Not as shocking as others of the genre Last House on the Left for instance, but not far from it. Taking the alienated cruising of Taxi Driver and adding the visceral realism of home video, really puts the viewer uncomfortably close to Henry and Otis. Moral reciprocity envelops the viewer rather than any sort of character understanding or empathy. These are two clearly outlined types, sociopathic and wickedly evil deplorables, filtered by documentarian lenses and dehumanised by synthy scoring.
American Mary was a refreshing twist to the rape-narrative story, yet I thought the story could have avoided the rape entirely and perhaps have been stronger for it. Say, if it were to embrace the failed american dream (or work on promoting it's distorted american dream), all the elements in play could have been left without compromising the story and arc.
Holy Fuck! If there is a cooler film than this I'd be gobsmacked (If any I'd suspect the French, 'Here's lookin at u Melville'). I don't think the film could have been more tailor made for entertaining me with the blending of the bloody Italian horror aesthetic and western genre that I've slowly begun to become familiar with. I do seriously think that my learners knowledge of 30-40-50s westerns and Italian film played a seriously big part in appreciating it…
Whiplash (my pic for this years best) captured and took me for a ride very similar to how Gravity managed to, it was so engaging and investing that it's percussive tremors completely infected my day afterwards. I found many other similarities with Gravity beyond the cinematic experience, such as the relatively straightforward story that focuses around the 'simplicity' of its elements. Where here Teller's Neimann cuts near everything of his life to achieve his focused goal and confrontationally appease his…