The Zimmer score does a lot of heavy lifting, the whole thing is so indebted to Malick in such an interesting way. The score and VO is almost a direct lift from Days Of Heaven but incorporating that into an ultra violent crime fantasy is exactly the kind of theft I appreciate. I did think about how I would critique Slater if I was 36 when this came out, like would I roll my eyes at this kid trying to…
Very strange concoction of 80s meat sack action hero and 80s slasher films and giallo films mushed into this hyper conservative crime fantasy. Sly is just so fucking funny in this, so over cranked, so monosyllabic, so short. The score is pretty great and Cosmatos is a pretty good stylist even though I don’t think this is very special looking but it’s at least got some flashes(especially the end). It’s cool watching that final set piece where Sly kills 87…
I find it strange that this movie is so popular. I see 'bros' quoting it and they always have this next to Goodfellas and The Sopranos and Entourage in their collection of movies(as do I). I think a lot of people like it for the wrong reasons. They like the violence and the guns and DENIRO. But for me this is the quintessential art house film: ambiguous in it's meaning, a meandering story with no plot in sight, a protagonist…
What the Fuck
What the Fuck
Cracking Shuck
Holy Donald Duck
Smelly Truck
Youthful Puck
Hair that's growing out of your back
Kids that say the darndest things.
Poop.
Crepes. With bananas and asparagus.
W
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Spaceships blasting 409 on a chevy nova.
Gummo is about 100 times more bizarre than what you have just read and I apologize for this review.
