1996 Directed by Lilly Wachowski, Lana Wachowski
Corky, a tough female ex-convict working on an apartment renovation in a Chicago building, meets a couple living next door, Caesar, a paranoid mobster, and Violet, his seductive girlfriend, who is immediately attracted to her.
Sin límites, Liaisons interdites, バウンド, The Business
"When executives at some studios read the script, they told the Wachowskis that if they changed the character of Corky to that of a man, they would be interested. The siblings declined, saying 'that movie's been made a million times, so we're really not interested in it.'"
HELL YEAH HELL YEAH FUCKIN RIGHT HELL YEAH 👏🏽👏🏽👏🏽
I should give Sense8 another chance someday when I have the energy to watch TV again.
There is a very clear precision to the way the Wachowskis write their films. Plot is important but not always coherent, as emotional payoffs matter more than anything else. Character is key but it doesn't have to be complex, deep, nuanced; it just has to be relatable on some level, some basic understanding. Theme is strong, but direct, blatant. Setting is a rich flavoring layered in there, so you know it's Chicago even when it isn't.
And style is above all. Not simply style, but loud style. Over-the-top. Iconic, or trying to be, in everything. The sort of imagery and dialogue and costuming and…
Still the Wachowskis' best film. I keep hearing about modern genre films that manage to be stripped-down narrative bullets with quickly-sketched but novel, well-defined characters while subverting established tropes and deftly applying irony. This one has the added bonus of actually being directed as well.
"Everybody knows your kind can't be trusted."
Playing a different game than it seems to be at first, setting up seasoned noir enthusiasts for yet another riff on The Postman Always Rings Twice before revealing at the last possible moment that the postman doesn't actually know shit. People say plot doesn't matter but it's hard to maintain such attitudes after seeing this, so surgically precise as it unfolds but with room for new veins of emotional nuance even in such well-explored genre territory above and beyond those provided by the lesbian upgrade. I have no idea why I never saw this before now.
The biggest snub in awards show history is this losing Best Kiss to fucking Independence Day.
it’s kind of crazy how nobody ever talks about the literal best movie ever made lol
As often as I nod my head vigorously at his thoughts, I'm repelled by some of the oddities of his critiques. Case in point, Mike D'Angelo's 69/100 review for Bound makes two observations: one extremely helpful, the other not so helpful.
Let's engage with the unproductive aspect of his review right out of the gate: he claims that even with the Wachowskis' transitions, the film still feels like a "hetero male's lesbian fantasy" as opposed to whatever it is depicted on screen. I'm not sure what Mike meant with this bit. As he's a straight white male, does he have access enough to lesbian/queer spaces to gauge their authenticity? His strenuous declaration ("dammit, that is what it feels like" his…
The story is in the hands. The Wachowskis go out of their way to deliver this narrative through the touch of Corky and Violet. It begins sexually, a quick glance at fingernails, a grasp on a breast, but evolves into something beyond sex when the noir elements begin to unravel. They do so beautifully, and that chemistry between Violet and Corky is lustfully romantic in every scene. A phonecall with both of them touching the wall dividing them is certainly cheesy, but the Wachowskis have always been cornball doofs, and their earnestness is partly why this movie works so well. They go all in on the relationship between the leads, and that final touch is earned, because they've paid so much attention to that aspect of Corky and Violet's relationship.
What's black & white & red all over? The Wachowski's Bound, of course!
I adore this movie, it hits all of my sweet spots: a pulpy Hitchcockian genre thriller, with performances from Tilly and Joey Pants that dance between genuine and camp. (Chris Meloni, however, falls fully on the side of camp, and this is why we adore him.) The production design is considered and specific, while the camerawork is playful enough to prevent the stagey setting from becoming claustrophobic or stale. Gershon doesn't have much to do in the final act of the movie, but the pacing is so breakneck that it doesn't much matter.
It also doesn't hurt that Bound is what convinced Warner Brothers that The Matrix might be a gamble worth taking - "Neo-Noir", indeed.
the first 20 minutes of this film are the sexiest 20 minutes in all of cinema. the sensuality RADIATES.
gina gershon really bodied this role, a whole-ass legend. and jennifer tilly serving femme dyke realness??? unparalleled.
You don't need a massive budget or a variety of locations to make a great film. Bound manages to craft a tense thriller by simply filming a couple rooms in creative ways.
womenwomenwomenwomenwomenwomen
men:kill
womewomenwomewomenwomenwomen
men:none
womenwomenwomenwomenwomen
Dennis Reynolds : [digging through trunk] Oh, they're all gonna pay. They're all gonna pay the ultimate price!
Charlie Kelly : Whoa!
Mac : Dude, what's all that stuff you're grabbing?
Dennis Reynolds : Tools! Tools! Duct tape, zip ties and gloves! I have to have my tools!
Charlie Kelly : Wh-why do you have a bunch of, like, weird tools in a hidden compartment in your car?
Dennis Reynolds : It's fetish- it's fetish shit! I-I-I like to bind, I like to be bound!
i remember the first time i watched this i accidentally popped my stress ball and i think that perfectly describes how you feel while watching ❤️ also i forgot how hot this movie is.. all of the murdery stuff made me forget
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