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WuTs The Most funninest movie for somking weed?
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| DJ E-s*it |
| anyone? my would be "meet the parents" anything else? |
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| Carl0s |
| Half Baked and Cheech & Chong.... those definitely have to be in any bud smokers library. |
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| monoxide |
it's a must [i didn't believe it till i experienced it]:
PIXAR animation!!! they're short, funny and a total nonsence [in a good way]
try:
-for the birds
-gasplanet
-pings (my favourite)
-geri's game |
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| Boomer187 |
| The Big Lebowski. |
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| butterfly |
| we used to smoke and watch fear and loathing in las vegas but in the end it is just a bug out movie if you pay attention to it. |
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| Chang monkey |
| Fear And loathing In Las Vegas. ULTRA ED UP |
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| placebo |
Toy Story
Definately. |
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| Swamper |
| Thumbs up on half baked :) |
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| 3jaz |
CHOPPER
Chopper is one of the more startling and assured films to emerge from the most recent crop of Australian films. It mercifully rejects the cloying quirkiness of the suburban grotesques which seem to consume our national cinema and places its protagonist in the grim wall of Pentridge Prison, and in the bleak suburbs of Melbourne. Its stark contrast to the bright silliness of films like Muriel’s Wedding and The Dish deliberately set it apart from much of what has gone before. The time that has been taken with this film is on display here; everything falls into place from direction to set design to the outstanding performances. Not since the wonderful What I Have Written has there been a more carefully constructed, beautifully executed script with such a solid sense of place and atmosphere. Chopper does reflect the sort of film coming out of England at this time – there’s a touch of Ken Loach in its gritty realism and harsh, uncompromising approach. Yet this is also married with the sort of visual pyrotechnics and snappy riffing that occurs in the films of Guy Ritchie, and the combination of these two forces works perfectly in Dominik’s film. It is effective in being both confrontational and yet elliptical, gruesomely shocking and at the same time tender and tragic. The rich intricacy of Chopper, and the perfectly realised attraction/repulsion dynamic of the man himself makes this film a fascinating journey into the mind of one of Australia’s most complex figures. It is by no means an easy film, and it raises thorny ethical and moral questions not just about the man, but the actual film itself. But this is part of the pleasure of Chopper. The film, like the man, is not easy to pigeon hole, and it benefits from its refusal to moralise or push a certain point of view. The power of this film is its desire to present all facets of this man, and let us draw our own conclusions. Controversy over whether the film itself assists a self-confessed murderer by granting him the exposure he craves is healthy, vibrant and welcome in an era where cinema seems to be encouraging numbing complacency. If this film inspires energetic discourse on the nature and purpose of cinema, then I’m all for it. This is one of the terrific features of Chopper; it is not a film you watch and forget. It forces you to consider, to evaluate, to weigh evils and position yourself somewhere on a moral continuum. This is far from lazy cinema, and that is something to be applauded.
Mark Brandon ‘Chopper’ Read has become part of Australian criminal folklore, with his best selling books and disarming interviews (including the infamous appearance on ‘McFeast’ where he appeared drunk and laughing over the injuries and murders he had committed). The thing that has made the real Chopper Read such a phenomenon is the simple fact that he challenges our attitudes to the criminals in our midst. It is far easier to dismiss criminals for their actions – they are sentenced and forgotten, and become faceless and anonymous and easier to denigrate. Yet Chopper has proven to have a great wit, a healthy disrespect for the criminals he associates with and attacks, and a sort of renegade charm that is engaging as well as repulsive, and all this makes Chopper not so easy to dismiss as just another hood. Dominik’s film captures the complexity of Chopper’s personality with absolute insight and clarity. Early on in the film, Chopper (Eric Bana, in an amazing performance) stabs rival Keithy George (David Field, back in prison yet again) in what appears an unmotivated attack. His subsequent reaction swings from genuine remorse to self loathing to a cocky derision as George is dragged out of sight, leaving a huge blood stain in his wake. Similarly, his attack on girlfriend Tania (Kate Beahan) presents him as a paranoid, obsessive lover and a violent, vicious thug. With Tania punched repeatedly, and her mother knocked cold by Chopper’s abrupt and brutal Liverpool kiss, he berates his sobbing girlfriend as her mother lies groaning on the floor: "Look what you’ve gone and done. Your mother’s upset…" Chopper is no easy character to tag. He brutalises people out of an overwhelming sense of fear and paranoia, yet hates the end result of his actions – often after beating someone senseless or shooting them at point blank range, he becomes instantly solicitous: "Are you alright, mate?" It’s almost like the actions are separated from himself, they occur beyond his control. And Dominik’s success in conveying the startling contradictions in this man is what makes Chopper such a brave and fascinating film.
Braver still are the decisions Dominik has made in his approach to the film. Not only does he dare to show Chopper as a person riddled with foibles and refusing the obvious temptation to demonise him, he also tackles the film with a strong and daring visual style. Although the film opens with footage of Pentridge and the irony of the song "Don’t Fence Me In", Chopper soon loses the brightness of the sky and becomes saturated in subdued blues and greens. It’s almost like Chopper’s world has become tainted, darkened, oppressed; it’s a visual technique that heightens the lovelessness of Chopper’s life, lacking in warmth, as cold as a morgue. Nor do we get much in the way of background music – the opening song, a few tunes we hear in a nightclub, but there’s nothing cueing us as the events unfold, and that is perhaps for the best. Most startling of all, however, are the sequences surrounding the death of Sammy the Turk, a killing for which Chopper was tried and acquitted. It takes place in the notorious Bojangles nightclub, in the Melbourne suburb of St. Kilda. The events here are replayed through several different versions, each subtly different from the next. But most astonishing is the one which depicts the murder in speed inspired rhyming couplets. The awesome contrast of murder and poetry, related by the seedy, artless players in this saga is an absolute masterstroke. We are never left with a clear vision of the true events, like everything else in this film, it is up to us to come to our own conclusions, but the execution of this pivotal moment in the film is handled with impressive visual and dramatic style.
Eric Bana, an adequate comedian, proves he is an outstanding dramatic actor, bringing to Chopper much of the power of the film. He knows that the key to Chopper is not his words, which are often flagrantly exaggerated and the work of a showman, but in his face, his eyes, which frequently betray the truth. By bringing this duality to his performance, Bana truly captures the complexity of the man – his cockiness, and his deep-seated fears. This is a difficult role, and one that relies on nuance – right down to speech patterns, gestures, a demented look in the eyes, and Bana succeeds every time. Dominik has chosen wisely in his direction of the film – his casting shows equal audacity and nous. In support, Simon Lyndon (so brilliant in Blackrock) is again excellent as Chopper’s friend and part-time foe, Jimmy Loughnan, and Kate Beahan as Tania retains the weary, brittle quality of the brothel worker trying to navigate her way through the complex problems life continues to throw her way. The cast (which includes real life television reporter Renee Brack) are uniformly solid, and round out the accomplishments of this film. Chopper is tough, provocative and challenging. But as far as Australian cinema goes, this one distinguishes itself for its clear vision, inspired approach and dedication to something more than easy jokes and bland stereotypes. Dominik may have struggled to get Chopper onto our screens, but the wait has certainly been worth it. This is an excellent film, and one worthy of the praise it has already attracted. It may be brutal, violent and tough to watch, but it’s not a film that allows complacency or sloth in its audience. Chopper is a vibrant film that kicks and bullies its way into your mind, and forces you to grapple with the thorny intricacies of the man and the film.
WORTH THE WATCH ;)
4/5
IF NOT
Im sure you all have seen/heard about it . If not go get it
Part 2 and 3 suck
3/5 |
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| Boomer187 |
whiteboys was kinda funny Linky
although I think you have to be really, really stoned and/or really really drunk, and/or with friends that are also reall really stoned and/or really really drunk. |
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| blazed it |
SUPER TROOPERS!!!
sooo good when your high it's ridiculous. |
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