NWR is the man, no doubt, no doubt.

Early reviews of The Neon Demon say it's essentially style over substance like a Only God Forgives, but I loved Only God Forgives so fuck those people. I never watched his Pusher trilogy but Drive, Bronson, Only God Forgives, and Vallhalla Rising are all bonfide great films.

Definitely watch the Pusher series. People who say Only God Forgives is all style over substance are probably the same people who think that Inception is crazy confusing.

I get what they mean by it having little to no story at all and Gosling having only 13 lines and whatnot, but the movie conveys it's story through imagery and symbolism. At least that's what I picked up from it. Sort of plays out like a gonzo Shakespeare tragedy of sorts. I'd also like to think people that enjoy it aren't apologists and actually enjoy it for what it is.

That's a great way to put it.

Take everything you love (or hate) and expect from Nicolas Winding Refn films. Style, fetishes, gore, cinematography, score, neon lights, dream-like sequences, and literally heighten each of these senses past human cognition. He did it with Only God Forgives, and now he's done it again with The Neon Demon. Proving once again that him as an experimental director is here to stay, and perhaps the days of Bronson and Drive are all but over. I'm thoroughly pleased.

The Neon Demon showcases a seriously young Elle Fanning playing a woman who lies her way into the modeling industry only to be catapulted to the top of the game, to the chagrin of many another models who've worked harder, and longer to get where they're at. From there, tensions are established and a threat looms throughout the film, yet it isn't so obvious at first glance. To actually get to this certain "threat", you're very much subjected to gorgeous cinematography, a sheer admiration for neon lights (no surprise there), and a hugely synth-heavy score from The Man Cliff Martinez. It's also NWR's least violent film as well, which isn't saying much considering what violence their actually is is very much literally all for shock value, and because he loves to fetishize violence, it's very self aware at how extreme these few moments are. It might not be much, but it's graphic in ways I never saw coming.

Many will scoff at it's "thin" characters and even "thinner" plot. Which is valid, I'll admit that. It isn't all peaches and cream in those two departments. To me, the story is more narrative driven than Only God Forgives, and certainly with more dialogue. But at times the story really drags on with nothing in particular to convey. Some moments of dialogue show some of the worst acting in a Refn film, not to mention the actual dialogue being somewhat cringeworthy. Their is one moment in particular where she's with this boy she (maybe?) likes and confronts him at a hotel after a tense altercation at a restaurant and I literally rubbed my hand through my face. It was Lifetime worthy, not big-screen worthy. Very few moments like these, but they're their and can't be overlooked. Aside from those few quibbles, Elle Fanning actually gives a very subdued, very naïve and timid performance with a few moments where I literally gasped at how great she is.

All In All, The Neon Demon is Nicolas Winding Refn perfecting his fetishes in the best possible sense. I walked to my car thinking about it and I write this with nothing else on my mind. I know days will pass by with this film still all up in my brain. Also the third act is gonzo. I know for a fact it'll divide it's audience. You'll either love what happens, or absolutely hate what you just witnessed. I don't think there'll be any indifference towards it, it's just one of those two. I for one had to think hard about it before I came to the conclusion that I loved the direction Refn took it in in the last 20 minutes. Another impressive visual story in the Refn canon. B+

*there

At least I know you read it.

I have a litany of records I've got high expectations for. This year hasn't let me down too much I.e The Avalanches, Radiohead, Swans, Kanye West, Nice As Fuck, BadBadNotGood

Here's hoping these next ones make up the best year in music this decade.

Nick Cave & The Bad Seeds - Skeleton Tree
Frank Ocean - Boys Don't Cry
Joyce Manor - Cody
Danny Brown - Atrocity Exhibition
Gonjasufi - Callus
Clipping - Splendor & Misery
Jack White - Acoustic Recordings
Okkervil River - Away
Wilco - Schmilco
Against Me! - Shape Shift With Me
Warpaint - Heads Up
Bon Iver - 22, A Million
Conor Oberst - Ruminations
The Radio Dept. - Running Out Of Love

And apparently a new Metallica record is coming out too?

Whoops.

I find that the only reasonable time to actually use Musicbanter is when I'm high as ****.

I completely forgot about this thread. I'll just make this my go to film review thread since that's what I mostly did on here anyways.


The Lobster comes from none other than Greek auteur Yorgos Lanthimos, the helmer of a little indie flick by the name of Dogtooth. Nominated for best foreign language film at the time and a movie that highlighted glaring idiosyncrasies Lanthimos would surely flesh out over time. What made Dogtooth stand out though was his ability to take such an absurd meticulous plot and weave some allegory into it. What it all meant I'm still trying to decipher myself. Then that moment. That moment where some blood gets shed. It was painful to watch, yet tame in the sense that much harsher brutality has been filmed before. It stood out though because of his ability to even take it to such lengths and not shy away from a necessary progression to the story. That's why Dogtooths brilliant, and that's exactly why The Lobster's even better.

Colin Farrell plays a man that essentially is bound to this rehab sort of facility and must find a lover within 6 weeks or else they will transform him into a Lobster, the animal he chose for himself. What transpires in the ensuing 2 hours is strangely even stranger than turning humans into animals. Each performance is very robotic, especially Farrell. His deadpan delivery makes this anxious film even more stressful. Admittedly, as much as a love or hate relationship you might have with the story, the most impressive attribute is the cinematography. The look and color of this film is extremely impressive. Surprised he wasn't nominated because frankly, it's one of the most well shot films I've ever watched. To see what an achievement it is and also get a hysterical absurdist story out of it is a testament to how great this director is. I felt like every shot of a hallway or even some of the slow-motion scenes in the woods meant something greater than what I was watching. Very Kubrick like techniques in play and done smart enough to put a stamp on it as his own.

What can be said that hasn't already been said. It's a Lanthimos film, which at this point in his career means you know what you're getting yourself into before you press play. And I wouldn't have it any other way. This is a stroke of arthouse genius that begs to be talked about for many many years. A

Now watch The Street Fighter.

Lol no thanks. I'll be reviewing "Under The Shadow" soon. Iranian ghost story that's pretty horrifying. Also on Netflix check it out.

Under The Shadow is an Iranian horror film that slowly builds it's terror through the lens of the devastation plaguing the middle east for decades now. It never shies away from the fear and anger these people have been living with for some their whole lives. I must warn you though, that's not even the most terrifying part. To avoid any spoilers, let's just say there's some other-worldly activities at play here. Narges Rashidi is a mother who tries to pursue her college career again but is denied due to her revolutionary background. On top of this stress, her husband is sent to the army to fight and her daughter starts to notice something her mother doesn't. Something no one can see. Something that led to me changing my pants halfway through. I'm lying, I just had to change my underwear. What transpires throughout the duration of this hour and a half film is painfully frightening.

It builds slowly the first act of the film, but throughout it eventually builds a taut creeping dread that seeps into every shot. The score starts to build tension till the very end and some moments had me gasping for air. I'd forgot to breathe in certain scenes, that's how much nail-biting tension is skillfully placed. The editing, the writing, the acting, all top-tier stuff.

All In All, Under The Shadow is a ghost story worth watching, and re-watching, and if it doesn't scare the lights out of you, you might have balls of steel. Also, there's a moment where the lead actress is looking through a window. I don't have anything to say if that scene doesn't freak you out, I already know it will. A-

I've got five reasons why you should binge all of the Street Fighter movies:

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https://4.bp.blogspot.com/-lIHvwZQYB...Intestines.gif

https://78.media.tumblr.com/4c3fea14...db29o1_500.gif

http://2.bp.blogspot.com/-fKvoMcgS-k...eetfighter.jpg

I thought those X-ray shots are strictly Mortal Kombat property? I'm still not convinced.

The minute I end a film, the outright best compliment I can offer is declaring it so unique that nothing like it compares and nothing probably ever will. The influence you can tell early on will ripple throughout future generations. Exceptionally grounded, standing firmly on it's two legs. The kind of filmgoing experience that creates hope for the genre. Films like The Descent, Evil Dead, The Exorcist, and more recently Hereditary. Showcasing a competence in horror filmmaking. The future of horror films looks bright enough, but said films have kept this hell train still achug alugging.

The Devil's Candy very much holds that spirit. A heavy metal family who've worked hard to buy a house celebrate the occasion until they begin to get harassed by a man who very much suffers from an extreme form of mental illness. Without spoiling shit, the opening scene of this film sets the tone so perfectly well, I knew right away it to be something treasured. It at that moment made me question who directed it, and sure enough it's the aussie dude who made The Loved Ones, another hidden gem of humorous brutality. If you're aware of this particular film but continues to skip it on your Netflix queue, you're doing yourself a disservice. It's been quite a couple months since I've watched it my first time and it's a movie I ponder on even this much time later.

The Devil's Candy is one of those films that deserves to be seen. It's an original piece of arthouse horror with great (unknown) actors and a terrific script. What's yet to be left unlingering in my mind is a certain characters voice that continues to be present in my nightmares. Whatever Sean Bryne has up his sleeves with his next crack at it, for one I sure hope it doesn't take another 5 year gap, and two it'll be hard to top his first two films but he's capable enough so I'm sure hell will continue to be unleashed. A-

I agree that tbe opening scene is great but the plot felt slapped together, the suspenseful moments were cheap and forced, and JFC those ****ty, ****ty actors.

Disagreed definitely not shitty. I'll concede the ending feels a bit slapped but I thought it was incredibly creepy. Very campy feel sure but at least it's not trying to hide it. Some top tier craftsmanship also.

I'll take a Netflix suggestion as well if I so choose to do so.

Steven Soderbergh, if you aren't in the know by now, has made such classics as Sex, Lies, & Videotape, Traffic, and the Ocean's 13 films. Throughout recent years, his talent at film making has only gotten better with films like Contagion, Side Effects, Che, and The Informant. You can immediately tell it has Soderbergh's prints from the lighting, to the meticulous, almost claustrophobic cinematography. His method with actors has to be impeccable because he never captures a lackluster performance. He took a hiatus after directing Side Effects in 2013, and the world lost a great auteur that day. Until Soderbergh came to his senses and decided to make Logan Lucky last year, a fast, roaring clever comedy that happens to be great. You can't keep a man with that many accolades away from a camera too long. & now this brings us to Unsane. Unsane tells the story of young woman who may or may not have had suicidal thoughts in the past, and so by her admitting her trauma to some so-called psychiatrist, her world starts to turn once they force her to be admitted to this mental facility against her will.

The marketing campaign really pushed on this being a psychological thriller which it is technically, but to me I was convinced this would be about some girl who creates illusions in her mind stuck in some ward. I really had no idea what the story was about. It's surprisingly very grounded, nothing abnormal or un-realistic as far as any paranormal or sci-fi horror stuff at play (which is another thing I sorta thought it might be coming into it). Claire Foy is pretty talented, never heard of her before this film. The film does start off being quite the horror show but something in the film also lurks beneath the surface and the whole film turns into a certain cat-&-mouse game towards the end. It also happens to be extremely ironic that this girl would be admitted to a facility with someone she does not want to be around or see. I can't explain any more than that but it felt a little far-fetched. If there's one thing I can say, it's that I never knew where it was headed. Also this movie's pretty known for it being shot an IPhone. For this being the first film completely shot on a phone is a tiny miracle, but throughout the movie the gimmick becomes a little warn out.

I have some reservations. The movie's not perfect. Some scenes dragged on for far too long. A particular actor in the 2nd and 3rd act OVERacts and becomes a chore to sit through. The IPhone camera work comes off pretty overbearing sometimes. Aside from a few quibbles, I walked away moderately satisfied. Far from Soderbergh's best. Hell, last years Logan Lucky is a far superior film. In terms of lingering thoughts though and getting beneath the skin in creeps, it succeeds very well. The absolute final shot is a little haunting. It loses and gains and loses again in credibility in the final act altogether, but it's a creepy little b-movie experiment that has more hits than losses. B

Btw I do consider constructive criticism towards my writing. If you think I write reviews like garbage, feel free to express your anger.

For one too many months, it was always in the back of my mind this film could possibly not be as good as it's known for being. That somewhere far far away it's shot in a manner I didn't deem artful enough. Seemed to lack any pinache. In other words it all seemed very amateur hour. I always turned it off provoked in thought, but never appreciating it for the way it was filmed. I blamed Peele. If we're being honest, I was disappointed.

Now at the same time, I was happy to see him holding the oscar for best original screenplay. Never once did I think the story wasn't incredible. Sort of this strange (hate to say it) post race thriller where we find out **SPOILER** white people don't actually hate black people, they love them.** What I'm building up to is this: I was wrong. Watching it the other night with the ol' flatmates showed me more than I've ever seen from it before. The damn film is damn near perfect. Not many perfect films, although they do exist, but no way did I ever think I'd come to this conclusion. I always wonder why my mind flips on things I fail to appreciate sooner. So yes it's completely brilliant and not in the slightest overrated like my 22 year old body once thought, or whenever the hell it was released.

Get Out has everything going for it. An incredible screenplay, fine acting specifically Daniel Kaluuya. For Christ sake he is this film. It squarely rests on those black shoulders of his, and Get Out would be nothing without him. Not surprised he didn't win his deserved nomination though, god forbid someone play Winston Churchill for the 11th time. I digress, I sympathize with his character the whole way through, which is a testament to how incredible he is in this part. So it's got that. Ensembles nothing I can flick my nose at either. The editing too, holy shit. Those tense moments where creepy horror music strings play while something very awful happens are timed perfectly. This beef though that I hold always comes to the same thing, and it regards the cinematography. The most important part.

I've learmed to love it I suppose, but maybe Peele should find another DP and make his future films look a little more like poetry. Interpret that as best you can, but it makes sense to me and it still doesn't hinder what equal parts brilliance it's got on display at all. If you told me the shorter black guy from Key and Peele was going to wind up making a modern day Hitchcock film, I'd probably of believed you. A

If you're going to start a sentence with and, don't use an ambersand. Seems fine otherwise.

Jesus Christ that is tacky.

*ampersand.

Whooa oh, amber is the color of your energy.

& your point is?

& the point is get the fuck off my thread.

Incoming Review

Hereditary

This recently entered my local $2.25 shit theater some few miles from my home. Before I dive into it, I must admit, at least where I live, these dollar theaters are almost too lit. These Mexicans that bring their 6 kids to a film don't give a fuck. For better and for worse. I saw the last Strangers film at this theater and people were cheering on the killers and applauding and laughing and having a jolly time. Hugely fun 2 hours, turned an otherwise shitty movie into what I think all movie going experiences should aspire to. Sometimes the kids cry or someone speaks overly loud and you wanna tell them to get the fuck out. I guess since the price of admission is so cheap that people think it's an excuse to be obnoxious? I have no idea. No real complaints though, big fan. Go support them.

It's impossible to discuss this film without spoiling it. I'll give it my best go. Hereditary is a story about a suburban family who anyone that might see them around wouldn't probably think anything of. Deep within this ancestry lies evil though. The likes of which I'm not sure anyone was ready for. It begins with a funeral. The main character, Annie, never truly knew her mother. Secretive as her mom was, she was also racked with mental disorders. Her dad as well. Those same genes trickled down to Annie and retroactively have now spilled over into the kids. I've only just scratched the surface of any intricate detail this film requires you to look for.

This movie pulls no punches. It will mash your face in, and spit on your grave. What it lacks in any real jump scares, it makes up for it with calculated, unnerving atmospheric tension. This film is soaked in dread, from the blueish dark lighting, to Millie Shapiro's incredible creepiness, to Toni Colette's unforgettable role as a woman who visibly gets shredded throughout the film. She shows such an incredible range of emotions. Early Oscar buzz is well deserved. I'd never been a huge Colette fan but I've done a 180 on that opinion. I highly doubt she'll win, but I'll be damn surprised if she doesn't get nominated. Not to mention Alex Wolff who is a pretty young up and comer, but Christ get this man some more roles. He was great as well.

All in All, Hereditary juggles many things. It maintains being a family drama while at the same time it's a horror film in the vein of The Exorcist and Rosemary's Baby. I'm aware some people have trouble processing the last 15 or so minutes of the end and to a minor extent, I can agree a little, but it no way deters me from the experience leading up to it. It's a fine ending and the entire film is in the pantheon now of one of the great horror films of our time. A

William Friedkin's wild. The Exorcist always rubbed me as an authentic, classy, horror foray into unspeakable demonic powers. It's a proper well made film that used minor tricks to enhance the viewing. It was raw filmmaking in it's purest form. What transpired afterwards is still to this day the scariest film of all time. I'm sure I'm boring you at this point. Everyone calls The Exorcist the benchmark. No shock at all. What I'm getting at is that 39 years later, Friedkin would almost get as close to fucked up as he did that long ago with 2012's Killer Joe. This really flew under the radar. I was well in my teenage years in 2012, in other words I was watching every film under the sun. Yet I never heard of anyone named Killer Joe up until about last year. If you've yet to see this film, I won't spoil it. But Goddamn if I defy my rule.

Killer Joe tells the story of a beer-swishing wicked white trash family that meets a man named Killer Joe to request a service. As much as I contemplated even mentioning that, that's all the plot I'll give away. It really is the type of film that you need to go in completely washed of any ideas or rumors you might've heard. This might be Matthew Mcconaughey's best performance. He's deserving of his little statue man for Dallas Buyer's Club but if this weren't such a divisive trashy film, he could've been easily nominated for this. He's aggressive, sexy, deadly, menacing, and without a doubt a terrible person, all brought incredibly wrapped up by his performance. Friedkin hasn't felt so essential in a very long while.

This received the much controversial rating of NC-17. Before I watched the film I said "what could be so terribly explicit about this film it needs an NC-17?".

Then I watched it.

The first 5 minutes, a women's hairy downstairs enters the frame right in front of Emile Hersch's face. It's absolutely repulsive. Not to mention a scene that simulates oral sex. I swear if someone stumbled onto this film at that very moment, they might think they're watching a XXX porno. It's absolutely brutal and not entirely in a satisfying way, just an ugly scene that's hard not to watch. Everyone fills these roles beautifully. The violence is nasty, the dialogue is ripe with southern Dallas accents, and Friedkin's direction is fierce.

Highly recommended if you can stomach. Nothing compares to The Exorcist but goddamnit ya'll I don't think anything compares to Killer Joe either yeeeee-haaaaaw.

B+

Have you watched Ninja Scroll?

Nah. Not really into Manga at all. My roommates and practically everyone else has tried to convert me but it never works.

Oh ja?

"Akira's" Influence On Kanye's Work

Giving Killer Joe a shot. Crazy Mathew Mcconaughey was all I needed to know.

Dude. Watch Ninja Scroll right now. It's a top ten action movie, animated or otherwise. Pretty sure it was also a big influence on MSG 3: Snake Eater, with Kojima borrowing the whole band of freaks hunting down a lone badass. Two of the guys from Snake Eater, The Fear and The Pain, were pretty much just straight up lifted from Ninja Scroll.

top chambara

Yeah I can see how it was adapted from a play because the movie never quite figured out if its tone was gritty and nihilistic or over-the-top and borderline ridiculous and I think the ending showed this perfectly by seeming as if it would have actually made tonal sense if I were watching it performed live.

:laughing:

Hmm. I'll take it into consideration. Might not write a full review though hope that's okay.

Thinking of it performed live makes me imagine two sweet old ladies getting tickets to a show they've never seen before and that show happens to be Killer Joe and both of them die of a heart attack right around the third act.