text:
To embed, copy and paste the code into your website or blog:
"Little more than a predatory shakedown scheme" to "enrich the domain name industry rather than benefit the broader community of Internet users." That was how West Virginia Senator John Rockefeller described the potential registration of the .sucks generic top level domain (gTLD) by ICANN.
Yet this is somewhat familiar territory for brand owners. Even before the new .sucks gTLD was proposed, there was nothing to stop someone from registering a domain using a trademarked brand and the word "sucks," e.g. YourBrandSucks.com. The new introduction of gTLDs though require brand owners to navigate new and murky waters to ensure optimal protection.
Once ICANN approves a new gTLD, the entity selected to operate the new gTLD is known as the "Registry Operator." This Registry Operator is then responsible for the operation, management, and distribution of all web addresses under that gTLD. These Second Level Domains to the right of the .com, e.g. dinsmore.com, can be registered by any third party.
While Registry Owners are required to comply with ICANN requirements to protect established and verified trademarks, it is up to the brand owner to know what steps they need to take to ensure those protections cover them.
Trademark Clearinghouse
The Trademark Clearinghouse is the first place a brand owner should look for brand protection with the new gTLDs because every new gTLD is required to go through the Clearinghouse.
Before they can take advantage of the protections though, brand owners will have to present evidence to the Clearinghouse of a valid and enforcement trademark. This includes evidence of both rights and current usage. The overall process is quick and inexpensive, costing only $725 for 5 years of protection for a mark. Most importantly, once registered, brand owners can take advantage of two unique protections through the Clearinghouse.
Sunrise Period: After registering with the Clearinghouse, a brand owner is eligible for priority registration during the "Sunrise Period" for each new gTLD. The Sunrise Period generally lasts 30-60 days, depending on the Registry Owner, and allows brand owners the ability to register their trademark first as a Second Level Domain for the new gTLD.
Once the Sunrise Period closes though, there are no second chances. The brand owner will now be competing with third parties in a race to see who can register the trademark as a Second Level Domain first.
Trademark Claims Service (TCS): Following the Sunrise Period, Registry Owners must also provide a Trademark Claims Service period for at least 90 days. During this period, Registry Owners will issue warnings to third parties attempting to register domains that are identical to trademarks registered with the Clearinghouse. Brand owners will also receive notification of the third party's attempted registration so they can take action, if desired.
Ultimately, if the brand owner misses the Sunrise Period and the third party decides to move forward despite the warning in the Trademark Claims Services, the brand owner will have no other recourse but to commence a proceeding before ICANN to protect its brand.
Blocking Services
In addition to the Clearinghouse, several Registry Owners have decided to allow brand owners to block registration of names containing their trademarks across all new gTLDs managed by that particular Registry Owner. To qualify for this block, the brand owner must have registered their mark with the Clearinghouse.
There are a few downsides to these types of services, however. Generally, these registries are ineffective against "type-o squatting" as the registries will only protect exact trademarks. These services are also not cheap and are only available for short terms.
Best Practices
Topics: Domain Names, gTLD, ICANN, Internet, Trademarks
Published In: Communications & Media Updates, Intellectual Property Updates, Science, Computers & Technology Updates
DISCLAIMER: Because of the generality of this update, the information provided herein may not be applicable in all situations and should not be acted upon without specific legal advice based on particular situations.
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Knightsbridge Hotel
London, England, SW3 1PT , United Kingdom
The look is traditional English contemporary—bold patterns and plumped-up pillows meet granite-and-oak bathrooms and sandstone fireplaces—at this 44-room hotel on a quiet cul-de-sac in tony Knightsbridge, a stone's throw from Harrods. Snug parlors and a well-stocked honor bar add to the appeal. Regular refurbishments by co-owner and designer Kit Kemp—each year two rooms are made over completely—keep the place feeling fresh.
AmenitiesOpen / Closes
- Accessible by Public Transportation
- Concierge
- Handicapped Accessible
- Room Service
- WiFi
Number of Rooms: 44
Number of Suites: 5
Year Opened: 2003

subset: commoncrawl


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What does PI mean in Unit Measures?
This page is about the meanings of the acronym/abbreviation/shorthand PI in the Miscellaneous field in general and in the Unit Measures terminology in particular.
Pyramid Inch
Find a translation for PI in other languages:
Select another language:
What does PI mean?
- pi(n.)
- the 16th letter of the Greek alphabet (Π, π).
Discuss this PI abbreviation with the community:
Use the citation below to add this abbreviation to your bibliography:
"PI." Abbreviations.com. STANDS4 LLC, 2014. Web. 21 Dec. 2014. <http://www.abbreviations.com/term/61985>.
PI also stands for:
... and 138 more »
Nearby & related abbreviations:
Alternative search:
- Search Pyramid Inch on Amazon.com
- Search Pyramid Inch on Google


text:
Nokia 7210 Supernova Insert SIM Problem
This post holds Nokia 7210 Supernova Insert SIM Problem. If you are having one of these problems check these images out and do these simple solutions.
- 7210 Supernova SIM Problem
- 7210 Supernova Insert SIM Card
- 7210 Supernova SIM Ways
- 7210 Supernova SIM Not Working
Here Are The Solutions. Please observe carefully.
If you have further questions please don't hesitate to leave a comment.
Note: Every repairing solution posted here is tested by at least one member of our team. Use the information available here at Your Own Risk. We are not responsible if any harm comes to your device during the repairing process.


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Bob's StoryMy Boss told me one day that I couldn't cook... The next Monday, I walked into work with these " Ribs " and after He finished eating them, My Boss was Speechless for a week! I hope you enjoy them as well....
1 1/2 c
3/4 c
white sugar
3 3/4 Tbsp
onion powder
1 3/4 Tbsp
hot red pepper flakes ( amount optional )
2 c
brown sugar
1/4 stick
Find more recipes at goboldwithbutter.com
Directions Step-By-Step
1The " Rub Mixture " will store in sealed container up to 6 months in COOL DRY location.
Use as dry rub on pork ribs coating both sides. Wrap tightly in foil and place in fridge for 24 hours.
Place entire foil wrapped ribs in oven roaster and cook at 195* for 14 hours.
2Open foil and pour "Brown Sugar Mixture" (recipe to follow) over ribs.
"Brown Sugar Mixture"
2 cups…………………………Brown Sugar
1/4 cup (1 stick)……………..Butter
Enough Juices from pan to liquefy mixture. Bring to boil for one (1) minute.
3Pour over ribs.
Cook ribs uncovered for 10 minutes at 350*, then lower temperature to 250* with ribs covered back up for 3 more hours.
Serve with plenty of paper towels!
Enjoy the Experience!!!
About this Recipe
Course/Dish: Meat Appetizers, Pork
Main Ingredient: Spice/Herb/Seasoning
Regional Style: American
michelle robinson michelleloveschocolate - Mar 8, 2013
this sounds soooooooooooo good :) my question is could you do this with pork shoulder or butt and put in crokpot?
Bob Cooney - Shaklee Distributor firemanbob59 - Mar 8, 2013
I haven't tried doing it in a crock pot, But I don't see why not. You still will want to rub the seasonings and "foil" it up and refrigerate 24 hours... If you try this before I do, Let me know, and I too will post my results as well... Thanks for the comment!
Bob Cooney
Straw's Kitchen GrandsBest - Mar 8, 2013
Practise makes perfect!!! This looks like you learn quick...=;D
Bob Cooney - Shaklee Distributor firemanbob59 - Mar 8, 2013
Thank you! :)
nellie rickey jus4nan - Mar 8, 2013
I have done my ribs wrapped tight in foil in the crock pot on low..works well I see no reason why this would not work..love the rub recipe


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The Centers for Disease Control and Prevention sent out a press release today concerning the use of helmets if a tornado approaches. It reads, in part:
We don't have research on the effectiveness of helmet use to prevent head injuries during a tornado, but we do know that head injuries are common causes of death during tornadoes, and we have long made the recommendation that people try to protect their heads. Individuals may decide to use helmets to protect their heads. However, because the time to react may be very short, people who choose to use helmets should know where they are and have them readily accessible.
It makes me wonder what other strategies will arise to protect us in severe weather. Hurricanes, earthquakes, volcanoes? Any ideas?
(S-R Archives photo)
Please keep it civil. Don't post comments that are obscene, defamatory, threatening, off-topic, an infringement of copyright or an invasion of privacy. Read our forum standards and community guidelines.
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IUI #3 done - thank goodness
Find a Conversation
|Fri, 12-03-2010 - 1:21pm
I had my IUI this morning and it went better than the others which I totally liked. It was still very uncomfortable but at least I didn't burst into tears. I think the valum helped calm me down before the procedure and they got it done on the first shot. Last time, they have to put in / take out the speculum 4 times which made things a million times worse.
I was very happy with the post wash sperm count because per doctors orders, we BDed on Wednesday night with IUI on Friday. I was worried his count would be lower because of that. Last time his post wash count was 22 or 24 million (I can't find that paper that states that). His post wash count today was 35.5 million. The interesting thing was his volume was 1.5 ML which is the bottom end of what they like to see. I looked back to his rock star sperm count in June and his volume was 2.1 ML with 92.9 million post wash. I am happy with the 35.5 million because anything over 5 is good.
I really really hope it works this time. I am going to try to stay positive this cycle to see if positive vibes help. I know it is silly but I want to pull out all the stops this month.
|Sat, 12-04-2010 - 2:35pm
IUI's are always painful for me and I don't really know why. I am not sure if it is because of a tipped uterus or that I am smaller down there. The last time it was so painful that they kept on taking it out and putting it back in and I was in the doctor's office 2 hours. It kinda feels like they are sticking a knife up there which isn't pleasant to say the least. I do ok with the ultrasound but something about the speculum that my body doesn't like. It doesn't help that I've had bad experiences to make me more tense which you don't need when you should be relaxing. The drugs (valium) helped quite a bit and I was able to endure it and it was over quickly. I wish I was like most of you and the IUIs are a walk in the park. Nothing is every easy for me when TTC. :smileyhappy:
|Fri, 12-03-2010 - 8:45pm
I am SO glad you had a better experience. And those are great numbers. GL for a sane 2WW. FX for you.


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Results 1 to 2 of 2
I have a few old systems that I think would make nice routers. Unfortunately, the specs aren't very impressive. I'm basically looking for a dial-up router, with the following features: ...
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- 07-19-2008 #1
- Join Date
- Jul 2008
- Posts
- 1
100 MHz or 200 MHz laptop as a Linux router?
- Firewall (iptables?)
- Multiple computers connected to dialup (IP Masquerade?)
- Interface to turn the connection on and off (like via SSH)
- Automatically turn connection off after inactive for a while.
- Web or GUI interface to manage this connection. I was thinking lighttpd with PHP -- any suggestions?
- Proxy-caching server (like Squid) for a little more speed
Here are the systems:
Digital HiNote VP laptop
- 100 MHz Intel Pentium processor
- .7 GB hard drive
Compaq Armada laptop
- 200 MHz Intel Pentium processor
- More than 24 MB RAM
- 6 GB hard drive
Compaq Presario desktop tower
- 600 MHz Intel Pentium III processor
- 9 GB hard drive
Dell OptiPlex desktop tower
- 800 MHz Intel Pentium III processor
- 6 GB hard drive (I think)
The modem is a 3Com Courier external modem, which worked very well with my (deceased) Fedora Core II server. I also have a PCMCIA network card for each laptop.
What Linux distribution and software would be best for each? Damn Small Linux, maybe? I'm fine with something that's all command-line, no GUI whatsoever. I would prefer to use the laptops, because they save space. If I go with one of the towers, I would like a GUI like GNOME or KDE.
- 07-20-2008 #2


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Code: s45gr37
Our baby mix and match range is designed to be the answer to all new moms' prayers; comfy, practical, durable clothing which makes dressing the baby easy and hassle free. This body suit is perfect for teaming with leggings or Pants to create a separate t-shirt and bottoms look which is actually a much easier to wear a bodysuit! Plus, its quirky character graphic makes it a fun and quirky casual look.Baby Boy Mix And Match Character Bodysuit Includes:


text:
1-10 of 18 properties for sale found
4 bedroom detached house for sale Cwm Darren Place, Deri
Executive self build detached house in the popular village of Deri offering generous size accommodation throughout comprising of four bedrooms, lounge, dining room, kitchen/dining room, utility room, ground floor shower room, gym/sun room, first floor bathroom, first floor shower room, double gla... More details ›
Detached house for sale Edwards Row, Deri, BARGOED, Caerphilly
Situated in the popular village of Deri within close proximity to the town of Bargoed with its transport links and amenities. Roberts & Co are delighted to offer for sale this well extended detached residence. The property has been considerably improved and offers spacious family accommodatio... More details ›
4 bedroom detached house for sale Edwards Row, Deri, BARGOED, Caerphilly
A spacious Detached property situated in the village of Deri enjoying a quiet location with open views. Accommodation briefly comprising to the ground floor, two entrance porches, entrance hallway, a good size living room, study, dining room, fitted kitchen/breakfast room, utility room and groun... More details ›
£174,950 Offers in Region of
Offers in Region of £174,950
3 bedroom detached house for sale New Road, Deri Bargoed
VILLAGE LOCATION. Diamonds are pleased to offer for sale this 3 Bedroom detached house located within the heart of Deri Village. This well proportioned property sits above the stream known as Nant Bargoed Rhymni. More details ›
3 bedroom semi-detached house for sale OGILVIE TERRACE, Deri, CF81
Spacious Semi, hall, wc, through lounge/diner oak floor, large 15 conservatory, timber kitchen/diner with range style cooker,16 second conservatory, 3 fitted bedrooms, large bathroom with Victorian style roll top bath chrome claw feet. PVC glazing, gas heating, gardens, decking, double car space More details ›
3 bedroom semi-detached house for sale Cefn Road, Deri, Bargoed
An opportunity to purchase this stone fronted semi detatched property situated in the village of Deri enjoying open views of the surrounding countryside . Accommodation briefly comprising to the ground floor, conservatory, living through dining room and a fitted kitchen. To the first floor are th... More details ›
3 bedroom end of terrace house for sale NEW ROAD, Deri, CF81
Extended end terrace in popular location with mountainside aspect, having undergone recent renovations. Through lounge/diner, newly fitted kitchen with ceramic hob, integrated oven/cooker hood, feature tiling, white bathroom suite, 3 bedrooms. PVC glazing, gas combiheating, front & rear garden. More details ›
3 bedroom semi-detached house for sale Hillside Terrace,Deri,CF81
IDEAL FOR FIRST TIME BUYERS, THIS 3 BED SEMI DETACHED PROPERTY OFFERING FURTHER POTENTIAL. THE ACCOMMODATION BENEFITS GAS COMBI CENTRAL HEATING, CARPETS, UPVC D/GLAZING, GOOD SIZED GARDENS FORNT & REAR AND SHED.LOVELY LOCAL VIEWS! VIEWING RECOMMENDED! More details ›
3 bedroom terraced house for sale Groesfaen Terrace, Deri
REDUCED! MUST BE SEEN! NO CHAIN! Mid terrace house in a popular semi rural location between Deri and Bargoed close to Cwm Darran Park and local country walks, offering good transport links whilst still enjoying views over surrounding countryside. The property offers good sized family accommodatio... More details ›
3 bedroom semi-detached house for sale Cefn Road Upper, Deri
A 3 bedroom Semi detached house in a popular location overlooking the village and countryside of Deri. Accommodation comprises of three bedrooms, lounge/dining room, kitchen, ground floor bathroom, double glazing, gas central heating and gardens. More details ›
Thank you.
Your information has been sent to 0 out of 8 agents who have property to sell in the area you specified.


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(1 review)
Green_Tea on 2/27/2011 1:34:00 AM More reviews by Green_Tea
Age: 25-29 Skin: Combination, Fair, Not Sure Hair: Black, Other, Other Eyes: Black
I'm on my 8th one now! I used to use the one from IPSA and it's basically the same with this one, but just substantially cheaper! The refill even fits into the holder by IPSA.
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text:
|Revised Standard Version (RSV)
|New International Version (NIV)
|23 Even though princes sit plotting against me, thy servant will meditate on thy statutes.
|23 Though rulers sit together and slander me, your servant will meditate on your decrees.
|Revised Standard Version of the Bible, copyright 1952 [2nd edition, 1971] by the Division of Christian Education of the National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved. (Revised Standard Version - Holy Bible)
|Scripture quoted by permission. Quotations designated (NIV) are from THE HOLY BIBLE: NEW INTERNATIONAL VERSION®. NIV®. Copyright © 1973, 1978, 1984 by Biblica. All rights reserved worldwide. (New International Version Bible Online)


text:
Select () or exclude () categories to narrow your recipe search.
As you select categories, the number of matching recipes will update.
Find exactly what you're looking for with the web's most powerful recipe filtering tool.
Sort by: Date | Rating | Most Helpful
"This is becoming a holiday favorite for my family. I use the Laughing Cow Light cheese wedges, which melt nicely. Last night, substituted swiss chard whch has more body than spinach and it was great!"


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Bachelorette Party Advice!
Find a Conversation
|Tue, 05-24-2011 - 10:11am
I am the maid of honor in my best friend Jenn's wedding in September, so I need to start planning her bachelorette party. We live about an hour out of Baltimore so she wants to go down there to do something fun. I'm 22 and have never planned one before so I'll need all the tips I can get!
Most of the girls are my age, and we're all pretty strapped for cash because we're just out of school. Jenn wants to go to this place called the Powerplant downtown, which is basically like an area filled with nightclubs, and you have to pay to get into each one, and then drinks on top of that. I want to go out to dinner first, too. Jenn mentioned getting either a hotel or a limousine so no one has to drive home. They will both end up being pretty expensive.
I guess I don't really have a specific question... I just don't want to be the buzz kill if the hotel or limo ends up being more than I want to pay, especially since I'm the maid of honor, but this on top of paying for the dress/alterations/bridal shower is more than I can handle because I'm still looking for a job. Which do you think would be the best choice?
|Tue, 05-24-2011 - 11:11am
My best advice, the vast majority of nightclubs will not charge cover for a group of young pretty early 20's gals celebrating a bachelorette party. You might try calling or emailing in advance and asking if you buy a bottle of champagne or something if they have a bachelorette package deal. They'll probably be thrilled to have you, and if you all split the bottle it'll likely be less than cover and seperate drinks.
Nightclubs love groups of girls unaccompanied by men, they are usually swamped by single guys.
Good luck!
|Tue, 05-24-2011 - 1:01pm
I do think if you share your cash strapped situation with the people making the arrangements, they'll work with you and your friends on the pricing.
Have fun!


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Public Safety Committee, Georgia State Senate
The Public Safety Committee is a standing committee of the Georgia State Senate.
Per the Senate Rules, committees of the Georgia State Senate are assigned by the Committee on Assignments. The Committee on Assignments is made up of the President of the Senate, President Pro Tempore, Majority Leader and two members appointed by the President.[1] Committees are assigned after each election.[2] A majority of members is considered quorum, with "ex officio" members not counting towards quorum but allowed to vote.[3] The President is not recognized as an "ex officio" member of any committee.
See rules: Senate Rules
|All legislation concerning the maintenance of the security and well-being of Georgia's citizens from physical violence or danger will be assigned to the Public Safety Committee. Additionally, the committee handles most legislation related to the licensing of drivers and safety on Georgia's roads.[4][5]
Committee members
The following table describes committee membership at the beginning of the 2013 legislative session.
|Public Safety Committee Members, 2013
|Democratic members (2)
|Republican members (6)
|• Gloria Butler
|• Buddy Carter, Chair
|• Valencia Seay
|• John Albers, Vice Chair
|• Barry Loudermilk
|• Tyler Harper
|• William Jackson
|• Jack Murphy
The following table describes committee membership for the 2011 legislative session.
|Public Safety Committee Members, 2011
|Democratic members (3)
|Republican members (5)
|• Gloria Butler
|• Johnny Grant, Chair
|• Jason Carter
|• John Albers, Vice Chair
|• Valencia Seay
|• Bill Hamrick
|• William Ligon
|• Jack Murphy
External links
- ↑ Georgia State Legislature, "Senate Rules," accessed January 16, 2014(Rule 2-1.3(a))
- ↑ Georgia State Legislature, "Senate Rules," accessed January 16, 2014(Rule 2-3.1(c))
- ↑ Georgia State Legislature, "Senate Rules," accessed January 16, 2014(Rule 2-1.8)
- ↑ Georgia State Senate, "Senate Public Safety," accessed August 21, 2013
- ↑ Note: This text is quoted verbatim from the original source. Any inconsistencies are attributed to the original source.


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1974 Plymouth Gold Duster. Original running gear, 318, auto., 8 1/4 rear. One year old paint finished in original Y6 Golden Haze Metallic. Very... More
Up for sale in the Tampa showroom is this amazing Muscle Car. The 1974 Plymouth Duster Known for its lightweight but heavily enforced horsepower.... More
1974 Plymouth Duster, 60,000 miles, 318, auto, runs good, new paint w/white stripes, 2 new quarters, windshield, 2 new floorboards, good underside and frame... More


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This comes from my own experience. I filled for chapter 7 back in 2010. I needed a credit card and no one would approve me, so I bit the bullet and got the credit one card.
I hated all the fees! but i have to be honest this card helped me improve my credit. They even charge you to make a payment online, but there is a way around that. I just made my payments through my bank every month and there was no fee. I really hated the fees but I stuck with credit one for about a year and a half until I was able to get some better cards. So I guess it just depends how bad your credit is. My limit started with 400 but by the time I cancelled it was up to 1000.
myFICO is the consumer division of FICO. Since its introduction 20 years ago, the FICO® Score has become a global standard for measuring credit risk in the banking, mortgage, credit card, auto and retail industries. 90 of the top 100 largest U.S. financial institutions use the FICO Score to make consumer credit decisions.>> About myFICO


text:
As much as we love the film, it left us with a nagging feeling that there was more story to tell – and it was bigger, much bigger. So in December 2013 production started on a feature version of The Seventh, and in September 2014 primary photography was started.
We're very happy to show you the first still from Anti/Type's first feature film – follow the link here for another.
It's as simple as the title really, because as good as old Charles Foster Kane is i'm sure you know enough about him already…
(dir. Terence Malick, 1973)
So if some débuts are those unique, sealed-in-a-void, one-off, never to be repeated works, the difference with Terence Malick is that his whole career is a sealed-in-a-void, one-off (yes even 2012′s teetering on the edge of parody To the Wonder). Sure there are fine directors that have emulated his aesthetic (Andrew Dominik in The Assassination of Jesse James and David Lowery in Ain't Those Bodies Saints), but as excellent as they are, Malick drinks from a different well from everyone else. Badlands then is the start of the journey into Malick world and for the uninitiated it's the natural and easiest place to start.
Like the rest of Malicks oeuvre (though maybe not as manifestly) Badlands is a hymn, a song of worship not to the crimes and actions of the films protagonists, murderous lovers on the run, Kit (an impossibly cool Martin Sheen) and Holly (an impossibly ethereal Sissy Spacek), but to the multitude of cosmic questions that are the make-up of the consciousness of human beings. God, nature, identity, morality, love, family, all questioned and shot with the most fluid, melancholic and luscious eye.
And even at the very beginning of his career Malick had no truck with irony. Everything about Badlands, everything about all his films is genuine, unfashionable and heartfelt…. he is the great believer of cinema.
(dir. Donald Cammell, Nicolas Roeg, 1970)
'i am a bullet' is perhaps films greatest pay-off line, followed by a sequence that is only really comparable to the 'trip' sequence in 2001 in it's sheer audacious 'out-there-ness', but even Kubrick didn't have the kahunas to include an image of Jorge Luis Borges floating past a bullet entering a skull. To make the inclusion of Performance in this list even more solid, this sequence is followed by one of the cinemas best, but most unappreciated closing shots. An image that simultaneously cements and obfuscates all that proceeds it, a fabulously unstable film of shifting identities, like a psychedelic Lost Highway. A film about a reclusive rock star (Mick Jagger) and gangster (James Fox) who hides out in his London mansion. With all its 60′s trappings of drugs and sex it should of dated badly, but if anything Performance's themes are even more relevant to the increasingly fragmented and polymorphic society in which we live.
The Evil Dead
(dir. Sam Rami, 1981)
The antithesis to the unique, sealed-in-a-void, one-off nature that often affects débuts, Evil Dead could of seemingly been made by any film nerd or gang of imaginative teenagers, it was Rami's genius that he did it first and what he did got everyone's knickers in a twist. It's unrelenting energy and invention could of only been the product of youth (he was barely in his 20′s at the time). It is also one of the most mischievous films in the history of cinema, having as much fun goading its audience as it does torturing its protagonists. Proceeding the genre by nearly 20 years Rami is the first great comic book director….and it gave us the chin, don't ever forget that …………………………………………………………..
Repo Man
(dir. Alex Cox, 1984)
On a list that includes PI how crazy does the craziest film on this list actually have to be? Repo Man crazy that's how crazy. Alex Cox, cinemas Joe Strummer, Hunter.S.Thompson and Che Guevara all roled into one, directed his début like he may well never see the morning, let alone make another film. It's brimming with ideas and anger, taking on putrid politics by being putrid, paranoia, the invisibility of an entire class of people, religion, violence and stupidity. It's a punk film which still understands what punk once meant (great soundtrack too), it's a caper, a comedy, a chase film, a mystery, an apocalyptic sci-fi, a subversive political exploration, an unflinching double-tap to the back of the head to the colour by numbers, committee film-making that the 80′s spawned, a road movie, a satire, a bawdy post-modern soup of film references (Don't look in the trunk!)….basically its an Alex Cox film and it is one of the greatest tragedies of modern cinema that there aren't more of these.
(dir. Steven Spielberg, 1971)
Débuts are a good sketch for the career that follows. They are often a rough assimilation of the techniques, themes, obsessions and ideas that are played out and developed throughout the increasingly fine-tuned films that ensue. Nowhere is that more apparent than in Spielberg's opener. A salesman on a business trip in the Californian desert pisses off a truck driver and then for the rest of the 90 minutes is chased down by the unseen driver in his monster vehicle….there that's it…no sub-plots, no romantic interest, there might be some political subtext but you'd probably not see it from the edge of your seat, which is where you're guaranteed to spend your 90 minutes, just where Spielberg has had a knack of placing us in various ways throughout his career.
But tension aside the most notable thing is just how goddamn unashamedly entertaining the whole thing is. Spielberg can't help but make us watch, watch in the simplest of senses, not read or theorise (though you can do that if you wish) just watch, like kids, like teenagers, like crazy lovers, like a gang of old friends, watch. What possibly more could you want.
(dir. Jean-luc Goddard, 1960)
Its a tragedy of cinema that films are often defined in gender specific ways, that's a boy's-own-adventure, that's a chick-flick, that's a women's interest piece, 'oh that's such a boys film', a prison of stereotyping that is propagated even more with every passing year. With the miles of text written about À Bout de Souffle, it is often ignored that it is the great gender neutral film. Well maybe gender neutral is the wrong word, there is nothing neutral about this film, more accurately phrased it is the greatest film that is equal to both sexes (if we of course we adhere to gender stereotypes…which it appears we are….but we a love a good romance as much as the next man/woman/person). It is equally a romance as it is a crime film, equally tragic as it is thrilling, it is iconic, it is fashion, it is as cool as Christopher Walken in full dance mode, but it has huge, fragile heart.
Night of the Living Dead
(dir. George Romero, 1968)
You have to contextualise it. Imagine going into a cinema in 1968 with maybe just some Corman in your movie viewing repertoire, maybe Blood Feast, maybe you were a true drive-in aficionado and had seen Gore Gore Girls and Colour Me Blood Red too, perhaps even at a push you had broadened your horizons and seen Sanjuro's blood geyser, even if you had none of it would of prepared you for Romero's debut. And it's not just the violence that would have pinned you to the back of your seat, it was the nihilism, George RR Martin probably saw it as a young man and said 'so i can kill off anyone i like?' It has so little regard for humanity that even with the hoards of lumbering dead most of the characters are killed by the living, fueled by fear, ignorance, hate and selfishness. It's almost as if Romero is saying we deserve this hell that has ascended on us.
Night of the Hunter
(dir. Charles Laughton, 1955)
The main question here is, does this count as a début? Début means your first film, but can it mean your only film? Whatever the answer Laughton never made another film, leaving Night of the Hunter in a strange, untouchable void, which suits it perfectly. It is also one of the strangest films in cinema history, it's not weird, it's strange and there's a difference, it's 1 degree off normal, it's cogs run a split second slower than other films, so everything seems familiar but ever so slightly askew, it's uncanny, it's a proto Lynch film, it's Mitchums silhouette on a bedroom wall full of threat, it's the angles of Shelly Winters bedroom as she lays trance like in bed, the wide shots of houses and riverboats and horses on the horizon like a gothic shadow-play, Winters drowned but upright on the river bed and strangest of all Mitchum as he chases the children through the swamp screaming like a dying bird. It's highly likely given this incomparable strangeness that Laughton may have never even come close to replicating it. All the better then that it is a one off.
(dir. Lance Hammer, 2008)
But sometimes it's a directors only film, not because they fell off into the film-makers void but because they've yet to make another one, and you've got to hope Lance Hammer (real name…also possible superhero alias) makes another pretty soon to build on the promise of his heartbreaking début. It's almost a bit of Curtis Hanson moment, but maybe a little weirder. Hanson went from making The River Wild, a perfectly passable mid-90′s thriller to hitting it out of the park with L.A Confidential, there was really no hint or suggestion this would happen, Hammer went from doing visual effects on Batman & Robin and Practical Magic to directing this, so that's bat-nipples to Ballast just to reiterate, of course there was over a decade break in the meantime, but it's a tad strange.
Ballast is a loose, minimalist tale about the effect of one man's suicide on his twin brother, his estranged son and the sons mother. Haunting in its visuals and approach, but also uncompromisingly realist and humanist in its depiction of a rarely represented strata of American society. A beautiful link between Killer of Sheep and Beasts of the Southern Wild.
Ivan's Childhood
(dir. Andrei Tarkovsky, 1962)
In a medium where one of the primary goals is to create wonder Andrei Tarkovsky is its primary wonder creator. No other director has had the ability to create such images, seemingly effortlessly on screen, full, almost to bursting with symbolism and meaning, and a very genuine and emotional yearning to convey this to the viewer. To call Ivan's Childhood the prototype Tarkovsky would be doing it an injustice, but as he is a director who demands such devotion and involvement across his entire filmography, one of the joys of his début is witnessing the seeds planted for his later masterpieces (are any Tarkovsky film's not masterpiece?), the slow lingering takes, the fluid long shots with their dance-like quality, the obsession with water, reflections, dreams, and though, even by the directors admission, these elements are not as sophisticated as he would later achieve, this breeding ground for the techniques and ideas of one of the great philosophical film-makers (with Bergman and Dreyer….who are we missing?) is head and shoulders above most other film-makers prize work.
(dir. John Cassavetes, 1959)
Its to Shadows credit and enduring influence that it hasn't been overshadowed (sorry) by its creator and the lengths he went to to make his début. Read Cassavetes on Cassavetes and decide whether he was an uncompromising genius or an absolute arse. We're going for both, and by both understand that they can, and often have to be, the same thing. There's no denying in terms of form and craft, Shadows is a mess, but therein lies its profound and lasting beauty. This hobbled together tale of interracial relations centred around two brothers and their sister in New York, broke the mold for american independent cinema and is soaked to the bone with the kind of Hard-bop, beat generation energy that you can't really create by design. For any young film-maker it should be obligatory viewing. It's stubborn DIY ethic is the very essence of creation by any means necessary. As was the case for the rest of his career Cassavetes answered to no one but himself.
(dir. Shane Carruth, 2004)
A film where its more beneficially to search for a diagram than a plot synopsis, in fact we can imagine the shooting script was just a serious of increasingly complex equations. Lets say that most challenging films provide their rewards after multiple views, the danger with Primer is that there's a chance you may understand it even less on multiple viewings. From top to bottom Primer is film constructed with such precision it almost seems alien. Shot for a paltry $7000 on film, Shane Carruth was less a director than a demiurge, writing, producing, editing, scoring, as well as performing the lead role, not, you feel on watching it, through ego or paranoia that someone may corrupt his work, but such is the complexity of his work that only he could navigate it (much as it seems with his follow up Upstream Colour, the biology to Primers hard physics).
The plot, for what it's worth, involves some engineers for hire that invent a machine that reduces the weight of an object. They succeed but one of the side effects is that any object inside the machine experiences more time than the machine is switched on for, effectively making it a time machine. They then build a man-size one and as humans are wont to do use it to fulfill their greedy urges. Though this is like saying WWI one was started by a chauffeur who didn't pay attention. Seriously, a diagram.
Beasts of the Southern Wild
(dir. Benh Zeitlin, 2010)
Sometimes there are films that make you call all your friends once you have left the cinema to tell them what you've just experienced. Films that fill you full of a virginal love of cinema, all those reasons that you fell in love with it in the first place and after years of plodding through the repetitious, the stupid, the boring and the derivative, smacks you in the face, shouting 'this is what it's capable of'. Films that don't care what you think, that are genuine, genuinely heart-felt, genuinely joyous, genuinely concerned with asking hard questions of its characters, genuinely in love with the capabilities of the medium. Films that blur the lines between the refreshingly new and the reassuringly classic. Films that don't define the 'inner' and outer' world as different places. Films like Beasts of the Southern Wilds….just make sure you've got patient friends.
(dir. Darren Aronofsky, 1998)
Yes this is the film that's often called 'the greatest Jewish horror film about maths ever made'. As ridiculous as that sounds, there are very few better ways to sum up Aronofsky's opener. He is the reference director par-excellence (yes even better than Tarantino, because he doesn't spend all his time getting personal with his VHS player), so here we get the Kabbalah, the stock market, conspiracy theory, mental illness, non-linear maths and Kafka doing the Old Testament. It's like Pynchon without the distracting names, a deep well of ideas and theories that overlap and conflict to reveal a strange and terrifying world within a world.
(dir. Steve McQueen, 2008)
This could of got tricky, McQueen took an extremely sensitive subject (something he seems to be a fan of doing), the 1981 Republican hunger strike in County Downs Maze Prison and made a truly beautiful and form changing work of art, whilst all the time never losing sight of the human and political quagmire it depicts. It is truly a staggeringly assured début, a fact that's on the one hand not hard to believe from an artist of his talent but on the other quite unexpected due to the subject matter. McQueen's camera finds a beauty in composition (a guard smoking in the snow, a hallway of piss being cleaned) and movement (Sands being carried away, a flashback to his youth) that we would never expect to find in a film of this nature, and it is a strange and unbalancing counter to the physical and emotional brutality it depicts.
The beauty of the images though should come of no surprise knowing McQueens previous employment, his ability to draw such exquisite performances from his cast not so much. It's hard to think of a better performed scene in modern cinema than the extended conversation between Sands (Michael Fassbender) and Father Moran (Liam Cunnigham). It is a lesson in performance, politics and composition in 2 shots.
Killer of Sheep
(dir. Charles Burnett, 1979)
It is often forgotten amongst the groundbreaking aspects of Charles Burnetts début that it is an utterly impeccable film. Equal parts raw and poetic it is time capsule, a silent and simple observer of places and people now moved on. It spurns the usual narrative and character arcs, with the use of documentary, almost neo-realist aesthetic, it merely depicts scenes and events from a life lived near the poverty line, whilst foregrounding the universal struggles and challenges we all face. Fearlessly it does not apply cinematic conventions, nor is it wantonly experimental. In a list full of one-of-kind pieces, in its simplicity and its history Killer of Sheep might be the film where this term is most applicable.
(dir. Michael Mann, 1981)
For all its stylistic and thematic similarities Michael Mann's career has been an odd one. He's rarely mentioned in the 'best living directors' list…if that's even a real thing, you don't find many retrospectives of his work or thesis's by media students lining university walls. He jumps across genres while still making 'Michael Mann' films. He's one of digital cinemas earliest champions but yet tells unashamedly traditional stories. He moved from film to big TV and back again before it was the done thing. No wonder he's overlooked, as its often difficult to know what to make of him. So all we can do is take the films as they are…and y'know not over think it.
Heat in Anti/Types humble opinion is a nailed on masterpiece and again Mann came pretty close with Manhunter, The Insider and Miami Vice (yes goddamit Miami Vice), Collateral and Last of the Mohicans were two sumptuous big screen treats, Ali and in particular Public Enemies were a little underwhelming but still visually striking, even the anomaly in Mann's work The Keep is intriguing (if a little mental)…..so we're left with Thief, maybe the full stop on that string of tough, macho, urban crime films that started with The French Connection 10 years earlier. It's nobodies introduction to Mann, but it really should be. So when we do our retrospective of the great man's work you'll know what to expect first.
Blue Collar
(dir. Paul Schrader, 1978)
When Paul Schrader wasn't making films he was writing them (Taxi Driver, the criminally underrated Rolling Thunder), when he wasn't writing them he was writing about them (you can find much of his excellent criticism here). He's one of those film-makers that knows so much about film that he doesn't feel the need the show off about it and instead it seeps into his work naturally….just by doing, Schrader is teaching. His 1978 debut is exactly that. Blue Collar is a story of three friends working a production line who decide to rob the union safe and end up going from robbers to blackmailers. A simple enough premise, but is not the premise that's important. Along with films like Salt of the Earth, Matewan, On the Waterfront and the works of Loach and Eisenstein, Blue Collar is a masterpiece of working class cinema. With understanding and not a little humour it shows men slowly squeezed to the point where they react. It does not idolise them, it shows them as flawed, friendly, stupid, warm, damaged, selfish characters, who are as at risk to the total corruption of power as anyone else.]]>
Today is a proud day. Today we can reveal to you all something exciting that has been in the pipeline for some time now. Today we link you to a music website that is premiering our work and say "hey look, we're all established and that". And the link in question? Right here, my friend.
We are very excited to show you Celina, the brand new music video for sparkling disco kings, Batsch. The video was meticulously constructed over a period of months, and caused a notable dip in local commercial availability of four particular colours of face paint. It was approached as authentically as possible, with an intention of achieving everything in camera. So yes, that long shot is one single shot. It took 10 hours to shoot. I'm not entirely sure anyone's fully recovered from that day.
We're very proud of the video, and I very much hope you enjoy it.
Celina is premiering today over at Clash Magazine Online, and you can view it there now. Tell your friends, spread the word.]]>
A small note about the music
Yeah, we do too. Feels good.
Red Rock West
The history of genre is one of ebb and flow; genres react and interact with their time. Inevitably then some eras suit them and some don't, meaning genres survive on the whim of fashion. Some of the most resilient genres, such as horror, adapt internally (the atomic monsters of the 50s, in the individualistic slashers of the 80s, the globalised gore of j-horror in the 90s), while some genres, like westerns, either hibernate and reappear now and then to remind us of their worth (maybe it's a quality over quantity ethic… look at how few westerns have been made since the turn of the century but look how good those few have been) or dress themselves in the clothes of a different genre.
Noir falls squarely in the second camp, the Coen brothers have done a fine job of keeping it relevant, but it has suffered even more than the western from hiding itself behind the guise of more popular genres, particularly sci-fi (The Matrix, Brazil, Blade Runner, Dark City). John Dahl's first three films had no such desire to hide their origins… they are unashamed noirs, with none of this 'neo' rubbish. Although The Last Seduction often gets the plaudits, therefore allowing his second, but superior film Red Rock West to slip into underrated territory.
It's got mistaken identity, stolen money, hitmen (Dennis Hopper snarling… always snarling), a femme fatale, wonderful dark and dusty cinematography accentuating the primal threat of the desert locations, Nicholas Cage at his greaser best and one of recent cinemas most reliable actors, the late J.T. Walsh. It's a little twistier than Blood Simple and far more demented than The Last Seduction (take a bow Mr. Hopper), has more sense of its absurdity than The Man Who Wasn't There and far closer to the genre's heart than One False Move.
Trust me – watch it it'll make you want to pretend to be a contract killer so you can run off with the money in no time.
Knightriders is Romero's Straight Story, and by that I mean the one film in a directors back catalogue that stands out because of its total departure in theme, style or a little bit of both. They're not uncommon, Scorsese has Hugo, Carpenter has Starman (which just missed the cut). For a man who had made a career out of grand political and social statements in the horror genre Knightriders is a beautiful anomaly set at the meeting points of strange subcultures, one very American and one very British. In a nutshell it's about a travelling troupe of motorcycle riding Arthurian recreationists and the very specific nature of this world leads me to believe it was very much a project close to Romero's heart, one that he couldn't achieve with stumbling corpses. But what sets it apart the most is it's odd melancholy nature. Ed Harris is as ever superb longing for lost loves, lost potential and the promise of a world that might have never existed in the first place.
Talking of anomalies, this is the inevitable 'touching, heartfelt, feel good-we're not all hate filled, pessimistic, doom mongers here at Anti/Type' contribution to the list. A film where you can ignore the usual gaping plot holes torn into the fabric of reality that time-travel films always create and instead sprawl back on the sofa and lap-up a ridiculously enjoyable helping of underrated Hollywood fare.
Don't believe me….how's about this then….a homicide detective (Caviezel) discovers he can contact his father (Quaid), a fireman who died warehouse fire 30 years before, through the radio transmitter he once owned. Cue 2 hours of 'jeez-i've-got-some-grit-in-my-eye' father, son adventure and reconciliation, mixed in with a gripping murder-thriller, the expected time travel continuity shenanigans and a diabetes inducing happy ending. That's it, clear that shit off the sofa and get yourself comfortable.
The Shadow
In 2010, Alec Baldwin came out and said this.
"I consider my entire movie career a complete failure"
That really hurt, Alec. You made The Shadow. Don't you dare forget that.
Long mooted for a reboot, 94′s The Shadow seems to have been lost in the collective memory of roughly everyone who has seen it. So a good starting point for a cult following, no?
No. Apparently not.
It's amazing how little appreciation this film has. When asked by an underwhelmed newcomer what exactly was good about the film, Anti/Type responded as follows:
1. Looks beautiful, has some great shots
2. Well acted, Baldwin is super cool (super cool)
3. Great action sequences, and climactic invisible-building-siege set piece
4. Huge, dark, foreboding, but family friendly sense of atmosphere, but…
5. … also, actually very funny
6. Incredible music (Don't deny this! You can't deny this!)
Seriously people, what more do you want from a blockbuster action thriller? A villain related to Ghengis Khan? A dagger that can bite you? A colourblind Ian McKellen? Oh wait, it has all that too.
And what about Glengarry Glen Ross?! Forgot about that one too, didn't you Baldwin?!
Blow Out
Blow Out (1981), not to be confused with another excellent and also underrated film Blow Up, is possibly Brian De Palma's finest moment. There have been a lot of accusations hurled at De Palma over the years from comparison to Hitchcock, all the way to outright misogyny. This is perhaps why (unfairly) he is missed out when we talk of master directors. We often hear Scorsese or Coppola, but De Palma much less frequently. Blow Out is one example of why his name should be hitting the top ten.
It is an intelligent, pressure cooker of a film with elements of 'analogue style' espionage and Giallo-like paranoid horror. This combined with a great performance from John Travolta (back then an actor easily in league with the Pacino/De Niro calibre) and a host of amazing support (Nancy Allen, John Lithgow) makes for a tight hour and forty-seven minutes. People also forget what an experimental director De Palma was in the early days (see Greetings, Sisters, Hi, Mom! and Obsession for just a few). Here we see an extraordinary use of split-screen utilized to amazing artistic effect and along side it, the element of sound taking on a life of its own. More recent efforts such as Berberian Sound Studio and all of Tarantino's early work owe a debt to De Palma's pioneering film style and in particular, to this film. Greatest performance by an owl in movie history, too!
Conan the Barbarian
Right, let me say this upfront. My love of Conan isn't some fanboyish crush, it isn't some 'I know it's not that good, but I really like it' ethos… I genuinely believe that Conan the Barbarian is a misunderstood and criminally ignored masterpiece. There, I said it… and you know what I'm not ashamed, so screw you guys.
Conan is the film version of all those unashamedly heroic works of art, like Wagner, or Walter Scott, or a Boris Vallejo painting. Milus's Nietzchein superman obsession is unnervingly comfortable within the sweeping vistas, the marvelously designed sets (yes sets… no CG here folks), the simplistic cult as religion as politics worldmaking, Basil Poledouris's chest beating score, Schwarzenegger's ridiculous physique and the action… still the best scenes of sword/axe/hammer combat slashing/cutting/bludgeoning their way onto celluloid… the term bone crunching gives the idea that bones last long enough to crunch in these fight scenes. If this film was a person it'd be a rambling psychopath living in a canyon on vulture blood, it's action as plot and character and dialogue, it's a silent movie with sound, it's David Lean doing David Gemmell… trust me, it's fuckin' biblical.
Quantum of Solace
Skyfall, Skyfall, Skyfall. Stop telling me how good Skyfall is everyone! I mean, it's good, yes. It's fine. But its one liners and re-establishment of old tropes all feels a little stately coming off the back of the lean, mean killing machine best known as Quantum of Solace. Of course, that's not true; Solace is primarily known as the one everyone seems a bit embarrassed by. The first actual sequel in Bond's history builds on a plot that is stopped dead by Skyfall's short term memory, and even Daniel Craig and the Bond producers have subsequently spoken against it. You can't help but feel a little sorry for Marc Forster.
It's imperfect, yes, and it's not much of a Bond film, I'll give you that. From the sound design over the opening shots, to the general lack of gadgets, to it's boldly stylised opera sequence – it's more like a really stylish Bourne movie, in a lot of ways. It's like Jason Bourne woke up one morning, realised he had the face of Matt Damon and decided he was going to flirt with everyone all day.
Of course, it's not as good as Casino Royale. Everyone knows that, though, right?
Creating a hermetically sealed world is a tricky thing to sustain in cinema, the plot may sag (Carnage) or the characters may grate (Cube), but it can be worth the risk to conjure up a truly meaty atmosphere, and a world that can support its own physical laws, allowing for particularly memorable and singular visions (any Lynch film lives in Lynch world, wherever it goes). Kontroll is sealed within the sprawling phantasmagoria of the Budapest underground rail network and if anything at times it barely seems to fit all its ideas in the tunnels, on the tracks and in the cramped offices of the main protagonists, the ticket inspectors.
Part murder mystery, part romance, part comedy, part thriller, part horror, part sci-fi, part psychological character piece, part hallucinogenic wrong-footing everything. Like other brilliant perversions of reality such as Lars Von Trier's Kingdom or Gilliam's Brazil it comes across as one of those films that has 'borrowed' from a shed load of other sources but simultaneously seems to be all of its own making.
13 Tzameti
I watched this in a pretty much empty cinema probably on a Tuesday night, and toward the end of the film there was one thing that i remember vividly… people were laughing. Now 13 isn't a comedy and they certainly weren't laughing because it's bad, they were laughing because it's so unbelievably tense there is little else you can do to relieve the pressure building up in your head. The film follows a young Georgian man as he mistakenly becomes embroiled in an underground gambling scene that has swapped blackjack for Russian Roulette. So it's like the end of The Deer Hunter for an hour and half, in black and white.
Yes, it's that good.
The thing about Intacto is that it seems (like nearly all movies) to take so much from previous works; but with it you can never quite put your finger on what they are. It's influences seem obscured, a bit like navigating a coastline in dense fog. Here and there you get a glimpse of Lynch or noir, maybe a touch of Eco or Borges, but never enough to feel you can safely land at a conclusion at what strikes you as so familiar about a film that is so unfamiliar. The plot is uncommon, it is about luck or to be more specific, about those who can steal luck , but in a wider sense it is also a mystery film presented in a way that is familiar to anyone who has seen David Mamet's early films, Homicide for example. It's all about sleight of hand and obfuscation, the ability to make the viewer so entangled in the film that they almost feel complicit…well with any luck you will.
In a way it's comforting to think that everything we write, each review, each correspondence, each short story, each paragraph of thought, could ideally be stitched together to make up a picture of us. Order is not necessary; like the flow of thought or the composition of memory, they can be placed in whatever order to suit whatever reader. This patchwork of material is a superior method, it shows growth, changes of mind, moments of doubt and revelation, the experience of time, organic expansion, as well as allowing those smallest, delicious morsels of thought, that, when boiled down, are the most revealing qualities of a person . Traditional autobiography is too direct, too polished; it doesn't represent, it depicts; it allows for too much forethought. We get nervous around the truth and hide ourselves.
Ask yourself this, is meaning inherent in a film or is meaning fashioned by the interaction of a mind with a film? To boil down centuries of cognitive and cultural studies to a simple answer, I think it's the second one. If so then these reviews aren't separate entities sharing a void with the films, well they shouldn't be anyway. They're stories about us and the film, who we were and how we were when we saw them. We project ourselves onto them, as they project onto the world around them. So with this in mind, at what juncture was I at when I first watched Red Hill, a small Australian revenge flick that came and went, and you probably passed a dozen times on the shelves of Blockbuster (or whatever the equivalent is now)? What could I write about? I could write about it being a cracking thriller, I could write about it being part of long line of distinguished Australian B-Movies, but this would have very little to do with how I reacted with it. Truthfully, it made me think about another Australian whilst watching it, and more significantly about his body of work: John Pilger.
Was the film telling me this, or was it my state of mind when I was watching it? Sure, I have read much of Pilger's work; I have been an admirer of his since first reading Hidden Agendas (but not always in agreement with, something I like to think this restless and passionately nonconformist journalist would approve of), especially his work on East Timor and Australia; so it's reasonable to assume that my prior experiences and knowledge played a big part in what I got from the film. But on the contrary, the film, though starting out as a lean revenge thriller, is by the end quite explicitly about the plight of the aboriginal people in Australia; revealing and exploring an important subject in a way I believe only good genre cinema can. It can't just be me who realised this surely?
Now, sitting here writing this, I think the film revealed the subject, and through a system of symbols in my mind (which comes naturally to us, but I have no doubt is frighteningly complex) I equated it with the knowledge I had learnt about the aboriginals from the work of John Pilger. The film and I had met halfway, it had reflected on me and I had reflected upon it. No other individuals experience would be identical, it might remind you just of other good revenge films you've seen, The Big Heat, Dead Man's Shoes, Oldboy, or it might remind you of other injustices in the world, it might even just remind you of your holiday in Australia (though hopefully it wasn't quite like Red Hill). It doesn't really matter, what matters is that the process exists. Our thoughts about film tell us as much about ourselves as they do about the film.
So as the film evolved so did my awareness and involvement in its politics, and Red Hill's evolution lifts it well above the kind of film we expect it to be. It starts as something we think 'ah, this'll pass the evening' and ends as a film that makes us both angry and tearful. Ryan Kwanten's plays Shane Cooper, a police officer newly recruited to the small town of Red Hill and on his first day has to deal with escaped murderer Jimmy Conway (Tom E Lewis) heading back to the town where he committed his crimes, to wreak havoc on those who arrested him. So that's how it begins, all by-the-by, Saturday evening with a curry viewing. But we would only be half-way through our lamb Saag when things begin to change. The reason why Jimmy is really there plays out like the history of the colonised aborigine in microcosm.
In the way this unfolds we never feel lectured to, or feel the director is holding a big sign up saying 'This is important, pay attention'. It is after all a thriller, but a thriller that believes film can be many things at once and a film reader can therefore have many different readings of it at once. Red Hill plays with genre like it plays with the expectations we get from looking at the DVD cover.
Yes it's a thriller, but it also gleefully forces the Western on us and at times it seems as if it is stubbornly trying not to be one, but a film like this, a revenge film, a last man standing, a small town and a stranger, knows it has to be. The hats, the setting and then the horse appears as if taunting Cooper to get on him 'C'mon it's heading that way anyway, might as well help it on its way' and then we've got the Morricone-esque score, the dramatic reveals and the final stand-off. Even the flashback to the murder of Jimmy's family recalls, in the events it causes, the death of Harmonicas brother in Once Upon a Time in the West.
It's there in the landscape too, but it's is not the Australian landscape that we're accustomed too. It is not the boiled dry hell of The Proposition or Mad Max, nor is it the dream state of Picnic at Hanging Rock or Walkabout. It is an uncanny hinterland, just one degree off familiar, green but almost on the edge of drought, dusty but cold. This combination creates a fine eeriness to the film that along with Jimmy's scaring and the strange threat of an escaped panther in the hills allow Red Hill to at times lean heavily from western into the gothic, horror almost.
With this suggestion of horror creeping into the edges of the film Jimmy's near silence throughout could relegate him to simply being a bogeyman, but his transformation over the course of the film is incredible as he becomes a figure of fear to… well just watch. It's the little things that build his character, the sparing of an elderly couple for example or best of all, the look on his face when he slowly eats a spoonful of dessert, which more than words tells you all you need to know about his incarceration. Action as character development.
Jimmy's arrival signifies the arrival of a storm in a more literal sense and as it approaches, the heat thickens and the film gets feverish. A tense stillness pervades the landscape, the supernatural lurks on the edge, bullets seem to pass through Jimmy (though there is a logical explanation for this) he stalks his victims like Jason or Michael Myers, his face often blackened out by his cowboy hat or entirely cast into shadow by streetlamps or a full moon, suggesting maybe that this really could be any one of the victims of the films wider crime. But again it is our own readings that make the whole process, from viewing, to discussing, to writing, such a personnel thing.
For your consideration, is the panther just a panther? Or is it the fine line between man and beast, between the edge of town and the wilderness beyond it, or is it the past that comes to prey on us all in the end, conquerors go from liberators to killers in a generation and a few rewritten text books…or is it just a panther. Many of the men cower and beg when faced with their past, others arrogantly defy it, some try both.
Many of these films are about the advancement of the body in form and thought, often by individuals who express themselves in fervently scientific or philosophical ways that border on religious. More than destroying the human body, it is about rebuilding and reshaping it. But since Mary Shelley had Dr Frankenstein sew corpses together in crude human form, this endeavour has rarely ended well, but I suppose that's where the horror bit comes in. And although there is large amount of common ground in these 11 films, a love of surrealism and the phantasmagorical, a sly nod to Lovecraft, a doff of the hat to the fetishisation of modification, an almost vaudeville sense of absurdity in the lavishings of gore and sex, plenty of sex; there is enough diversity to impede the homogeneity that crippled the slasher film (and to a less of extent torture porn… but that was pretty homogenous to begin with).
Because it is often the case that with a reformation of the body comes an alteration of the mind. So body horror often exposes the psychological effect on the protagonists and while it's at it also a huge dollop of Huxley-esque perception altering… often to supremely trippy levels. Add to this a much simpler fact; if you take away all the blending bodies, mad scientists, zealots, parallel dimensions, infestations and impregnations, what you've got is sci-fi, hi camp, weighty literary adaptations, remakes, cyber-punk, classicism, comedy, conspiracy, paranoia and class politics… put that in your dictionary pipe and smoke it.
Society (1989)
This film, I like to think, is a rites of passage for the young and naïve cineaste, taking their first uneducated steps into the underground weird-world of exploitation and B-movie, where the amateur and the innovator go hand in hand and the best hunting grounds are those increasingly rare VHS dumps where the extra-large 80's cases are prevalent. Society is one of a number of films, like It's Alive, Q The Winged Serpent, Street Trash and The Hidden, where just below the cheap and nasty surface lay some powerful ideas, it's also, and this is a complex term in film theory, fucking mental. See that's how I like a film to work, make me think and blow my eyes out of their sockets simultaneously. Challenge and excite.
Society premise builds gradually and effectively, as Billy 'Slow-mo runner' Warlock's rich kid gradually feels out of place in his privileged world. It starts with strange tape recordings and odd therapy sessions and then develops with unnerving glimpses of things which make both us and Billy double take and then…well…. Take all of 'those' endings in film history, y'know the ones M.Night.Shyamalan would give his left nut to make and lay them in a line of increasing whatthehellery, and past Requiem for a Dream, past Synecdoche, New York, past Performance, past even Audition you'll find Society. Trust me you can take all your disaster-porn and sweeping epics and toss 'em, this one has got to be seen to be believed.
Altered States (1980)
While many of his contemporaries in British cinema were tackling realism, character and politics, Ken Russell was going all Fellini on us in Tommy, the Devils and Lisztomania. Expressionist films of colour, sound and eroticism, with healthy doses of religion and surrealism, courting controversy, contempt and admiration in equal measures. Many of these themes and styles collided gleefully in 1980 with Altered States. It was Fellini bordering on Jordowsky by way of Cronenberg….and that concoction should either be the worst thing you could possibly imagine a film to be or sweet music to your ears.
William Hurt in one of those everyman performances he did so well in the 80's plays a scientist who experiments on himself with various hallucinogens and a sensory deprivation tank that together cause him to genetically regress. The body horror in Altered States is as much psychological as it is physical, in fact one often manifests the other in increasingly insane ways, to the point where the multi-eyed crucified goat Jesus seems pretty ordinary. Shame about the easy ending mind….
Alien (1979)
It's Giger isn't it. Don't get me wrong it's one of the finest horror films ever made, full of disorientating tension, taught, nervous performances and a wonderfully realised dank, technical world, but it's Giger isn't it? The reason it's here is his design….well that and the horrible incubation idea present in the film, preying primarily on male fears of penetration, as well as more universal parasitical nightmares. But I'm kinda sure much of the detail for this sprang out of Giger's darkly pornographic images, where when you look long enough everything becomes a penis…or a vagina….or a penis in a vagina.
The Thing (1982)
We've already gone into more detail about Carpenter's masterpiece here, but just to reiterate with our body horror glasses on….in a strange way The Thing is a combination of Alien above and Tetsuo below but with more beards. It is by far and away the most 'body transformative' of the films here, a step beyond even Tetsuo in this sense, but combines it with Aliens hidden horror, the monster inside, watching, waiting. In fact why'll we're at it let's throw From Beyond and Society into the mix as Rob Bottin scored an early victory for The Thing in his still gobsmacking effects. Like those films the transformations transcend simple gore and become an art form, making chests bursting open and heads growing legs things of surreal beauty.
Tetsuo: Iron Man (1989)
There are plenty of films I have turned off because they're rubbish, there's a point where you watch so many films that you have no longer have the time or the patience to watch crap ones. On the other hand there is only one film I have turned off just because I couldn't hack it and that's Tetsuo: Iron Man. I went back to it of course, but the first time I watched it, some misty Christmas years back, I really wasn't prepared for that kind of visceral assault and had to switch it off to regroup.
Tetsuo is cinematic version of a hardcore fanzine, ugly black and white, hobbled together, schizo editing, a camera operator in desperate need of some Ritalin and an approach to sex that can only be rated on Skynet's Kinsey test…but most of all it is constant, it is an unrelenting attack on our senses.
Its plot, for what it's worth, involves a man with a fetish for inserting metal objects into wounds in his body, taking his revenge on the couple who ran him over and left him for dead by infecting the man with living, invasive metal to the point…well to the point where his penis becomes a drill.
As much as this is a film about extreme body modification and mans increasingly ambiguous relationship with technology, it is also the cinematic equivalent of a dare; Shinya Tsukamoto directs like he might never direct again, it's like someone dared him to push everything, try everything, challenge everything….
Teeth (2007)
Body horror is often quite gender specific in its aim of transformation or destruction. Think Dead Ringers or the Fly's gynaecological horrors, Tetsuo's sexual mutilation or Aliens male genophobia, but nowhere is this more evident than in Teeth. Here the female revenge sub-genre (think MS.45 or Coffy) is taken to a whole new level, playing on male fears of emasculation and on female revenge fantasies at their most base and mythical.
If anything, for a film about a woman who has teeth in her vagina, Teeth is quite subtle, retrained almost, the gore is infrequent and more effective for it. Instead it relies on the transformation of the lead from victim through to empowerment by way of confusion and disgust, and not a little sly humour, all bundled up in a superb performance by Jess Weixler
The body horror in Teeth is left entirely unseen (it would be a pretty hard thing to show), but this is all for the better, it's like the shark in the first half of Jaws, there, hidden, waiting to strike. I suppose a better term for it would be an evolutionary horror….well that's if you're a man….ladies, I hope you enjoy watching this evolutionary comedy.
Slither (2006)
Even though there are elements of humour in some of the films listed, Slither is the only one that is an out and out comedy. It's proof that there are not many things funnier than the human body, especially when it's swollen to the size of a hot air balloon, or dissolved into a tentacle armed patriarch, or filled full of horny space worms.
But Slither could of quite easily of been another 'gorey alien parasite infects a small town and turns the residents into mutant/zombies/cannibals' flick (tick as appropriate) if it wasn't so sharply written and acted. The sly, nodding script brings out great turns from Elizabeth Banks, Nathan Fillion and the omni-awesome Michael Rooker, and the film whips along in a streamlined 90 minutes….whips along, get it, whips…..ah watch the damn film.
From Beyond (1986)
Just as Cronenberg is the quintessential body horror filmmaker and Giger is the quintessential body horror artist, then it was inevitable Lovecraft would have to appear sooner or later on the list. The unutterable horrors of his literature have often drawn film-makers to test the boundaries of horror, even though his whole lumbering, blasphemous, many-eyed monsters are often described in words that deem them indescribable, but I suppose that's part of the challenge.
From Beyond, based on the short story of the same name, shares Altered States perception changing ideas, but realised in a far more overblown way, as scientist Ted Sorel's creation, a machine which allows people to see beyond the natural realms of perception, is abused by his assistant Jeffery Combs, opening up the Lovecraftian world that lies just below. It shares the same 'just-on-the-right-side-of-farcical' transformations as producers Brian Yuzna's later film Society, but with added pineal gland.
Bug (2006)
The most grounded of all the films here and therefore maybe the creepiest. Friedkin brings his grubby, unflinching style and locks it in a hotel room with Michael Shannon, who is convinced there are government sent bugs in the walls and under his skin. His mania soon infects troubled house wife, Ashley Judd, and before long the room is covered in foil and they're pulling their teeth out. This is a film that intensely demonstrates the transformative nature of psychosis, how the psychological can become the physical if you believe it enough. It also neatly brings up topical issues, like…y'know….the guy sat in some windowless room somewhere in Washington, watching you reading about a film about people, who think they're being watched, probably by people sat in a windowless room in Washington.
Eyes Without a Face (1960)
Georges Franju's film stands alone in this list as much for its lyricism as it does lingering and oddly timeless air of mystery, but it is as much a horror and indeed a monster movie as any other film here. The monster in question is surgeon, Dr. Génessier who has dedicated his life to the heart-breaking task of repairing his daughter's face, which was horrifically scared in car accident. He does this however by kidnapping young women and removing their faces in an attempt to graft them onto his daughter. This is body horror at its simplest and most human, and possibly for these reasons, it's most terrifying. Génessier's plight is both monstrous and at a basic level, an understandable thing for a father to do for his child.
Cronenberg 1975 – 1996
So we come to the inevitable. This is Cronenbergs world and we're just visiting. But to simply pick just one of his films would be a) a disservice to this list and b) really really hard. So as way of a cop-out we've gone from his body of work stretching from Shivers to Crash (Fast Company aside) If you want a fast track education in body horror…hell in modern horror, then this is the place to be. We've got demented sex worms, armpit-zombie vampires, rage manifested killer children, tyrannical psychics, a transformative teleportation love story, gynaecological breakdowns, a pair of literary adaptations of radical difference, Daily Mail knicker twisting techno-sex and what-ever-the-hell Videodrome is. Should keep you happy for a while]]>
Better get watching, folks. 2014′s now upon us and is predictably going to bring more incredible films that we'll all have to make time for, and form opinions on, and recommend, and warn about, and the whole cycle will just keeping repeating itself. Damn filmmakers. When are they going to slow down?
Seemingly a perfect combination of Greengrass's career so far, Captain Phillips effortlessly mixes the frantic visceral cinema of the Bourne films with the tragic humanity of United 93 and the character politics of Bloody Sunday. Altogether what we have is hands down the tensest film of 2013, all the more effective because like United 93 these are not extraordinary people, they are ordinary people doing extraordinary things.
The first two are Hollywoodclassicism in the best possible sense, Kiss Me Deadly sure as hell isn't and it has no regrets for not being so. It distinguishes itself from the other two by its unapologetic pulpiness. Even though there are probably dozens of equally fine examples lost in the celluloid crypt, Kiss Me Deadly seems like a common ancestor of the drive-in, midnight movie, video-nasty culture that would explode over the following three decades, pushing to the forefront the seat-filling siblings of sex and violence, as well as a demented drive to genre mash, so loved by Corman and Troma. It is one of the cinematic culprits that smuggled the seed of pulp into the mainstream, so much so that we can barely separate it from what we now do deem 'mainstream'
It was also, interestingly enough, chronologically the latest of these films. You see at the arse end of the noir golden age Kiss Me Deadly kicked out of the cul-de-sac the genre had created for itself, with one black eye looking mockingly backward and one blue eye staring into the future of sleaze and exploitation. Mickey Spillane knew all about noir, he knew what made it tick and although there's an obvious love for all things tough, sharp tongued and be-hatted, he also lampoons the genre mercilessly. And Director Robert Aldrich knew how to cajole a taught little genre piece out of the B-movie basement, as he had done previously with a pair of sharp westerns (Apache and Vera Cruz) and a censor baiting espionage flick (A World for Ransom). So together they made Kiss Me Deadly very much a film of excessive psychology, in a genre not known for much subtlety in this area. Every facet of it can be drawn back to the characters' mental state; emotion is extreme to the point of absurdity. Aware I think of its own preposterousness, Kiss Me Deadly seems to very much use it to mock its forefathers.
We can witness this from the film's very beginning, because it starts (and continues in an upward trajectory) with distress. Christine, the doomed broad, is brought by coincidence, fate or a corrupt alignment of the stars, into the path of our hero, thug and sadist Mike Hammer, distraught and panicked. Screaming she throws herself into the path of his speeding car, he berates her, insults her, her sudden witty counters unbalance us, she jumps in and we speed away, no back projection needed, we're very much nailed onto the back of Hammer's car and like Lost Highway the white line unfurls out of the pitch dark. As the credits run upside down (David Fincher was probably watching) Christine pants breathlessly over the soft sounds of Nat King Cole. This early juxtaposition of soft and hard, light and dark makes me jump forward 15 years to Michael Corleone at the baptism of his nephew as his enemies are simultaneously slaughtered.
This isn't the only time while watching the film that The Godfather springs to mind. Kiss Me Deadly is almost perfectly lit, darkness creeps in from the edge of scenes, constantly threatening, and it brings to mind Gordon Willis' work on The Godfather. With his genius balance of light and shade he reminds us that beneath the loyalty, the family ties, the sophistication and tradition, are always violence and exploitation. Kiss Me Deadly does not even have this reassuring surface layer, anything light appears as old paint flaking off a rotten wall, forcing us to confront the fact that darkness is merely the absence of light and everything solid in Kiss Me Deadly is just illuminated enough to pick it out of the darkness where it naturally resides.
Even more oppressive is that often anything that is illuminated takes on the form of bars caging the characters in the escalating mystery, behind characters on bed heads, in front of the them in banisters, surrounding them under piers, often shot from angles off balance or ones too high or low to give us a human reference on events.
These elements assimilate perfectly when Hammer, dragged into a mystery by Christine's murder, visits her old flatmate. He climbs the stairs to her apartment barely visible in the dark and slung askew by the camera warping the straight lines of steps, shadow and banister. In Christine's room, the light is hung low, obscuring Hammer's face and flooding the top of the frame with darkness, their voices echo in the near bare room, the flatmate mutters her lines in a strangely staged and melodramatic fashion, simultaneously sounding needy and threatening. There is no soundtrack to fill the silences, to tell us how to feel, only the constant rumble of invisible trains (Michael Corleone again, this time eyes flicking between victims in a restaurant). The scene plays out like the film in miniature and closes with a strangely agitating shot. The flatmate lies down on her bed, her lines still being delivered, but her head from the shoulders up disappears behind a pile of boxes. It seems rough and unprofessional, but from the acute staging and synchronisation of the rest of the scene we know this is not true. Like a similar shot in Don't Look Now where Donald Sutherland places a phone receiver down which obscures the face of his dead daughter, we know it is telling us something but we're not sure we want to know what it is. All together it creates an oppressive aura of expectation and tension…nothing good will come of Hammer's investigation into Christine's death and only violence is waiting for him.
And what violence; it's difficult to think of a more violent film released in America in the 50's, while the Hay's Code still held the industry in its vice-like grip. Christine is tortured, maybe to death, with pliers, in a region that Lars Von Trier has only recently dared to go, Hammer repeatedly smashes an attacker's head against a wall before throwing him to his death (after the head injury it seems disturbingly as though Hammer even lets him up so he can continue the punishment), Hammer's friend and informant is crushed under the car he is working on, a prone man is coolly stabbed in the back. Hammer gets his hands dirty more than most, his attack on a goon happens out of shot but the overt reaction by goon #2 to the violence implies this was no usual roughing up and is one of many events that suggest Hammer's sadism. Nowhere more than Hammer's relationship with women, he looks at every one of them with a predatory gaze, but very rarely follows through, he plays his assistant and sometimes lover Velda with a combination of strong-arming and flirtatiousness, but never to seems to find enjoyment in her attentions. He only seems to smile when causing pain.
About two-thirds of the way into the film it goes off into the deep end, to a place where no previous noir had dared to go. It's a make or break point for the viewer, what had previously been a film that teetered on the edge of psychological and emotional ludicrousness, happily plunges off a cliff into a sea of nihilistic sci-fi horror. Hammer's investigations lead him to the calculative king-pin of the mystery Dr Soberin and his search for a mysterious box that is hot to the touch and emits a deadly throbbing light when opened. 'The great whatsit' as Velda calls it is cold-war paranoia, a fear of apocalyptic nuclear attack; an idea that supports the theory is that after briefly opening it and scalding his hand Hammer spends the rest of the film dying from its effects. But it stretches further than this, the horrific noise emitted from it as it is opened causing a destructive inferno during the film's climax washes all theories of its nature in a supernatural doubt, it is the Ark of the Covenant in Raiders of the Lost Ark granted MacGuffin status, it is an horrific mystery that emanates across rock'n'roll comic book, battered paperback, greaser, 70's red blood, revenge fantasy cinematic history from Repo Man to Pulp Fiction. Where characters beat each other to a pulp after a cutting one liner, where men are cursed by their actions and doomed by their consequences, where they spout off about Lot, Pandora and Cerberus while totally aware of the mythology they're creating.
Be warned, it's not the easiest of films (Really? You're surprised?), but Descartes holds a very special place in our hearts. It was shot as part of a (frankly ridiculous) 3 films in 3 days scheme (and by 'scheme', I mean, 'thing that we decided to do'), and it jostles with Dissonance and Parasite to be crowned our most economical production. It's a film powered by its dialogue and blessed with memorable performances from great players. It was also our first co-directed film, but it most certainly won't be our last.
We very much hope you enjoy it. And for more post-viewing information, check out the Descartes page.]]>


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