FUCK OFF JOHNNY UTAH, TURN MY PAGES BITCH
Nothing gets me fist-pumping quite like the final scene in this.
Everything surrounding this almost guarantees a product scrambling to correct its purpose, and while that's where this occasionally stumbles, the fact that there's still something here resembling a soul and a beating fucking heart is a miracle. Definitely hampered by its ridiculous runtime, but the patient, more reflective moments here really make this an essential followup to maybe one of the few of these capeshits that actually still rules to this day. Nice to see one of these occasionally hit it out of the park.
I'll bleed more ink on rewatch, but this is easily the most tempered and smart take on cancel culture in that it handles it with the same patient hand that holds its form and performances, but doesn't ever muddy the intent with cursory commentary but instead with a powerful display of systems of power and celebrity and its inevitability. It's subtle, but entirely unpretentious. Fav ending of the year. Wasn't aware of its runtime until we left the theater and it blew my mind that this wasn't a tight 90. Spends its time with utmost utility. 2022 essential, absolutely. Deceptively simple, but packed to the brim!
Took me a rewatch and a few years of separation but I get it now. It's the framework of Texas Chainsaw filtered through the weird filmmaking choices of an adolescent brain. In a good way. There's so many decisions here that are amateurish and wildshit, and not in a way that feels artifical but genuinely audacious. Definitely heightened in post but it's got an undeniably great young filmmaker energy that comes out the other end as something wholly original by…
The structure and assembly of this would be mad exciting if it wasn't in service of something so pridefully despicable and juvenile. I like this Gaspar guy sometimes, but the part of him that's a sick little perverted edgelord is least interesting and Irreversible is that in excess, made worse by the implication that there's anything moral about it by way of its presentation. I would feel the same if it were all in sequence, but our introduction to Alex being so dehumanizing makes it all the more insidious and irresponsible. Fuck this. Extra half star for Thomas Bangalter.
Just as mean-spirited as the first, but takes way more ambitious swings, i.e. actual character beats, that save it from being just a really impressive gonzo gorefest for sick perverts. It still is very much that tho, don't worry! So head over heels for its own carange that it's actually endearing. Dug this a lot, but that runtime is a fucking sin. Save for when this gets real Weird & Wild in its last few minutes, there's no universe where this doesn't work best at a tight 90mins. Still a fun surprise after not liking the first one, at all really!
Choi Min-Sik barrels through this like some sort of folklore legend with one of the most brave and committed performances ever I think. The smartest hack at a revenge thriller that goes full depravity and still lands on its feet with a very human and sincere final moment, tragic and bittersweet as hell. It's cut sharp, it breathes, the climax is gutsy dramatic perfection, fucking nuts! Almost hilarious, maybe in part on purpose, but it never turns total farce, kind of a totally unique tone all of its own.
Hallway scene GOATed.
Prepping for Decision to Leave, so damn excited for Handmaiden and Stoker.
Clearly a strong love here for slashers (the Nightmare suit-up homage, the big bad that can't be reasoned with, seedy exploitation, the special thanks to Hooper and Wes), and it's very apparent that this was shot with little to nothing aside from some genuinely impressive and visceral gore, but I'm not down with how mean-spirited and dirty this gets when even the smallest gesture towards humanity would've made the grisly shit hit even harder. Can't dig this edgelord shit. The…
Lynch's full embrace of the dream realm, a wicked sense of dread that builds for nearly 3 hours, explodes with true horror, then eases into catharsis and hope in its final minutes. There's funny bits but they're so married to that uneasiness that they're not even moments of levity. Choosing to shoot on piss digital is killer, if this wasn't so texturally obscured and frustrating, you'd really lose that intimacy that makes this impossible to peel yourself off of. I…