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PatrickfromCanada
Reviews
Until the Light Takes Us (2008)
People Like To Dress Up...
First off, let me just say that, when it comes to the creation of black metal, you must be from the north. Experience the northern frost, the northern moon...I digress...
This is one of the most revealing black metal movies ever made. It shows at once the artistry and legitimacy of black metal as an art form while showing the fallacy--******* who think they're black metal and who revel in its darkness, yet cannot fully comprehend the true capacity or meaning of the genre.
I highly recommend this film to anyone who truly loves black metal music. To all those who are just getting into black metal: this film is not for you. If this film in itself is your introduction to the darkness that is black metal, back away now. You must be well versed in the art form firsthand to fully appreciate this film. Regardless of the filmmaker's intent, 'Until the Light Takes Us' shows the duality of those who believe they 'participate' in the creation of art within the black metal medium: once again, those who falsely participate, and those who do so rather actively. (Note: the g00f dancing in the art gallery: kill yourself. Kill yourself and all your friends now.) In a brief aside, nothing more can be said about Fenriz that has not already been said. He is the pillar which holds black metal aloft to this day, and remains (along with his band Darkthrone, Burzum, Mayhem, Immortal, and a few others) the true gatekeepers of the genre.
In closing, buy black metal albums, support the church burnings of all Christian nations, listen to Darkthrone & Burzum, and **** the world!
P.S. This review was edited for language: very, very UN-black metal. **** *** *******!!!
Salò o le 120 giornate di Sodoma (1975)
Not Entirely a Success
I believe the "point" of this film to be the exposure (and perhaps the overexposure) of the possibility of evil--in this case, complete debauchery--to become fully realized in a totalitarian regime. Totalitarianism opens a window through which the ruler's evil may be manifested.
In this film, this thought is thoroughly exposed in mostly a sexually perverse fashion: older, mostly male weirdos defiling young, innocent captives.
Salò underlines this matter extensively, to the point where it could potentially anger, even mortify the audience. At some point, from purely a critical perspective, the film seems to portray gross scenes and taboo imagery simply for its own sake. The film certainly intends to offend its audience and in that respect it succeeds; but I do not mean this to intend that the film is a success.
The film haunts the spectator after viewing to be sure--and it may be argued that that in itself is a positive effect or some form of artistic success. But at some point, this film simply becomes a collection of gross stuff on screen for the sake of putting gross stuff on screen; and that is exactly where the film fails.