i thought polka had posted this maybe
The Hole (https://www.imdb.com/title/tt0156610/)
The WILD PUSSYCAT is an unsung classic of exploitation cinema. Produced in Greece in 1968, it was not officially released there until 1972 and then only in a cut and compromised version. The simple plot concerns a women whose sister was exploited and driven to suicide by a sleazy pimp. In order to get revenge on him the woman seduces the man, drugs him and imprisons him in a sound proofed room, tormenting him through a large one way mirror (he can see out, no-one can see in) by performing sultry strip tease dances and having sex with men and women while he can only look on, helpless to stop it or join in. Her final vengeance on him is so shocking it raises eyebrows even today.
The Blu-ray includes both the 1972 Greek version (with much of the sex removed and a plot featuring a drug dealing con inserted) and the full on, uncut export version.
In spite of its lurid subject matter and explicit visuals, The Wild Pussycat was not a low budget quickie with a cast of unknowns and a first time film maker. It was directed by Dimi Dadiras, one of the most successful director/producers of the period, and it features one of the big stars of Greek cinema, Gisela Dali, known in her day as ”the Greek Bardot”. So far as we are aware, this film has never before been released on home video anywhere in the world.
Life life, what do you give me?
At least give me him
And he never comes
Why does he never come?
Life life, what are you doing?
You don't even give me him
And he will never come
Why will he never come?
Life life, I would give you
I would give life
But don't kidnap him
I only have him
Gran Bollito is far from a typical serial killer movie. Even though it might bore genre hounds and might be too weird for anyone expecting a straight melodrama, it's certainly an original and unique experience.
A movie like this is a deep mystery. It asks the question: What went wrong? "Clifford" is not bad on the acting, directing or even writing levels. It fails on a deeper level still, the level of the underlying conception. Something about the material itself is profoundly not funny. Irredeemably not funny, so that it doesn't matter what the actors do, because they are in a movie that should never have been made.
It's not bad in any usual way. It's bad in a new way all its own. There is something extraterrestrial about it, as if it's based on the sense of humor of an alien race with a completely different relationship to the physical universe. The movie is so odd, it's almost worth seeing just because we'll never see anything like it again. I hope.
Clifford -- it's a family movie that doesn't feel anything like a family movie, it's a comedy that doesn't feel anything like a comedy, with a sweet message about Clifford being an example of a bad child, as in the thing is don't be like Clifford who pushes people away when they interfere with his dreams, and occurs to Clifford on account of his wanting to go to Dinosaur World so badly, and you do watch him break apart older men who themselves become awful, and Mary Steenburgen is the only light in the tunnel, which is why Clifford carries his dinosaur figurine bestfriend who is also a touch wild, plus now and then Clifford plays a recorder he carries in his magical pockets. by the end of the movie he goes through a roller coaster loop without wearing safety straps and it's like goddamn i wish i had been Martin Short and the star of that movie, everybody dreaming this with me. a true, honest-to-god champion in the manchild subgenre
This shouldn't exist. It's a one-joke movie: Martin Short pretends to be the child from The Bad Seed as he tortures Charles Grodin. Short's face is in constant motion. Grodin's face is a mask of pure rage, never played as a joke, always bubbling with anger.
It's Problem Child dialed up to 11, the absurdity of the premise underlined by the fact that it's all adults behind the scenes. Here, they are just painful, destructive, and murderous. If Grodin brutally murdered Martin Short, the audience would nod in agreement.
The Misfits is a haunted film. It features a trio of utterly doomed sex symbols. It was Clark Gable’s last film, he would die only two weeks after filming had completed, some say as a direct cause of stunts performed in the film. The Misfits is also Marilyn Monroe’s last completed film and hers is the most eerily prophetic performance. The Misfits also documents Montgomery Clift’s last gasp of life. After The Misfits, Clift would relentlessly pursue a self-destructive path that ultimately led to his suicide. The Misfits accidentally recorded finality.
The fact that the trio in The Misfits were all singularly representative of sex and celebrity at different stages of Hollywood’s history is an astounding thing when contemplating the cultural implications of casting them together in a film like this. That it was each one’s last gasp of cinematic life gives the film an inconsolably elegiac quality. The film is basically about a group of misfit cowboys and a beautiful divorcé that set out to wrangle wild mustangs in order to sell them to be grounded up into dog food. Since the screenplay was written by none other than Arthur Miller, the metaphor inherent in the synopsis should be painfully self-evident. Miller wrote it with his then-wife Monroe in mind. This also adds to the creepiness of the character dilemma. You get the feeling that no one's really playing a character but dreamlike versions of themselves.
Clifford - a true, honest-to-god champion in the manchild subgenre
one perspective is that a viewer is not a person waiting to be entertained, but a pianist sitting in front of a sheet of music. and the idea is that the greater the skill of the viewer, the greater the gift of the creator. art only gives what you put into it: summary. and that perspective refers to interpreting stuff that has a lot of stuff to interpret. did you interpret everything you could have? are you a good interpreter? this thought model is actually based on pianists and ballerinas, who are doomed if they weren't trained as children. but i think this analogy is a logical fallacy: i don't think that it's first a matter of what the thing has to offer. i think that it's first a matter of what you can offer the thing. if you're going to love, love all way, in general, that's my opinion
One theory is that Itami's suicide was forced by members of the Goto-gumi yakuza faction. A former member of the Goto-gumi faction told journalist Jake Adelstein in 2008, “We set it up to stage his murder as a suicide. We dragged him up to the rooftop and put a gun in his face. We gave him a choice: jump and you might live or stay and we’ll blow your face off. He jumped. He didn’t live.”
Every so often, Itami was compared to his then recently deceased French counterpart, Jacques Tati, who utilised similar styles of critiquing their society's cultural transition while crafting films with trenchant distinctions in humour and sadness. They also had almost similar, brief numbers of films that they directed and wrote before their death and they also used similar elements in the majority of their films.
Known to choose the subjects of his films through everyday observations, he often followed up significant events in his life with films depicting idiosyncrasies that he felt were unique to the evolving Japanese culture. He was the definition of an iconoclast who took the great Molière's words to heart, "castigat ridendo mores" (criticise customs through humour).
One of Gaspar Noé's best reviewed movies, a fact that, by his own admission, made him somewhat suspicious, as he believes art in general and his movies in particular should be divisive and make the audience uncomfortable.what he wants to present the audience is challenging emotions. this movie is so marvelously crafted it's distracting perhaps. when the kid is locked in the electrical closet is when the craft really starts popping. because then in the hallway you can hear the child scream. the woman with her hair on fire, just a sidenote. then that "single unbroken 42 minute long take," what a doozy. though that take transitions into an upside down shot. you know, i think the take ends in the blackness of the floor, then you return to the room's red lights and there's a lot of upside down stuff. i think it ends with me feeling unnerved but if it ended another way--amid the chaos instead of the aftermath--i could have left feeling hysterical, just in terms of discussing the lasting effect of the movie compared to the common intentions of Noé. but yeah i mean the bulk of this movie is simply wonderfully composed and alive and inspiring from a fundamental perspective, which is Noé's style
Welcome to Wakaliwood, Uganda: home of “DA BEST OF DA BEST MOVIES!” and the vanguards of DIY commando cinema! Under the guidance of writer-director-producer Nabwana Isaac Godfrey Geoffrey (IGG) and with producer-star Alan Ssali Hofmanis, this crack crew of self-taught filmmakers and martial arts aficionados produce dozens of gonzo action films in the Kampala ghetto with budgets that rarely exceed $200 USD. Utilizing scrap parts to build computers, machine guns, and a full-sized Huey helicopter, these real-life superheroes inspire more heart, imagination, and soul than a thousand Hollywood blockbusters. AGFA is proud to bring two of the most reckless, out-of-control brain-blasts in the Wakaliwood canon to home video for the first time ever -- WHO KILLED CAPTAIN ALEX and BAD BLACK! And in Uganda's finest storytelling tradition, the films are complemented by the acerbic wit of narrator/VJ (Video Joker) VJ Emmie, who sums up the Wakaliwood experience with a single sentiment: “It is a love story . . . LOVE OF ACTION!”the vj part is extraordinary and i’m thankful to having been exposed to it. so it’s like the commentary track is part of the movie. it’s if mystery science theater was both friendly and part of the filmmaking. the vj provides outside context about the movie and also sometimes supplies the sound effects, e.g. the vj will vocalize the sound of a neck snap
Sleeping Beauty (https://www.imdb.com/title/tt1588398/)—toward the end of the movie i realized i’d seen the movie but it took me that long to remember. my guess is that when i first saw it i thought “here i am watching this acclaimed high brow erotic movie idgaf about” but now i gave a fuck about it. it creates an alternate reality and also i used to be harder on certain alternate realities maybe sure. or this isn’t even an alternate reality so much as a specific reality and that’s what i meant
"One anonymous source described it as PTA's personal bildungsroman, a long-awaited return to entertaining mainstream commercial cinema, 'It's like, imagine a cross between The Last American Virgin and Truffaut's Day for Night'"