10/18/2020 03:53 PM  31 days of horror: day 2 day 2: cirque du freak: the vampires assistant dir. paul weitz 8/10 (changed my f***ing life) available on netflix and free on seriesonline.io (also i know this isnt technically a horror movie but. f*** you its halloween) this movie has everything- spider theivery, john c reiley vampire, teacher murder, homo erotic elements, wolf people, sexy milfs, gothic indie soundtrack, vampire cults, baller transitions, the baby from eraser head, half-vampire x monkey-girl romance, dilfy willam dafoe in lipstick and iconic lines such as “dude, he totally just scratched his balls.” and “you’re soft. you’re a soft little boy” this movie is so much f***ing fun, it’s not trying to be f***ing prestige and its not kid sh*t. it has fun! it allows itself to play with familiar beats and elements, and it allows itself to get weird and disturbing. it’s lynch meets burton meets like halloweentown or some sh*t. ok, so here’s the thing- i f***ing love wacky cast of character with their own special talent thing. like i love it. and this movie does it well- it’s unique, it’s not a fat guy and conjoined twins- it’s a snake boy (that yumyum from almost famous) and man without a f***ing torso. insane! in f***ing sane. like it has been almost 10 years since i saw this film and i still remeber the ribs guy and the arm trick. we are introduced to a wolf boy (not a hairy guy!! a f***ing hybrid wolf man) a woman who can regrow limbs (also with the coolest limb regrowing effect i’ve ever seen? like better than it) big tooth woman (mabel from gravity falls) a man with a 3 foot forehead, a two stomached man who barfs up a bicycle that he rides away on, and a f***ing snake boy who plays electric guitar.  lthat’s not to mention the giant man and salma heyek who grows a beard in front of our eyes (and is also psychic)and john c reiley????  f***ing hilar. his first lines sound like something from Peep show or a surprisingly good SNL sketch.  and the bit where darren is saying goodbye to his parents seriosuly made me tear up. its just really sweet to see a 17 year old crawl into his parents bed and tell them they’re doing a good job okay!!!! and then john c relief gently pushes him off a roof. have to say though the weirdest part of this is steve chewing gum at his wake. like gum ?? during the viewing of your best friends body?? like i get it’s significant for other reasons but. gum?? but then he delivers a heartbreaking speech about how he hates darren for leaving him. and then he gives his corpse his blackberry calls him an asswipe bc he is a vampire. this f***ing movie. did i mention the dumpster baby song? masterful. or the part where darren calls steve just to hear his voice? the end fight? the girls monkey tail when they kiss? him being a f***ing circus freak? i f***ing love this movie. f*** anyone who hates cirque du freak all my homies love cirque du freak. also like i never read the books (apologies) but f*** u that movie shaped the person i am 2 day before that movie i was a scared lil bitch who cried at the sight of blood and now? pimp as f*** freak just found out that the actor for the main character is a pro lifer. pain. all i f***ing know is pain. still 8/10 0 Comments

10/18/2020 03:34 PM  31 days of horror: day 1 alright so maybe im 17 days late but time is bullsh*t im doing 18 reviews in one day. im gonna try to do less known ones incase anyones looking 4 a new flick (excluding this one we just watched it in film class)  day 1: silence of the lambs dir. johnathan demme  9.5/10 available free at seriesonline.io not much to say abt this that hasnt already been said!! clarice is the only f***ing cop ill ever like, hannibal is a big d*ck cannibal f***, and buffalo bill is one of the best murderers on screen. masterfully done, super tense, and insanely well written!  0 Comments

10/02/2020 10:37 PM  the social network ✰✰✰✰✰✰✰✰✰✰ the social network 10/10 dir david fincher screenwritier aaron sorkin f*** not celebrating ficitonal birthdays happy belated 2 the social network and no one else. if yr born on oct 1st literally f*** off. td (yesterday) is a day to celebrate billionare drama n thats it. fr tho i acc love tsn so f***in much so basically heres somethin i wrote 4 film class abt why i love it so!! if u wanna read my film hw here u go!! also dont judge cause i wrote this high outta my gd mind My favourite film is The Social Network, directed by David Fincher and written by Aaron Sorkin. As a long-time fan of both Fincher and Sorkin, I think this film is a near-perfect blend of their creative styles as well as different genres, settings, and themes. This film is one that is guaranteed to stick with any viewer- the kind that makes the air feel different when you exit the theater. The kind with lines that will echo in the back of your mind when you’ve just broken up with someone or have to deal with one of hundreds of nerdy a**holes. (This film is something that covers all possible purposes of art- to chronicle the time in which it was created, to educate its viewers, and arguably the most important, to entertain). The kind whose scenes play in front of you when your mind wanders in mundanity or emotion (who wouldn’t want to smash their ex-best friends’ laptop?) The water at the golden gate bridge is freezing cold, and your ex-best friends laptop is like, right there. In this review I will detail some the different elements that lead me to define The Social Network as a perfect film.     Number 1: Characters  The characters in this film don’t fall into the contrived categories of “good” and “evil”. The characters are layered, and their motivations and actions are ever changing and often wrong, chosen out of base emotion and desperation. Everyone has their own likability’s and flaws; charming demeanour, good intentions, generosity. Their characters are not defined by their reputation, rather they are able to move freely and exist as different people under different lightings. You see Mark first through Erica’s eyes, a twitchy twenty-year-old narcissist oddball. We see him through Dustin’s eyes, a fun college kid who drinks beer, blogs, and bitches. We see him though Divya and the Winklevoss’s eyes, a nerdy nuisance and a leech. Then, we see him through Eduardo’s eyes- the gaze which we hold throughout most of the film- Mark is a friend. Mark is also the worst. Mark falls for greed. Mark is careless. Mark is a Judas. Finally, we see Mark through the eyes of a near-stranger, Marilyn, who believes he is a misunderstood genius who only ‘tries to be an a**hole’. This is being a person. This is personhood. Mark Zuckerberg is 500 million people to 500 million people. He is the next Bill Gates, he is a college ex-boyfriend, he is a best friend, he is a co-worker, and he is the worst. We see him become these different people throughout the film, but the endings still the same. He doesn’t end in a mansion, or in the Facebook offices, or in a grand place we viewers could only dream of. He ends up in a room, alone, refreshing the Facebook page of a girl he used to know. Eduardo faces similar treatment, yet instead of peeling back the curtain on apathy, we are able to explore his brutalization, watching him become cold and bitter. Compare the glitter-eyed frat boy dancing in a Hawaiian shirt on Caribbean Night to the man suing his best friend for $600 million dollars, glaring tastefully across a board room table. It almost happens without you noticing, but if you showed ‘present-day’ Eduardo to college Eduardo, he would believe he was looking at a stranger. That’s good character development. That is also good acting,  Number 2: Acting  I am far from an acting expert, but Andrew Garfield and Jesse Eisenberg are masterful in this film, much like Sorkin, being able to translate effortlessly from each genre and story beat the film plays with. From shrieking about marlins to seething rage at a man who has become a stranger to you, Garfield is able to give every word his full effort. They are both also experts of heartbreak, which is crucial when playing two characters who have betrayed each other with devastating consequences. Even Eisenberg, who’s characters face betrays little more than a twinge, is able to access a full range of emotions.  Number 3: Story  You can feel the care that is put into this film, every turn taken, and word spoken feels alive. Any other film holding this description of a “true story of the secret dramas of the creation of Facebook” would be a tabloid movie at best, but with Aaron Sorkin’s mixture of fact, fiction, and style, it reads less as a moving news article and more as a Greek epic. What appears to be an exposé of petty college fights and the birth of new big brother could serve as a modern retelling of Macbeth; a man who thought to be a god manifesting his downfall, blindness by seeing stars. This film incorporates a million philosophies perfectly, none being lost or unutilized. From Sean’s waxing poetic about lost opportunity to Erica’s bar speech that put every god-complex hyper-nerd unempathetic dork into words, to Eduardo’s heartbreaking delivery of one of the tensest scenes of cinematic history. Has any film really come close to packing the punch of “point zero three percent”? The contrast of the soft warm days of college and the harsh adult world is stark and jarring, and the way Sorkin slowly blends one into the other is nothing less than artful. The mesh of genres in the film is also impressive- by not existing firmly within the lines of a ‘true story’, Sorkin is able to add elements that make for a beautiful everlasting collage of cinematography. The slowly lost love of Eduardo and Mark (as said by Jesse Eisenberg in an interview, this film is about Mark falling out-of-love with Eduardo. A pretty far cry from greedy nerd drama, no?) the historical retelling of the creation of what is now a dying multi-billion-dollar media conglomerate, and the comedic duo that is the Winklevoss twins.   Number 4: Dialogue  We understand each character through their speech, mark is jumpy and intelligent and unusual, Erica is bright and polite and harsh, Eduardo is kind and clumsy and normal. Their conversation is like an elevated form of human speech, a representation rather than communication. The dialogue is snappy and poetic and fun. This movie is heartbreaking and fun. Aaron Sorkin is less interested in communication than he is in miscommunication, and while it is obviously dramatized to suit the needs of the film, I would say it is more accurate to how people really talk. People aren’t concise or clever or straightforward, we are a jumble of needs and wants and thoughts bouncing around in our heads. We are not gods, we are animals. Many of the characters fall at this intersection- mark is an inventor, and yet he craves companionship. Sean is a genius, and a druggie, and the worst. Eduardo is intelligent and overly emotional. Erica is a bitchy-ex girlfriend and also the most rational character in the film. This films dialogue reflects reality-we contradict ourselves. We contain multitudes.  Number 5: Editing  This film is always moving forward, it never stops to ponder, and it never wastes time. All exposition is delivered in a way that we neglect to notice, all the shots are powerful and important, and all elements, soundtrack, acting, dialogue, camerawork, and setting, are woven together and used to its full potential. The editing falls in a near impossible category, it is not unnoticeable, and it is not overly apparent- it is a district part in the art of the film, it is lively and dancing and without it, the film would not be nearly as compelling.  The Social Network is a film about love, betrayal, change, heartbreak, personhood, and people. It uses its editing, characters, acting, story, dialogue, and editing, to convey one of the greatest stories about one of the least interesting men in human history.    0 Comments

09/28/2020 08:03 PM  slc punk ✰✰✰✰✰✰✰✰ slc punk 8/10 dir James Merendino available free here  https://www.facebook.com/MEME8OH1/videos/slc-punk-full-movie/286567292022104/ okay, so this ones kinda totally f***ing biased. but whatever, they all are. its a f***ing blog, not the new york times. for one, im a punk, and for another, i am totally f***dog in love with matthew lillard. it cant be helped. looking at it from an artistic perspective though, its really pretty good. it does a good job of depicting the fluity of youth (even though all the main characters are in their 20s). philosphy, sexuality, aspirations, hair colour. these can all be changed, and are always changing all the time. any cheerleader is only one acid trip away from becoming a full on goth, and every goth is one big revelation away from becoming a harvard graduate. i liked almost all parts of the film. the style was beautiful, the sets made you feel totally at home and like you were at the coolest trap house youve never been to. you fall in love with the characters without even knowing it. that one scene with bob broke my heart in two, mostly due to lillards acting, but also just cause you know its true. a lot of f***ing people die like that. not just from drugs, found the next morning in someones living room. they just die suddenly. and it feels like you were supposed to have so much longer with them, you could practically see the next 20 years of your lives, even the drifting away stuff. but then theyre just ripped out of your arms. i didnt like the ending though, even though i know that thats also real, and thats how most punks left the scene. it still felt dissapointing to see someone resign themselves to doing what everyone says to do, and presenting that as the only ending for people like that. maybe it wasjust the right ending for stevo. he was a poser pretty much the whole time (i mean he is a little rich boy. besides, no one who isnt a poser is that obsessed with posers). anyway, if youre into or looking to get into the punk scene, i think this is a great movie to start out with.  0 Comments

09/04/2020 11:01 PM  the squid and the whale ✰✰✰✰✰✰✰✰ the squid and whale  8/10  dir noah baumbach 1h 28 min   this is the most honest portrayal of divorce to me. maybe it’s just because they are similar to my parents. dime store lower middle class intellectual meets upper middle class controlling woman. cheating. lies. agreements. picking sides. maybe this is the 12 notes every divorce repeats in some rhythm or another. i’m just one kid, anyway. i can’t account for everything.  (this film may not look colourful, which it makes up for in language and editing) often divorce is not the kind where you can sit next to each other at weddings and funerals. often it is much uglier than that- often it is a violent dance where you don’t know the steps but are told to dance anyways. you pick sides- for many reasons. you like the same books as him or her (the words “dad” and “mom” distance themselves from the people before you). they don’t make you do homework. They didn’t do that one sh*tty thing that you shouldn’t hold on to but do anyway. these favourites stick. your other parent becomes your “other parent”. you and the other both harbour hostility. this leads you to like your favourite more, hate your other more, and alliances form. you repeat horrible things to both of them- you see their horrible traits in you. your mother-loving-brother hates your dad-loving-self and you hate him for loving the wrong one and you fight on behalf of people who possibly don’t give a f***. (you feel-or know?? that if they weren’t divorced they wouldn’t be half as interested in you. spending time with you) these alliances are a guideline until they break, for whatever reason. reform. break. reform. you’re a double agent for people who used to work on the same side. you’re a spy and a criminal and an educator and a dancer. eventually we fit well into our roles. we believe in the mythos of our other parent. we believe in their sins more than their faces. eventually, as we grow older, it gets muddled. who they are to each other becomes more of a mask than a face, and then everyone becomes sh*tty. people betray you. you know way to much and you ask to know more. because you suspect things. that’s good spying. you make deals with parents, do things under the table. sometimes you and your siblings have an understanding- you work for your respective people. you make compromises. you diffuse bombs. you become your favourite parent in your hatred and idealization. but just when you think you’ve picked the right side- something switches and you see them as they are. people in rooms who did things. once there’s that crack in the door, you can’t help but rip it open- you want to know the grime of your shiny childhood. you can’t help but get infested with the affairs and violent words and handcuffs and court dates. it fascinated you to know all of this happened while you were totally unknowing. you tell everyone like it’s a story with all the names changed, because that’s how it feels. so you decide to do other sh*t, because it’s already f***ed kind of. you’ve opened the door- you world is endless. you were raised with these moral guidelines and here they are all torn down by the people who taught you them. you can do anything and you will. you’ve learned a dialect of love, so you search for it oddly and in odd places. you are in some way a fetishist- you fall for the safe ones, or the dangerous ones. you go in too hard too fast or not at all. oh, and trust issues like no ones ever heard of. the script of your life was written and burned by your parents. what now?  everything is a disagreement. memories become dented.  time moves differently. code switching is necessary if not mandatory. the divorce agreements are gospel (don’t be blasphemous) there’s a certain bitchiness, a pettiness in their arguing. they fight about nothing. there’s unspeakable things that they throw out in anger or passivity. everything is a chess game, and the players are very careless. its very theatrical. camp, even. like saying “I don’t want to say anything bad about (the other)”, and then a terrible thing. wanting to catch a break but the other person won’t allow it because you wouldn’t do the same because they wouldn’t do the same.  it’s cinematic, too- an endless cast of funny little characters, social workers, step family members, girlfriends, therapists, friends. the emotional beats play out- loneliness, confusion, adventure, relief. “there’s two types of parents, the one who allow soda and sugar cereal and the ones who don’t”. if there’s every been a simpler way to summarize my parents divorce i haven’t heard. at one house you can swear, one house you can go outside, one house has better tv, one house you can drink soda, one house you can joke, one house the utensils go up in the dishwasher, one house the utensils go down. small but important details, and make sure you don’t f*** em up or else you’re in big trouble. because the other person is wrong and biblically so. then something sh*tty happens like someone gets cancer or in a bad car wreck. then there’s a bit of empathy. then it’s over and it’s all back to before. you almost wish for a tragedy.  your before-divorce life becomes much shiner and easy to look at. usually it holds things that contradict the present. usually it’s fun and sad, and usually we think about it all the time and never. Its hard to face the grit of the shiny stuff, you know? we want a good memory or two. we want our parents to be good. everything now is so stupid, lame, heavy. you want your mom to give you lollipops and read you to sleep. you want your dad to hold you in his lap, or you want to be able to want it. now is different. you get in little fights and nothing happens. you get in new fights. your mom calls you a f***ing a**hole and the next day she offers to buy you lunch. this is a form of love. this is your version of it. “don’t be difficult” is a line i heard a lot as a kid. you hear your mom say it to your dad and your dad say it to your brother but it’s much different when it’s said to you. because then you are the worst difficult. and everything must be turned off. you become twisted and burned by these people. It almost makes you hate them enough to leave forever. its dumb. i know its dumb. at some point, we must let go. we can’t be like them. at some point, the break must be clean and sorted.  divorce is the best and worst thing. when you grow up you realize your parents are possibly the stupidest people on earth. dumb people in dumb arguments with dumb feelings and actions. and you followed their every word in early life. you’re probably dumb too, but at least you know it. of course, divorce isn’t the worst thing in the world. but is a thing. and it does change you in a litany of ways. we see bits of the talked-about stuff; addiction. oedipal activities. hyper sexuality. muted sexuality. masturbation. harboured hatred. impersonation. this is seen heavily in jesses character. he plagiarizes his art, his words, his opinions. he’s clueless and he follows a bible he’s never read and heard only iterations of. he’s believes he’s better than he ever will be. it’s irritating and hopelessly sad. your parents are incredibly influential to you. as adults, we spend half the time talking about our past. this only increases as we grow older. we are all aware, to some degree, how much ones 5 year old self sets the stage for our present selves. we are created, built, nurtured by these people or persons. parents are impossible to ignore in the psyche. why do you think so many shrinks won’t shut up about them? haunted isn’t the right word to describe the mark they leave on us. maybe guided. maybe founded.  maybe a word for it hasnt yet been created, it’s just something we all understand. our parents f*** us up. but its cool. we grow up. like a pair of kiddie shoes or babie teeth, they like to frame it up somewhere. maybe we put it in our art or dinner coversation. but its cool. because if were unlucky enough, we'll have our own kids.  0 Comments

08/28/2020 07:20 PM  juno ✰✰✰✰✰✰✰✰✰✰ juno dir jason reitman screen writer diablo cody 10/10 available free on seriesonline.com our first ten!!! and another perfect teen movie. i guess you could say im in a pre-nostalgic mood. but whatver, its made me discorver so many great films. ive never been teen pregnant, personally. im no virgin, i just never really found the opportinuty. still, i saw myself in juno. so moany times seeing women and girls in movies i feel like im lookig at an alien. no one i know acts like that, and when girls are smart they make a whole deal about it, like, look, we finally wrote a smart girl!! although shes usually frigid and stiff and inhuman. juno was every girl i ever knew in highschool, her halls were a pciture painting of mine, her quiet quaint monotony and drama was the soundtrack of my adolescence. (as you can tell, im also f***ing pretentious) i couldnt count the gas station runs and bored sex and pregnancy scares and fall leaves crunching under my feet and sunny running tracks and late night movies and friends lost and found and tire tracks and laughing and talking and f***ing around. it was just a really cool, chill movie. i felt safe in the world of juno, its orange tic tac flavour and fresh rain smell like a warm blanket. all the performances are perfect, obviously. i really liked how juno was friends with a cheerleader too- and not just a brainless d*ck like in easy a. a kind, supportive, funny cheerleader. as someone who had three older sisters who were totally popular but totally human, it felt nice to see a real popular teenager on screen, not just some mythic bitch. the soundtrack is light and warm as well, even coming froma metalhead riotgirl punk f***. it sounds like something youd like to sing with your friends when youre too high or drunk and you see the whole picture of your lives. juno is well written, shot, and directed. to me, it is nothing below a perfect movie.  0 Comments

08/26/2020 07:22 PM  beyond clueless ✰✰✰✰✰✰✰ beyond clueless  7/10 dir charlie lyne forewarning, this is far from a good review, its more just a log of my feelings abt this movie. i might try to rewrite it one day, but probably not. anyway, its a great doc, so try not to judge it by my sh*t writing lmao   conforminty, rebellion, individuality, commonality, pain, transformation, repression, hate, anger, violence, immortality, death, love, sex, fear, drugs, friends, heartbreak, innocence, sin, and prom. this is high school. this is being a teenager. this is beyond clueless; an hour and a half long video essay spanning a decade, thousands of actors, and over two hundred films.  high school affects films which affect teens which effect high school. this self eating snake is thoroughly examined in this film. why do we find high school so fascinating? why is it such a formative time for us? what makes a teenager? the film splits it up into five chapters: prologue, fitting in, acting out, toeing the line, losing yourself, and moving on/epilogue.    this documentary is especially interesting now;  everyone posts their lives online, everything feels like a movie. with the right looks and the right soundtrack, your life seems bland and wasted in comparison. you aren’t going to enough parties, doing enough drugs, having enough sex, living enough. even the little stuff become cinematic through this lense. skating at night, smoking with friends, going to the mall. if it’s not recorded, it didn’t happen. and if it didn’t happen, your movie is just some kid sitting in their bedroom watching other people live their lives. there’s a reason “being the main character” became the goal, by any means necessary. sadness and monotony and wasted time is beautiful on film, because it makes you relatable. it makes you a character. in real life you’re alone with this sh*t. but now there’s always an audience, and they’re all looking at you if you give them something to look at. and you really want to be looked at. we want to be important. we want the backstory and the drama, and the character development- and not just so we change as people. we just want to be interesting. of course, through most of this, i am hiding behind a "we". while this film does try to cover 'the teen experience', it obviously cant. id say half of my liking comes from the production, another half from the interesting points the essay provokes, and the largest, tinest sliver from my own love-hate relationship with being a teenager as someone quickly leaving her teen years it’s comforting to see the beauty and horror in it: the meaning in all the sh*t that made me want to leave this age, and all the sh*t that happens when you can’t grow up and leave this terrible, pretty time. in film high school is so shiny, and by comparison collage is cold and desolate. we like high school because most of the time, we can look back on it with a rosy gaze. collage is real, and often fresh in our memory. high school has a few good points, and these are the ones we focus on. prom. drinking in public with friends. your first cigarette. your first kiss. your first time. it’s not always these, but they are always warm and fuzzy. we feel important, and invincible, and magic, and godlike, and scummy, and fun, and free, and forever. we don’t remeber the harsh lights of math class and the bore of the tiled halls. we don’t remember fighting with friends and the hot shame of existence, or the times staring in the mirror and looking for a sign of something living. these make up too much of our lives, and exist as the white noise in the background. the bit we choose to forget. when i remeber high school (the part i have lived so far) i don’t remeber it as an experience. i remember it bright and vivid, like an after school special. i don’t remember day to day, i just remeber the feeling of feeling alive. that’s the fear of leaving the place that you callled home for 4 years, or a prison, or a torture chamber, or just a f***ing building- that you’ll never feel this way again. and maybe it’s true. but we have to let go in order to go on. when we leave we aren’t bound by conformity, finally we are free to look into that mirror honestly, finally we can allow ourselves to exist. while we all want our clueless and mean girls and she’s all that fantasies; a forever in a time where all you need is to fit in somewhere, where you can get a story that matters, where every late night run to the convience store and every party and every fight and makeup and all the sex and drugs and vomit and blood are all a means to a fairytale end, we never really get it. we get stories. we move away. we go on, and eventually, though it seems like it’ll hurt more than anything, we forget. but we have a life after it all anyway.  the film leaves you feeling smarter and wistful, but healed, too. we have to reconcile with our teenage selves in order to go on being whoever we have to be. there is a reason everyone focuses on teen life. we are a haunting mystery, and a wonderful tragedy, and we are made up of a million contradictions. we experience everything now, in the most visceral way. and even if we evolve from our teenage selves, those experiences never leave us. we have made a blood oath with the mirror- we our bound to this time in one way or another.        1 Comments

08/26/2020 01:06 PM  welcome to the dollhouse ✰✰✰✰✰✰✰ welcome to the dollhouse 7/10 dir Todd Solondz 1h 30 min free on vimeo  it’s bleak- it’s endearing, it’s nostalgic. If you liked ghost world or eighth grade, you’ll probably like this.  it all felt so real- all the actions the characters made felt justified in its world. everything seems so useless, so pointless when you’re 12. everyone is an a**hole, and everybody hates you. every f*** up feels like the end of the world, and still somehow, as if by miracle, you go on living anyway. your brothers friends are the coolest, even though he sucks. your sister is cute and nice and more likable than you, and that makes you hate her guts. your mom doesnt get you, and your dad is tolerable, and on every wednesday that switches. the people who do like you suck and have terrible taste anyways. you f*** relationships up that matter, and hyper focus on the people who give the least sh*t about you in the world. a lot of the f***ed up stuff that happens you won’t even realize til you’re much older. and there’s so much thats f***ed up. still, there’s something beautiful in the chaos and f***ery. there’s an innocence to filth and rage and tragedy, especially where you’re an ugly chubby kid with a tacky walmart t shirt. theres something about seeing someone brushing their hair all pretty and putting on their favourite neon top to sing and dance like a moron in front of their way-out-of-their league crush (thinking that theyre hot sh*t) that makes you feel totally seen. a boy talks to you and youre the luckiest girl in the world- even if hes talking sh*t, and even if he only wants to use your warm mouth and budding tits, or just wants to f*** with your head a bit. there is no big speech at the end of the movie, and there isnt any retribution. people move away. people drift. you forget the old you soon enough, even if she still puppets you a bit. I almost had to look away at some points because it was so familiar. Not in the bullsh*t pity way either-  dawn is as much as an emotion ridden prick as everyone else- it just felt like you’re whole adolescence was laid naked on the screen. I really liked this movie and i’ll probably watch it again. i don’t really have any explaination for why i picked 7.  it just screamed 7 to me. trigger warning for mention of sexual assault, plus kidnapping and some slurs. Basic junior high stuff.  0 Comments

08/22/2020 06:07 PM  turbulance ✰✰✰✰✰✰✰✰ turbulance dir jon mccormack 8/10 30 mins if yr into cybercore, drugs, or explorations of the soul this is the flick 4 u. it is a computer animation film made in the early 90s that pushes the art form to its limits. the only reason that its only 8/10 is that most of the meaning in the film is left up for the viewer to ascribe, so you might leave this movie feeling cheated if your not down to dig through the creatures and pixles for philosophy. this film makes up for lost plot with cyberspace imagery, dreamlike atsosphere, and ballscrazy sh*t. reccomend watching while high!! dont have much else to say, just havent seen alot ppl talk abt this film so i thought id try 2 bring it into ppls conciousness  0 Comments

08/17/2020 09:32 PM  dr34mz pt 2 the weirdest part is that im totally ok with this. i dont even want to leave this feeling, even tho it probably means im depressed again and i cant answer messages or do anything. i dont even care, i just dont want to feel real again 0 Comments

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