Anddddd we’re back. Now that I’ve moved back into college and getting into the flow of school, let’s get back to some posts (and seeing as I’m sitting here at work at 12:30 in the morning, why not?). To kick things off, let’s review a show a friend of mine said was quite good and the whole first season is on Netflix. When is Netflix gonna give me a bit of money for reviewing all the good things they put on there? Get your ship in order there, Captain Flix.
So Stan Lee’s Superhumans is a pretty basic premise of a show. Stan Lee
That old ass dude just loves his skyscrapers.
loves superheroes and he (or someone who knew he would help host it) decided it would be a good idea to send world renowned contortionist Daniel Browning Smith on the case of finding real life superhumans. Not necessarily superheroes, but some pretty interesting freaks (in the best sense of the word). We all let out our inner car crash interest and tune in to shows like this without any understanding of why, but at least this one has a more wholesome feel to it.
A dud and a stud. Nice.
Basic show structure. Daniel Browning Smith (as he will go to the ends of the earth to remind you) is being tasked by Stan Lee (because his old ass couldn’t leave the skyscraper his millions bought) to find the freaks of the world. He goes out to these locations and finds three separate superhumans per episode. Daniel B.S. (unfortunate abbreviation) never believes the B.S. (nice recovery) and gets some scientists to find out just what’s going on. I loved telling my friends about the unbelievable things I saw and even did a bit of research myself. Can’t believe I actually did (being a college kid and all) but damn it, I did.
Some are dud superpowers and others are just bizarre. I watched the show in about a day and just couldn’t stop watching
Try and get this image out of your head…
what Spider-Man creator Stan Lee was going to throw at me next. I have to say though that the psychokinetic chi master of karate was the funniest. You can’t trust what you see and fat older white gentlemen shouldn’t be allowed to run dojos. Just saying. From the blind to the flabby, and the electric to the bellyfloppers, this show has it all.
I’m Daniel Browning Smith.
After watching it all though, this show proves that human evolution is not without a sense of wonder and humor that walk hand in hand. Sure you can create a man who can withstand heat more than anyone else or survive strong amounts of snake venom. More power to you for that. But, the whole time I watched this show, I was thinking how I would ever assemble all of these men to save the world. Or if we’d all be doomed when that supervillian sends the laser our way. At least prediction man would see it coming… Maybe…
But I find being incredulous and being challenged and disproved to be a learning and growing experience. Not
You have to see this to believe it.
everything a camera shows is real, but this show made a great case for it. Death defying stunts, feats of strength, this show has got it all. So I would recommend comic fans and freak show fans alike should check this show out. It’s eye opening at the very least (although, I wish the names of the superhumans were more creative…) This short lived show deserves at least a 6.7 out of 10.
Now how did I happen to come upon this movie? I’m pretty sure at some point my dad rented this movie and I sat down to check it out for a few minutes. The opening scene rolled and I saw Seth Green in some strange garb. Wondering what he could possibly be doing in this movie, I of course sat down and watched the rest. I was pleasantly surprised. I found Party Monster, the club story of Michael Alig and James St. James to be a standout movie to me with its content and acting. Knowing very little about the club scene in NYC of the
A little taste of some club kids.
1980’s and 90’s (other than that there was one), this movie was a breath of fresh air and done in such an interesting way, for me, that I have to rave (sorry for the pun) about it for a post. Bear with me.
Party Monster is the documentary turned feature film that was first referred to as Disco Bloodbath by James St. James, the author of his own memoirs. After the film Party Monster was released, he changed his book to a title of the same name. The book features James’ club life as a Club Kid of the 80’s and 90’s, and his friendship with Michael Alig, the self proclaimed “King of the Club Kids”. It all ends in ruin though,
Culkin’s fearless role.
for Michael, while James has kept up a stunning career involved with some art collections and blogging (gotta dream the dream right? Be up there with James St. James someday…).
The film starts out with a recreated interview with Seth Green playing James St. James. From the start, we are given this surreal interview (parts of Party Monster are based on the shockumentary) in which the film interacts with James’ retelling. With a heavy drug influence and surreal dance scene, we begin to realize this is more of a fabulous retelling mixed with a truthful undertone.
I have to say how impressed I was with Macaulay Culkin’s performance in this film. I think it was right of one critic to call it “fearless”. Coming from a well known and loved kid actor and maturing into what we see in front of us on camera, it is a strange change. He
That’s pretty camp-esque.
has become even more aloof (he doesn’t discuss his personal life regardless) and what just seems more drawn from the world than usual. His drug charges, relations to Michael Jackson in his youth, and a shaky parent/child relationship attributed to the actor we see today. And I’d say I was blown away by his performance. He presents a character in a fast paced world of clubbing, drugs, and sex. He has no filter, no inhibitions. He takes what he wants. And he does it all with a vague, drug addled look on his face that screams with pain behind the eyes. It was haunting at the same time that it was surreal and campy. Impressive.
Too ironic that this actor has played 2 characters named Angel…
I think the same and to a lesser degree goes for Seth Green. Although his life wasn’t as “complicated” as Culkin’s was, Seth Green was a child actor as well (Stephen King’ It, for example in 1990). He has become wildly successful in my book with Robot Chicken among other works, and I found this role to be a change of pace. Playing a flamboyant and glamorous club kid like he did (which pales in comparison to pictures, unfortunately), I was still fond of the semi-bravado he brought to the film. He still gets a nod for a job well done from me.
This movie and the documentary are a cult classic. And not the typical cult classic I’d watch that centers around a failed
Did I fail to mention Marilyn Manson had a transsexual role in this film? Oops…
action/horror movie. This movie is a representation for a different walk of life. For wanting to live bigger than yourself with dreams of being who you are, and showing that on the outside with how you dress and act (minus the drugs, I’d hope). The fans of Rocky Horror Picture show, the club kids of today, the LGBT community should feel empowered by such a successful and powerful role model. A couple of individuals who brought NYC to its knees in the 1980’s and 90’s, now that’s impressive. Every decade has its Kings, and these Club Kids were it.
Green and the realest of St. Jameses.
So overall I was impressed with the film’s content and delivery. Fenton Bailey and Randy Barbato have brought to light a film about the fabulous and the downfall. My eyes have been opened to another side of life, and I found it quite interesting. For those who want to broaden the mind and see what it’s like for 90 minutes to live glam like a skrod, check this film out. 7.7 out of 10.
I have to say this right at the beginning as a disclaimer. If you are squeamish, if you find sexualized violence to be perverse and disturbing, or if you find horror in the 1st degree to be mortifying, this movie and this review are not for you. A Serbian film is the tale of an ex-porn star, Milos (Srdan Todorovic). A man of stamina and skill, Milos (pronounced Milosh) is down to no money and has a wife and child to feed. So what does this absurd bastard do? He decides to take one last job. A sort of “final bank job” if you will. What he doesn’t know is what comes to destroy him.
When I first heard of this film, my roommate had just come back from England. His roommate there told him about this film and told me to check out the trailer. I can’t post it on here due to graphic content, but I’ll post the tamer version below:
Anyways, this trailer blew my mind. From the look and sound of what it was about, I figured it was real. This is classified as a “snuff film”. That’s not a joke. The scenes depicted in the film are designed to look as real as possible. And throw in the ridiculous amount of pornographic content and you have one of the most messed up films since Hostel. Wait, scratch that. Since… Ever.
Should I even delve into the mind of this film? Should I tell you this contains quite a few of the most absurd fetishes to grace humankind? Let me reiterate this. There is the issue of child rape in this movie. That alone should say this movie is not for the weak. This movie wasn’t even for me. I consider myself a reasonable guy. I feel I can handle some of the images the world has to offer. But I have opened Pandora’s box of horror. And this isn’t all of it. There is an entire following of “snuff films” out there. This is just… one among many.
A big thanks to ScuptingFragments for posting these videos on Youtube, opening me up to an entire genre of films I didn’t realize existed. You can tell, even from the length (and there’s a Part II to this video) that there is an unlimited amount of films out there about gore/torture/snuff. The names are ridiculous, the premises are absurd, but my eyes have been opened.
There are very few things I can show...
A Serbian Film is just the latest in a series of films that have been coming out for quite some time. Also identified as “torture porn”, this film is meant to unsettle the mind… and the stomach. And, you’ll hate me for this, but… It wasn’t as gory/horrifying as I thought it would be. Despite the ridiculousness of Serbia and the ability for a repressed country to finally make this film shocks me. And yet at the same time, there are films out there that would curb the sex and go for the same amount of torture and violence. I feel, with American films, the pornographic aspect is shunned (but what the Hell? Americans love porn and the sexualization of women…) due to the uncomfortable feelings it brings. A sort of taboo, if you will.
And what surprises me the most is that this film wasn’t trashed by reviewers or critics. Harry Knowles of Ain’t it Cool News said, “This is a fantastic, brilliant film – that given time, will eventually outgrow the absurd reactions of people that think it is a far harder film than it actually is. The film is an incredibly great film, where everything feels correct in the context of the film. It is never exploitive.” He even gave this film his Top 10 of 2010. Others said it was a movie with no substance. A film that defies you to find any deeper meaning. The director of the film, Srdan Spasojevic, said, “”As much as we try to deal with our life in this film allegorically, and with the corrupt political authorities that govern it, we are also dealing with today’s Art and Cinema and the corrupt artistic authorities that govern them in a similar manner here. The films that preach and enforce political correctness are the dominant form of cinematic expression today. Nowadays in Eastern Europe you cannot get a film financed unless you have a pathetic and
There are no words to describe the evil of this film.
heartwarming ‘true story’ to tell about some poor lost refugee girls with matchsticks, who ended up as victims of war, famine and/or intolerance. They mostly deal with VICTIMS as heroes, and they use and manipulate them in order to activate the viewer’s empathy. They make a false, romanticized story about that victim and sell it as real life. That is real pornography and manipulation, and also spiritual violence – the cinematic fascism of political correctness.” Using the medium of realistic, pornographic violence, Spasojevic attempts to break the drabness of the former “Eastern Europe” in a way that will shock the world. I feel he achieved that.
Now I’m not gonna say whether or not I liked this film. It’s a basic plot. The acting, as far as I could tell from the Serbian language, was decent. The scenes are disturbing and I couldn’t comprehend how they made the sex look so real. But I commend them for going there. At the same time that I condemn them for exposing me to a horrid side of a world occupied by terrible human beings. It’s like a car accident you can’t look away from. Now, Rotten Tomatoes gave it a 4.9 out of 10. I’m not gonna judge and allow you to find out for yourselves, if you dare. All I’ll say is… Newborn infant porn.
What more is there to say than The Protector is the best of all of Tony Jaa’s films? I’ve watched them all. I’ve seen them all. Time and time again, this is the best of the best. Tony Jaa performs at his finest in this film, in every scene. This is one nonstop action/display of skills that you cannot miss.
The Protector is the story of the ancient Muay-Thai fighters who raised and protected the elephants that would one day serve as the steeds of the nobles. The protectors raised the elephants to have strong legs and never fall, and in this way strengthened themselves. This practice extends even into modern day as a discipline among the protectors and elephants alike. And this premise makes for one amazing film.
Kham (Tony Jaa) is the son of a elephant protector who is raising a family of elephants to be viewed by the king for his own personal use. As Kham grows,
That's some ridiculous training.
the elephants have a child, Kohrn, and that elephant grows with Kham. It is then that one day the “king” wishes to see the elephants that Kham’s father has raised. The king’s inspectors turn out to be working for an Asian crime syndicate located in Australia, and they kill and kidnap Korhn and his father. Thus begins Tony Jaa’s journey of revenge on every single member of the Australian/Asian gang. And not a single member is left without at least a broken arm.
This movie, for lack of a better word, is epic. In its scope, in its stylistic vision, in its stunts and fluidity, everything. Tony Jaa pushes himself to the limit in all of his moves and stunts. Which needs to be reiterated. Tony Jaa
That's Jaa right there.
does all of his own stunts. No wires, no CGI, no stuntmen. Nothing. This film is pure Tony Jaa. At no point in this film do I ever think, “That wasn’t really that impressive.” Everything that Tony Jaa does makes my heart stop. It is literally insane the amount of things that Tony Jaa can perform in the way of stunts and acrobatics with his body that could lethally kill someone or otherwise. Suffice it to say that Muay-Thai boxing and the style of Muay-Thai fighting in general is severely brutal. This is what drew me to Tony Jaa’s films in the first place. Unlike most martial arts films, Tony Jaa’s are more brutal, less about the finesse (although it’s there) and more about the fluid, detrimental way and in which to take out your opponent. Let’s put it this way. A full force knee into your chest from an expert in Muay-Thai is like getting in a 30 mile an hour car crash with no seatbelt. Yeah. He screams devastation.
And people might say, hey, you just have some absurd love for Tony Jaa. You are obsessed with him. That may be true. In comparison to most other martial artists in the film industry, Tony Jaa brings something new.
Something brutal. Something eye opening. And he literally hasn’t stopped. Ever since the first Ong Bak back in 2003, Tony Jaa has given the world 8 years of solid, amazing films in the martial arts genre. And for an actor who is only really meant to do stunts, he’s not that bad of an actor in general. He’s pretty damn good at crying.
But yeah, this movie in general is a display of just how mind-blowing Tony Jaa truly is. There are about, I’d say, 4 amazing scenes throughout the film spread out by about 15 minutes each. You have the initial interrogation with boat chase, the warehouse X-games beat down, the restaurant shuffle, and the bone shattering ending. And with each one, they just get better. So it is to you Prachya Pinkaew that I tip my hat, for bringing us Tony Jaa in The Protector and Ong Bak. The world would truly be missing something if it weren’t for you. And yes, Tony Jaa, you can destroy me anytime. 10 out of 10.