The Human Centipede- Trailer

Why is a film like this even made? It's even more ridiculous than Pasolini's Salo.

A Question: 2001 or Salo?

I watched one of my all time fave films: 2001: A Space Odyssey today, largely in part because I am in dire need of some intelligent stimulation, and I feel like the convos I've heard as of late have all been dull, touchy-feely shit, so I needed something that both expresses and transcends the human condition, or some other such jibber-jabber. As we neared the end, Dan sat and watched with me.

Here are some great scenes:





The end is so fucking great it is orgasmic. That's how I know Woody Allen got his idea in Sleeper for the Orgasmotron.

Here is Stanley talking about it:



Then, after the film was done, Dan posed the query: which is better? 2001 or Salo? Here is the brilliance of Salo, summed in one clip:



Just fucking brilliant. Can you guess what the brown is supposed to be? The old man tells the boy to "Eat his shit."

I'm drinking hot chocolate as I type this. Seriously. I am.

Patrick Swayze.

Patrick Swayze has died. I was never a huge fan or anything, but he died. I know him most from Dirty Dancing (nobody puts Baby in the corner) and Ghost.

2 preteen movies for me.

I particularly enjoy looking up old Dirty Dancing clips on You Tube, and I think anyone who does is really, really cool and intelligent. Just kidding. That movie is annoying as fuck. But it had a KICK ASS soundtrack that in the summer of 1987 my pal and I PLAYED TO DEATH. I should know, I had the tapes.

And did you know Patty sung too? "She's Like the Wind" is sung by him. My pal and I argued over the lines: "She's like the wind, through my trees..." Or is it "She's like the wind...through my dreams?"

WHAT IS IT? TELL ME ALREADY. Just kidding. I don't give a fuck. But I like the line in the song when he calls himself "a young old man." Here's the song:



Living without her, he goes insane, just so you know. I wish someone would say those words to me, but now the only one who would is dead.

But what I really want to know is the asshole who disabled all the embedding of all the KICK ASS final dances of Baby and Patty together.

Why won't anyone dirty dance with me? I want to dirty dance and not the kind in Salo, but the fun kind, where I can carry a watermelon. If you don't get the joke, then YOU'RE NOT FEELING IT.

Patty is proof that beautiful people get cancer too. R.I.P Patrick Swayze.

P.S. I "dated" (and by "dated" what I really mean is spend nights with when he'd call and invite me over after 11 PM) a guy who had a body just like Patty in DD. I'm serious. I might not have let him get away had he not been dumb as dogshit, but man, what a body he had. That made it all worthwhile. Yee Haw!

Patty has died, but Dirty Dancing lives 4 eva'!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Peace Out!

Salo: The Dullest Film Ever?

Shit-eating and assorted other debaucheries made not repulsive, but dull.

Pier Paolo Pasolini was a failed poet and writer, and, like Jean Cocteau, decided to take his failure into another art form.

Salo, or 120 Days Of Sodom is a yawnfest from start to end.

Herein a trailer/clip:



Quoth me: 'Overall, Salò, or 120 Days Of Sodom is a very bad film; not the worst film I’ve ever watched, but surely amongst the dullest- think of an Andy Warhol Factory Film with some pointless perversions tossed in. There is little artistic merit, technically, no real narrative nor character development, no deeper ‘meaning,’ so why watch it? The only possible reason would be so that a young filmmaker could see exactly what NOT to do. I will watch some of Pasolini’s other films, but given my knowledge of this and his poetastry, I hold out little hope of getting by aesthetic socks knocked off.
Of course, one of the reasons the film’s ‘reputation’- such as it is, has endured, is because of the death of Pasolini shortly after the film’s premiere. Depending on your mood, it was either ironic or fitting that Pasolini was murdered by a young man who was repulsed by the lech’s overt homosexual advances and propositioning for money. There are several versions of the tale, online, but the most consistent details seem to be that the underaged youth, then recently released from jail, beat the crap out of the filmmaker, left him in the road, and then took Pasolini’s keys to his car and repeatedly ran over the man with his own Alfa Romeo until he was dead. Naturally, and given the acrimony following the release of Salo, Pasolini defenders took to claiming that the Left Wing ‘artist’- a convicted child molester, himself, could not have been killed by the kid, but was the target of- you got it, a government conspiracy to ‘silence him.’ Now, given the utter lack of intellectual depth that his last film, and his body of poetry, as well as a sampling of his ‘critical writings’ that I have read translations of, this would be akin to the proverbial ‘using a sledgehammer to kill a flea.’ But, it has kept Pasolini and this swill on the fringes of cinematic consciousness. In fact, in 2006, Time Out magazine rated Salò the most controversial film ever made, or, did exactly what PPP wanted: if one is incapable of art, go for what keeps the name.'

Correct again!