I despise it when critiques or any other type of analysis has constant stupid jazz music playing in the background. I just want to hear what he thinks.
I saw both movies in the theatre. The theatre I saw part 2 in really sold the part where it looks like the film breaks. Before the movie even started the made the opening ads for the snack bar and coming attractions skip and mess up a couple times. So during the scene where the film breaks everyone thought it was real and the whole theatre let out one big sigh and started complaining out loud. Then of course the film starts back with the Gremlins and Hulk Hogan and everyone was just cracking up.
Again Tarantino is wrong. Longview makes no excuses for himself he is what he is it’s his nature. The lion kills not because of anger or hatred but to eat to survive. Preacher Dano hides behind religion. He uses religion to mask his greed and pursuit of power. He is truly the evil of men
No way. Tarantino is way off. The two things that made Longview crawl to town with a broken leg is pure greed and the pursuit of power. He’s a man that only wants power. Longview should be admired and pitied. For me it’s both
actually, if I can remember it was in 1969 that I saw the previews . Also, Paul Morrisey's Blue movie came out with the first adult feature with actual sex, minus the close-up and money shots. Russ Meyers was hoping for an r rating, but due to the violence, it was given an x rating.
I can't believe I'm seeing this. I'm a director myself with a big noir influence and have written about punk music many times. I used to play "Nazi Punks Fuck Off" at lease breaking levels to wake up in the morning...lol.. Of all the directors I feel closest in spirit to Jacques Tourneur and Sam Fuller. IMO Shock Corridor is the second best American film of 1963, second only to Hitchcock's The Birds. Fuller's visual style is like no other director. Jean Luc Godard outright stole one of Fuller's shots in Forty Guns for Breathless.(Of course Godard WAS a big fan of Fuller and Fuller actually appeared as himself in Pierrot Le Fou.) Sam Fuller once said "Life is in color. But black and white is more realistic." BINGO! That is one of many reasons I love Sam.
The key to this film lies in both its title and in the source novel's title: 'Dream Novel'. If audiences can't accept they're watching some form of dream or trance-like experience, they're unlikely to enjoy the film.
That's PT's perception of Gerard Damiano. Much like it was Tarantino's perception of Bruce Lee in Once Upon a Time in Hollywood. Even used his real name and trashed him as a talentless egomaniac. He had the right to do that as a director.
I didn't know Jello was a movie fan, he did mention Eraserhead in some lyrics though but it makes me feel better about listening to his music while enjoying movies and wanting to be an actor. I sometimes felt guilty hearing how his lyrics satireise and criticize Hollywood
i was really hoping in the Criterion copy of this film that there would be John Waters would doing a full-length commentary as he has done for "Mommy Dearest", and "Boom!" but sadly no...though there is an interview with him which is this, I guess. he's always a joy to listen to, and his commentaries for his own films make it feel like you're getting 2 movies for the price of one, they're that entertaining.
Samuel Fuller is brilliant filmmaker; "Shock Corridor" is great but one the best films ever is one he did called "The Naked Kiss" about a prostitute trying to leave her past behind and start a new life in a new city.
Went to a private boys boarding school, and our German teacher screened the Tin Drum for us, like grade 8, accidentally without subtitles. I would pay money for a pan of our faces as the movie unfolded, starting with the battlefield birth, the eels/horse, sex on dead fish, etc. We were all baffled as fuck, but there was occasional nudity so we couldn’t’t look away. Surreal doesn’t begin to describe it.
I watch these but I'm not sure if I find it satisfactory. I'll have to think about it. I always leave a like. I think this is my first comment, subbed a few months back. Thank you for reading this super special comment. The best comment.
I will never understand why most action films still dub over the real sound after this movie came out. This really should've been the gold standard for gun sounds, yet 99% of all action movies released since Heat still use dubbed gun sounds
Id call it a genre of making what would have been a grade Z movie into a grade A movie by doing it with style. In other words like having Orson Wells direct Plan 9 From Outer Space. Which is a what made that scene in Ed Wood so great. Having Orson and Ed finding common ground.
I first saw this when I was a cinema usher at the Electric Cinema in London. The other guy working with me had seen it and said tiredly that it was stupid, so I was the one who took the duty of sitting in and watching it. I was knocked out. Like Waters says, the fact that you almost can't tell if it's a joke is what makes it so great. To me it was like a kids show - The Brady Bunch or The Partridge Family - or an Archie comics spinoff about a groovy teen pop group - but with boobs, class A drugs and the craziest ever trans villain. It's almost as if it's been made by someone who doesn't even know it's not OK to put those things in a movie for kids. The result is a sublime experience. It overwhelms you. Plus it has the great chess/paralysis joke at the end when the guy in the wheelchair says, 'I can't move.'
FASTER PUSSYCAT, KILL KILL! Is easily my favorite RM movie. This one is one of my least favorite. I found it painfully boring. I get what people dig about it, but it just didn't connect with me.
I remember I saw this like 25 years ago on Cinemax and I was like, "This clearly some crazy 60s/70s shit!" Also, X-rated...GTFO. This was R, sure, but come on...barring a couple moments of gore, and copious nudity, I have seen FAR more graphic.
I don't believe this was meant to be a deliberate parody; tongue in cheek (and ear in Edy Williams' case), to be sure, but the filmmakers were clearly trying to make a hip new soap opera for a hip new generation without TV's restrictions. There's deliberate camp and unintentional camp: this movie manages to be be both. It got an X rating because of the lesbian sex.
