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I dunno, I don't take Schlitze's posts at face value and instead read them as a detached, deconstructionist type of trolling or criticism of the WATMM status quo. While usually mean-spirited, they are often thought-provoking and pretty funny if you can avoid getting your feelings hurt. I appreciate his role in filling this niche.

 

 

have him on block, so its only thru the joys of quotes that it even registers

 

:cisfor:

 

its boring: in, blast of vitriol, gone for 48hrs, repeat

 

funny? if he had a greater range perhaps & other tricks in his repertoire other than the 1-trick pony constant leaking vinegar from its nipples

 

at least Frankie Boyle can lance Scottish culture, Orange Orders, Glaswegian health failings & institutional pedophilia, despite that humongous glowing *ginger beard

 

*sorry ginger people, but neck beards are never gonna work, not now, not ever, especially if it radiates like a Ready Brek advert

 

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pretentious film club review listing after a hard drive de-clutter & root canal :

 

The Conformist (1970).... 'kin' 'ell liiiiike, time makes you forget sometimes just how good the story arcs are despite previous viewings, the cinematography of architectural interiors & the woods (aye it sounds a lame statement, but theres something about the framing thats almost akin to Tarkovsky), zero fat on it and the ending *mind-blown*, the ultimate study of moral corruption through institutionalization

 

The Passenger/Reporter (1975)......Antonioni does deserts like no-one else since David Lean....it draws you in like a grand seduction, Jack Nicholson's moves into identity transference, the implications, the subtle camera movements that are like caresses for the eyes & mind. A lot like Red Desert for visual style & equally as entertaining 

 

Le Cercle Rouge (1970) - is there a better heist filem? Yves Montand's alcoholic ex-police marksman Jansen, hallucinating from DT's, Delon & Velonte, plus the ever circling Commissaire Mattei...the convergence of plotters, the dialog free robbery, the futility of it all. Thank the gods for JP Melville.

 

 

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A Dark Song - Steve Oram in another signature kinda funny, kinda scary role. They had an idea and fully committed to it despite the potential lol at the end. This was pretty good.

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wind river - vapid ultra-grief masturbatorium. jeremy renner's character speaks like some chinese sage, every sentence has the weight and wisdom of centuries of history. a climatic shootout that felt like it was directed by someone who directed those shootouts in the walking dead. corporate america is raping what's left of native americans, this is a heavy and serious film everybody, it should be taken seriously and reviewed positively. fuck off.

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Head of State; drunk and this was on TV, holy lol it was politically incorrect in almost every scene.  Chris Rock directed this?  it was 2003 brilliance, long gone are the days when an old white lady would say "fo shizzle my nizzle", then dance to Nelly, in every comedy in the theaters.  Also hilarious when the Democrats announced their candidate on live TV with no convention, I'm not even sure if Rock researched how elections work, classic.

 

RIP Bernie Mac and Nate Dogg

 

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and The Rover.

i completely forgot this film existed

 

i watched Solaris (Tarkovsky) t'other day. good shit. really liked the shots of Solaris/the ocean, wish they showed more of it.

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and The Rover.

i completely forgot this film existed

 

i watched Solaris (Tarkovsky) t'other day. good shit. really liked the shots of Solaris/the ocean, wish they showed more of it.

Yeah lools shimmering isles in the cinema. So good. The greek god plinths make me laugh every time.
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one of its initial hooks was the car scene where fuck all really happens, but everything happens, you float along within its perspective looking forward as the road rolls past & slowly times begins to dissolve in the same way drones work via the ears, so simple but it adds layer upon transcendental layer

 

the soundtrack is immense too

 

 

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brawl in cell block 99 - that one made me grin a lot. jim jarmusch's deadpan and pacing meets ultra-masculine brain dead b-movie meatheadery and the results are very amusing. the fight scenes have this weird quality of being somewhat slower that you'd expect and are very quiet, but meticulously choreographed and shot and brutal as fuck. vaughn is very nice in this as well, which helps when the movie drags a bit. if you don't flol at the very last bit - you have no soul.

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I feel bad for the Witch girl though. talented up-and-coming actress with good work under her belt being dragged into this inevitable superhero shit-maelstrom.

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