IF YOU HAVE NEVER SEEN RIZE, I SUGGEST YOU GO SEE IT. IT IS A GREAT FILM AND A GREAT DOCUMENTARY. I HAVE NEVER SEEN PEOPLE DANCE LIKE THAT IN MY ENTIRE LIFE. THAT WAS INCREDIBLE.
Thursday, December 7, 2006
RIZE WAS A FANTASTIC DOCUMENTARY
IF YOU HAVE NEVER SEEN RIZE, I SUGGEST YOU GO SEE IT. IT IS A GREAT FILM AND A GREAT DOCUMENTARY. I HAVE NEVER SEEN PEOPLE DANCE LIKE THAT IN MY ENTIRE LIFE. THAT WAS INCREDIBLE.
Wednesday, December 6, 2006
BATTLE ROYALE.
There is always some type of line between male and female genre in film. Do you ever notice it? It can be a broad line, a broken line, or a blurred line. However, there is always some type or sort of line, or border or boundary, a wall keeping the genres from getting too close together. You can see the line. You see it all the time in a movie. There is always a very strong distinction. You can especially see the line when it has been crossed. All sorts of crazy things happen when the line is crossed. The results are always unbelievable. It boggles the mind.
The war between the sexes in film can be easily analyzed and dissected. There is always something to be detected. There is always something to be found and savored. And it tends to get very confusing at times.
Guy flicks. The more the testosterone, the better. FHM. Stuff. Playboy. Sports
Illustrated. That’s all it is. That's all it ever takes. We know what guy flicks are about. We’ve seen The Terminator, Predator, Rocky, Air Force One, Die Hard, Saving Private Ryan, Batman, Spider-Man, X-Men, Platoon, Full Metal Jacket, American Ninja, Anchorman, Top Gun, The Hunt for Red October, The Fast and the Furious, The Devil’s Rejects, Sin City, The Texas Chainsaw Massacre, Snatch, Evil Dead, The Transporter, Fight Club, Lethal Weapon, James Bond, Bullitt, The French Connection, Scarface, Star Trek, Star Wars and The Matrix. We know what they’re about. There’s not really a whole lot of weight or depth to them. They don't take on a lot of water. I wish I didn’t have to say that, but it’s true. Fast cars, lots of money, guns, knives, drugs, blood, war, fighting, stunts, car chases, and things of that nature. There’s always a lot of foul language, violence, carnage, bikinis, vice, excess and sex, sex, sex. (Did I mention sex? Lots and lots of unprotected sex.) And I do hate to admit it, but it is all true. It has an effect on the male population. An extremely bad effect. It's what makes us the chauvinist pigs we are today. In film, the manliest and the most macho of men spend too much money and are unable to keep their pants zipped up. We're just a bunch of damn dirty apes.
Chick flicks. The more the estrogen, the better. Vogue. Harper's Bazaar. Vanity Fair. Oprah. Oprah. Chick flicks usually tend to encompass more venues. There have been films such as Clueless, A Walk to Remember, 13 Going On 30, The Sisterhood of the Traveling Pants, Legally Blonde, Steel Magnolias, The First Wives Club, Anywhere But Here, Where the Heart Is, Ghost, Pretty Woman, Just My Luck, Fried Green Tomatoes, Notting Hill, Titanic, Beaches, The Princess Diaries, Dirty Dancing, Four Weddings and a Funeral, Bridget Jones's Diary, Pride and Prejudice, Girl, Interrupted, The Devil Wears Prada, What a Girl Wants, The Good Girl, May, Girl With a Pearl Earring, Imagine Me & You, Sweet Home Alabama, Just Like Heaven, Uptown Girls, Maid in Manhattan, How to Lose A Guy in 10 Days, Memoirs of a Geisha, Thirteen, All the Real Girls, Mean Girls, A Cinderella Story, Ever After, Roman Holiday, Never Been Kissed, and The Butcher’s Wife. Girls know all about it. The films are usually quite multi-faceted (and multi-colored), romantic, emotional, extravagant, accessorized, and many things of that nature. A large number are adapted from popular novels and literary classics. You sure as hell don't see that as often with guy flicks. They can be romances or romantic comedies, and are often closely associated with melodrama. They are sometimes narrated, which is uncommon in guy flicks because guys are too busy blowing things up. I feel that a chick flick, while not quite as energetic as a guy flick, is at least not as mindless. Unless we’re talking about Clueless. That movie was dumb as hell. Dumb as hell.
Sometimes you’ll find female roles in male films, and male roles in female films.
This usually provides an interesting balance. I’ve seen this in films such as Thelma & Louise, Erin Brockovich, High Fidelity, Charlie's Angels, Casablanca, Green Card, When Harry Met Sally, Sleepless in Seattle, You’ve Got Mail, Alien, and Kill Bill. Let’s take Alien, for instance. A large, slimy, and somewhat sexually perverted carnivorous monster is terrorizing a spaceship, and there is only one woman that is able to fight off this ghastly creature. In When Harry Met Sally and You’ve Got Mail, the male and female characters are like a pair of bookends. They just go back and forth, one leaning on the other. Very uncommon. Kill Bill is a revenge film featuring a woman. High Fidelity is a romantic comedy with a man as the lead character.
There are films that take the concept of man and woman and fuse them to become one. I sometimes find these films somewhat confusing, but I don't rest until I’ve grasped the entire thing. The films are actually. There’s Hedwig and the Angry Inch, Transamerica, Boys Don’t Cry, To Wong Foo, The Birdcage, Breakfast On Pluto, The Adventures of Priscilla, Queen of the Desert, The Adventures of Sebastian Cole, Brokeback Mountain, Capote, The Children's Hour, Ed Wood, Connie and Carla, But I'm a Cheerleader, La Cage aux Folles, The Rocky Horror Picture Show, and the list goes on, but not for long. Films such as Hedwig and the Angry Inch and Transamerica are about transexuality, The Birdcage deals with homosexuality, and Boys Don’t Cry, To Wong Foo, Breakfast on Pluto, and The Rocky Horror Picture Show all deal with transvestitism.
Even though there are lines in cinema, those lines can always be broad, broken, or blurred to the greatest extent to get a point across. They must all be broken. Film is an art form, a medium that should be explored to the fullest. It's been around for over a century, and we still have too many boundaries. Film has always been a form of expression, as well as literature and art and music and photography. It is something that should be built upon and developed even more, more than what you already see on the screen. More must be added, more must be accentuated, more must be revealed. It almost seems as if we are afraid, and film is no place for the spineless and the weak. It seems as if we have lost our original splendor, we have lost that which makes film so vibrant and astonishing and mesmerizing and audacious. We've lost what can be ugly and beautiful about film. We’ve lost the audacity of film. We have truly lost it. The audacity to be bold and daring and thoughtful. The audacity to be confident and fearless. Have we lost our appeal? Have we truly lost our appeal? In my opinion, film should not be segregated. It should be together, as one. One type should be allowed to mesh with another, and in doing so, we all walk away smarter because of it. We’ll know more about the world and about each other. And every one of us needs to be smarter. We need to know more. In every possible way. And we can’t rest until we know it all. That’s for damn sure.
The war between the sexes in film can be easily analyzed and dissected. There is always something to be detected. There is always something to be found and savored. And it tends to get very confusing at times.
Guy flicks. The more the testosterone, the better. FHM. Stuff. Playboy. Sports
Illustrated. That’s all it is. That's all it ever takes. We know what guy flicks are about. We’ve seen The Terminator, Predator, Rocky, Air Force One, Die Hard, Saving Private Ryan, Batman, Spider-Man, X-Men, Platoon, Full Metal Jacket, American Ninja, Anchorman, Top Gun, The Hunt for Red October, The Fast and the Furious, The Devil’s Rejects, Sin City, The Texas Chainsaw Massacre, Snatch, Evil Dead, The Transporter, Fight Club, Lethal Weapon, James Bond, Bullitt, The French Connection, Scarface, Star Trek, Star Wars and The Matrix. We know what they’re about. There’s not really a whole lot of weight or depth to them. They don't take on a lot of water. I wish I didn’t have to say that, but it’s true. Fast cars, lots of money, guns, knives, drugs, blood, war, fighting, stunts, car chases, and things of that nature. There’s always a lot of foul language, violence, carnage, bikinis, vice, excess and sex, sex, sex. (Did I mention sex? Lots and lots of unprotected sex.) And I do hate to admit it, but it is all true. It has an effect on the male population. An extremely bad effect. It's what makes us the chauvinist pigs we are today. In film, the manliest and the most macho of men spend too much money and are unable to keep their pants zipped up. We're just a bunch of damn dirty apes.
Chick flicks. The more the estrogen, the better. Vogue. Harper's Bazaar. Vanity Fair. Oprah. Oprah. Chick flicks usually tend to encompass more venues. There have been films such as Clueless, A Walk to Remember, 13 Going On 30, The Sisterhood of the Traveling Pants, Legally Blonde, Steel Magnolias, The First Wives Club, Anywhere But Here, Where the Heart Is, Ghost, Pretty Woman, Just My Luck, Fried Green Tomatoes, Notting Hill, Titanic, Beaches, The Princess Diaries, Dirty Dancing, Four Weddings and a Funeral, Bridget Jones's Diary, Pride and Prejudice, Girl, Interrupted, The Devil Wears Prada, What a Girl Wants, The Good Girl, May, Girl With a Pearl Earring, Imagine Me & You, Sweet Home Alabama, Just Like Heaven, Uptown Girls, Maid in Manhattan, How to Lose A Guy in 10 Days, Memoirs of a Geisha, Thirteen, All the Real Girls, Mean Girls, A Cinderella Story, Ever After, Roman Holiday, Never Been Kissed, and The Butcher’s Wife. Girls know all about it. The films are usually quite multi-faceted (and multi-colored), romantic, emotional, extravagant, accessorized, and many things of that nature. A large number are adapted from popular novels and literary classics. You sure as hell don't see that as often with guy flicks. They can be romances or romantic comedies, and are often closely associated with melodrama. They are sometimes narrated, which is uncommon in guy flicks because guys are too busy blowing things up. I feel that a chick flick, while not quite as energetic as a guy flick, is at least not as mindless. Unless we’re talking about Clueless. That movie was dumb as hell. Dumb as hell.
Sometimes you’ll find female roles in male films, and male roles in female films.
This usually provides an interesting balance. I’ve seen this in films such as Thelma & Louise, Erin Brockovich, High Fidelity, Charlie's Angels, Casablanca, Green Card, When Harry Met Sally, Sleepless in Seattle, You’ve Got Mail, Alien, and Kill Bill. Let’s take Alien, for instance. A large, slimy, and somewhat sexually perverted carnivorous monster is terrorizing a spaceship, and there is only one woman that is able to fight off this ghastly creature. In When Harry Met Sally and You’ve Got Mail, the male and female characters are like a pair of bookends. They just go back and forth, one leaning on the other. Very uncommon. Kill Bill is a revenge film featuring a woman. High Fidelity is a romantic comedy with a man as the lead character.
There are films that take the concept of man and woman and fuse them to become one. I sometimes find these films somewhat confusing, but I don't rest until I’ve grasped the entire thing. The films are actually. There’s Hedwig and the Angry Inch, Transamerica, Boys Don’t Cry, To Wong Foo, The Birdcage, Breakfast On Pluto, The Adventures of Priscilla, Queen of the Desert, The Adventures of Sebastian Cole, Brokeback Mountain, Capote, The Children's Hour, Ed Wood, Connie and Carla, But I'm a Cheerleader, La Cage aux Folles, The Rocky Horror Picture Show, and the list goes on, but not for long. Films such as Hedwig and the Angry Inch and Transamerica are about transexuality, The Birdcage deals with homosexuality, and Boys Don’t Cry, To Wong Foo, Breakfast on Pluto, and The Rocky Horror Picture Show all deal with transvestitism.
Even though there are lines in cinema, those lines can always be broad, broken, or blurred to the greatest extent to get a point across. They must all be broken. Film is an art form, a medium that should be explored to the fullest. It's been around for over a century, and we still have too many boundaries. Film has always been a form of expression, as well as literature and art and music and photography. It is something that should be built upon and developed even more, more than what you already see on the screen. More must be added, more must be accentuated, more must be revealed. It almost seems as if we are afraid, and film is no place for the spineless and the weak. It seems as if we have lost our original splendor, we have lost that which makes film so vibrant and astonishing and mesmerizing and audacious. We've lost what can be ugly and beautiful about film. We’ve lost the audacity of film. We have truly lost it. The audacity to be bold and daring and thoughtful. The audacity to be confident and fearless. Have we lost our appeal? Have we truly lost our appeal? In my opinion, film should not be segregated. It should be together, as one. One type should be allowed to mesh with another, and in doing so, we all walk away smarter because of it. We’ll know more about the world and about each other. And every one of us needs to be smarter. We need to know more. In every possible way. And we can’t rest until we know it all. That’s for damn sure.
I can't believe they actually made movies like this back in the day! Somebody must have some interesting information on this. I had taped it from the TCM Channel late at night. It's off of that new late-nite cult film segment hosting Rob Zombie. I must admit it's kind of weird having Rob Zombie on TCM, but I suppose it's fine. What else did Tod Browning direct?
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