Make them die slowly
Apr 7, 2005 12:47:44 GMT
Post by DrFlup on Apr 7, 2005 12:47:44 GMT
I know I'm not adding anything new to this forum or the discussions on it - visa vi the words of Tarpot and others.
Though before I begin;
Dtl,
Internal Affairs were on to them from the moment they made contact with Montobe. See...If they'd listened to the coke dealing badger in scene two they would have found the key that they could have taken to the gatekeeper in Zandor...and thus, saved the princess, before lengthy prison sentences. (Which would be somewhat abated by a cliche polo match between the prisoners and the screws)
Anyway, I don't know if Mr.Meadows reads these or not, but thats beside the point. I'm a struggling writer - I've been a student of exploitation cinema and all its variants for the last two decades.
From the middle half of M to Last House on the Left.
And onwards.
They stopped making good revenge movies in and around the late 80s.
The Unforgiven being the only exemption to this. Mystic River being less a revenge movie but a drama about a moment of vengance taken wrongly. Between these we've been offered fair such as Brad Pitt's variant Monte Cristo intricacy - which hands nothing to the proper likes of DeathWish or The Exterminator.
From Cannibal executions to 2000 Maniacs and onwards to Straw Dogs.
There comes a point where you have to say, fuck the awards and fuck the acclaim. Where it becomes a point of history.
I have to wonder does Mr.Meadows know that his movie will stand somewhere with El Topo, The Ninth Configuration, The Wild Bunch and Chushingura/ The story of Ricky O.
We've been lagging behind Asian cinema for decades now. The only directors in the western bunch taking us out of this, being people who learnt from old masters.
Dead Man's Shoes - is the first time I can point to any modern level of cinema and say we have something to equal it, something that gives a bridgepoint to the better days of people like Peckinpah cinema.
Preaching to the converted, I'm aware of this. Though regardless.
Continuity errors of beard or otherwise be damned. The film is a masterpiece. Old style, you could almost take it as being made by someone else from elsewhen and else where.
I've heard too much comparision between this and Kill Bill.
Kill Bill being to the common revenge movie as Warhol was to painting. Pop Art. Too bloated by smug smarmy cultural reference to be anthing other than a roll call of reference and winked nods.
DMS - was it's own and stands alone, like all the other edifices within the genre.
It's only up from here for Mr.Meadows.
Regardless of if he makes his own 'Convoy'
Personally,
I can't thank him enough.
Though before I begin;
Dtl,
Internal Affairs were on to them from the moment they made contact with Montobe. See...If they'd listened to the coke dealing badger in scene two they would have found the key that they could have taken to the gatekeeper in Zandor...and thus, saved the princess, before lengthy prison sentences. (Which would be somewhat abated by a cliche polo match between the prisoners and the screws)
Anyway, I don't know if Mr.Meadows reads these or not, but thats beside the point. I'm a struggling writer - I've been a student of exploitation cinema and all its variants for the last two decades.
From the middle half of M to Last House on the Left.
And onwards.
They stopped making good revenge movies in and around the late 80s.
The Unforgiven being the only exemption to this. Mystic River being less a revenge movie but a drama about a moment of vengance taken wrongly. Between these we've been offered fair such as Brad Pitt's variant Monte Cristo intricacy - which hands nothing to the proper likes of DeathWish or The Exterminator.
From Cannibal executions to 2000 Maniacs and onwards to Straw Dogs.
There comes a point where you have to say, fuck the awards and fuck the acclaim. Where it becomes a point of history.
I have to wonder does Mr.Meadows know that his movie will stand somewhere with El Topo, The Ninth Configuration, The Wild Bunch and Chushingura/ The story of Ricky O.
We've been lagging behind Asian cinema for decades now. The only directors in the western bunch taking us out of this, being people who learnt from old masters.
Dead Man's Shoes - is the first time I can point to any modern level of cinema and say we have something to equal it, something that gives a bridgepoint to the better days of people like Peckinpah cinema.
Preaching to the converted, I'm aware of this. Though regardless.
Continuity errors of beard or otherwise be damned. The film is a masterpiece. Old style, you could almost take it as being made by someone else from elsewhen and else where.
I've heard too much comparision between this and Kill Bill.
Kill Bill being to the common revenge movie as Warhol was to painting. Pop Art. Too bloated by smug smarmy cultural reference to be anthing other than a roll call of reference and winked nods.
DMS - was it's own and stands alone, like all the other edifices within the genre.
It's only up from here for Mr.Meadows.
Regardless of if he makes his own 'Convoy'
Personally,
I can't thank him enough.