Not exact matches
While the first
film in the pair was an eye popping homage to Asian cinema and all things
extreme, the outrageous
violence of Kill Bill, Vol.
It occasionally explodes into
extreme violence — and
in this case I don't use the word
extreme lightly — but there's an unusual and skillful balance between those moments and the tense and quiet bulk of the
film.
References to older
films of the genre, witty dialogue (including a monologue delivered by Carradine near the end that is probably the best thing Tarantino has ever written),
extreme violence, a soundtrack filled with all kinds of extraordinary pop songs; even an entire backstory sequence completely done
in Anime.
The opening credits of the
film are displayed while a camera shoots
extreme close - up sweeps around a dead body which is currently being consumed by maggots and other bugs, and this should give you an indication of how unflinching the rest of the
film is
in the showcasing of disturbing acts of
violence.
The
film's surreal humour delivered
in deadpan dialogue might go over some people's heads, especially when blended with the moments of
extreme violence.
While more mainstream and commercial
films do provide challenging and confrontational examinations of explicit material they are unable, due to financial and social contracts, to fully utilise the confection of sex and
violence in truly
extreme ways.
The Oscar - winning actor stars as a seductive assassin
in a strange, yet often flatly directed,
film that boasts surprisingly
extreme sex and
violence but also a wealth of bad accents
As well as the music, we have the use of the word «nigger» and
extreme violence imprinted into our minds,
in a way that you wouldn't be alone
in rejecting the
film for.
A serious - minded and decidedly adult fairy tale about a virginal young woman who learns from her brother (Malcolm McDowell) that they are descended from a race of human - panther hybrids doomed to revert to their murderous feline state while making love to anyone outside of their own bloodline — a problem as she has just fallen
in love with a sweet - natured zookeeper (John Heard) who specializes
in big cats — this is a
film swimming
in sex,
violence, poetry, philosophy and swanky visuals
in such
extremes that it always seems to be on the verge of becoming utterly ridiculous but it somehow never goes over the edge into camp because of Schrader's serious - minded handling of the material; it may be nonsense but he never treats it as such.
Antichrist is also firmly a horror
film in the tradition of so - called «
extreme cinema» with its transgressive sexuality (especially female) and the uncomfortable place
in which it positions the viewer with respect to the
violence.
In fact, it's sometimes hard to discern what the plot of the
film actually is, since there are so many quick cuts, bright colours, and
extreme violence.
The beginning borders on plodding, but all is forgiven about 45 minutes into the
film, when the antagonists come into full view
in a scene of
extreme depravity and
violence.
This is a
film that absolutely revels
in its butchery with little to show for it...
extreme violence for its own sake.