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Mondo Bungle 11-21-2018 04:25 PM

Movies You Should Know Because (I Think) They rule
you know there's a little handful of movie related threads but doesn't seem like there's any general one to just come and talk about and find films that you may or may not have seen/known about. So not every entry will be some super obscurity but just some I rep hella that need more appreciation all around.

Just gonna start with the plethora I've previously posted somewhere else

Spoiler for some:

Originally Posted by Mondo Bungle (Post 2016203)
Ikiru - Just goes to show you that everyday of life should be cherished, but that truth is often swept up in the mundane cyclone of existence, only to be recovered in shambles like a wet newspaper after being told how much time you have left. This is a simple film, really, with a simple message. Everything about it is unquestionably ordinary and thereby relatable for anyone and everyone. Even our protagonist's final dream to accomplish something that may or may not matter is quite ordinary. He just wanted this park built, but after the unfolding of the film, that simple goal holds so much more weight. And I got to thinking it's pretty badass how he would stop at nothing after being a doormat for so long. The movie had a lot of real cool shots, and I gotta give this guy credit for holding that grimace with varying levels of intensity throughout basically the whole thing. Gotta have a sore face after that. 4/5

The Seventh Continent - I'm not quite sure how to properly articulate my thoughts and feelings on this movie, and frankly I'm skeptical about what they are in the first place. The movie does not want to be your friend, that's for sure. The movie is your enemy, and will swarm your being with contempt and summon waves upon waves of irritation towards things that you'd before never even think twice about. And that's not just relevant to the film's content either. The frustration is truly stupendous. It's gonna be tough to talk about, but I'll do my best. First off, I was in fact fairly disappointed after reading some reviews that beefed it up majorly, and that may have subconsciously affected my personal reception of the movie on the whole. Technically, it is quite proficient. A bleak drama that burns at a snail's pace and builds tension like insects in your bloodstream. It commands all of your patience and perception. Very little "happens", and while I'm all about movies like that, this one just didn't sit right with me, like I offered it an uncomfortable chair and it won't let me hear the end of it through passive aggressive complaining. All the good descriptors are here in full force. It's claustrophobic and suffocating, unnerving and uncomfortable, nihilistic and cold, tense and rigid, and plays out like a nightmare cast in nonexistent light, where no true, perceivable danger can be found lurking in the static beyond, which only strengthens the astronomical dread, and you get to wishing that there was some horrible creature out there, or for some murderous lunatic to barge in and sever the anxiety, to put an end to the seemingly source-less woe. But that doesn't happen. The film revels in inexpressible disquiet, cinematic dysphoria. The whole event itself is what I can't get behind, and it irks me even more that this is a true story. Obviously I've never met this family, but if this is how they went out, I don't think I'd enjoy their company or practically anything about them. At first I was thinking there'd been something along the way that I missed or didn't put together and so I wanted to revisit the movie in the future, but after researching the topic it would seem that this ultimate act of self destruction was more or less spontaneous. Sure it obviously wasn't going perfect for them but jeez. The conclusion of the film is thoroughly upsetting and anxiety inducing, and even though I'll go and talk about being not into it, it stuck with me for a while, popping up in my mind frequently during the following days. So, clearly, this film is a complete success considering it has me as inexplicably outraged as it does. This is why it's hard for me to rate. If we strip away all the pretentious nonsense of this review, at the end of the day I'd still say it's a bit overhyped and that I don't exactly care too much for it. However, it is truly a force to be reckoned with. ?/5

All About Lily Chou Chou - This film is enormously pretentious and I picked that up immediately, so that's always nice. Led into the movie with some posts from an internet message board dedicated to this musician Lily Chou Chou, talking about "the Ether" and whack culty stuff like that. Aside from pretense, the movie is also immensely vibrant from the get go in both sight and sound. Anyway, it's a humble coming of age story of youth as affected by the enigmatic artist. It gives us all the tropes, people change, people grow apart. But for the two main characters, solace is found within the music and this "Ether" business. The story, as presented to us, begins in the middle and cuts back to the summer of change come and gone before the ending comes around and the impact of it all is fully realized. Scenes are sporadically intertwined with more posts from the forum, though it's not revealed until the end who these usernames belong to. Thusly we have a sort of impartial view into these individuals' minds and hearts. A great coming of age film that I believe should be revered for its magnificently lush style. Dreamy music and camera shots synergize beautifully, a truly remarkable air. 4/5

Ichi the Killer - Felt pretty much like a must watch movie for me, already being a fan of the shameless absurdity of J-splatter. Like how can you even have this much blood in your body? I figured it would be pretty similar to Tokyo Gore Police and the Machine Girl and all those, but this one (admirably) tries a different, possibly more subdued air. That's not to say this film doesn't have firm roots in black comedy or is not hilariously ridiculous in every aspect, it just seemed like the focus was shifted somewhat on thematic content rather than nonstop organs. The gore was actually relatively tame (it's not tame at all) compared to the others I mentioned. A gripe strictly from the gore department is that there's not much of a splatter climax. You know, the culmination of everything where people are getting ripped into fourths and skulls splitting in half and whatever. There was already a ton of splattering throughout so it's kind of an irrational complaint, but all that had me thinking that the climax would be on another level of disgusting. The whole ending itself, in my opinion, was kinda weak. Notwithstanding, this movie is a damn great time. 4/5

Jigoku - We're all sinners and sinners burn in hell. Expectedly enticed by this 1960 film's status as the earliest "splatter" movie some three years before Herschell Gordon Lewis would forever sicken the cinema world with the remarkably gushy Blood Feast, I started Jigoku with giddy anticipation of its renowned Hell sequence. But first I was treated to desperate and gloomy drama of human morality. Some of the actual content confused me a little (is this Tamura guy a ****ing ghost or what), but it's not hard to pick up on the big picture. The first two thirds are dreary in pace and tone, then the message as stated before (we're all sinners) comes back around to **** you in the ass as it all completely and literally descends into Hell. This is where we are treated to some absolutely ludicrous visuals and sets and effects. It's no surprise that the ultimate splatter moment is one for the ages. I mean, obviously. But anyway, that's quite a buildup. The dramatic aspect, in my opinion at least, is captivating throughout the whole film, but explodes with such a drastic spike of insanity that I can only imagine the reaction when this was new. 4/5

The Wailing - I love going into movies not knowing at all what to expect. It was like that with the Seventh Continent, but we can see how that went. This movie was honestly intense from the start. I thought rabid humans might be a cliche, but the nightmare sequences early on are god damn horrific. The atmosphere is uncanny. I was even blindsided with emotions on a couple occasions. Dark and never not unsettling, this movie really had me in it, and some of the imagery is just next level. 4.5/5

Early Summer - Gonna be jumping around Yasujirō Ozu's massive film canon as he seemed to have the "slice of life" property of storytelling perfected. I wanna watch a bunch that don't all look like that completely, but I'm quite enamored with these humble melodramas, and after already watching Tokyo Story I figured I'd go first for the others in the Noriko trilogy, cuz Noriko is a stand up gal. It's all about family values. Noriko defies a marriage being forced upon her by her family, and, well that's it really. These movies are so slow but so real, and I feel attached the entire time. During the silent shots of the daily routine and activities, during the small talk, during the long shots of an empty room. Though I have very limited experience as of now, I can see that Ozu's style greatly potentiates the content of the film. This one had a few tracking shots but the vast majority of the scenes are still and firm, as with Tokyo Story, which was completely devoid of tracking shots. The viewer is subjected to less stimuli and in turn deeply immersed in the characters. Straight on, stationary shots often create a sense of sudden reality. Looking directly into the camera, and by extension us as viewers, like you are the one having this conversation, all parts played in equal part by yourself. Noriko has a way of impacting her peers, and you're included. 4/5


Tokyo Sonata - This movie is as real as it gets. I especially felt connected with it deeply as a lot of the themes are relatable for me. It also had that parental factor that hits me hard. Everyone in this family is suffering at each other's expense, and tension is at an all time high. The interactions between father and son, father and wife, wife and son etc are unflinchingly authentic in my eyes. As the film progresses and the downward spiral steepens, everyone here just wants to start over. Kids run away, get arrested, people are unemployed and helpless, the struggle is powerful as well as nebulous. Every individual is irreplaceable, and their respective feelings can never be felt by anyone else. We don't know how it is for others, it's simply impossible. But the final moments greet us with a bright and subtle optimism, a new beginning perhaps. We just want everything to be forgotten, all the disputes forever erased. The family's new lives continue on for a while, and the younger son performs a piano sonata as an audition for this music school after months ago being forbade to learn. As we watch the parents' eyes swell up slowly with moisture, as their faces give way to a fresh acceptance, I was losing it at the exact same rate as them while this elegant sonata carries us out of the film, perhaps feeling a bit rejuvenated myself. 4.5/5

Au Hasard Balthazar - What are humans but especially intelligent animals? That's something that I feel like this movie set out to express. It follows the disjointed lives of two animals, a donkey and a young girl. Both are constantly mistreated and abused, taken advantage of for nothing, and it's not unique for each, their misery is given and received in much the same way. That said, their lives would appear to be on equal ground, no better than the other. The plot was admittedly hard to make sense of a lot, but it's a discontinuous film in its own right. We're met with back and forth jaunts around the two parties, and I think the disorganized events serve to emphasize the emotional and empathic aspect of it all. And I'll guarantee you right now that it's impossible not to want a donkey of your own after watching this. 4/5


Originally Posted by Mondo Bungle (Post 2004315)

Diabeł [The Devil] - I think this movie > Possession. The atmosphere and visual quality is just extra spectacular and the whole thing is mad. I ain't even Polish.

Possession - Going down half a star from the 5/5 Devil but don't ask me to elaborate why because I'm retarded and will not be able to answer. They're both off the wall and Possession surely wins in the squidman intercourse department.

From Beyond - Jeffrey Combs just means it's immediately good. Plus it's the greatest movie ever.

パプリカ [Paprika] - There's enough disturbing and unsettling scenes in this to fill an indefinite sized tank. But at the end of the day it made me so happy and it's just the nicest thing there could be, pretty much made me remember how to feel. But the tense suspense bits are ludicrous with surreal nightmareagery and horribly awesome buzzing soundtracks.

Beyond the Black Rainbow - This and Under the Skin turn slow boiling science fiction surrealist ambiance into an art form kinda it already is. Deep tones and funereal pace make the horrific imagery that comes around even more melting. Though the pace works against it I think, absorbing you into its cold thrall to the point where you don't want to turn back until discovering the nexus of this terror and then the movie's over.

Pin... [Pin: A Plastic Nightmare] - I was so surprisingly enamored with this and it's become a serious favorite. I was tryna watch Come and See but the file I had was a horrendous dub and I couldn't let that happen, so I settled with this one I downloaded from Youtube on a whim and it was fantastic to me. I'm not gonna try to pass it off as a genius masterpiece of cinema because I could imagine many not agreeing at all, but it's amazing to me. I didn't know how it could turn out with the premise seeming a little silly, this guy growing up way too attached to their doctor father's medical mannequin named Pin and unknowingly speaking for it and just being insane in general, but it managed to offer many chills from out of left field. I also think the acting is superb throughout, specifically the main character who'd go on to Stargate fame, and the ending genuinely had me on the verge of tears cuz I'm a gay ***got.

Santa Sangre - This is my favorite Jodorowsky movie I've seen. It's more humanistic if that's even an applicable descriptor, and a little poignant and lovely. Incidentally another horror to stir up the feelings at the end, though this one actually did have me shed a tear cuz I'm an even gayer ***got.


Originally Posted by Mondo Bungle (Post 2004036)

ハウス [House] - So unhorrory that it's in fact extraordinarily horrory. Light and vibrant Japanese ass **** juxtaposed with so many unnerving elements. One of a kind through and through.

À meia-noite levarei sua alma [At Midnight I'll Take Your Soul] - Powerfully gothic business culminating in a showdown with God itself. Kinda. Some intense and otherworldly forces.

Bone Tomahawk - Wouldn't be afraid to call this the most badass movie ever though. Western horror is such a sparse thing though you'd think otherwise. They pretty much compliment each other perfectly. The bleak Western tropes are presented with a constant air of doom, and even one of the best splatters ever at the end.

Eyes of Fire - Interesting that the next choice was another Westernish horror, but not all deserty. Woodsy. It's quite unusual in premise, sets, and scares.

Orlacs Hände [The Hands of Orlac] - I wish I could remember enough to better describe it, but it's sick on a Caligarian level.

Quella villa accanto al cimitero [The House by the Cemetery] - Seems to be loved lesser than a lot of other Fulci films and not raved about madly. So I guess it's underrated. This one though, I found genuinely scary in a good amount of scenes.

The Witch - One of the best modern horrors no doubt. I should watch it again right this second.

Les yeux sans visage [Eyes Without a Face] - Quite a lovely piece and a special selection of my repertoire. Almost constantly unnerving thanks to the mask our faceless lady wears, right out of the uncanny value. She just wants a new face, but it's hard to come by the perfect one.

回路 [Pulse] - Gave me some mad chills. You should be frightened of the internet, some **** goes down there. Obscured figures and deep ambient impacts in abundance.


Originally Posted by Mondo Bungle (Post 1990451)
Paris, Texas was so good I can't even handle it. One of the best looking and feeling movies ever. 5/5

Synecdoche, New York - This didn't become my favorite movie ever or even one of them like I thought it might have the potential to, but I'm not gonna sit here and pretend like it's not a great and groundbreaking movie. Unfortunately this'll be a case of me not being able to exactly articulate what it was that didn't hella click with me, being a dumbass and all. The only other Kaufman movie I've seen was Eternal Sunshine of the Spotless Mind, and I liked that better. Synecdoche is funnier though, and a lot whacker if the surrealism. A lot of people'll tell you it's a movie to watch with emotions rather than logic, and that's pretty agreeable to me. The timeline is absurd and hard to make sense of, but feelings still run deep throughout the whole thing. It seems to me like a portrait of an artist obliviously decomposing and self-destructing, with everything and everyone around him only breaking him down more. There's a lot of fantastic shots too. I dunno, maybe I'll have to watch it again to figure out more to say. Still 4/5

二十四の瞳 [Twenty-Four Eyes] - The story here is so simple but so nice. A schoolteacher watching her students grow up in wartime Japan. And boy do these kids love their teacher. Similar to what I said about Mary and Max, numerous sad events occur to really connect with the viewer before the ending comes around to make you realize that life is beautiful. I cried here, majorly. I imagine if you've ever had a strong connection with a teacher it would hit even harder, I never did and it still got me wrecked. It's slow and long but so humble and heartwarming. Seriously, these kids' admiration stays strong until they're adults, never forgetting their teacher the whole way. The end made me so happy I couldn't breathe. Only giving it4.5/5 because there's a lot of singing filler.

東京物語 [Tokyo Story] - There's hardly anything to do with a plot here, and that makes it all the more genuine. Even slower in pace than Twenty-Four Eyes, it's a simple view into the lives of a Japanese Family. There's so much to connect with here though it didn't make me cry as much as before. Its simplicity makes it hard to say a lot, but this is a highly emotional piece of film. 4/5

山椒大夫 [Sansho the Bailiff] - It's hard to find much fault with this movie, except maybe the title. Yeah Sansho was a major character but I wouldn't say he's worthy of the namesake. Either way, this is completely transcendent. Utterly beautiful cinematography, bold music, and emotions turned to 11. It's all about endurance, the strength to be no matter the circumstance. Yes, it made me cry again. 5/5[/QUOTE]

Mondo Bungle 11-25-2018 01:46 PM

A closer look at...

Diabeł, 1972

Director Andrzej Żuławski would probably be more renowned for the 1981 cult classic Possession, but a decade before he bestowed upon us this historical horror masterpiece, and believe me when I say it's quite literally one of the most insane movies I've seen. I'd describe it ass a cross between Possession and Jodorowsky's Santa Sangre despite coming out at least ten years before either.

After watching this and Possession, a distinct cinematic style is apparent, making heavy use of panicked camera work and frantic panoramas. This film has a darker quality to it though, considering the historical/folk aspect. Sets are sparse and desperate with a whole lotta candles. All brought together with an acid drenched soundtrack full of squealing guitar, Diabeł is as insane stylistically as it is thematically.

The goofy (for lack of a better term,) elements of mania come and go in an oddly natural and fluid fashion, making the traveling circus and jaw harp playing midgets and whatnot seem like the norm around these parts, rather than deliberately psychotic miscellanea. I've seen a lot of people saying it's too slow, and I don't get that at all as I found it madly intense from the start. I think it's a hugely enthralling and watchable film that is at the same time utterly deranged and unhinged. Psychologically nerve wracking the whole way.

If you're a Possession fan, then there's no reason you wouldn't love this.

[MERIT] 11-25-2018 05:35 PM

Review some pornos.

Mondo Bungle 11-25-2018 05:36 PM

I don't know any

Frownland 11-25-2018 05:52 PM

Review Salo.

[MERIT] 11-25-2018 06:03 PM


Originally Posted by Mondo Bungle (Post 2018348)
I don't know any

I don't think I've ever watch a legit porno, like with a title and some production value.

The Batlord 11-25-2018 06:12 PM

Review The Devil in Miss Jones. Some chick kills herself and isn't let into heaven. So she asks to be sent back to earth so she can earn her way into hell. Slutty hell.

Mondo Bungle 11-26-2018 12:58 PM


Originally Posted by Frownland (Post 2018354)
Review Salo.


Originally Posted by Mondo Bungle (Post 1987504)
Salò, or the 120 Days of Sodom - I feel like this movie might be too dated to be all that disturbing, especially for young bucks like myself who know nothing of the times (I do imagine it was quite a shocker) and that are spoiled by cutting edge depravity in the media. I found myself laughing more than any other sort of reaction, suppose I could just be a sick freak though. I was expecting more graphic violence but that hardly comes around until the very end, where there's a lot of admittedly brutal things going on. Nothing about this movie really floored me but I didn't dislike it at all. It does carry itself with some absurd sort of high class atmosphere, and these guys are definitely freaks through and through. I'd guess the disturbing aspects of it come from the general idea that these are just people who can in fact do all this for their own disgusting satisfaction based on differences of class, and that great joy and glee comes from their activities, with innumerable bouts of spontaneous sodomy and other such wretched things intertwined with the stereotypical view of high society and prejudice. 3/5


Mondo Bungle 11-26-2018 01:00 PM

If I find one I think would be cool I'll give it a jerk

Mondo Bungle 11-26-2018 01:09 PM

Dead Ringers, 1988

With the "descent into madness" thing being such a thematic cliche, I feel like proper execution rests more in the hands of your lead and their ability to take it and run with it. Of course the writing plays an astronomical part, having all the content and whatever, but can ultimately fall flat if it's not brought to life on the screen. In Dead Ringers, Jeremy Irons takes it and runs a damn marathon with it, and treats us to one of the greatest descents ever.

After watching this again recently, I may have to reevaluate my ranking of the David Cronenberg movies I've seen. I've always repped this one highly but behind his fantastical body horror opuses. I'd have to watch the Fly again but I can definitely say I like Dead Ringers more than Videodrome and the Brood (my previous Cronenberg trifecta). Dead Ringers is more personal and humanistic, relying more on genuine paranoia and disquiet than surreal and otherworldly depictions of scientific macabre.

The lunacy of our protagonist is amped up greatly as he becomes overtaken by drugs, and we as an audience in turn grow sympathetic as we witness the origins and advancement of the madness. So along with the overall grim hospital air, heartbreak pierces through the gloom and it becomes a truly crushing endeavor.

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