‘…On the surface, an intelligible lie; underneath, the unintelligible truth…’
The Unbearable Lightness of Being
Milan Kundera.
The protagonist, a blade runner named K, is in love with his AI. She’s essentially a hologram, and in a pivotal scene, she organises a ‘pleasure model’ to come to his apartment so she can merge herself with it in order to make love to him.
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What I like about Peckinpah is that you never know what you’re going to get. You’re certainly not there to be ‘entertained’. Like David Fincher says, it’s going to leave a scar.
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Surgery is a major life event. I had a hip replacement, which means full derailment; it’s a paradigm shift quite unlike any other. And most of the time, paradigm shifts find you stranded in a world that’s changed and requires that you develop new skills in order to cope. In my case, I return to the world with a certain ability that I had lost, namely, the ability to walk and stand square and strong, without pain.
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Once he discovers his newfound friends and mentor are actually the ex-presidents, Johnny draws his line. During a botched stakeout shortly after, Utah reveals his identity when he pursues them in an attempt to capture.
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I had very little memory of the film when I switched it on to pass a recent Saturday evening, and was concerned that watching an ‘old’ film from my teenaged years had become a recreational activity worthy of my time.
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Rodney Hall, frequent guest of this blog, began a spiel on this topic when last we met. This commentary on the nature of art is so fundamental and so important, it needs to be posted somewhere: once again, I exhorted him to start his own blog and yet again, he refused. For that reason, I present his ideas here, rather than attempt to pass them off as my own.
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Tim Ferriss once said that he had initially avoided meditation for fear it would bliss him out and diminish his drive. In my case, I fear that it’s true.
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Monster: The Jeffrey Dahmer Story is one of those things that fits in the, ‘Good, but I don’t like it’ category of film and television, which at the very least, pushes it beyond the odious definition of film and television as entertainment.
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I’d never had much interest in Limp Bizkit until I saw the Netflix documentary, Trainwreck: Woodstock ’99. Nu-metal didn’t do a lot for me, and there was something that felt just a little bit entitled about Fred Durst.
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Theme Park at its Darkest 