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Wild Zero (1999)
best japanese-punk-rock-zombie-alien-gay-love-story ever
Best Japanese-punk-rock-zombie-alien-gay-love-story ever.
Just because it's not intelligent, it doesn't make it stupid. The absurdity is what makes it so enjoyable--even to connoisseurs of Japanese films (and after sitting through so many Yakuza/horror flicks, you'll need the reprieve).
And Guitar Wolf is amazing.
Get Crazy (1983)
Love that Lou Reed
True, the movie is funny for many different reasons, but for me, the best thing about it is Lou Reed. Granted, I would consider any Lou Reed cameo the best part of any film, but in this particular case, he truly does steal the show. So funny, so deadpan (because, c'mon: it's Lou), and a great performance of "Little Sister" at the end. He still does Lou Reed better than anyone.
Nice Bit of Rubbish
I enjoyed Trash very much, and would probably go so far as to call it my favorite Warhol/Morissey film. I mean, what's there not to like about it? Joe walks around looking pretty and dumb, and Holly just talks her head off like only she can. It's a gas. It's much better than Heat, which I thought didn't really go anywhere...or was that Flesh? God bless those interchangeable plots. Thank you, Andy!
This movie really impressed me, because, as far as junkie flicks go, this one shows heroin addiction as the destructive force that it is. Though the characters do go through the "heroin chic" look for a bit, they soon turn scabby and purple. "Trainspotting," for all of its graphic scenes, didn't do half the job that this film did.
The Foreigner (1978)
New Wave cinema in all its...um...glory?
New Wave cinema in all its...um...glory? This mediocre "art" film follows the foreigner, a one Max Menace, as he quotes Hesse in a non-descript European accent, and runs around the streets of NYC, on the lam from...someone--it's not quite clear. The best part of this film is without a doubt the rag-tag gang of punks that are chasing our hero, that is, when they're not busy banging their heads on the wall or playing with knives. Then there's the appearences of late '70's NY icons like Debbie Harry, Anya Phillips, Pati Astor, and punk venue CBGB's, which are the only reasons why I sat through this mess in the first place. How can such an exciting philosophy as existentialism, produce such boring art? P.S.Watch out for the Cramps (as the 'Erasers') blasphemous version of the Iggy/Bowie tune "Fun Time".