“我的这个老电影视频频道只是因为上传了《一贯害人道》,就被法轮功邪教组织相中。近来,几乎每天都有一个叫“李虎”的轮子和一个叫wu ming的轮子来我这里捣乱,强迫我听信它们那套歪理邪说,大肆刷屏,都是轮媒的造谣帖,还对我恶毒诅咒谩骂。我不胜其扰,劝它要闹去那些专业反轮频道闹,在我这闹没有意义,赚不了几个功德,不要欺软怕恶。可轮子都是吃秤砣长大的,铁了心赖我这了,劝也不行,赶也不走,还恶人先告状,说到管理员那里举报我在我的地盘不许他说话。无奈之下,我只好给他讲从今往后,我每发一个视频,都要在网上找一篇揭露你们轮子的文章附上,干脆让他们闹个痛快,不闹不是人!就像电影《林则徐》正告洋人说的那样:“鸦片一日不绝,本大臣一日不离开广州。你们一日不停止捣乱,本人就一日不停止揭批你们!”你们就死了那心,休想让我说你们一句好话,休想在我身上赚到一点“功德”!当年何祚庥不点名说了一句轮子的坏话就被你们上万轮子围攻,现在我要骂你们那邪师一万句,送你们大法亿万“不敬之词”,我倒要看看你们能纠集多少轮子来围攻我!看看十七年来,你们的势力是增强了,还是灭亡了!让大家瞧瞧你们这点出息!你们要不来闹了,就算认输了,就算你们那邪法载在我手里了。…
Tag Archives: film
Various (mostly) HD freebie films from youtube, etc.
Dawn of the Dead (1978) 4k
Trust (1990) 1080p
Better Off Dead (1985)
Endangered Species (1982)
High Spirits (1988) 480p
MST3K – Master Ninja I (199?)
See also: “Radley Metzger Classics” (wiki), e.g., The Image (1975) very very nsfw!
Review: Alanis (2017) ★★★★½
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Heard this was very good, need to figure out how to watch it.
Lives of 3 Chinese kids from different areas/classes filmed over 6 years…Interesting!
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“The Dude himself, one of the great characters of the modern cinema, is an assemblage who’s as closely defined by his void zones as by his traits; his shambling-slacker manner, an apparent parody of the American sixties, turns out to … Continue reading
These Might Just Be the Best Vietnamese Films of All Time
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These Might Just Be the Best Vietnamese Films of All Time
I have only seen (in college) The Scent of Green Papaya (1993), but I blame the Market for this.
Lessons of Darkness: Cure (1997)
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Lessons of Darkness: Cure (1997)
Kyoshi Kurosawa’s Cure, made in 1997 but released in the US in 2001, is – with the possible exception of Takashi Miike’s chilling Audition
– the single best horror film I’ve seen this century. Kurosawa (who’s
not related to that other Japanese filmmaker), is a genre specialist,
and he instills Cure’s serial killer story with a suffocating sense of
modern dislocation and insidious psychological and emotional instability
that’s far removed from the jolting scares of American frightfests. The
film begins ominously, as a man clubs a naked woman in his bed to death
and then carves an “x” in her throat for no discernable reason. When
identical motive-less crimes begin cropping up, detective Takabe (Shall
We Dance’s Koji Yakusho) pins the blame on a mysterious stranger with
amnesia who responds to interrogation with more questions. Takabe
eventually comes to believe the man (whose name appears to be Mamiya) is
using hypnotic powers to force people to kill their colleagues and
loved ones, but Mamiya’s repeated query, “Who are you?” hints at the
film’s subtext about identity crisis and spiritual alienation. What
begins as a standard-issue serial killer thriller soon evolves into a
collage of tenuously tethered moments and images that defy easy
explanation, and part of the fun is struggling to decipher what the
film’s second half is telling us about its characters, Japanese society,
and human nature. Kurosawa’s eerily deliberate master shots give the
film its brooding, omnipresent terror, and his provocative staging of
the film’s shocking final scene – which is sure to have many viewers
reaching for their remote’s rewind button – is grounds enough to label
him a master of terror.