Top 100 Club: Dave the Necrobumper

[Teproc]

I thought of The Matrix in the visual mood of the film (the way it uses color, though not limited to green as it is in The Matrix) and its themes of dream v reality. I guess those were just in the air in the 90s.

[Dave the Necrobumper]

I thought of The Matrix in the visual mood of the film (the way it uses color, though not limited to green as it is in The Matrix) and its themses of dream v reality. I guess those were just in the air in the 90s.

Dark City (1998) is another film you could put in that set.

[Dave the Necrobumper]

Coming in just in time, at least in regards to my own time zone. It's 10:43PM, just saw Alien, let's talk.

Alien
Ridley Scott, 1979

I'm just taking on behemoths this year, here's another. Of course, the practical effects are incredible and the creature design, aka the design of the "perfect organism", is top notch. It's like an elaborate game of hide-and-seek where the stakes are obviously high on a personal level, but also on a species level considering how humans are seeking to wield this organism in ways that just seemed destined to fail. We know that, the people on board know that, oh what the people at home do not know! That thought was rather tantalizing to me when I was viewing this. Back to the hide-and-seek, I was on the edge of my seat for what I was anticipating much more than for what I actually saw. Scott does a good job of giving the creature just enough screen time to satisfy some of your curiosity, while also being restrained in how and when it is exhibited and takes action.  I also love the art direction; Scott does for bleak, unforgiving space the same thing he'd do for bleak, unforgiving futuristic L.A. in Blade Runner. The space ship is well-conceived, and I especially appreciate the "Mother room" and how it is like a god figure in a story that ultimately ends up having at least two of those. Speaking of which, the scene where the large humanoid corpse is found is spellbinding and nerve-racking, especially interesting since I saw Promtheus when it hit theaters (just to go with buddies; same with Alien Covenant, the latter of which I disliked). Even without the context of Alien, I found that movie interesting, because anything where man can look upon its creator is just full of possibilities, and that one's conceit is at least moderately intriguing. I didn't much care for the creature part of that film because it interrupted the discovery of and interaction with the creator, but of course I now appreciate it - and what that movie was really ultimately about - all the more. For sure count me in as a fan, and I'm glad our film club provided me the impetus to finally check this massive blind spot off the list.

Getting to this at the last moment wasn't for lack of interest. On the contrary, I've been trying to carve out time day after day, but August is the toughest month for me, generally speaking, because of the start of the school year. Today the stars just aligned, I got out at a sane time, and was able to take this on. Good stuff!

First up I am curious, have you seen Aliens?

I saw Aliens before I saw Alien, but I find it hard to fathom seeing Promtheus before Alien, then again that is as much because of an age difference. When I first saw this film I already knew a lot about it, much as I guess you did, the interesting thing is that while those back in 1979 would have been in for a huge shock, there are still shocks aplenty in the film and the tension, well, it is great. I do like your description of this as a game of hide and seek.

Thank you for watching the film.

[Eric/E.T.]

I had just previously seen Prometheus and Alien: Covenant prior to this viewing of Alien. I have to say, it makes me want to see Aliens, although the pieces I'm putting together make the whole story seem a little more vapid than most of Prometheus seemed to indicate. That film is weightier, and it made the ultimate connection to the rest of Alien, the creature feature, seem even more unimportant in contrast. That is also to say, I love Alien for what it is, and also now kind of resent Prometheus for delving into the weightier, philosophical portions of the original. There's a sort of contradiction in all of that, basically saying the creature feature aspect and the humanity's place in the cosmos aspect don't coexist very well, at least throughout these three films. THAT contradicts what I said previously in my blurb, but oh well. It's what I'm thinking right now. I'm saying this all without having seen the rest of the original series, so there's a good chance I just don't know what the hell I'm talking about. Wouldn't be the first time.  I do have motivation to see Aliens now, though. Maybe on my next vacation.

I agree about the tension now, and about how crazy Alien must have been in '79. I just think in terms of craft, pacing, and avoiding other well-tread plot pitfalls (no romance, thank goooooodnessss!), there aren't a lot of movies that even ATTEMPT this type of blockbuster thriller that depends on such a clear aesthetic vision (Mad Max: Fury Road being the only somewhat recent one I can think of). It's all CGI and sound designs looking to rock your subwoofers, which, ugh, I just can't stand. I've thought about this film a lot during the quieter moments of my day, it's grown on me just in the past 24 hours, and I already came away thinking it was great from the moment the credits came in. I know you didn't ask for all these words, yet I offer them regardless, as usual. 

Oh, and to be honest, while I knew this film was Sigourney Weaver vs. a hellacious and tenacious alien life form, I didn't know much more. I didn't understand the craft at hand, some of the thematic elements, the at least one major twist, or any of that, so I got some good surprises and visual treats last night.

[Sandy]

Kiss Kiss Bang Bang



“He snorted and hit me in the solar plexus. I bent over and took hold of the room with both hands and spun it. When I had it nicely spinning I gave it a full swing and hit myself on the back of the head with the floor.” ― Raymond Chandler, Pearls are a Nuisance

Having Harry narrate his story like a Raymond Chandler character is a great touch and really funny. This is right up Downey Jr.'s alley; observing the absurdity around him in his droll manner and yet belonging there as well. It couldn't be a better spotlight for showcasing his talent. Kilmer is no slouch either. He's one serious and hardboiled detective. Playing the "straight" man as a gay man is rather genius, so way to knock a stereotype on its head. I know I am late to the story and it's probably so 2005, but I still am happy to see it. Anything to buck well worn tropes. And way to mess with an ending; it's both catering to the audience and making fun of us at the same time. Bravo.

[colonel_mexico]

EL TOPO - Well, the "Mole" was surely an interesting take on a western and I am completely unversed in any of Jodoworsky's work.  I definitely enjoy the symbols, even as I feebly attempted to piece together what any of it meant.  Themes of the evils man, science, religion, worship of things, communion with nature and animals, sex and violence, so many interesting symbols but I could not discern a meaning except that perhaps all of this is just one big insane nothing.  We are all playing Russian Roulette in the vain hope of finding salvation. 

"You must have been phlegmatic in stature
The gates of Thanos are a spread eagle wide
You let the shutters make sackcloth and ashes
Out of a blind mans picaresque heart

You take the veil
You'll take the dive
You take the veil

It's not over till the tremulant sings
These ides of march
Are they so make believe
How tempts the revenant
Slice up and not across"

The lyrics are from The Mars Volta's TAKE THE VEIL CERPIN TAXT and as I watched this movie I thought of that album because it is sort of a thematic album, a story about a friend of theirs who was a drug abuser who survived a suicide attempt, only to decide to try again successfully. An artist who suffers does not just share beautiful art, but because that is the only way he can endure this cruel world.  At least that's how it seems.  I love this acid western genre and the movie does have some very interesting moments, but is also difficult.  I am glad I got to see it, even if I understand almost nothing. 

[colonel_mexico]

THE LIFE OF BRIAN - I did enjoy this comedic take on the life of Brian who happened to be born on the same day and raised in Nazareth as Jesus. Monty Python hit all their usual comedic gags, which I really enjoyed in THE HOLY GRAIL film.  The People's Judean Front and the variations on the different anti-Romans and the random spiritualists throughout are really funny, poking fun at religion without going too far over the line. The ending is a bit dark, but also pretty funny Eric Idle is just so hard not to laugh at constantly. I also like they are sort of like the old Shakespearean groups of all men playing the women parts, though there are some female characters.  Some of the locker room jokes don't hold up as well I think, but still this was a good round of fun.  "You can't please everyone." "That's what Jesus said too"  LOL

[Dave the Necrobumper]

EL TOPO - Well, the "Mole" was surely an interesting take on a western and I am completely unversed in any of Jodoworsky's work.  I definitely enjoy the symbols, even as I feebly attempted to piece together what any of it meant.  Themes of the evils man, science, religion, worship of things, communion with nature and animals, sex and violence, so many interesting symbols but I could not discern a meaning except that perhaps all of this is just one big insane nothing.  We are all playing Russian Roulette in the vain hope of finding salvation. 

"You must have been phlegmatic in stature
The gates of Thanos are a spread eagle wide
You let the shutters make sackcloth and ashes
Out of a blind mans picaresque heart

You take the veil
You'll take the dive
You take the veil

It's not over till the tremulant sings
These ides of march
Are they so make believe
How tempts the revenant
Slice up and not across"

The lyrics are from The Mars Volta's TAKE THE VEIL CERPIN TAXT and as I watched this movie I thought of that album because it is sort of a thematic album, a story about a friend of theirs who was a drug abuser who survived a suicide attempt, only to decide to try again successfully. An artist who suffers does not just share beautiful art, but because that is the only way he can endure this cruel world.  At least that's how it seems.  I love this acid western genre and the movie does have some very interesting moments, but is also difficult.  I am glad I got to see it, even if I understand almost nothing.

El Topo has symbolism, although not as much as the Holy Mountain. I am not sure how much any viewer is expected to understand this film. It is a film to provoke, contemplate, and muse on, rather than understand. In some ways Jodoworsky is like von Trier both have been involved in art movements they started. Jodoworsky's was the Panic Movement, while von Trier's was Dogme 95. Jodoworsky is a provocateur looking through a surreal lens. Your line "We are all playing Russian Roulette in the vain hope of finding salvation.", in a way sums up this film.

Thank you for watching the film.

[Dave the Necrobumper]

Kiss Kiss Bang Bang



“He snorted and hit me in the solar plexus. I bent over and took hold of the room with both hands and spun it. When I had it nicely spinning I gave it a full swing and hit myself on the back of the head with the floor.” ― Raymond Chandler, Pearls are a Nuisance

Having Harry narrate his story like a Raymond Chandler character is a great touch and really funny. This is right up Downey Jr.'s alley; observing the absurdity around him in his droll manner and yet belonging there as well. It couldn't be a better spotlight for showcasing his talent. Kilmer is no slouch either. He's one serious and hardboiled detective. Playing the "straight" man as a gay man is rather genius, so way to knock a stereotype on its head. I know I am late to the story and it's probably so 2005, but I still am happy to see it. Anything to buck well worn tropes. And way to mess with an ending; it's both catering to the audience and making fun of us at the same time. Bravo.

Shane Black at his peak, firmly in the neo-noir. I really should watch this one again as the glow of my enjoyment stands on a gap in my memory of much of the content of the film.

Thank you for watching the film.

[Dave the Necrobumper]

THE LIFE OF BRIAN - I did enjoy this comedic take on the life of Brian who happened to be born on the same day and raised in Nazareth as Jesus. Monty Python hit all their usual comedic gags, which I really enjoyed in THE HOLY GRAIL film.  The People's Judean Front and the variations on the different anti-Romans and the random spiritualists throughout are really funny, poking fun at religion without going too far over the line. The ending is a bit dark, but also pretty funny Eric Idle is just so hard not to laugh at constantly. I also like they are sort of like the old Shakespearean groups of all men playing the women parts, though there are some female characters.  Some of the locker room jokes don't hold up as well I think, but still this was a good round of fun.  "You can't please everyone." "That's what Jesus said too"  LOL

The People's Judean Front and the name variations came from the problems in the middle east and was a joke about the various Palestinian organisations (Palestine Liberation Organization, Popular Front for the Liberation of Palestine, Democratic Front for the Liberation of Palestine, etc). In amongst the myriad of jokes are also some great comments on life. One of my favourites being people's desire to be different, but in a crowd acceptable way; and one for even now, how our hatred for one side can blind us to the good those we hate can do for us. The ending is dark, but not dark, it is even a little nihilistic, but the optimism is there as well.

Thank you for watching the film and remember he has a wife you know.