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Cannibal Holocaust had a couple of interesting scenes and a good soundtrack... and I'll never watch it ever again. One night with those man-eaters is enough for me.
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Jurassic World better than Cannibal Holocaust?
No way!
No way!
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Actually there is nowhere indicating one is neccessairly better than the other.... I just like one more than the other. That's two different things
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Jurassic World 
Oh MM oh MM.
Oh MM oh MM.
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MovieMeditation's Cinema Reviews // Film Diary 2015 // Letterboxd Profile // MovieMeditation's Top 50 Horror
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Purtty sure Jurassic World is better than Cannibal Holocaust.
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I would completely disagree with that, but of course it's just a matter of opinion. However, Cannibal Holocaust is a movie that is still being watched and discussed more than 35 years after its release, and that counts for something. I doubt it'll take nearly that long for Jurassic World to become forgotten and irrelevant.
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It's also called CANNIBAL HOLOCAUST. It really doesn't matter what's in the movie by that point.
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There's plenty of other movies with similar or more outlandish titles, and plenty of other movies with animal abuse. I do not condone the treatment of the animals; the people responsible should've been arrested.
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I haven't posted in this thread since last September. I'm supposed to be your motivation for movie meditation. Clearly I have failed in my one and only purpose in life. It's probably also my fault that you're almost a year behind on these reviews. Don't flog me too hard, MM, although I certainly deserve it. (Actually, do flog me hard. If I enjoy it, I might add whips and chains to my pleasure trove of butt plugs, gimp masks and Rosie O'Donnell sex dolls.)
I've read and +repped the last twenty or so reviews. Tons of good stuff. Fun wordplay. Insightful analyses. With the exception of Terminator Genisys (god awful) and Jurassic World (meh), we share a similar opinion on most of the films. I'm really pleased to see how much you enjoyed Night of the Living Dead. Your effusive praise for Magnolia has me wanting to give it a long overdue re-watch. Sounds like I should seek out The Rescuers, which I'm pretty sure I've never seen. (Although I used to own The Rescuers Down Under on VHS as a kid.) The Gold Rush is the first silent film I ever watched. I struggled with it a bit at the time, being unused to the whole silent thing, but I still enjoyed the film overall. It certainly contains several memorable sequences. Now that I have more experience with silent cinema, I should give the film another go. I'm curious to see the 1942 version you reviewed. Sad, but not surprised, to hear that Boulevard is so lackluster. As talented as Robin Williams was, he starred in a lot of sh!tty films. Not seen Baraka, but your ABC/123 wordplay was mighty impressive and a good showcase for your impressive vocabulary. Apparently you use a thesaurus for bedside reading.
We rarely see eye-to-eye when it comes to horror and exploitation, so I'm not surprised by your rating for Cannibal Holocaust. I love the movie and consider it an upper-echelon favorite, but I'm one of those sick f*cks who enjoys having my "senses raped." To be honest, I roll my eyes now every time I read a review that harps on the animal cruelty while barely mentioning other aspects of the film, but I understand why viewers feel such a strong moral objection that they basically shut everything else out. I think some of the animal killings in Cannibal Holocaust could fall under the same ethical category you use for Apocalypse Now since they were carried out by indigenous people who eat such animals as part of their normal existence, but whatevs. Killing anything is bad, I guess, but I figure it's less bad if you use its death to make effective art and then eat the dead thing afterwards. That's why I always bring along a film crew when I'm murdering people in my spare time, then make sure to fry or grill pieces of the corpse afterwards to feed myself and the crew. Maybe I can have you over for dinner sometime?
Thanks for reaching out to me on Letterboxd during my hiatus from the forum. I would've returned eventually, but your comment accelerated the process a little bit. Hopefully from now on I'll be a more regular presence in this excellent thread of yours (the best film diary on MoFo, and it's not even up for debate!) instead of going 9-10 months without posting in it again.
I've read and +repped the last twenty or so reviews. Tons of good stuff. Fun wordplay. Insightful analyses. With the exception of Terminator Genisys (god awful) and Jurassic World (meh), we share a similar opinion on most of the films. I'm really pleased to see how much you enjoyed Night of the Living Dead. Your effusive praise for Magnolia has me wanting to give it a long overdue re-watch. Sounds like I should seek out The Rescuers, which I'm pretty sure I've never seen. (Although I used to own The Rescuers Down Under on VHS as a kid.) The Gold Rush is the first silent film I ever watched. I struggled with it a bit at the time, being unused to the whole silent thing, but I still enjoyed the film overall. It certainly contains several memorable sequences. Now that I have more experience with silent cinema, I should give the film another go. I'm curious to see the 1942 version you reviewed. Sad, but not surprised, to hear that Boulevard is so lackluster. As talented as Robin Williams was, he starred in a lot of sh!tty films. Not seen Baraka, but your ABC/123 wordplay was mighty impressive and a good showcase for your impressive vocabulary. Apparently you use a thesaurus for bedside reading.
We rarely see eye-to-eye when it comes to horror and exploitation, so I'm not surprised by your rating for Cannibal Holocaust. I love the movie and consider it an upper-echelon favorite, but I'm one of those sick f*cks who enjoys having my "senses raped." To be honest, I roll my eyes now every time I read a review that harps on the animal cruelty while barely mentioning other aspects of the film, but I understand why viewers feel such a strong moral objection that they basically shut everything else out. I think some of the animal killings in Cannibal Holocaust could fall under the same ethical category you use for Apocalypse Now since they were carried out by indigenous people who eat such animals as part of their normal existence, but whatevs. Killing anything is bad, I guess, but I figure it's less bad if you use its death to make effective art and then eat the dead thing afterwards. That's why I always bring along a film crew when I'm murdering people in my spare time, then make sure to fry or grill pieces of the corpse afterwards to feed myself and the crew. Maybe I can have you over for dinner sometime?
Thanks for reaching out to me on Letterboxd during my hiatus from the forum. I would've returned eventually, but your comment accelerated the process a little bit. Hopefully from now on I'll be a more regular presence in this excellent thread of yours (the best film diary on MoFo, and it's not even up for debate!) instead of going 9-10 months without posting in it again.
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Actually, do flog me hard. If I enjoy it, I might add whips and chains to my pleasure trove of butt plugs, gimp masks and Rosie O'Donnell sex dolls.
Yes, it's most definitely certainly your fault and yours entirely, that I'm so freaking behind in this thread (or perhaps not. Maybe I'm a lazy f*cker or just busy with the usual routines, you know.... like pissing in holy grails, sacrificing holy cows and fistf*cking buddhist monks... the last part is only on sundays though, I don't want to get into conflicts with the lord)
But THANK YOU O' Captain my captain for giving me back some of that motivation for my movie meditation, I might pick up the pace slightly now.
I'm glad you enjoyed the reviews and to this day it still impresses me that you actually read and rep reviews from 20-something reviews back IN ONE SITTING. I struggle to get people to read ONE SINGLE review I do and you just go from beginning to end showing who's the class act of this circus. 
Cannibal Holocaust is probably a or so if it hadn't offended me like it did. I get why what you are saying about my movie comparisons in that review, but if you look back I did in fact mention the same thing or at least something like that. Although it was mostly the ethics of cinema and not ethics in general, since killing is killing as I also said, I still think it had some intersting points even if it was "loose criticism"... At least it spiced things up a bit, eh?
Thanks for checking in Spaulding you big spongey pedo-predator of awesomeness!!! There is only one Captain of the forum and he is a big ass clown -and I mean that in the most positive of ways.
#Spaulding4President
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Originally Posted by MovieMeditation
fistf*cking buddhist monks
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Such brutal irreverence is refreshing.
*the people not the pastry
Last edited by MovieMeditation; 07-03-16 at 05:42 PM.
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MovieMeditation presents...
HIS FILM DIARY 2015
total movie count ........... viewing day count
242 .......................... 278
__________________________
October 5th
—— 1981 ——
The
Fox
and the
Hound
—— animation ——
DISNEY CLASSIC no.24
Walt Disney Animation Studios has been hauling out classics for decades, overhauling
each and every kind of competitor there is on the golden pathway to more success
I admire the impressive ability of the studio to imagine an endless amount of innovative and exciting ideas, carefully changing their craft, while keeping both mind and magic completely intact. That said, it isn't too hard to imagine, that sometimes you will have to re-imagine things as well. Making feature length films for more than thirty years at the time, the studio was destined to draw ideas from old drafts or directly from their prime of the past, which is not a flaw per say, as long as they sow their success and grow it into a beautifully independent flower. They can copy and paste all they please, if only they remember to preserve the magic and present the themes in new and exciting ways. 'The Fox and the Hound' is thematically familiar territory, but can it follow in the footsteps of past successes, while leaving its own personal footprints on the way as well?
'The Fox and the Hound' is a classic tale of prejudice and predestined parallels between people – or in this case animals – presented with a friendly bond between the hunter and the hunted. A hound and a fox find each other and become best friends, completely unknowing of the unavoidable clash in their coming future. Out of all contrasts, this one is particularly potent, since the difference between them isn't several miles away from each other, like say, the rich and the poor. They are in fact literally running inches from one another and on the same exact path. Unfortunately, despite of these differences, the story brings close to nothing new to the old thematic table, mostly coming off as a disappointingly dull experience in my opinion. The pacing is too slow and partly perplexed, with a seriously sloppy side plot that fails to bring any fruition to the actual story and also contains clichéd characters operating at an uppermost cringe worthy kind of level. The only functioning feature is the dynamic duo and their eventual destiny, which, although predictable, feels genuine and honest in key moments. However, considering the fact that the foundation of the film is built around the fox and the hound – as implied by the obvious title, the plot evolution and the endeavored emotional ending – it seems odd to have the two ever only interact properly twice in the entire film and then go on to build the base for their relationship on that alone. It seems weird to try and win over the hearts of audiences by implying an emotional response relying on such thin foundations.
The movie might find its footing the best when relying on formulas, which is a shame, because that keeps it from being memorable when trying to gain momentum and grasping for genuine emotion throughout. But there are certainly some heartfelt episodes, which unfortunately feels mostly episodic and sudden, given the tendency of the plot to change its focus, while also stumbling a bit on its way there. I liked the voice work and the last few minutes were thrilling enough to reanimate my excitement a bit, but in the end this animation is anything but amazing, although I wish it was. There was a good reason why I could barely remember a thing from this film... It is simply a mediocre movie experience made with tools better utilized in both the past and the future of the studio. 'The Fox and the Hound' may not be a major misfire for the studio, but it fails to cover or create any new ground on its journey through familiar fields and ends up trespassing more than transpiring in a mess of tiresome personalities and tacky pacing. 'The Fox and the Hound' is no trophy to bring home and it is hardly enough to hold me over until the next animated adventure. Nevertheless, the combination of a strong core-relationship, underdeveloped as it is, and the small glimpses of greatness are evidently enough to make it a passable although not entirely pleasurable entry in the animated classics series.
__________________________
HIS FILM DIARY 2015
total movie count ........... viewing day count
242 .......................... 278
__________________________
October 5th
—— 1981 ——
The
Fox
and the
Hound
—— animation ——
DISNEY CLASSIC no.24
Walt Disney Animation Studios has been hauling out classics for decades, overhauling
each and every kind of competitor there is on the golden pathway to more success
I admire the impressive ability of the studio to imagine an endless amount of innovative and exciting ideas, carefully changing their craft, while keeping both mind and magic completely intact. That said, it isn't too hard to imagine, that sometimes you will have to re-imagine things as well. Making feature length films for more than thirty years at the time, the studio was destined to draw ideas from old drafts or directly from their prime of the past, which is not a flaw per say, as long as they sow their success and grow it into a beautifully independent flower. They can copy and paste all they please, if only they remember to preserve the magic and present the themes in new and exciting ways. 'The Fox and the Hound' is thematically familiar territory, but can it follow in the footsteps of past successes, while leaving its own personal footprints on the way as well?
'The Fox and the Hound' is a classic tale of prejudice and predestined parallels between people – or in this case animals – presented with a friendly bond between the hunter and the hunted. A hound and a fox find each other and become best friends, completely unknowing of the unavoidable clash in their coming future. Out of all contrasts, this one is particularly potent, since the difference between them isn't several miles away from each other, like say, the rich and the poor. They are in fact literally running inches from one another and on the same exact path. Unfortunately, despite of these differences, the story brings close to nothing new to the old thematic table, mostly coming off as a disappointingly dull experience in my opinion. The pacing is too slow and partly perplexed, with a seriously sloppy side plot that fails to bring any fruition to the actual story and also contains clichéd characters operating at an uppermost cringe worthy kind of level. The only functioning feature is the dynamic duo and their eventual destiny, which, although predictable, feels genuine and honest in key moments. However, considering the fact that the foundation of the film is built around the fox and the hound – as implied by the obvious title, the plot evolution and the endeavored emotional ending – it seems odd to have the two ever only interact properly twice in the entire film and then go on to build the base for their relationship on that alone. It seems weird to try and win over the hearts of audiences by implying an emotional response relying on such thin foundations.
The movie might find its footing the best when relying on formulas, which is a shame, because that keeps it from being memorable when trying to gain momentum and grasping for genuine emotion throughout. But there are certainly some heartfelt episodes, which unfortunately feels mostly episodic and sudden, given the tendency of the plot to change its focus, while also stumbling a bit on its way there. I liked the voice work and the last few minutes were thrilling enough to reanimate my excitement a bit, but in the end this animation is anything but amazing, although I wish it was. There was a good reason why I could barely remember a thing from this film... It is simply a mediocre movie experience made with tools better utilized in both the past and the future of the studio. 'The Fox and the Hound' may not be a major misfire for the studio, but it fails to cover or create any new ground on its journey through familiar fields and ends up trespassing more than transpiring in a mess of tiresome personalities and tacky pacing. 'The Fox and the Hound' is no trophy to bring home and it is hardly enough to hold me over until the next animated adventure. Nevertheless, the combination of a strong core-relationship, underdeveloped as it is, and the small glimpses of greatness are evidently enough to make it a passable although not entirely pleasurable entry in the animated classics series.
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MovieMeditation presents...
HIS FILM DIARY 2015
total movie count ........... viewing day count
243 .......................... 279
__________________________
October 6th
—— 2015 ——
SOUTHPAW
—— drama ——
The winner takes the fall...
...and the fall takes the fame
There is really no reason to run in circles with y'all, so I might as well throw a pun(ch) at you straight away and hit you with the admittedly apparent facts to (the) face... Jake Gyllenhaal hands in yet another knockout performance with ‘Southpaw’, persistently proving time and time again precisely why he is such an excellent actor to begin with. The way he effectively and effortlessly attacks this particular project all the way down to the boxing tactics and body transformations is already extremely admirable on its own; and when adding yet another layer of everlasting legitimacy and depressing intimacy, by presenting a heavyweight fighter as a homebound looser (…or is it the other way around), you just know this is a man who is willing to walk through all 12 rounds and come out on the other side as a boxing champion and not just a one hit wonder. When Jake Gyllenhaal commits to something he clearly sets out to conquer and kill everything as the boxing beast he is...
But as mentioned previously, the reason why Gyllenhaal's performance resonates so well with audiences is because of how hollow and huge the surroundings feel when his character is present. He may be a beast in the boxing ring but the clear-cut contrast between fighting and family is perfectly presented by the subtlety of Gyllenhaal's performance. However, while we may not live entirely identical lives, the idealistic approach that Gyllenhaal uses is so real and honest that we can almost put ourselves in his place and time. The performance is first and foremost humble and human – despite of his arguably aggressive macho masking – which is really something that rings a bell with the audience. When he flexes his abs and fractures the bones of every single antagonist around him, he almost appears like a mental mass murder out for blood. But as soon as he sits down with his daughter as a humble hillbilly in a hoodie, he suddenly takes on the role of a beaten up and broken down individual, who is now facing an indestructible and almost unbeatable opponent: life in its purest form. The fact that Gyllenhaal has both the face of a winner and the face of a looser – having one foot on the podium and one in the puddle – just goes to show that the relentless range of this man is far beyond the reach of a swing from a boxing glove.
Now swinging into round 3 of this review, you would obviously expect the elements to elevate to another level of excellency. Unfortunately, though, this is not the case, as we now dive headfirst into cinematically clumsy happy slapping, instead of actual professional punches. Gyllenhaal may be a beast, but unfortunately the southpaw himself and his powerhouse performance is the only thing tearing through the cinema canvas as the beast it is. For a movie called 'Southpaw', you would expect a certain rawness to it, but sadly this movie is merely cat-scratching the surface of a proper story. But perhaps, thinking about it, the title of the movie may not be that misleading after all… Jake Gyllenhaal may have put on some muscle weight for this movie, but 'Southpaw' is still as weightless as a feather in the wind when he isn't there to create the beats for the tempo of this story. Unfortunately, everything just seems to go south all too often in this mish-mash of mainstream moviemaking and inferior imitations of fellow and far more fantastic sports dramas. I don’t know if ‘Southpaw’ really had a strong core to begin with, but it definitely had a solid outline, which, of course, doesn’t help a single bit when you are trapped in the ring with mediocracy as your moving target.
This movie clinches on clichés and sappy sympathy throughout, which thankfully don't feel as tacky as it would have in the hands of lesser talent. As mentioned many times, Jake Gyllenhaal takes it up a notch or two, all the while Forest Whitaker plays himself well enough to even out the edges and also act as an effective companion to the rising champion. The chemistry between the two is there and it brings a nice balance to it all, even if this is mainly a one-man show. Anyways, I could continue to try and further explain the exact problem with the film or even elaborate on existing points already made, but I feel like an actual feeling is more direct and descriptive than a dragging and slowly derailing determination. To put it all nicely, pre-packaged and perfectly arranged for y'all, 'Southpaw' is one of the most underwhelming movies I have seen in recent years, and if there ever were a dead center right between good and bad, then this would hit it straight on the mark.
Because, even for all of its flaws, it honestly isn't a truly bad movie by definition, but it is simply so miraculously mediocre it hurts. Jake Gyllenhaal is great, but he is just shadow boxing his way through this movie in more than one sense, totally overshadowing everyone and everything around him… Because, when looking at it, a distraction maneuver is nothing next to a major disaster, and a punch to the gut doesn't mean anything if you're completely gutless... And that's pretty much 'Southpaw' for ya. Admittedly, I throw a few low blows to strengthen the effect of it all, but I simply left the movie with nothing of weight and nothing to wonder about. It was just such an empty experience for me in every sense of the word.
__________________________
HIS FILM DIARY 2015
total movie count ........... viewing day count
243 .......................... 279
__________________________
October 6th
—— 2015 ——
SOUTHPAW
—— drama ——
The winner takes the fall...
...and the fall takes the fame
There is really no reason to run in circles with y'all, so I might as well throw a pun(ch) at you straight away and hit you with the admittedly apparent facts to (the) face... Jake Gyllenhaal hands in yet another knockout performance with ‘Southpaw’, persistently proving time and time again precisely why he is such an excellent actor to begin with. The way he effectively and effortlessly attacks this particular project all the way down to the boxing tactics and body transformations is already extremely admirable on its own; and when adding yet another layer of everlasting legitimacy and depressing intimacy, by presenting a heavyweight fighter as a homebound looser (…or is it the other way around), you just know this is a man who is willing to walk through all 12 rounds and come out on the other side as a boxing champion and not just a one hit wonder. When Jake Gyllenhaal commits to something he clearly sets out to conquer and kill everything as the boxing beast he is...
But as mentioned previously, the reason why Gyllenhaal's performance resonates so well with audiences is because of how hollow and huge the surroundings feel when his character is present. He may be a beast in the boxing ring but the clear-cut contrast between fighting and family is perfectly presented by the subtlety of Gyllenhaal's performance. However, while we may not live entirely identical lives, the idealistic approach that Gyllenhaal uses is so real and honest that we can almost put ourselves in his place and time. The performance is first and foremost humble and human – despite of his arguably aggressive macho masking – which is really something that rings a bell with the audience. When he flexes his abs and fractures the bones of every single antagonist around him, he almost appears like a mental mass murder out for blood. But as soon as he sits down with his daughter as a humble hillbilly in a hoodie, he suddenly takes on the role of a beaten up and broken down individual, who is now facing an indestructible and almost unbeatable opponent: life in its purest form. The fact that Gyllenhaal has both the face of a winner and the face of a looser – having one foot on the podium and one in the puddle – just goes to show that the relentless range of this man is far beyond the reach of a swing from a boxing glove.
Now swinging into round 3 of this review, you would obviously expect the elements to elevate to another level of excellency. Unfortunately, though, this is not the case, as we now dive headfirst into cinematically clumsy happy slapping, instead of actual professional punches. Gyllenhaal may be a beast, but unfortunately the southpaw himself and his powerhouse performance is the only thing tearing through the cinema canvas as the beast it is. For a movie called 'Southpaw', you would expect a certain rawness to it, but sadly this movie is merely cat-scratching the surface of a proper story. But perhaps, thinking about it, the title of the movie may not be that misleading after all… Jake Gyllenhaal may have put on some muscle weight for this movie, but 'Southpaw' is still as weightless as a feather in the wind when he isn't there to create the beats for the tempo of this story. Unfortunately, everything just seems to go south all too often in this mish-mash of mainstream moviemaking and inferior imitations of fellow and far more fantastic sports dramas. I don’t know if ‘Southpaw’ really had a strong core to begin with, but it definitely had a solid outline, which, of course, doesn’t help a single bit when you are trapped in the ring with mediocracy as your moving target.
This movie clinches on clichés and sappy sympathy throughout, which thankfully don't feel as tacky as it would have in the hands of lesser talent. As mentioned many times, Jake Gyllenhaal takes it up a notch or two, all the while Forest Whitaker plays himself well enough to even out the edges and also act as an effective companion to the rising champion. The chemistry between the two is there and it brings a nice balance to it all, even if this is mainly a one-man show. Anyways, I could continue to try and further explain the exact problem with the film or even elaborate on existing points already made, but I feel like an actual feeling is more direct and descriptive than a dragging and slowly derailing determination. To put it all nicely, pre-packaged and perfectly arranged for y'all, 'Southpaw' is one of the most underwhelming movies I have seen in recent years, and if there ever were a dead center right between good and bad, then this would hit it straight on the mark.
Because, even for all of its flaws, it honestly isn't a truly bad movie by definition, but it is simply so miraculously mediocre it hurts. Jake Gyllenhaal is great, but he is just shadow boxing his way through this movie in more than one sense, totally overshadowing everyone and everything around him… Because, when looking at it, a distraction maneuver is nothing next to a major disaster, and a punch to the gut doesn't mean anything if you're completely gutless... And that's pretty much 'Southpaw' for ya. Admittedly, I throw a few low blows to strengthen the effect of it all, but I simply left the movie with nothing of weight and nothing to wonder about. It was just such an empty experience for me in every sense of the word.
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