Category: Rock

Every Day Is Like A Drug - Destroy The Boy - Only One Night (Vinyl)

Posted on by Karamar

The hospital was only a five-minute walk from Ellie's apartment, but it was the longest and most insane walk I have ever been on. The square campus buildings appeared curved and moved in waves when I walked past. I broke out in laughter at the snow on the ground and two minutes later was crying uncontrollably about the sun.

It felt like a lethal inebriation; I wasn't sure if I would ever feel normal again. Ellie and I spent three hours in the campus hospital. We answered preliminary questions with a nurse, assuring her that no, we were not just twentysomethings who drank too much and didn't know how to handle our alcohol. At this point, I was feeling confused, scared, and nauseous. The doctor insisted on giving us an IV because she said it would replenish some of the nutrients we'd lost due to alcohol and the drugs, and it would hopefully relieve our nausea and disorientation.

She then said drugs typically used in cases of sexual assault leave the blood system in 24 hours at most. This meant that whoever drugged us was hoping we would be extremely unconscious and thus less likely to put up a fight. She left the room, I placed my jacket over my face to block the obnoxious fluorescent lighting, and I started crying alone on the hospital bed with the IV still in my arm.

Once we left the hospital, Ellie and I recalled as much as we could from the night before to try to figure out who could have done this to us. Second, movie's pace is extremely slow. So consequently it is difficult to be interested for almost 2 hours without getting bored.

Lack of action does not help either. Last, it could have been far better with just a more risky script. Looks like the director just copied several cliches from other movies.

So, overall I do not recommend this movie. Arkansas is a great drug dealers movie showing how easy drugs are moved across this country and from state to state. While watching, I felt as though I was watching a Tarantino movie. They even broke it down by chapters with numbers and names. John Malkovich lived up to his stellar acting roles in the past days.

Vince Vaughn actually did a good job on acting in this movie and not just some comedic role. The director and actor Clark duke was a surprisingly refreshing role. All the actors did a good job. With a mix of action, comedy, and mystery I highly recommend this movie you will enjoy it.

Just bad all around. Sad to see Vince have to go this low. Director tried so hard to give the film a Quentin vibe and it just didn't work. Gordon 5 May It is great to see famous faces in this film. The plot is slightly confusing. Though it still interests me, I don't particularly find it gripping or intense. This is a well-paced and entertaining thriller, but also has a great feel.

The direction, acting, music and the whole look and atmosphere of the movie are superb. It might not be to everyone's taste as it is quite original, but I really enjoyed it. Vince and Liam deserved better! The movie had spurts that were interesting. The last 10 minutes were the best part. Better 5han seeing reruns and movies older than 10 years though! Vivica was good in her role.

Bat 5 May It was a great cast in this movie. Story was simple and very slow and it continues with the same pace untl the end. Its likeable. Loved this film for so many reasons I didn't expect.

There was comedy that caught you off guard, important moments that you felt deeply, conversations between the eyes of the characters and tension that you could read. I did not realize how much could be said with the two words: "I know. Katsuki : You've been avoiding me, nerd. You think you're better than me? Izuku : N-no, Kacchan, that's not it at all! I've just b-been really b-busy and Katsuki : Busy? As if a nobody like you has places to be.

Admit it! You think you're too good to be around me! The Night Porter rocked my world and deeply moved me. It was all at once beautiful, erotic, heartbreaking, romantic, disturbing, and terrible. It is a masterpiece.

This film is both disturbing and effective. This film stands out as one of the 70's bleakest contributions. It's very hard to obtain just one feeling towards the film since it has so many layers and creates so many emotions. The lead a night porter who used to be a Nazi officer in charge of a concentration camp encounters his past when one of his previous captives checks into his hotel.

A relationship between captor and captive is then revealed. As a matter of fact in some sick way they are very much in love. Of course it can in no way be a idyllic relationship and of course problems occur. The fear that she can be used as a witness spreads among the Nazi underground which he is still very much a part off though he wants to leave and stay in the shadows.

The movie is about what the night porter does to protect his love from danger and might I say it's quite poetic. Fabulous performances from both Dirk Bogarde my favorite actor of all time and Charlotte Rampling. The frames are nearly perfect and the film itself was so complicated and well done that the director Liliana Cavani should be considered a master. But lets get back to the emotions this film contains. I just can't makeup my mind how I feel about these two people and their love.

One side of it is quite beautiful but the other side is both disgusting and incredibly chilling. Unsettling, haunting, beautiful, chilling, poetic, disgusting and perhaps even romantic are the words I would use to describe this film. It's these mixed responses that makes me love this film so much. I can't get this out of my head! I saw this film quite by accident last night on IFC and have been walking around in a state of near tears ever since.

What really struck me about the story was not the sadomasochistic aspect which I actually found to be rather minor, He slaps her around a bit and there is a scene where she is chained to a bed , but rather the tenderness and love shown by Max. He calls her "his little girl" throughout the movie and indeed that seems to be the most accurate description of his feelings.

I couldn't help thinking of Lolita and indeed it is a similar idea. In both stories the man is both the tormentor and the tormented.

And in both stories this proves of course to be impossible as the mans very nature in one case he is a pedophile, in another a Nazi prevents it from being so. I have mixed feelings about this film, owing partly to the way it was promoted on its original release in the U. In fact, the movie is actually somewhat restrained, considering the grim subject matter. My most recent viewing leads me to consider it as a better movie than I had thought before, with genuinely disturbing overtones, and a far more serious exploration of a desperate and unhealthy love than one would expect.

By the time the film ended, there was no question in my mind that ex-Nazi Max and former prisoner Lucia were in fact hopelessly in love with each other and needed each other in a way that far transcended a more normal relationship. Nothing is more important to her than Max, and he is willing to die for her. Not that this is a beautiful love story, or a perfect movie. There are a lot of unanswered questions about the backgrounds of the two main characters, and I wish Lucia's personality and motivations had been explored in more detail.

There are moments that risk seeming unintentionally funny, despite the somber approach. I found myself wishing that the writer and director had skipped all the intrigue with the Nazis spying on each other, and concentrated more on the affair between Max and Lucia. The acting is generally good and the storyline made fairly credible. It's hard to imagine anyone but Charlotte Rampling in the difficult role of Lucia, and she is amazing in her passion and perversity. The problematic role of Max is handled well by Dirk Bogarde, managing to evoke some sort of sympathy for the character, which is certainly not easily earned, considering his background as an SS officer at a concentration camp during the war.

This is an odd, thought-provoking movie, that can be both frustrating and fascinating to watch, and is definitely not for everyone. More than one viewing is required to begin to appreciate the depths of the performances undertaken by Bogarde and Rampling, but it can leave a bad taste in the mouth. The film is probably best regarded as a sort of highbrow guilty pleasure. One more thing: I kept finding myself thinking of the Italian film Kapo, a seldom seen movie with a young Susan Strasberg as a camp prisoner who does what it takes to survive.

These two pictures might make for an interesting double feature. I simply cannot fathom how a film with a premise like this can fail on every level to strike one iota of interest in the viewer.

What should be a dark, seedy, erotic, subversive journey through Nazi sadism and sexual obsession becomes a bland, stoic, embarrassing disaster. Despite this, the subject matter is never taken far enough to even be called exploitation. It's just. It feels as if Liliana Cavani saw this material as a challenge. Feeling that it was far too interesting, she would see just how much she could whittle it down until no one would care one way or the other.

One cannot say for certain. Generic cinematography captures the lifelessness of the director's vision with dull grays pervading every shot. Watch Pasolini's Salo if you want to see how to portray decadence visually. Charlotte Rampling and Dirk Bogarde are about as interesting as cacti, lazily looking forlorn in every shot, other than when they roll around giggling and lightly humping for three minutes at a time. Rampling, in particular, gave me no reason to care at all what happened to her.

Concurrently, every one else in the cast defies all reason by staunch adherence to expressing less emotion than Caligari's Somnambulist. Claiming "they are Nazi's" or "she is scarred from her past! These people make Bresson's actors appear radiant and full of life. There is a key scene where Charlotte Rampling dances and serenades multiple SS officers while topless, adorned with a Nazi commander's cap. This scene is not disturbing. It is not titillating or erotic. Yet it appears that the director's goal was to induce both feelings of attraction and repulsion in the viewer, perhaps to have us realize her brilliance in making us question how we could be attracted to something so despicable though, judging from the rest of the film, Cavani may not be talented enough to create such a scene or think such a thought.

What should be both haunting and beautiful turns hokey and irritating as it drags on. Overall it seems as if Cavani is desperately trying to be Catherine Breillat before there really was a Catherine Breillat. She failed. Liliana Caviani's "The Night Porter" is a movie I have known about for a long time, but never watched until now, because its subject always gave me pause.

It seems an idiotic and offensive subject for a movie: a relationship between a concentration camp inmate and a nazi war criminal, revisited ten years after the war, when the criminal is in hiding. In "The Night Porter", the flashbacks to the Holocaust are pretty unconvincing, especially after such painfully realistic films like "Schindler's List" and "Son of Saul". The hotel where most of the movie takes place seems to be run by a cabal of hiding nazis, and people who want to help them stay hidden.

A bit past the half way point we get the source of the movie's famous image: Rampling, bare breasted, dressed in Nazi attire: the cap, the long gloves, suspenders and trousers. She does a sexy song for the SS officers hanging around, and it looks like they're doing Nazi-night at the local bondage club. Perhaps to Caviani, the Holocaust was basically a bondage fantasy, the war criminals the "doms", the six million victims, the subs. I can't believe I'm writing this.

It's funny that in a female-directed movie, the female lead is the less fleshed out. You don't know what she thinks or feels, or really anything about her. The male lead, however, actually appears to be in love with his former inmate.

Or at least, that's what the movie wants you to believe. I expected "The Night Porter" to be offensive and embarrassing. I did not expect it to be boring. Barely anything happens in the movie. The aforementioned nazi-strip-tease is probably its only memorable scene, and the central relationship is actually totally uninteresting. One day a very rich woman enters the place, a woman he recognizes as one of his concentration-camp sex-experiment subjects The motion picture is not necessarily stimulating, but seriously portrays the damage that can be done by sexual abuse.

Worth seeing but not for any insights into fascism Geofbob 10 January But it would be wrong to draw from it much in the way of generalised messages about fascism, concentration camps, or the holocaust. That some Nazis were sadists is hardly a revelation; that among their millions of victims a few might have enjoyed being dominated shouldn't surprise us; and that such a relationship should voluntarily be renewed after the war may be unlikely, but not entirely incredible. So far as we can see in the film, the only point of contact between Max and Lucia is their physical relationship, based on mutual cruelty and pain, which we are shown via graphic, sometimes shocking, images.

Apparently, they have no real desire to go beyond this physical relationship, which they lock themselves into, until it leads to their deaths. They could easily evade the "siege" of their apartment by a group of ex-Nazis, if they so wished. The film enters the area of the overtly political in its sub-plot about this group of ex-Nazis, who try to come to terms with their pasts by confessing their crimes to each other; while at the same time taking direct action to "file away" both incriminating documents and awkward witnesses.

The film leaves this story unfinished, with these fascists going about their business; in view of the recent resurgence of the extreme right-wing in Austria, this seems an appropriately open ending. Music is prominent in the film. One scene takes place at a performance of Mozart's The Magic Flute. As well as reminding us of the sublime heights to which man can rise in contrast to the depths we have witnessed in the concentration camp scenes, Mozart's opera seems relevant because, like this film, it deals enigmatically with themes of good and evil, imprisonment and freedom.

Also relevant is the song Lucia sings in the key scene where she imitates Marlene Dietrich's Lola in the Blue Angel; it was written by Friedrich Hollander and, roughly translated, it is about how the singer finds it difficult to choose between good and bad times, because happiness and sadness go together. Some films which deal with the issue of the Shoah usually end up repeating certain, rather stereotypical narrative mechanisms, depicting shocking images of war, its casualties and concentration camps, which usually end up 'distancing' the viewer from the events.

The Night Porter isn't one of these films. Five acres humming with bees, lush with flowers, surrounded by forest. Creatively, Price had achieved the right to self-isolate. But with her contract up, she wanted to take her time. Before her daughter was born, Price self-financed sessions in Los Angeles with an unimaginably powerful studio band including Heartbreakers keyboardist Benmont Tench and soul drumming god James Gadson.

Rumors was to be her first new record in almost three years, and she was eager to reembrace her audience and her co-conspirators. Needless to say, things have not gone to plan. After a delay, Rumors is finally out, and Price has spent in a more difficult kind of isolation. Illness, destruction, and death have breached the paradise walls.

Frank Sinatra recorded there in the s and Lady Gaga made her most recent album on the premises. Like Simpson, she felt the entire point of being a career musician was to try new approaches every time out.

They knew what it meant to have James Gadson, Pino Palladino, and Benmont Tench playing their songs and they made the band feel great, empowered, and ready to stretch.

1 day ago · Dave Franco has long struggled against being labeled the “kid brother” type, from the time he was an unknown growing up in Palo Alto, Calif. “My first job was at a mom-and-pop video store.

8 Replies to “Every Day Is Like A Drug - Destroy The Boy - Only One Night (Vinyl)”

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