‘It hasn’t aged well. Although, I must admit I haven’t seen it.’
When I snuck into the cinemas to see Romper Stomper at fifteen years of age, I was totally overwhelmed. The skins and their lives were exhilarating and terrifying: simultaneously attractive and repulsive. The film was over before I knew it, and I felt like I’d been dragged down many of those back alleys of Footscray by the hair.
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‘…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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John Pilger, journalist and documentarian, criticized the film [The Hurt Locker] in The New Statesman, writing that “it offers a vicarious thrill via yet another standard-issue psychopath high on violence in somebody else’s country where the deaths of a million people are consigned to cinematic oblivion.” He compared the praise given to The Hurt Locker to the accolades given to 1978’s The Deer Hunter.[42] Continue reading
Theme Park at its Darkest 