I was happy to be hanging out with Swampandreviews last night for A Serbian Film, and glad we got to hash over it when it was done. I’ve been avoiding reading his review all day, ‘cause I wanted to write mine with a fresh mind, but now that I’m done you should join me in reading it, since it’s spot on.
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i took a trip! read about it here.
evidence of my lame yuppie side on my (gasp!) house blog here.
I also stuck around for Re-Animator, but being that I almost fell asleep during A Serbian Film (seriously, not that shocking), I unfortunately couldn’t keep my eyes open during it, so yes, I still haven’t seen it. I also didn’t stick around for the reading of the upcoming Re-Animator musical, being that the bars were basically closed by the time that started, and I was so disheartened that I just went home.
Chillingly, toward the end of the A Serbian Film Q&A, one of the filmmakers mentioned that when Re-Animator was released 25 years ago or so, it was considered just as shocking as their film… I suppose that was meant to be clever, but all I could do was cast my mind forward to what “transgressive” films full of “metaphors” will look like then.
A Serbian Lie.
Can we all agree on something? Can we all agree to stop creating things that we think are sick and twisted under the pretense of it being something else? Can we stop assigning false philosophies to things that don’t deserve them? Can we call a cigar a cigar, and a meaningless film about human degradation just that?
As I commented to friends last night, A Serbian Film is a metaphor in the same way that the bible is the word of god. Just because a whole bunch of people are going to believe it, doesn’t mean it isn’t mostly horseshit. Interested in the plot? Read about it elsewhere. What I want to talk about today is torture porn, dressed up like a prostitute in pointless, phoned-in philosophy. There is no question that A Serbian Film is just that, and not much more. It is not a clever critique on society, Serbian or otherwise. It is empty, meaningless, with a simple, obvious plot visible from a mile away, a lazy “film-within-a-film” premise, hastily drawn characters and “metaphors” that are as subtle as hatchet to the head. It’s sick, but not inventive, shocking, but predictably so, and utterly disappointing.
Much will be made of the “newborn porn” scene, but what disheartened me the most about this scene wasn’t the subject matter, but how cheaply obvious the “message”. I called it, well before the Q&A. I KNEW the filmmakers would say “it’s a metaphor for how we’re born fucked”, because baby-fucking is the most obvious and juvenile way to communicate that idea. Say what you will about it being an allegory, the film-within-a-film mechanic means that the film equates itself with a film being made about raping newborn infants. The logical conclusion of that equation is that I, and the other 700 or so people in attendance watched a movie about infant rape (and decapitation, incest, torture, skullfucking, etc.), and hundreds of years of political unrest in Serbia don’t make that mean anything more than what it is.
Negative reviews, discussion of how scandalous and shocking a film’s content might be usually only serve to boost consumption. I realize that as I type this, and this is why I’d like to make one recommendation. If you plan on seeing it, don’t pay for it. In our world, the only thing that matters anymore is money. Where you put your dollar is the only vote that means anything anymore. In this world, where, as the filmmakers reminded us, we’re born fucked, live fucked and die fucked, 9 to 5 prostitutes for the great, grinding wheel of human pornography that is the modern economic system, the only thing that matters anymore is where you spend your cash.
That ultimately is the sick joke at the heart of A Serbian Film. Don’t think that its “great message” was lost on me… if anything it drove home that what is so calculating and exploitative is that these filmmakers are selling us our own sad degradation back to us in the form of a misery of cheaply written celluloid. I know what it means to be alive, believe me. It’s not a uniquely Serbian condition. The only thing keeping most people on the wheel and in the grind are those rare moments of beauty, of joy and of freedom, and you won’t find any of that in this oppressive film. Don’t get fucked twice - if curiosity gets the better of you, think again before opening your wallet.
I’m a day behind with reviews, but I’m gonna try to play catch up now, so bear with me.
Lemmy. The documentary. What more can I say? This film delivered 95% of what I was looking for, and by what the director says, the remaining 5% should be on the bonus disc.
I had a ball DJing before the film, my focus last night being on not playing any actual Motörhead songs, but focusing instead on Lemmy singing on things you wouldn’t necessarily expect:
Louie, Louie - as covered by Motörhead
It’s a Long Way To The Top - AC/DC as covered by Motörhead
Silver Machine - Hawkwind, with Lemmy on vocals
Enter Sandman - Metallica as covered by Motörhead
Tonight the Bottle Let Me Down - Merle Haggard as covered by Throw Rag with Lemmy
Shake Your Blood - Probot, with Lemmy on vocals
Thirsty and Miserable - Black Flag cover with Lemmy on vocals
Stand By Your Man - Lemmy with Wendy O. Williams
I wish I had more time, ‘cause then you would have heard:
The Trooper - Iron Maiden cover with Lemmy on vocals
Please Don’t Touch - Headgirl (Motörhead/Girlschool collaboration)
Blue Suede Shoes - Lemmy & The Upsetters
Run Rudolph Run - which ended up being featured in the film, so that made me happy
Beer Drinkers & Hell Raisers - ZZ Top as covered by Motörhead
and the pièce de résistance… Alone Again - Lemmy with Doro. Yep, Doro.
Anyways, enough about that, let’s talk about the film. Bottom line, this is more or less what I would have expected from a documentary about Lemmy. I have been a huge fan for many years, have seen the band half a dozen times, and have spent an inordinate amount of time reading about him, so there were no real surprises here. I say this with the utmost respect; Lemmy’s life is, at least in context, relatively mundane. He’s extremely influential and almost universally admired, but he has had a pretty simple routine for many years - Rainbow, road or recording - and this is a crucial part of the Lemmy mystique.
Closing in on retirement age, Lemmy is still a fierce performer and a significant musical contributor. When he is on stage, he is riveting, commanding. Offstage, he is human, and the distinction is sharp, but fitting, and it is here that the strength of the film lies. Lemmy cooking some dinner, playing videogames, sorting through his crowded apartment, going to the record store, hanging out at the bar… These glimpses into his daily life, these snippets of interaction with common mortals, they serve to humanize him, but in doing so, only bolster the mythology, because at the end of the day, his lifestyle is emblematic of the rock’n’roll ethos taken to the absolute end. Essentially, there’s nothing else for him in this world, and there’s nothing else that he can do. He is the consummate rocker, a man with only one real mistress. As he says it best in my favorite Motörhead song:
I’m in love with rock’n’roll,
It satisfies my soul
If that’s how it has to be,
I won’t get mad
I got rock ‘n’ roll,
to save me from the cold
And if that’s all there is,
It ain’t so bad
Rock’n’roll
The film portrays this nicely, and also scores with the inclusion of testimonials from many luminaries of the rock and metal world. My only real beef? Besides the complete absence of any mention of Girlschool, it bummed me out that the film felt like a preemptive eulogy. I understand the reasoning, of course. Lemmy isn’t getting any younger, and there is an inevitability that comes with that, but there was a strangely final note to the film that made me sad. I don’t want to imagine the world without Lemmy.
What was claimed to be this year’s Let the Right One In, namely the Mexican cannibalistic drama Somos Lo Que Hay is a very odd film and a hard one to review. To me, at least, it is not at all this year’s Let the Right One In (if there’s even one), because if that was the case, I’d know exactly where to go with this review. In terms of cinematic language, this film exists in its own world. It has a very realistic and dark feel to it and a very strange sense of pacing, slow yet ominous but never disengaging. What I liked most about it was how the characters were portrayed. As a family drama about a very poor family of cannibals, it was surprising to see characters so deeply anchored in reality. They were all dysfonctional in so many ways but never sounded fake or forced upon the viewer. While this is not a film for everyone, it is a film I recommend if you’re interested in seeing a very different and interesting approach to family dynamics. For an hour and half, I truly believed this family existed and that why, to me, this film works. I had a chat with a Mexican friend afterwards who also praised the film’s very accurate depiction of both the gay community, the police forces and the whole social climate in general. I had no trouble believing him.
Rather than start from scratch, I’m just gonna add my two cents to this, since I agree with all of it. I really enjoyed this film, but I know it met with some headscratching from many. I agree, the pacing was strange, and probably the only way in which it relates in any way to Let The Right One In. What I really liked about this film is how subtly it portrayed the complex tensions between the family members, and how it drew me in, despite the fact that all the characters are pretty unlikeable.
What fascinates me is how divergent the post-viewing interpretations of this film are, and I think that speaks to its strength. There are some bits of housekeeping that could have been done in order to tie the film up a little more tightly for general audiences (i.e. what poisoned the father? what’s with the mannequins? etc.), but I think the fact that the film invites interpretation and discussion is one of the most interesting things about it.
If you’re expecting a typical Fantasia gorefest/monster movie, this is not for you. The film is layered, and very quiet at times, and it inspires reflection, not goosebumps. There’s some discussion (and spoilers!) over at Briques du Neige, if you’re interested.
(via punkandstuff)
This has been a rumor for months now, but I read this today and having confirmation bummed me out so hard. Was supposed to be part of my “things that are on my mind” this morning, but then I got all caught up thinking about Donald Glover and I forgot. They’re still taking question submissions, so who knows what the future holds.
(via tweegirl)
“… the Library of Congress on Wednesday announced that it will acquire and archive every public tweet—ever—starting from Twitter’s inception in 2006.”
Most people that know me well know I’m very interested in privacy issues. Those people will also probably be surprised that I have absolutely no problem with this. From a historical perspective, the ability to access a searchable database of what people were discussing at any given time is incredible. Of course, the only downside is that future historians will have an indelible record of exactly how vapid our society is… #BieberFever #LadyGaga #PointlessCelebrityGarbage
things that are on my mind:
Daniel (Fantasia’s friendly mascot, floor manager, and all ‘round awesome, dedicated go-to guy) got engaged to his girlfriend Melanie in front of at least 750 people last night, just before the packed screening of DJ XL5’s Smashin’ Zappin’ Party. It’s a Fantasia first - congratulations to those crazy kids!
Only caught a bit of DJ XL5 yesterday (had to bail early to make it to Zoofest), but I’m glad I got to catch the engagement special event, as well as some excellent vintage music videos and a great short film about a cable guy who fixes the world. The atmosphere was amazing, and I’m sure it only got better as the show went on.
I spoke to Donald Glover last night, and told him how much I enjoyed his show on Tuesday night, and he responded with an enthusiastic “thanks, dude!”. Then I ran away. His use of “dude” caused much amusement among my friends, but as someone who uses it constantly, it made me feel warm and fuzzy. Also, he’s very handsome.
Jamie Kilstein is such an interesting comedian. At times, his stuff verges on slam poetry, but it’s very real and very angry and very funny. He skewers the religious right in surprising and hilarious ways, and I found myself relating heavily while laughing my head off. You can catch him one more time this Saturday… tickets are cheap, make it happen!
Tonight? We Are What We Are… and LEMMY!!! My setlist is 98% done, I’m really hoping I’ll get a solid 40 minutes tonight, ‘cause 20 just won’t be enough.
The Fantasia screening of Suck, featuring Alice Cooper, is happening Saturday the 24th at 2pm (weird time for a rock’n’roll movie to be playing, don’t you think?). Heavy MTL, featuring Alice Cooper, is happening Saturday the 24th… his set time is 8pm. Dare a girl dream?
Viva Pinata. Seriously. Viva Pinata is on my mind, all the damn time. I’m really not sure what the draw of that game is, but I’m in, deep. In my spare moments, it’s all VP, all the time.
I went to Australia! Yeah, I know, old news, but here’s more documented proof, in the form of a neat video diary made by the Reverend Moose from CMJ about the WAMi Music Conference in Perth, Australia. He interviews me around the two and half minute mark. Notice the CJLO shirt!
