korrea

While I was writing that long comment up there, other cool things crossed my mind that I'll leave out. Talkin', I'd say don’t be too academically opposed when it’s not necessary. Now I’ll write something silly: 1 Pulp Fiction 2 Django Unchained 3 Reservoir Dogs. Then someone says "you’re exaggerating," and well.

Anyway Talkin', I saw that you mainly criticize the film's institutional quality, its Americanness, or whatever you want to call it. Good guys and bad guys, the audience at ease, and all that. Yes, I can see that: but don’t you consider all that self-reflexivity? You, who studied (confess :D): the horse's hooves while the guy on the horse dies, doesn’t that ring a bell? And Waltz, how is it that he's German? And citing Edwin Porter and challenging Griffith in the sport that Griffith invented, on the playing field he owns? And Franco Nero's scene? And the long shots (that no one has seen, and I don't know why)? And the woman who dies, “goodbye” and flies off-screen through the door? That stuff makes me shout miracle, because the room is full and people don’t understand a damn thing but at the end of the film they applaud, and for once it makes me happy. If the shots and reverse shots in the dialogues, and the good guy (but is the line between good and bad so clear-cut? Yes? AND WHAT COLOR IS SAMUEL JACKSON? Just to mention one) who in the end wins and dances with the horse, help make a great film like this enjoyable for the large (small) audience, then bring it on. Sometimes, rarely, I feel inclined to share my enthusiasm with others.

I walked in with the intention of writing "But why the hell, for once that the original title NEEDS to be translated - because this is Django Unchained just like Reservoir Dogs is Dogs on the Loose - they don't dare, while so often they feel the need to slap ridiculous translations on already perfect original titles." I see Nes has already written it, but I reiterate. Anyway, it excited me more than I thought it would, and I would write a review about it if I were able.

I want the damn chocolates.

Those who believe they can historicize and teleologize their present, that is, their existence, are arrogant and intellectually dishonest. I don't like postmodernism because it's weak thought, and weak thought is a regression of humanity and – no matter what one may say – the death of the arts. Philosophy ends with the rationalist abomination of the Third Reich. Awaiting a rebirth, which can only coincide with the search for a new system. The rest is a pretentious history of philosophy. Realism cannot be teleological – preparatory to what, then? – because it is neither a system nor anything at all, and at most it can exhaust itself in some identity, but I haven’t read the present Manifesto, my dog ate it, I swear.

Very nice film, but it's well-known, not exactly a hidden gem :)

The usual cool stuff that screams you're dealing, I’m not into it right now.

Anyway, I'm cooler than Eligia. I even asked my mom for confirmation, and she nodded with little enthusiasm and patted my head.

As a project, it reminds me quite a bit of the Liars, but more isilissening: cazz.