Get your fockin tentacle out of my face

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I carry around with me an internal list of maybe four or five movies which I consider to be perfect. One is Robocop. Another is nineteen seventy-four’s incredible The Texas Chain Saw Massacre. Another is the movie I’ve been sat in front of, drunk as fuck and in pure fucking AWE for the last forty-five minutes- Sam Raimi’s nineteen eighty-four game-changer, Evil Dead 2.

It is unique. Every single fucking FRAME of this movie is vital, kinetic and innovative. I keep pausing, rewinding and giggling at moments I’m noticing for the first time, despite having watched this film at least twice a year for the last two and a half decades. The horror becomes incredulous, we wind up at ridiculous.

This is a perfect movie.

 

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Couldn’t be happier to be seeing Alkaline Trio in November, because I FUCKING LOVES THEM.

harri80:

epic:

I know it says “faggot” in it and some hypersensitive people might object to something like that but I couldn’t stop fucking laughing. 
And I still can’t stop laughing, apparently. 

It’s really making me laugh too. Really laugh.

I NEVER reblog, but this…

harri80:

epic:

I know it says “faggot” in it and some hypersensitive people might object to something like that but I couldn’t stop fucking laughing. 

And I still can’t stop laughing, apparently. 

It’s really making me laugh too. Really laugh.

I NEVER reblog, but this…

Source:

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There’s a moment from my short-lived teaching career that will always stick with me. Walking down a corridor behind two girls of thirteen, I saw one turn and share something funny with her friend. Her friend turned too, and responded with a “LOL”. I don’t mean that she laughed out loud, mind. Fuck no- she turned, and with a blank face and blanker eyes actually fucking said “LOL”.

Talk about disaffected. It blew my mind for a bit, and marked the moment I grew sick of ironic detachment.

I won’t waste time blaming uncontrolled internet access for leaving those children unequipped to differentiate between physical and online interaction, but I will proclaim myself sick of movies- independent movies, generally- that portray teenagers as worldly-wise, verbose beyond their years, detached, cool, aloof and uninvolved. I’m thinking Juno, I’m thinking Scott Pilgrim, I’m thinking Submarine, I’m thinking Donnie Fucking Darko- movies that place adult voices into children’s mouths, which view adolescence through a pane of tedious hipster bullshit and which perpetuate the chilling detached air that I saw that day- that of a kid unsure whether to laugh or to make a snarky comment about the nature of laughter.

Thank fuck then for Super 8, and for a film that remembers how thrilling it can be to ride along with an adventure instead of stepping back with a sneer and a raised eyebrow. A film with an authentic-feeling teenage voice, and one made all the more thrilling because of it. Remember how great it felt riding along with Stand By Me and The Goonies? Can you imagine The Monster Squad starring Michael Cera?

Super 8 drips with Spielbergian wonder. There’s not a bored-looking sarcastic wanker in sight, and it’s a breath of fresh air.

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Skrillex has been fucking owning me lately. I love electronic music almost as much as I love metal, but this WOM WOM WOM stuff is new to me and is doing a marvellous job of matching my state of mind.

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The above is a photograph of my brothers and I, taken in the rented council house that we shared decades ago, before we were all men.

I’m on the right, the youngest of four. My position as last-born has felt at different times both blessing and curse. My relationship with each of my brothers is as different as they are people. I’ve always defined myself as being part of a fraternal quartet- we are four, and despite our frequent and fundamental differences I love them all.

Next to me is Anthony. The photo doesn’t do justice to the bear he turned into. As children we shared bunk-beds, and I suffered dead arm after dead arm as he gradually discovered the headstrong bastard of a man he was to become. I had the pleasure of top-bunk for a while during his spell at her majesty’s pleasure for helping himself to a car or two, but his current status as hard-working family man wipes that slate clean. While at first I counted the bruises he gave me, it’s since become a running joke between us that despite my patent inability to match him physically we’ll always come to blows, and as I’d play the idiot terrier convinced of his own superiority, he’d always be the mastiff slapping me down to size. Dysfunctional though it may seem, I’ve never felt closer to Anthony than while drunkenly taunting him, and knowing that the rib-rattling haymaker I was about to receive was a gesture of love from him, knowingly provoked and invited by me, his idiot younger brother.

Next to him is Alan, and this is a fact- without him and his influence, I would have been lost. So very much of what I consider good about me can be attributed to the time he invested in my formative years. He was and is a wonderful anomaly- while our mother and my father warred amidst her manic depression, prescription overdoses and alcoholism, Alan protected me by opening my eyes to what was possible through the power of independent thought. We’d travel to concerts, travel to films, read, discuss and discover together. Through him I learned a passion for music. I’d watch him, follow him. I learned to look beyond our fucking council estate and to seek excitement and stimulation to fill the vacuum at home which would otherwise have flattened me. He taught me that there’s always- always- a punchline, and the darker the joke, the funnier it gets. In all of my best memories, he’s there. Every time my mind was blown, he was the one lighting the fuse. Escaping at eighteen for university, I spent a long time incommunicado through losing myself in drugs and generally being a selfish prick- it was Alan alone who would send me burned discs of music and movies in the mail, reminding me he was there, reminding me we were brothers. The fact that I rose to my feet again is due in no small part to what I learned from him- you are not your past. Blame is a fucking cop-out. Think for yourself.

And next to him is Stuart. The gap in age between us meant that for much of my childhood Stuart was mostly a mystery to me. I remember his leaving home, and I remember his return. I remember visiting him as a child with my mother in a strange, dank and musty-smelling flat in a part of town I didn’t recognise. One night in my early teens I remember Stuart bursting into the house where I was playing alone on whatever gaming machine Alan and I were sharing at the time, demanding I give him whatever money I had. I was a fucking kid, I had nothing- this didn’t stop the swearing and the threats, and they in turn didn’t hide what even to a child was the clear sound of desperation. Stuart was, ostensibly, a builder. He was also a grifter. Pathologically unable to handle money in any shape or form, I watched his life become a morass of unpaid bills, of theft and petty crime, of lies to his family and of running from the inevitable. A life lived off the books, no national insurance, no driving license, the story would repeat itself time and again- rob. Lie. Pretend. Run. Repeat.

As I grew older, I saw Stuart mature and maintain a tenuous equilibrium. He was still clearly indebted and mired in fraud in every aspect of his life, yet he had a daughter and two stepchildren, was a good father and earned a reputation as a workman of repute- if he didn’t abscond with your money before building your patio, of course. Despite his quick temper, he and I never shared a crossed word. I never judged him or spoke ill of him, and he’d confide in me. There was an unspoken understanding between us. He’d go for long periods out of work, and would come to my house to “hang out” carrying a packed lunch and his toolbox. I knew he’d lied to his family that he was at work, and he knew I knew. He kept the Golden Virginia rollies coming, we’d chat. I saw the desperation and sadness he carried with him. It was in that capacity that I came to know Stuart best. While out of work he’d help my wife and I renovate our first home, and while doing so he shone with pride at being able to help his little brother out in the only way he could. Stuart rejuvenated our entire home, never once asking for payment and never once leaving us high and dry like he had so many others. He was always running, always hiding from the police and from his own mistakes, but I remained the only person in his entire life (save perhaps for his by-now teenage daughter) he never once fucked over. That meant and continues to mean the world to me.

Back to the photograph. Last year I thought it would make a wonderful gift to our mother- herself a success story after removing all chemical crutches from her life and blooming- if we were to recreate that photo as adults. If we could assume the same pose, Stuart, Alan, Anthony and I, the same brothers, but men as opposed to children. The finished article, our Mam’s boys. It was my idea to get us all together, through the differences we still shared, just for the moment it took to press a shutter and capture a moment. A moment which I hoped would reflect who we were, what we’d become and everything in between. But I took too long. I fucking hesitated. It will never be anything more than an idea and a regret, because four months ago Stuart took his own life.

Finally tired of running, finally having reached his nadir, at the end of March this year Stuart vanished, to be found a damp morning later at the end of a rope. As I write this through tears, there is nothing I wouldn’t gladly give to be able to sit with my brothers, the four of us, and to read to them what I’ve written tonight. As adults it was a rare thing for us to be together, but when it happened I never felt anything less than invincible. The youngest of four. My brothers and I.

I love you Stu, and I’ll always miss you.

Why hasn’t Chris Cunningham made a feature film yet?

Can someone get me Chris Cunningham on the phone? I have an idea for a movie involving MUTANTS, CYBORGS and THE JAPANESE.

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A Perfect Circle- The Noose.

“Recall the deeds as if they’re all. Someone else’s. Atrocious stories”

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Cronenberg isn’t really Cronenberg any more, is he? He’s off the horror now and making dark, violent crime thrillers and y’know, that’s fine. Eastern Promises and A History of Violence are both wonderful films which delight on their own merits but also reassure that even though he’s spent decades telling one story, there’s way more to Cronenberg than movies about inserting things into people and seeing what happens.

It’s not an easy film to like, Videodrome. There’s no-one to relate to or root for, as an amoral pornographer and an S&M junkie provide our inroad into a world of promiscuity, religious zealotry and over-the-air mind control. It’s willfully inaccessible, hallucinatory and grim, yet contains some of the most iconic moments of eighties cinema- James Woods pulling a gunfist out of his slimy tummy-cunt is as enduring an image as E.T. and Elliott framed against the full moon.

Why shouldn’t the consumer of nineteen eighty-three have feared their video player? The home was now host to a new family member, a hulking black-and-grey bastard whirring and flashing underneath the telly, absorbing slabs of plastic and converting them into grainy, rolling images which could shock, delight, disgust or disturb. The video nasty farrago was about to unfold, and thanks to home video we’d invited these nasties into our home to fuck with us. All Cronenberg did was encourage us to step back for a moment and to ask “are we sure about this”?

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I’m not someone who is often wrong, and even when I fuck up I’ll tend to stick to my guns through bloody-minded pleasure at being out on a limb. That said, I’m also incredibly humble and self-effacing, and to that end I’m publicy doing a one-eighty here and now on my opinions of Hobo With a Shotgun.

See, I’m not all that big on parody. Whatever exactly it is that Hobo is affectionately mocking (and my best guess is the budget and taste-deficient output of Troma Studios), it looked how it did due to genuine budget and time constraints. There’s fun to be had revisiting The Toxic Avenger and marvelling at the dreadful performances and amateurish effects, but the fact is that it’s a labour of love made for next-to-nothing by genre enthusiasts. What exactly are you laughing at when you see the Tizer-coloured fake blood and dreadful prosthetics of Hobo? Something made to look hokey on purpose, a deliberate underachievement that the gore pioneers of the seventies and eighties would have balked at with their stretched-to-capacity budgets and tiny, sleep-deprived crews.

Unlike its spiritual twin Machete, however, Hobo has at least something in the way of charisma. With an actual leading man in niche-audience superhero Rutger Hauer, the film already has a charm entirely absent from the former’s muted, almost apologetic ensemble. Hauer’s blue-eyed and steel jawed stoicism lends weight to the gibberish, giving it instant points over Robert Rodriguez’s film. Danny Trejo has carved a serviceable career thus far out of working as a long-term running joke, but putting the gnarled, rasping cricket bat of a cunt at the front of his own movie was a horrendous idea. The rest of the cast seem determined to perform above their station too, with each and every other performance in the film (save for the hot but unremarkable leading lady) threatening to elevate it into the realm of demented art.

So, a pass then. It took two viewings to see it, but there’s heart behind the dreadful visuals, which remain dreadful even though they’re deliberately so.

Just briefly, a few one-word reviews of some other stuff I’ve seen of late:

X-Men: First Class- Ace.

The Hangover, Part Two- Weak.

Hanna- Alright.

All the best, yeah?