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Kiyoshi Kurosawa Pulse Loft Cure Séance Retribution Doppelganger David Cronenberg Videodrome Shivers Dead Ringers Rabid The Fly The Brood Koji Shiraishi Noroi: The Curse Occult Shirome A Record of Sweet Murder Cult Ju-Rei: The Uncanny Ruggero Deodato Cannibal Holocaust House on the Edge of the Park Last Cannibal World The Washing Machine Dial: Help Cut and Run Norio Tsuruta P.O.V.: A Cursed Film Scary True Stories Orochi: Blood Premonition Kakashi Ringu 0
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Jun 8, 2020 23:59
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| # ¿ May 22, 2024 01:19 |
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Neo Rasa posted:BOB CLARK
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Jun 9, 2020 04:15
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David DeCoteau Puppet Master III Curse of the Puppet Master Sorority Babes in the Slimeball Bowl-O-Rama Witchouse Dreamaniac The Brotherhood
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Jun 9, 2020 18:26
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Maybe chronological ranking, by the date of their earliest (listed) film? Or zigzag that, so oldest goes against newest?
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Jun 9, 2020 18:42
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For the anthology film inclusions, maybe note which segment they directed?
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Jun 10, 2020 04:51
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Debbie Does Dagon posted:Thanks! If you see anymore mistakes let me know. I also couldn't find Ed Wood's Necromania on Letterboxd, Wikipedia says it's porn, so I'm guessing that's the reason. Looks like the short film version of Saw made the list instead of the feature-length.
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Jun 10, 2020 21:56
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STAC Goat posted:Similarly I've seen 1 Jean Rollin film and 4 of his other 5 are on Kanopy. I've seen none of Koji Shiraishi Noroi and Norio Tsuruta and couldn't find any of their films online with a quick search last night. So they're all in a tough spot to begin with for my vote and if it comes down to 1 film I can't get then it doesn't matter if I can get ahold of others.
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Jun 10, 2020 22:21
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Burkion posted:Yeah that's also a whole thing with horror. It's the bastard child of the movie genres and we all know it.
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Jun 11, 2020 00:20
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So what are people intended to be voting on in this, exactly? Quality of the films that come up against each other? Quality, specifically, of their direction? Or the charisma of the directors?
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Jun 12, 2020 00:00
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True horror: Watch only the James parts.
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Jun 12, 2020 05:45
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Debbie Does Dagon posted:It's a real shame that Stagefright becomes more of an ordinary feeling slasher, because those opening 5 minute really show an incredible amount of promise. A balletic, musical theatre slasher would be extremely my thing.
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Jun 13, 2020 22:21
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Here you go.
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Jun 21, 2020 00:39
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Jul 6, 2020 04:07
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The Stuff rules, IMO. Here's a shirt with the logo for anyone who wants to buy and wear a product intended as a warning against rampant consumerism.
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Jul 6, 2020 22:40
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Dracula has castle opossums. I don't remember any in Us.
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Jul 27, 2020 17:14
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Did Legend make it into Ridley's line-up?
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Aug 27, 2020 16:19
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FWwM has the "Sycamore Trees" scene. Bye, Raimi.
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Sep 4, 2020 19:26
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Rodman Flender's time to shine.
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Sep 9, 2020 19:15
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For those watching Ichi the Killer for the first time, whenever you find yourself thinking 'what the gently caress?', just remember these words: toxic masculinity.
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Sep 11, 2020 13:14
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I'm not sure Ichi really needs boosting against Dolls, but I felt compelled to write this up in the hopes that no one would dismiss it as being just sensationalistic or taboo-breaking for the sake of the act. What are we shown at the beginning of the film, in the scene providing the material from which the film's title rises? Selfishness, sexuality, preoccupation with pleasure, domination, violence, voyeurism, cruelty, and onanistic self-indulgence. Miike is hardly shy about the content of the film being viewable as masturbatory. And it's easy to let the extremity and controversiality enable the dismissal of this film as being just that (“Banned in 11 countries!” or whatever the latest count was). But to let the spectacle blot out the substance would be doing this film a great disservice, I feel. Emotional distancing, bullying, and fear of loss are all major elements of the film. And these can all be read as childlike motivators, in keeping with the arrested development of Ichi's character. He's intimidated by grade-schoolers, he has difficulty controlling his erections, and he's dependent on his very framework for understanding the world from a father figure (Jijii, literally 'old man'). And it's arguable that the state of the CG in Ichi's acts of violence lends them a cartoonishness further emphasizing the underdeveloped nature of his emotional reasoning. Rape is also a major element. Not in a way to be abstracted into 'the cosmic rape' or in any way divorced from brutal sexuality. It's the event which serves as the origin point for Ichi. Nothing prior to the 'memory' of his classmate's rape exists for him. From that uncertain, clouded foundation, Ichi has something of an unreliable narrator quality to him, but almost in reverse. He's uncertain about what he's being told, what he's experiencing. When he says that he hates killing, he's responded to with “Running away from things will never make you a man!”. He's told that his erection is unnatural, that it needs to be tranquilized and hidden rather than expressed. And other characters are told lies about his nature as well, so that without even meeting them, he can be twisted into serving someone else's purpose. If Ichi is a superhero, then it's one devised by a kid who's likely been beaten up a lot, as he does nothing but win fights. He can't fly, turn invisible, run really fast, or lift a truck. He can only kill someone. And the world of the film has a similarly comic-bookish preposterousness in the reductive roles of its women, who are objects to be brutalized, used for sexual pleasure, and be disappointed by. And when does his superpower emerge? What always happens with its release? Ichi cries. He shows vulnerability. And when called out on it, when confronted with this, he denies it. He strikes out with all his violence in response to others recognizing his vulnerability. And he finds a sense of purpose, and confidence, once he embraces contradiction (“You don't want this, because you want it.”). Who is Kakihara to Ichi? A cool older kid or upperclassman, irrespective of their actual age comparison. He smokes, he's self-assured, he dresses flashily, has intimations of international intrigue/exposure through the bleached bancho hair, he has an entire 'family' in the Yakuza (as opposed to Ichi, who doesn't socialize or even interact with the rest of his gang), and perhaps most importantly, he's masochistic. Being subjugated, mocked, insulted, or beaten is not the shameful aggression to him which it would feel like to Ichi; on the contrary, if done well enough, it's to be desired and relished (and provided for himself, if others aren't up to it, which no one else is once Ichi takes his boss away). Kakihara hasn't given up violence, or he'd be fundamentally alien to Ichi, but he's able to express it in a more refined, 'sophisticated' way. He can communicate with it in something less than a scream. Karen's linguistic code-switching, suggestive of sub-dom switching, points to why she's unable to satisfy Kakihara, as does her adoption of someone else's narrative when telling Ichi of her alleged perversion. She's not polarized, she's functionally rounded. Kakihara needs the complementation of the 'ultimate sadist.' His facility with torturing others is born out of his desire for the same, while Ichi's laconic but passionate executions can be viewed as an outwardly-expressed substitute for the structured discipline he's never shown to receive. Jijii's constructed memories and instructions for what reactions should arise for specific stimuli do the trick for a while, until they become self-contradictory and dissolve into chaos (I could go into an SMG-ish tangent here highlighting how Jijii's obviously false CGI muscles are a fit with his distortion of reality in every other situation in which he's involved, but this is already lengthier than planned). In contrast, consider the desire Ichi feels from seeing the beaten prostitute, whose pimp has enough control, in comparison to Ichi, to be able to engage in violence with her without going all the way to her death. And draw from there into his desire to take over the job of dominating her once he's eliminated the pimp. He's longing for a position of structure, something in which he can feel he's doing what he's supposed to be doing. Ichi feels guilt over his killings, echoed in the ensuing and unshared orgasm; Kakihara, at least as evidenced by his actions, does not feel guilt, either in his violence (which he'll indulge on a public street) or sexuality (grinning at the suggestion that he had the hots for boss Anjo). Ichi is the submissive sadist; Kakihara, the dominant masochist. Now, it should be acknowledged that a lot of things are transferred in whole from the manga, but screenwriter Sakichi Sato and Miike should be credited for tightening up the narrative and focusing the thematic elements. And I've clearly not touched on a number of characters and their plot threads, like the absentee father failing to provide reassurance for his son, and how Ichi falls into that role for the son, while briefly receiving it himself from the father when they share a meal (point of reference, his clear and simple smile at something as normal and instructive at “Eat your noodles before they go soft,”) before ultimately rejecting the man's existence for not fitting what it was supposed to be. Or Kakihara's reduction and dismissal of the paternal figure (“Don't get in my way all the time.”) Or the symbiotically solipsistic twins. To boil it down, all of these conflicting emotions and violent expressions are, to my eyes, predominately the result of toxic masculinity. The portrayal of rape (Ichi's defining event) as something which makes him inferior for not participating in, the shaming of showing his tears, being told to kill himself rather than apologize so much, being molded into using violence as the solution for virtually any conflict he encounters, being harassed even by schoolboys for his shyness, and on, and on. Violence is to be celebrated, and sexuality is monstrous; but just because that's what the main character keeps being told, doesn't mean that the film should be dismissed as saying the same thing. “There's no love in your punches.”
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Sep 11, 2020 23:45
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Counterpoint: "My five-year-old could draw that!" Which isn't an argument anyone in this thread is making, but it's certainly out there in the world.
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Sep 18, 2020 00:00
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Genuinely curious now if anyone in here has or can find any love for Rock 'n' Roll Frankenstein.
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Sep 23, 2020 21:57
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Seems like making the initial picks would be tricky, since everyone's going to have blind spots. Maybe each person would get to contribute six picks, with each of those picks coming from a different year?
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Oct 5, 2020 21:54
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