Seen and not seen's, recommendations and queries on top films in general.

[NerveGas]

Penda's Fen

Excellent film. One should expect nothing less from Alan Clarke.

Recent Clarke for me was Scum (1979) - had never seen it before. All around punch to the gut if obviously not as graphic or violent as one might think. It's short and it does not fuck around which is a plus. Winstone is outstanding as the main character. I watched this one alongside another one with Winstone which was Sexy Beast (2000). Even though Kingsley is obviously the dominant force in this totally different animal of a film, Winstone is still great.

Demonlover (2002) by Olivier Assayas

This has been on my list for some time. Seems like it might be a spiritual companion to Abel Ferrara's New Rose Hotel, which is based on a short story by William Gibson.

Still have not gotten around to New Rose Hotel but I will certainly watch it soon.

Antiviral (Brandon Cronenberg, 2012) - Nice debut by David Cronenberg's son. It definitely runs in the family. Looking forward to watching Possessor whenever I can find it.

I remember loving that one even though it is a total knock-off body horror flick. It was just so great to see another Cronenberg after the old Cronenberg changed the subject many moons ago.

Scum is amazing. So much hate in that film. One of my all time favorites. I have a German release poster framed in my apartment. One of my prized possessions because the arts so fucking cool. Anything of Alan Clarke's that I have see rank as some of my top films. Elephant,The Firm, and Made In Britain are all flawless.

[ConcreteMascara]

Penda's Fen

Excellent film. One should expect nothing less from Alan Clarke.

I've never seen anything by Clarke outside of the Blue Underground box. Will have to check this out for sure.

Castle Freak (Stuart Gordon, 1995) - I was amazed at how this just descends into pure evil. Felt like I was watching some bleak 70s exploitation film when it started getting down to it.

Sex and lust in Gordon's movies generally feels pretty brutal or is at least infused with violence (that's not a criticism). I remember Castle Freak being the best example of that.

[host body]

I liked Antiviral although it was a pretty much style over substance. Like The Neon Demon, another good example (or any other Winding Refn movie he's made in the US) of a modern transgressive movie that nailed it with style but are somewhat lacking in substance.

Really looking forward to Possessor though.

[ConcreteMascara]

I liked Antiviral although it was a pretty much style over substance. Like The Neon Demon, another good example (or any other Winding Refn movie he's made in the US) of a modern transgressive movie that nailed it with style but are somewhat lacking in substance.

Really looking forward to Possessor though.

I think Neon Demon [and Only God Forgives to a lesser extent] might be an example of a movie where the style is the substance. As in it doesn't offer what you get from a traditional film but something else that just reminds a person of a conventional film. That being said I have mixed feelings about whether I like that or not. But I do think the barely there plots and dialogue allow for a more abstract enjoyment while also the immediate color/music/movement make brain feel good. I'm reminded of Daft Punk's Electroma or Beyond the Black Rainbow and a lot of other weird mostly or only visual movies from over the years.

[absurdexposition]

I liked Antiviral although it was a pretty much style over substance. Like The Neon Demon, another good example (or any other Winding Refn movie he's made in the US) of a modern transgressive movie that nailed it with style but are somewhat lacking in substance.

I think Neon Demon [and Only God Forgives to a lesser extent] might be an example of a movie where the style is the substance. As in it doesn't offer what you get from a traditional film but something else that just reminds a person of a conventional film. That being said I have mixed feelings about whether I like that or not. But I do think the barely there plots and dialogue allow for a more abstract enjoyment while also the immediate color/music/movement make brain feel good. I'm reminded of Daft Punk's Electroma or Beyond the Black Rainbow and a lot of other weird mostly or only visual movies from over the years.

I think all of these films have substance, especially Antiviral. Maybe I will reword that comment, because I don't think Antiviral has any more or less substance than The Neon Demon, or vice versa, but perhaps The Neon Demon does have more overt style. TND is certainly not my favourite Refn but it is part of this newer style he's been exploring with Only God Forgives and Too Old To Die Young where violence is the substance to a degree.

I had a bit more to say on Alan Clarke and Jonathan Glazer but I accidentally cut it and lost it, I'll come back to this after work if it remains pertinent.

[ConcreteMascara]

I liked Antiviral although it was a pretty much style over substance. Like The Neon Demon, another good example (or any other Winding Refn movie he's made in the US) of a modern transgressive movie that nailed it with style but are somewhat lacking in substance.

I think Neon Demon [and Only God Forgives to a lesser extent] might be an example of a movie where the style is the substance. As in it doesn't offer what you get from a traditional film but something else that just reminds a person of a conventional film. That being said I have mixed feelings about whether I like that or not. But I do think the barely there plots and dialogue allow for a more abstract enjoyment while also the immediate color/music/movement make brain feel good. I'm reminded of Daft Punk's Electroma or Beyond the Black Rainbow and a lot of other weird mostly or only visual movies from over the years.

I think all of these films have substance, especially Antiviral. Maybe I will reword that comment, because I don't think Antiviral has any more or less substance than The Neon Demon, or vice versa, but perhaps The Neon Demon does have more overt style. TND is certainly not my favourite Refn but it is part of this newer style he's been exploring with Only God Forgives and Too Old To Die Young where violence is the substance to a degree.

I had a bit more to say on Alan Clarke and Jonathan Glazer but I accidentally cut it and lost it, I'll come back to this after work if it remains pertinent.

I was not speaking for Antiviral because I haven't seen it, just about The Neon Demon. I probably should've elaborated more but I don't think The Neon Demon or Only God Forgives are without substance beyond stylistic substance, but I do think the style of the films, their semi-abstract qualities are something different and not like the majority of films. Shit, to stay on Refn, Valhalla Rising is nearly without dialogue but I certainly wouldn't call it lacking in substance or style. So if my previous comment came across as criticism perhaps I was inarticulate. And as far as personal preference, many of my favorite movies are ones in which the visual and audio content and style are so inseparable and important, the "story" becomes less important. Which I guess makes sense to a certain point? If I want story I can read a book, if I want visual splendor I can watch a movie.

I'm pretty sure I just sound retarded now.

[GEWALTMONOPOL]

I think TND gets a bad rep for being only surface when it's a story about the consequences of an exploitative and narcissistic existence. It's as if because it's set in the fashion industry that people think it's about the fashion industry. Which of course it's not. It's as much about that as Apocalypse now is about the Vietnam War or Moby Dick is about whale hunting.

Too Old To Die Young was excellent until the end where Refn went full blown palsy and turned it into a "time for the chicks to avenge all the bad things us men have done to them". Talk about fucking up a great series with contemporary feminist bullshit thus condemning it to age awfully. He must be feeling guilty for having a nice life in Hollywood or something.

[NerveGas]

I liked Antiviral although it was a pretty much style over substance. Like The Neon Demon, another good example (or any other Winding Refn movie he's made in the US) of a modern transgressive movie that nailed it with style but are somewhat lacking in substance.

Really looking forward to Possessor though.

I think Neon Demon [and Only God Forgives to a lesser extent] might be an example of a movie where the style is the substance. As in it doesn't offer what you get from a traditional film but something else that just reminds a person of a conventional film. That being said I have mixed feelings about whether I like that or not. But I do think the barely there plots and dialogue allow for a more abstract enjoyment while also the immediate color/music/movement make brain feel good. I'm reminded of Daft Punk's Electroma or Beyond the Black Rainbow and a lot of other weird mostly or only visual movies from over the years.

I found Only God Forgives to be absolutely unwatchable. To the point that I wrote off Refn completely. Then Too Old To Die Young came out and I thought it was legitimately amazing. He's always had a tendency towards self indulgence and based on my polar opposite reactions to these films, I guess it just works sometimes and completely fails other times.

[NerveGas]

I think TND gets a bad rep for being only surface when it's a story about the consequences of an exploitative and narcissistic existence. It's as if because it's set in the fashion industry that people think it's about the fashion industry. Which of course it's not. It's as much about that as Apocalypse now is about the Vietnam War or Moby Dick is about whale hunting.

Too Old To Die Young was excellent until the end where Refn went full blown palsy and turned it into a "time for the chicks to avenge all the bad things us men have done to them". Talk about fucking up a great series with contemporary feminist bullshit thus condemning it to age awfully. He must be feeling guilty for having a nice life in Hollywood or something.

Heard a lot of criticism of the ending of Too Old To Die Young And everyone acts like this theme towards the end came totally out of left field. There are legitimately lengthy diatribes throughout the film about the protecting of the innocent and the oppressed against the inherently violent and depraved nature of man. How does that not fit in with the themes of the film? If anything I see Too Old To Die Young as a simultaneously mundane and hyper violent version of American culture. The apocalypse occurring as whimper of civilization not a single catastrophe (to use a cliche). Why wouldn't current issues fit into this? Don't really have the energy for a lengthy discussion, I just don't see how most people criticize this as all of a sudden throwing in a righteous feminist ending when the show blatantly deals with ideas of misogyny and current social affairs. If that ruins the film for you that's not my place to convince you otherwise and it's fine. But these themes literally run through the entire course of the work. That's not to say I think Too Old To Die Young is completely a vehicle for some righteous message. If anything it seems to paint an utterly pessimistic vision of a future that is relatively hopeless. A future of drone like, bored, desensitized hyper violent individuals. I find it to be worth watching even simply on that level. Although I had no problem with the ending that so many people seemed to take issue with because of feminist readings of it.

[GEWALTMONOPOL]

To me it tells a story of violence and revenge as a universal redeemer, equaliser and progressive force. Viggo Larsen's monologue halfway in about how mankind has lost touch with the violent nature which has evolved humanity highlights that. It's a universal theme and a controversial one in todays cultural climate thus also an interesting and important one. To then take it in a feminist direction at the end not only discards the theme, it cheapens the whole story and worse, it nails it to the narrative of its time making it forgettable.

[ConcreteMascara]

Kill! - [dir Kihachi Okamoto, 1968] - I watched this one last night for the first time. This director did The Sword of Doom which is possibly my favorite jidaigeki film, so I was expecting high quality and some real darkness; maybe something in the vein of Three Outlaw Samurai. While there were some similar elements, it was more like a very silly version of Sanjuro. The reluctant and funny hero is played by Tatsyu Nakadai, who is the only big name, and then the rest of the cast is rounded out by jidaigeki and Godzilla film regulars. There's a decent amount of swordplay but its nothing special. What really sets this one apart is the heavy use of humor including physical humor that really worked for me. I was laughing my ass off even when I wasn't super compelled by the story. Probably won't be running back to it soon but it was definitely something different.

[NerveGas]

To me it tells a story of violence and revenge as a universal redeemer, equaliser and progressive force. Viggo Larsen's monologue halfway in about how mankind has lost touch with the violent nature which has evolved humanity highlights that. It's a universal theme and a controversial one in todays cultural climate thus also an interesting and important one. To then take it in a feminist direction at the end not only discards the theme, it cheapens the whole story and worse, it nails it to the narrative of its time making it forgettable.

I can understand the desire for a focus on more universal/philosophical themes instead of specific "moment in time" political issues and it makes sense that the ending would piss people off. I guess I just don't understand how people didn't see it coming. From episode one throughout the entire series there is constant reference to misogyny/gender/masculinity as societal issues... among other "current issues". Probably just as much as the idea of revenge. Whether or not you or I feel anyway about those issues or agree with any possible points being made is irrelevant. The point is that the ending doesn't just jump out of nowhere nor is the show subtle. I enjoyed it, but would even admit it's a little heavy handed. Money raining down in front a Nazi flag, a woman shoots a Nazi in the dick, a cop dating a 16 year old standing in front of an American flag for an extended shot, cops chanting "fascism", police threatening and extorting a woman, multiple references to powerful men hating or killing women, the lyrics to the reggae song used in the dancing/drive by shooting scene, Diana's speech in the final episode about the future. Once again not subtle. I can probably agree that the show just like most movies, books, etc would be better if it stayed in the realm of the universal instead of the politically specific, but to be disappointed that something ends in a manner that's specifically in line with how it had been set up doesn't seem to make sense to me.

Regardless, thought it was worth watching and surprised Amazon was willing to sink any money into something that seems to be met with poor reviews or confusion twice as often as anyone actually being able to sit through it and enjoy it. Probably not one of their smarter financial moves.

[ConcreteMascara]

Four movies this weekend, how nice for me.

Friday was Himiko [dir. Masahiro Shinoda, 1974] - per my review on letterboxd - This feels like a cross between Holy Mountain and Horrors of Malformed Men. Part of that feeling comes from the presence of Teruo Ishii regular Tatsumi Hijikata, founder of Butoh dancing; part from the brilliant use of color; and last, the religious themes. The Holy Mountain came out the same year so I doubt it's an influence but the most famous Ishii films 3-5 years prior so I wouldn't be shocked if there was some influence from them. The interior shots of the film look like a modern stage play with high production values in the best way possible, and the limited exterior shots are used to great effect. Somehow it all comes together to be something greater than just a feast for the eyes. While it's certainly not my favorite Shinoda film, I'd recommend it for those at least passingly familiar with Japanese new wave and ero guro.

Saturday I got to go to the movies for the first time since the pandemic started. Philadelphia Film Society started two drive-in locations and Saturday was Get Out [dir. Jordan Peele, 2017]. My fiance's choice and my second viewing. I definitely liked it more the second time than the first as I had no expectations to meet and could focus on what was done well, which honestly was a lot, rather than trying to guess what was going to happen. It was a good movie for the drive-in too.

Yesterday was a double feature. First was Replacement Killers [Antoine Fuqua, 1998], Chow Yun-Fat's US debut and US simulacra of HK heroic bloodshed, five years late. I remember wanting to see this movie bad as a kid but it getting terrible reviews so my mom wouldn't take me. Well it's definitely not a classic by any means but honestly it was pretty decent for a shoot a million bullets but never kill anyone except sometimes kind of '90s gangster genre film. If it had come out after The Matrix I think people would have a much more favorable opinion of it. It's 90s as hell in the best ways, the pacing is brisk and it's got Jurgen Prochnow and Michael Rooker [as a good guy!!]. If you fuck with John Wick type shoot em ups you'll be able to enjoy this easy. I certainly did.

To close out the evening I watched Samurai Rebellion [dir. Masaki Kobayashi, 1967], which was about as far from Replacement Killers as you can get. For a two hour samurai film, there's no sword play until the last 25 minutes. I expected this coming from Kobayashi, but be forewarned. The titular rebellion is primarily one of words and actions, a patriarch trying to protect the love of his son and his wife against an unjust daimyo from one tense conversation to the next. Definitely not everyone's cup of tea. The general message of the film is everything sucks for everyone back in ye old shogun times except for those with power or without scruples. It's a good drama nonetheless and I enjoy any film where Mifune and Nakadai are pitted against each-other. Just know this isn't really a chanbara film but a period drama more than anything.

[ConcreteMascara]

Hunter in the Dark [dir. Hideo Gosha, 1979]
I've been watching a lot of chanbara films lately, more than usual at least, because I've been playing the shit out of Ghost of Tsushima, which gives you about as much samurai sword swinging action as you can handle. But funny enough, some of my favorite chanbara movies have limited sword play. Well last night's feature, Hunter in the Dark by Hideo Gosha is not one of those movies. The intro sequence shows Yoshio Harada's amnesiac swordsman on an assassination mission where he kills his target who is traveling by palanquin. Harada waits in a boat below the bridge for the perfect moment to thrust a sharpened bamboo shoot through the wood slats of the bridge into the palanquin. He then climbs up the bridge and murders the fuck out of everyone else in a scene of really visceral violence and exaggerated sound effects. Happily this killer intro sequence is not the high point but just the first in scene after killer scene.

The film is a multilayered crime drama essentially, set in the later Tokugawa period that manages to juggle a lot of interesting characters and story lines and somehow bring them all to a satisfactory resolution by the end. The aforementioned Harada does a great job of talking like he's got gravel in his throat while murdering his way through the underworld. Tatsuya Nakadai plays THE yakuza boss, who immediately recruits Harada and uses him to deadly effect. I typically really like Nakadai but this was immediately one my favorite roles I've seen him in. Also special mention to Sonny Chiba who plays a really cruel bastard to great effect. To my taste the only mildly week part of the film was the score which sounded too modern at times, but otherwise I was in yakuza/samurai heaven. If you're looking for something violent, miserable, cruel with a multi-tiered plot than look no further.

[ConcreteMascara]

Ronin-gai [dir. Kazuo Kiroki 1990]
So the few plot synopsis I read of this film before I watched it don't do it justice at all. A few ronin don't band together to protect a whorehouse from mean officials, no no no. It's more like "a few ronin watch indifferently as a serial killer preys on prostitutes from the whorehouse they drink at, sometimes making the situation worse with good intentions". It's not very snappy but that's basically the plot. Forget anti-heroes, there are no heroes. The bad guys are pretty dang mean though! The music and direction of this one keep it from feeling as miserable as it mostly is, to a point of near contention between script, on-screen action and music. It was nice to see Renji Ishibashi as a sword-swinging ronin and a pleasure to Yoshio Harada again being an even bigger lout than usual. Some of the ladies were qtpis too. I was not instantly in love like I was with Hunter in the Dark and I probably wouldn't rush back but I would watch again. I think I'm nearing jidaigeki saturation anyway right now.