Certain films you love because they touch you personally. Others you love because they tell a story so gripping you feel part of it yourself. Some you love for their part in shaping you as a cinephile, even as a person. Then there are the handful of films you love simply because you must love: because they represent so bold an authorial vision, so striking a view of the world, so wholly unique a perspective on life through cinema, that…

Have you ever watched a movie that begins with a gunshot and ends with a cumshot?

No?

Well I just did...

And it was one of the most horrifyingly beautiful psychedelic experiences I've ever had the pleasure of viewing in my life.

From what I read about the movie it seems to be pretty hit or miss with people. I pity the people who saw no substance in this film. Because underneath its odd outer layer is a film that…

Director Gaspar Noe and I aren't exactly seeing eye to eye. This is the second film I've seen of his, and it left me feeling quite the same way the first one did.

You see Mr. Noe seems to have a thing for constant camera movement specifically a rotating camera. In the previous film I watched of his Irreversible it was extremely jarring and bothersome. In this film it didn't bother me as much but the other thing he does…

Well the film is a definite visual and aural marvel that looks quite unlike any film I've seen before. You could spend hours wondering how individual shots were achieved, how scene transitions and the diffused neon glow were handled. As an example in aesthetics the film is a stone cold classic and one that should be experienced at least once (I wish I'd seen it in the cinema or at least in HD as the film deserves to be watched…

Well shit it's 02:15 so I'd better wank this review out quickly as I like my immediate thoughts to be broadcast unfiltered every now and then.

I'm going to start out with the visuals of this film because they were probably the most impressive and imposing aspect. The opening titles are unbelievably brilliant. They sort of perpetuated the myth of this film as an ultra-cool music video-esque extravaganza of style that I've always had in my head. Really this film…

The more I watch Gaspar Noé's films, the more I like it. Now that I've completed all his films, I can honestly say that he is one of the best filmmakers around.

The first question that comes to my mind when I think about the quality of his films is the reason most people dislike them: the style. As I've said before, the question "style over substance" has been so used lately that it has become a cliché, and a…

Gaspar Noe is one of the most daring filmmakers simple a plain, he spits in the face of conventions. The idea for Enter the Void was heavily influenced by The Tibetan Book of the Dead (which is referenced in the film), and in the book afterlife is described as being a journey for the soul where it freely travels through time and the world watching life go on as it searches for reincarnation. Oscar,a young drug dealer, is killed when…

I'm not going to pull any punches here: this is a self-indulgent bucket of shit that doesn't deserve your time. Here's how it breaks down:

Minutes 0-2: The best opening credits I've ever seen.
Minutes 2-30: "Ooh, look, I can do long takes! And shaky cam! How innovative!"
Minutes 30-45: "Floating around Tokyo...ooh look! Strippers! Sex! Nudity! That's some groundbreaking shit right there!"
Minutes 45-50: "Looking back on my childhood...I still couldn't act for shit. But if that isn't sentimental,…

Director - Gasper Noé
Writer - Gasper Noé, with the assistance of Lucile Hadzihalilovic
Cast - Nathaniel Brown, Paz de la Huerta, Cyril Roy, Emily Alyn Lind, Olly Alexander, Ed Spear, Jesse Kuhn and Masato Tanno

Trailer

I’ve been looking forward to watching Enter the Void for quite some time, and so my rating partly reflects the fact that it left me feeling both empty and disappointed. Considering that it’s something akin to the cinematic equivalent of Sigmund Freud on…