Synopsis
The destinies of two men, one from the future and one from the past, become entwined as a malevolent virus spreads throughout Level 4, a digital gaming experience that blurs dreams and reality.
Colonel Panics
2016 ‘カーネルパニック’ Directed by Cho Jinseok
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Good idea and concept which deserved a slightly better execution. I have no idea what the script was about, but at times it was kinda cringe with the sex addicted guy. Other than that it has some decent pacing that creates with its visually aspect (although I expected it to be trippier, more colorful and intenser), a good soundtrack and its violence a surreal and at times hypnotic cyber experience.
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Implying a frightfully plausible AI-generated near-future, a beautifully digital cyber-horror where the perceptions of reality and fiction converge. Jinsoek infers too much for true plot cohesion as roles and dualing timelines blur, while an artificial sentience programs the shockingly gruesome events.
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I was unprepared for this film because I saw it referred to as Cyberpunk/exploitation. On reflection, that's exactly what it is, but its not at all what I imagined when I heard that description.
I'm not very clear after first watch if I understood everything correctly, but I think that a software engineer in the future is testing some sort of virtual reality experience. This experience is a disturbing examination of a sex-obsessed journalist who never realized his dreams, and chronicles his struggles coping with his mediocrity, which he eventually does with violence.
What I don't understand is whether the experience is a "game", a "movie", or an actual thing that happened in the past. An early conversation seems to…
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A pretentious and sick (f)art flick about an estranged pervert who compensates his emptiness with deranged acts of sex and violence.
These type of film always annoy me. You pretend to comment on grievances but sell it as glossy (s)exploitation cinema and indulge in it.
A very, very big Fuck You to this piece of shit.0/ 10
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There’s some sexual gratuity here and there, but fortunately, this movie gets pretty engaging, and the form really elevates the content. The editing is pretty interesting, and I especially love the cinematography during the VR segments, but I suppose I'll always appreciate the dream-like quality of a floating camera with well timed focus slips. The social commentary and story alike get muddled a bit, so I'll likely return to this one later to see if I can make more sense of it, but still a pretty solid directorial debut. I'm curious what Cho Jinseok does next.
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Well, for the first time in a good while, a movie genuinely shocked me with its obscenity. So, uh…cheers to…that, I guess?
Though well-shot and conceptually intriguing, this was WAY longer than it needed to be — even at just 90 minutes, there’s still a bunch of gratuitous long shots and grotesque erotic fluff to wade through.
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Ahhh, el salvaje Japón.
Un desarrollador es contratado para limpiar bugs de un videojuego. El videojuego es básicamente la película que vamos a ver (es vídeo, nothin' polígonos): las desventuras de un incel nacionalista que aspira a ser escritor.
Pero apenas escribe, sólo se masturba y se hunde en una espiral de anime y prostitución. Habrá trágicas y violentísimas consecuencias.
Cyberpunk a base de ingenio; presupuesto no sobra pero definición hay por un tubo, lo que le da a Colonel Panics una pátina limpia y fría muy adecuada para lo que cuenta. Mucha estética glitch. Nihilista y retorcida, "mean spirited" que dicen los yankees, puede entrar de forma bastante digna en esas perlas perdidas en las listas de películas extremas;…
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alas, alas. my self-imposed japan ban has been lifted.
couldn't have hoped for a freakier film to welcome me home than this.. for better or for worse.
how bad does it get in that world?
japanese Westworld of some sorts. ambitious but nasty. the director is korean, and this is a debut. he made this while staying in tokyo and becoming fascinated with japans political situation, thus the 'virus' simply represents the real world manifestations of evil that fester under japans facade. while i could've done without a bloody, freshly stabbed to death corpse being raped while her face is held up to the camera.. i guess that (prolonged..) image is just about the perfect culmination of that.
also, GRAPHIC SUICIDE WARNING
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Ok 3 stars for what I consider a technical aptitude but I fucking hated this movie. I get the cleverness: degenerating iterations of narrative, generations of abstract nationalism leading to easy savagery, yada yada... but there is a strain of exalted loser in the world right now, particularly the alt right (read: fascist) strain lurking in the dark recesses of 4chan and the comments section of The Federalist. This is a group dedicated to being the most vile, most repugnant loser. Perhaps this movie seeks to shed light on this group as a sort of cautionary tale for the rest of us but I'm afraid it simply fuels it. The violence against women, the self-entitled arrogance of murder, the ruining of culture... I'm not amused. Read Thucydides and Gibbon and tell me who took down the Roman Empire.
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Um... what the fuck was that?
Something something Japanese nationalism, VR, escaping reality... I don't exactly know what this movie is trying to convey, though it's clearly some sort of reflection on war crimes in Japanese society and not confronting the truth? (These two interviews certainly help) But I do know that it was one of the most unique experiences I've had in a while.
The first half in which we follow the mediocre and mundane life of this typical Japanese man is drenched in a constant feeling of uneasiness, and then the second half just flips everything on its own head and becomes a crazy trip that seamlessly goes from dreamy to nightmarish. I liked the bold use of…
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