As you maybe already know ( but actually how would you, nobody reads my articles anyway ) Moria's Race, the movie I've been making for 3 and half years is a worthless piece of shit that nobody wants to see. I could blame people for not wanting to see it. And would be a worthless piece of shit myself doing so, but instead I think I should unleash my deepest fears onto this god forgotten page, so if there is a poor sole actually reading my ramblings, this poor sole could learn how terrible the situation truly is. But to be frank, I am writing it as a form of psychological coping mechanism.
Theories of conspiracy were proposed to explain the baffling re-surfacing of previously debunked criticisms of a man. A man who is by opinions of many is on the same side as those criticizing. But perhaps either those criticizing, either don't know about the man's true motive, or lost their true motive themselves, or, which isn't too far fetched of an idea, never had the motive that they claim to have had in the first place. The man is Richard Stallman. The criticism is of the man's apparent lack of conformity to the norms of sexuality. The norms which were significantly challenged, and subsequently re-established by those criticizing him. By those who had lack of conformity in the first place. By those who's lack of conformity was strong enough to establish a new conformity. A new conformity which Stallman deems not enough. A new conformity which Stallman isn't conforming to.
In 1994, just before Bad BoysMichael Bay directed a music video for a song "Objects in the Rear View Mirror May Appear Closer Than They Are" by Meat Loaf ( Michael Lee Aday ), which shows striking resemblance to his 2001 film Pearl Harbor and has some interesting choices that echo throughout his career. Choices that beg for a psycho-sexual analysis.
Due to the renewed interest of the public in the conflict at the middle east, some filmmakers tried pushing and pulling a political pendulum when it comes to accepting / boycotting Israeli film-makers. It is known that film-makers ( being in the art of empathy ) usually tend to be on a progressive side. That makes a concept of an "Israeli filmmaker" a rather strange thing to fathom. But since we see filmmakers from far more restrictive parts of the middle-east find ways to speak their true minds about complex topics, despite heavy censorship, there is no shortage of progressive Israeli films. One of them Zero Motivation ( אפס ביחסי אנוש ), a tale about IDF itself, has some rather interesting points. No... Not the ones you might expect.
It is not a spoiler in 2025 that the message of Luc Besson's 1997 film The Fifth Element is "Love". The fifth element itself ( a revelation in the end of the film ) appears to be Love. And the thesis is that Love is the thing that can defeat the evil in the world. But looking at the film and the behind the scenes drama around it, you can say that Besson didn't really mean love in its purest sense. But he was instead preaching a Bonobo Philosophy. Where "love" or in modern language sex, is used to deescalate conflict. Bonobos are known to fuck each other instead of fighting with each other, making themselves more peaceful. Looking at how horny The Fifth Element ( and Luc Besson ) is, the Bonobo philosophy theory sounds to be a much more plausible reading of the film. Making it very tragic indeed.
I remember sitting at the entrance to a local cinema near me, shivering from a new kind of depression. I was waiting to enter the screening of Avatar: The Way Of Water, which was released in cinema just after The Fabelmans. The previous film I have seen in that very cinema, maybe already a week before that, was The Fabelmans and that dreadful feeling I had was caused by that movie. I was committing an act of masochism going back to cinema right after the trauma I experienced, and I was pretty sure Avatar 2 would only make it worse. I didn't care. I went anyway. Thank god that James Cameron decided to limit references to himself to a few nods to Titanic and stuff, and instead made a movie that is pretty much designed as a joyride. I don't know if I was alive today if Avatar 2 was anything like The Fabelmans.
So it's 1990 and Kathryn Bigelow writes and directs an action thriller about a police officer. The police officer is female and the movie almost refuses to sexualize her. Bigelow casts a nice half-Jewish girl Jamie Lee Curtis. And pretty much the whole movie, not a single shot of her emphasizes or admires her body ( apart from one sex scene where we see a very erotic closeup of her stomach ). Making that movie technically feminist. Few years later, in 1994, as James Cameron ( who was married to Bigelow between 1989 and 1991 ) is trying to find the actor to play the wife in his film True Lies. He is reminded of Blue Steel by Bigelow. And decides to cast Jamie Lee Curtis in his film. Giving us that very strange, almost pornographic scene where she does a very erotic strip-tease scene with Arnold Schwarzenegger. More than a decade later, in 2009, both Bigelow and Cameron make a movie. And both of those movies are nominated for the best picture. Yet Bigelow takes home the price. Did Cameron lose due to his pussy curse?
A lot of people see the 2021 Adam McKay film Don't Look Up as something that fails to communicate the message of climate change well enough. McKay stated that the movie was written specifically to point people at the absurdity of the "climate crisis". And yet the film's allegorical comet / asteroid doomsday plot seems to fail at giving it justice. For once an asteroid that is about to destroy the planet is nobody's fault. While the climate change is somebody's fault. But if you look at the movie relatively to other disaster flicks of the same type ( like Armageddon and Melancholia ) you see something rather interesting.
Critics gave negative reviews to 2004 Tony Scott's film Man on Fire because of "grim story that gets harder to take the longer it goes on". Are you fucking serious? How then Lars Von Trier movies get good reviews? Something isn't quite right here. To be frank, the film is very ultra-cinematic. Which could rub some critics the wrong way. Scott doesn't just direct the shit out of it. He also edits the shit out of it. Making one of the coolest directed films in existence. Which if you think about it, isn't particularly what critics find as a serious picture. And yes, the film is grim. At times it feel like a horror film. Not just a thriller. But the film is a rather satisfactory experience.
Lunatics! is a Open-Movie project by Rosalyn Hunter and Terry Hancock. I was following their socials ( mainly their Peertube account ) for quite some time now. And today, about an hour ago they released an unfinished version of episode one. Why does it matter? Well, they are working on it, if I understand correctly, since 2003, ( based on this video ). This unfinished episode is, therefor, 23 years in the making. My Moria's Race short-film with its 3.5 years is nothing in comparison.
Freedom is something we all fight for. Some succeed more than others. But there is no fully Free society yet in the world. By fully Free I don't mean a total anarchy. This would not be fully Free since it would be possible for people to have power over other people. Which is not freedom already. It's a different form of control. But fully Free means that every person would have the most freedom that person can have without it becoming power. This is very far from the situation right now.
2016's Steven Spielberg movie The BFG ( or the Big Friendly Giant ) is about a relationship between a little girl ( played by Ruby Barnhill ) and a giant old man ( played by Sir Mark Rylance in his second collaboration with Spielberg ). At some point the movie becomes about a conspiracy to manipulate the Queen of England herself ( played by Penelope Wilton ) to use her help, so that haters of BFG's relationship with the girl will be defeated with military force. So obviously it begs the question: Is this movie actually about Jeffery Epstein?
Am I bad guy for being so positive about a movie of a person I do not care much about? Well, there is nothing to fret, as the 3D film directed by Billie Eilish is palatable for everyone looking for entertainment. Certainly no masterpiece, the film still hold water in its flow. 3D doesn't work if there is no parallax. And parallax just out there doesn't work if there is no reason for it to exist. The documentary provides ten times that.
The 1970s are an interesting time when it comes to cinema history. It is the time after the code was changed into the MPAA rating system ( allowing more violence, nudity and harsh language on the screen ) and yet before new blog-baster Hollywood was born. 1976's Carrie by Brian De Palma was already released after the 1974 Steven Spielberg sensation Jaws. But still before George Lucas broke the planet with his Star Wars. Everybody knew the movies were intense at that time. Some of the most depressing shit came out at the 1970s. And with it, there was also Carrie. A psycho-sexual revenge-tale about child-abuse.