Existentialist poetry (oxymoron?), static like Ming-liang tradition dictates, haunting, bewildering, pervasively contemplative reaching levels of melancholy and wonder, exhaustively calculated and balanced to a frame-perfect degree, with the camera always taking the perspective of either a terrenal perspective of one of the spectators of King Hu's 1967 wuxia awe-inspiring adventurous spectacle, or an omniscient perspective, a passive observer of wondering souls that seem to be walking around in a purgatory stuck in an…
King Hu... Wow. Just wow.
-Remember the tension in the opening scene of Once Upon a Time in the West (1968)?
-Remember how tension escalated from an indoors conversation into a stylish outburts of tragic violence in the opening sequence of The Good, the Bad and the Ugly (1966)?
-Remember the basement scene in one of the best referential films of the decade, Inglourious Basterds (2009), where there was a non-stop, upwards sloping trend of tension until it culminated in…
Before you ask, this is not my first Refn movie. In that way, I can know that:
- He still likes to dress his crooks with light grey pants and have some of them bald, like if they were still living in Denmark.
- He still uses an awesome techno soundtrack (with some pop touches that I can forgive) to open his films and to close them. The underground nudist dive bars / seedy joints cannot be omitted, of course.…
WARNING. The following movie has:
1) 237 minutes in length
2) The movie title appearing after one hour of running time
3) A drag
7) Genital gore
10) A "Virgin Mary"
12) Ass-kicking female teens
13) Psychotic menopausal bitches
14) Pornographic furniture
15) A Joshuu 701-gô: Sasori (1972) tribute with a pinky film spoof character called "Miss Scorpion"