SCUM-Auxiliary
Entrou em out. de 2002
Bem-vindo(a) ao novo perfil
Nossas atualizações ainda estão em desenvolvimento. Embora a versão anterior do perfil não esteja mais acessível, estamos trabalhando ativamente em melhorias, e alguns dos recursos ausentes retornarão em breve! Fique atento ao retorno deles. Enquanto isso, Análise de Classificação ainda está disponível em nossos aplicativos iOS e Android, encontrados na página de perfil. Para visualizar suas Distribuições de Classificação por ano e gênero, consulte nossa nova Guia de ajuda.
Selos2
Para saber como ganhar selos, acesse página de ajuda de selos.
Avaliações15
Classificação de SCUM-Auxiliary
Spoilers!!!!
Early in the film, the two females and their ultimately ineffectual male cohort are sexually harassed by hulking, hideous men from the outback more akin to "animals" than the curious, civilized folk that stray where they don't belong. The tense situation is diffused, but only due to the lack of genuine malice (or over-abundance of sloth) on the part of the potential attackers. For a moment, we are confronted with the unsettling helplessness of the physically inferior at the hands and diseased minds of attackers against whom there is simply no real defense.
Thus, we are given a taste of the impending horror of "Wolf Creek." This film does things for which films of this genre are often reviled, but these very traits are why those seeking art that resonates attend said screenings. We are not given predictable outcomes and demi-god characters, nor are we even succored by happy endings or compassionate cuts that only allude to the terror. The audience is made to watch torture, much like the film's would-be heroine, and simply accept the grim proceedings, as there is no available recourse with which to stop them...
That'll do, Ebert... The same moment that instilled in him the impulse to vacate the theatre was the one in which I became fully, happily engaged in the uncharacteristically REALISTIC horror film, which eschews PC fantasies of the average, fear-fueled everywoman triumphing in the face of a physically stronger, well-trained killer in favor of a truly unrelenting exploration of extremity people would rather forget exists. Sometimes, there is no hope, and in a godless world, might does prevail. The protagonist of this film is a marksman, outback survivalist who, in a down-under equivalent to the American, TCM slaughterhouse/butcher industry, pursues humans(specifically "tourists" and "foreigners" stupid enough to invade his territory while lacking his necessary survival skills) exactly as he does the other animals he is paid to hunt for a living... I doubt he rapes the kangaroos, but one must adapt to the inherent inequality of differing kinds of quarry (he provides an unsettling, impromptu lecture on the unique methods required for killing various game (stabbing pigs, shooting kangaroos, etc.)) and savor the subsequent spoils of each... It would be irresponsible and inconsistent, I argue, to defy the circumstances of the film's microcosm to simply produce a "feel good" ending. If thrusting viewers into a world from which they would not escape were such unfortunate events to befall them in real life is "misogynist," then nature is the biggest f--king woman-hater of all...
Early in the film, the two females and their ultimately ineffectual male cohort are sexually harassed by hulking, hideous men from the outback more akin to "animals" than the curious, civilized folk that stray where they don't belong. The tense situation is diffused, but only due to the lack of genuine malice (or over-abundance of sloth) on the part of the potential attackers. For a moment, we are confronted with the unsettling helplessness of the physically inferior at the hands and diseased minds of attackers against whom there is simply no real defense.
Thus, we are given a taste of the impending horror of "Wolf Creek." This film does things for which films of this genre are often reviled, but these very traits are why those seeking art that resonates attend said screenings. We are not given predictable outcomes and demi-god characters, nor are we even succored by happy endings or compassionate cuts that only allude to the terror. The audience is made to watch torture, much like the film's would-be heroine, and simply accept the grim proceedings, as there is no available recourse with which to stop them...
That'll do, Ebert... The same moment that instilled in him the impulse to vacate the theatre was the one in which I became fully, happily engaged in the uncharacteristically REALISTIC horror film, which eschews PC fantasies of the average, fear-fueled everywoman triumphing in the face of a physically stronger, well-trained killer in favor of a truly unrelenting exploration of extremity people would rather forget exists. Sometimes, there is no hope, and in a godless world, might does prevail. The protagonist of this film is a marksman, outback survivalist who, in a down-under equivalent to the American, TCM slaughterhouse/butcher industry, pursues humans(specifically "tourists" and "foreigners" stupid enough to invade his territory while lacking his necessary survival skills) exactly as he does the other animals he is paid to hunt for a living... I doubt he rapes the kangaroos, but one must adapt to the inherent inequality of differing kinds of quarry (he provides an unsettling, impromptu lecture on the unique methods required for killing various game (stabbing pigs, shooting kangaroos, etc.)) and savor the subsequent spoils of each... It would be irresponsible and inconsistent, I argue, to defy the circumstances of the film's microcosm to simply produce a "feel good" ending. If thrusting viewers into a world from which they would not escape were such unfortunate events to befall them in real life is "misogynist," then nature is the biggest f--king woman-hater of all...
