VERY unfortunate that the Sex Pistols, the band Spider-Punk’s aesthetic and design in ASTV is based off of, are a bunch of swastika toting corporately funded freaks
13 notes
·
View notes
Just got out of the theater and holy shit
Saw X isn't just the best movie in the Saw franchise. It's one of the best horror films I've seen in years. Even if the rest of my to-watch list flops in theaters for October, I can absolutely see myself watching this thing again to make up for it
We finally got a film that's genuinely about Jigsaw and follows him through the story rather than dangling him at the edges or squashing Tobin Bell into posthumous recordings and flashbacks. It's about him and that brief but potent-powerful twilight between Saw I and Saw II where he was at his most active and personally dangerous.
Without giving too much away, it really cements
One: Why he and his acolytes are so goddamn scary-good at what they do. Better yet, it shows how pants-shittingly terrifying it is for their targets when the Jigsaw crew close in for the abduction
Two: How human and earnest John Kramer is in what he believes, the good and the ill, under all the sadistic torture-murder machinery. The cinematography and the script really work together to light him as a sort of time-misplaced Old Testament figure. If not a priest, then a classical demon who is there first to judge/punish/test people to grisly extremes, and if they pass, to immediately provide aid. All this without shying away from the fact that...
Three: Jigsaw is absolutely a monster; but far from the worst villain on the block.
The whole thing is fantastic top to bottom for fans and newcomers. It could be its own standalone flick. (And, mild spoilers, a certain character is left dangling as a potential future route to another movie. If it's anything like this one, I'd absolutely see a Saw XI)
Anyway. Bravo to Tobin Bell, to Shawnee Smith, and to director Kevin Greutert and writer Josh Stolberg. 5/5 severed limbs, will be looking forward to my nightmares tonight.
Also! For those heading to the theater, there is a mid-credits stinger. Don't miss it!
162 notes
·
View notes
After careful thought...
I am now convinced RVB is, in a nutshell at its core, two twenty year long dimetric slowburn romance tropes comprised of viewing each from the lens of 'I'd die for you/I'd live for you' while accounting for the repercussions of those choices on the lives of those around them while also examining at the same time the 'Inability to let go/ever start' and how it ultimately locks your mind in a perpetual state of 'What if?' without taking the risk of DOING all by asking the simple fucking question
Ever wonder why we're here?
20 notes
·
View notes