simply over-the-top fun. I think that is where the movie craft of gore-fest films either peters out or is is fueled by its own mayhem. Being visually assaulted with barrage after barrage of gore, arterial spray, violence, and a mean streak that cannot be curbed, movies like these can easy become tiresome. But in this case the fun never stops. The story is a simple, black and white take on good, evil, and revenge. Elements of times past and present are thrown in for good measure, and the script's pitching arm does not miss its mark. The acting was sufficient for such an exploit; anything greater would have been drowned in faked blood so why bother. The camera work was more than sufficient and really helped capture the frenzy of each zany moment. The direction takes what should have been a dollar bin disaster and brings it to the fore of the running, even eliciting comparisons to Dead Alive in its attempt to create fountains of gore with a mischievously artistic flair. In all honesty my first go at this flick ended poorly at about 15 minutes deep. Like smoking and drinking, such vices take time to acquire the criminal taste that is necessitated to savor damnable endeavors such as The Machine Girl.
Merry Christmas! d
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![]() Fate is my mistress, mother of the cruel abomination that is hope. |
#2083
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Noriko's Dinner Table (2005). What Shion Sono has created here is a type of horror flick whose monster is found in the details of a society that is undergoing a massive cultural shift, its victims adult and child alike. The philosophic endeavors examined include existential reality as it exists and pits it against a reality that is being created and virtually lived by the Japanese by way of personas. Are we how we act or is our verite deeper than that? Life almost seems less true when we live a perfunctory life based on so-called truths than were we to openly prevaricate to ourselves and those around us in regards to our feelings and intentions. Maybe this is this film centers on the ultimate form of existentialism, where unfolding events creates reality, and not the individuals involved and their attempts at persuasion. It is almost as if we are asked to hold true the paradoxes of life as if they were the best of friends, individuals that are polar by nature and yet complimentary in effect. Noriko's Diner Table takes its sweet time achieving such a conundrum, and it does so in a fashion that rarely works. Driven by inner dialog, the story takes place in chapters in order to achieve such a deep level of character development. At times it almost feels more like a book than a movie, which might account for its ability to impart its profound message. At 159 minutes, no time is used with gratuity, each and every scene adds a new piece to the puzzle, and even though some new additions only add more confusion, they each and all work toward the film's denouement. The story itself is quite original, which speaks volumes in a world replete with the same old story being retold in a fresh fashion. The symbolism used here is deep, and though much must have been lost in translation to those whose tongues are not of the Japanese persuasion, much reward is still gifted the non-native audience. The imagery and the camera work were phenomenal, employing techniques that obscures or washes out our players, disconnecting us from them much like their own inner sense of disconnection. Shion Sono has created a masterpiece that deserves more than my limited viewpoint, and that is probably for the better. This film seems a better match for individuals that want to create their own impression as opposed to having predigested notions fed to them. The final climax, a long, complex and emotional shot, was pure cinematic significance. The whole discombobulated enchilada comes together, and sets the score for an ending that is more a journey's beginning than its completion. Merci beaucoup.
d
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![]() Fate is my mistress, mother of the cruel abomination that is hope. |
#2084
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Lady Snowblood (1973)
Lady Snowblood 2: Love Song of Vengeance (1974) >>: A Hisss (2010) >>: D
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@Letterboxd |
#2085
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Gamera vs. Barugon
The Isle |
#2086
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gamera vs gyaos
gamera vs viras fireball |
#2087
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Fatal Contact -
I found this disappointing.The fight sequences were all very slick but suffered from an overload of wire work,and Jacky Wu's opponents were just a succession of charecterless,uninspired,paperthin mannequins who carried no menace or threat whatsoever.The ending was a complete and utter mess,an incoherent,illogical,abysmal mess. 3/10
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#2088
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Riki-Oh: The Story of Ricky (1991)
The tag line on the dvd cover says it all..."It's Evil Dead 2, Braindead and the Matrix; times ten, turned up to eleven!" :D Absolutely loved it, from the start to finish! >>: A Aakrosh (2010) A loose Bollywood remake of Alan Parker's 1988 masterpiece Mississippi Burning! Right from the characters, story, some sequence of events, love interests, barber shop, dialogs - everything was quite the same but all comes with a very mediocre adaptation. The "Colored vs White" in MB has been replaced by Upper castes vs Lower castes. The people who haven't seen the original or almost forget about it (like my elder bro), this would turn out to be a good movie for them. >>: C
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@Letterboxd |
#2089
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gamera vs. guiron
gamera vs. jiger battle royale meltdown (aka high risk) fireball Last edited by zwoti; 01-08-2011 at 02:27 PM. |
#2090
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I dunno, I dont really keep track.. I watch Goemon last.. but i dunno it i'd consider that horror, but then you guys are naming movies that I know are not horror.. so yeah.
Goemon is dope. I watch Ghost system not too long ago.. and otogiriso |
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