thomaswatchesfilms

Another typical slasher film where attractive, bright yet unsophisticated teenagers are slaughtered after arousing sex scenes. Just real, real stoopid.

When I was a kid it was "Halloween" and "Friday 13th". Every time a generation comes of age, Hollywood rolls these xenophobic slasher films out to capitalize on their fear of independence and uncertainty about the future. "The Texas Chainsaw Massacre" was another good example.

My best friend is 20 and his nimrod girlfriend ran out of the theatre when they went to see "Hostel", so I just had to rent it and check it out. I enjoyed some excellent seared tuna steaks and green peas with melted imported cheese on top while I watched it. So far so good!

This one is pretty gory, and quite well done, but just a typical schlocky piece of garbage when you get right down to it - something for the "cool" 8th graders to brag that they snuck into.

I'm going to go watch it again. Bye!

T.

To represent the life of a schizophrenic through the medium of film, would be quite challenging, really. How could you possibly relate the total random madness and desperate attempts at self-control of a madman onto film? One would be wise to choose Dogme 95, as the life of these unfortunate people seems to be affected by and largely governed by, a series of rigid and obtuse beliefs, regimens or rituals put in place to form some sort of foundation in an otherwise random, "crazy" existence. They then hold fast to this foundation for dear life - white knuckles. Since these "rules" they live by come from insanity in the first place, and are not typically adaptable, or flexible, as life would require them to be, everything they attempt becomes convoluted and lost in madness and confusion. And so everything is completely unsettled, because they can't adapt. Dogme 95, with its odd, rigid requirements, vis-a-vis the "Vow of Chastity" (www.dogme95.dk) goes a long way toward capturing that dynamic.

This film comes pretty close to nailing the day-in, day-out obstacles that mentally ill people must encounter, making something as simple as a bus ride to work a harrowing adventure fraught with slopes. The whole thing reminds me of the LSD scene in "Easy Rider" with the call girls in the grave yard. That was as close as I have ever seen to a realistic depiction of an acid trip in a film (you'll have to trust me on this one folks...), and this film has the same feel of reality to it. Almost as if it were a film about a schizophrenic, directed by and acted by schizophrenics. It's amazing.

Bremner is brilliant. I didn't even recognize him until I read the credits, and afterward I believed that he should have been awarded for this outing - just completely convincing. Almost as if this were a documentary. He just acts so completely mentally ill, it's amazing. He even somehow affects not only the dress, but the postures, facial expressions and characteristics that make him appear to be genuinely mentally ill. Wow.

Herzog's character is just so completely weird and obtuse and out of place in our culture that he is perfect here. Makes you wonder about other people you see walking around.

Not hugely entertaining in terms of plot, but a real treat for someone who wants to be compelled by the film maker's art. Harmony Korine is way smarter than me and you, folks. And I think it's way cool he can get his hands on film equipment. He is pushing the envelope, which is a lot more than I can say for most directors. Safe is boring.

Regard this film in the context of the first scene when Julien has his encounter with the "Pond Boy" and a plot emerges. What we see within the first two or three minutes is just astoundingly disturbing, and will clearly have consequences on the rest of Julien's life - all of their lives. Relate the rest of the film back to the first scene, and it's really rather sad. Everything that ensues has that hanging over it. You know that no matter what those people do, some day there will be a knock on the door and everything will unravel. Or will it? How could they be any more odd and troubled than they already are?

This gritty, low budget film offers a unique and honest perspective on the underworld of black street life in the early 1970s, with an almost tragic, Shakepearian, bent. The look, the feel and language of the culture and the almost real-time look street life in NYC of that era is truly unmatched by any film before or since. Perhaps through genius, inspiration, maybe just plain luck, or all three, the producers and director hit the nail right on the head. Starring an excellent, intelligent cast of professional thespians, some with impressive stage and film credentials, and augmented by a wonderful infusion of genuine non-professionals right from the street in key roles, the film has an honesty and gritty reality that belies its budgetary constraints. Filmed largely without the permission of local authorities and unions, in winter and often after dark, it has a cinema verite feel throughout; almost a documentary. And the score! Composed and performed by Curtis Mayfield, it is as close to an utter classic as has ever been offered. It stands alone, and would have been a multi-platinum offering even without the film. If one takes the inherent flaws to this type of production; i.e. the rough editing, slightly uneven performances and almost clandestine feel, and places these in proper perspective, it is sure to delight all but the most hardened and jaded enthusiasts of film. Notable: this film set THE STYLE for black, urban culture for most of the next decade. It has no current rivals in that accomplishment. After this film, simply everything since has been empty posturing vis-a-vis popular rap music. It was "remade" during the mid 1990s and set in Miami as "Big Ballers", which was utterly horrible. Compare the two and you will see what style counts for. This film is the real deal. I spent money I didn't have to get this DVD. Go buy it, trust me.