Raffia Ribbon Walmart Deplorable Trash Or Staggering Genius The Movie Irreversible

Deplorable trash or staggering genius? the movie irreversible tipper gore, get out the big guns. ‘irreversible’ is here, and it just threw one helluva first punch. no amount of boycotting, picketing, restriction or name-calling can stop the blistering raffia ribbon walmart piece or moral certainty from landing, smoking, on the doorsteps of video stores all across the country. i watched it myself. walked down to the store and picked it up, right off the shelf. it was three nights ago, and since then, my mind keeps returning to them, wheeling around and locking down this aspect of this or that, not to stop in relation to something i wish i’d seen in the first place.

Yes, i thought i’d seen it all. i am one of those people quote lines from ‘reservoir dogs’ in the party and re-enacts the infamous ‘crucifix crotch’ scene from ‘the exorcist’, laughing all the while. i do not believe in censorship. raffia ribbon walmart to put it very simply, i think there is an inherent right to exist for all of us as humans to create whatever art can we please, without restrictions, as long as no one is physically hurt – against they will – in the process. it is faith that makes a movie like ‘irreversible’ as possible, and i find myself trying very hard not to choke on my own feet in the aftermath.

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  • Updated today
  1. 1:32Irreversible 2002 Official Trailer
  2. 1:48Irreversible Blu-ray (trailer) – Accent Films Collection

  • Believe me when i tell you this is the next step to desensitization. the film caused huge waves with its world premiere at cannes in 2002, causing people to walk out just twenty minutes of the film, with many more following more than halfway through. it has experienced a similar reaction to its north american release in telluride and toronto film festivals, and night just three ago, it was all i could do to stay in while i was sitting there on the couch, feeling every excruciating second pass by i watched the infamous nine-minute rape scene roll out in front of me the first time.

    Yes children, irreversible has arrived, complete with deleted scenes, teaser, trailer and all the other fluff that is typical dvd packages these days. the movie itself, however, is far from typical. picked up by lions gate films – the company that grew from a manufacturer of teeny art house films to major hollywood player in the last seven years due to taking risks like this one ( ‘american psycho’, ‘dogma’ and ‘house of 1000 corpses’ are just three among a long list of movies that stank far too much controversy for either ‘non-independents’ to press) – official video release date of the film north america is august 5, but it reached my neck of the woods a little late.


    To be perfectly honest, i had no idea what i was getting into. i have not heard of it, but my viewing partner for the night said he was fully warned of its graphic nature. whatever. i saw ‘faces of death’, for the sake of god. nothing can phase me. think again. in the first moments of the only murder scene in the film, which takes place about twenty minutes, i felt my lungs seize up and tears well up over my eyes. i immediately paused and seek to know what we’re watching is snuff, because if it is, i do not watch anymore.

    My friend assured me it was not, and after a few minutes of regrouping we went, me clinging to the knowledge that it is in fact pretending to be my only protection. what unfolded was a work of art that has managed to shake my moral and ethical code right down to the core, its equivalent does not exist in the film and found only in bret easton ellis’ controversial novel hyper ‘american psycho’. the film, unrated, traveling back in time – a la harold pinter’s ‘betrayal’ and christopher nolan’s “memento” – beginning at the end of the sequence in which the camera swoops about the middle of the building of france uncontrollably, not giving viewers any real chance to get a foot-hold on what is up or down and management to create the actual physical feeling of nausea.


    Among them, noah also employed the use of very low frequency sound during the opening sequence to add to the effect. the entire movie is filmed in such a way as to give the appearance of no editing, creating a frighteningly realistic and personal effects such as stream-of-consciousness writing – another strange coincidence in ellis’ novel. from there it soon takes us to the rectum, a gay s & m club, where it finds marcus (vincent cassel) and his reluctant friend pierre (albert dupontel) in a heated and ongoing confrontational quest for the pimp known as la tenia (the virgin).

    The soundtrack throbs relentlessly as the camera continues to swoop about, exposing us to any number of homosexual activities in progress, revealed only in blood red light clubs interior. as the scene unfolds, you can literally feel the violence to come. when it transpires – if you can actually sit through it – you may find yourself wondering if you were okay. the film continues from there to reveal the vicious rape and beating of marcus’ girlfriend alex (monica bellucci) by la tenia in an underground tunnel – same red blood. this is the pinnacle moment of the movie, fueling much of the controversy surrounding it.


    If you can make it through this scene, the rest of the film is easy. for the first time since i watched ‘the shining’ seven years old, i had to look away. i had to close my eyes and try not to listen. no longer is noah camera swooning about his earlier innocence – it is locked on to the scene in front of it, apparently bolted to the floor because it unflinchingly records what is no doubt one of the most disturbing things you can ever witness to the screen. and what is the point of all this? that’s a question you can not help but have.

    This is a film that will not allow you to walk away without an opinion, and maybe that’s the point. you get the feeling, as the film continues backwards its flow from the nauseating results starting in the early scenes of a friendlier and finally soft nature, that noah had a very succinct knowledge of what he was doing when he built this way. to have them move forward in order as a simple revenge drama rape and exploitation will be, hands down. by having the murder take place in the first half hour of the film, with a goal as yet unknown, it makes the violence all the more horrifying.


    It was only later that we have shown the reason for it – then we have witnessed the vicious fate that befalls should be guilty – so no lust for revenge, only a gnawing question about nature nature of morality and justice. so, does that make it all okay? does that validate nine minutes long rape scene that can – and most likely – seen by children too young to understand the nature of art and censorship? before i bought the novel ‘american psycho’ i read some excerpts from it in the bookstore.

    I found it on a low shelf in the chapter, along with a number of other copies itself beside it, waiting to be picked up and read by anyone ever wander through. when i was done – easily one of the most exploitative, graphic, misogynistic and unnecessary works of popular literature ever written – the most disturbing thought lying to me was the ease with which i was able to attain it. in australia, the book is wrapped in cellophane and you have to buy it over the counter, showing id before you know it. justified? i want to say yes, but once again, i do not believe in censorship – in any form.


    If you’ve read ‘1984’ you catch my drift. so here i am, shaken again for the first time in years by a piece of art that found its place in the raffia ribbon walmart world and, now that i’ve seen it in my own head. last night i sat down to watch “resevoir dogs’ again with a couple of friends who – to my astonishment – had never seen it before. during the first bloody scene of one of my friends lost a little color in his face and had to move further away from the television.

    I sat there in the meantime, feel a strange sense of feeling – as if a new layer of the repaired tissue was bulked up around all my emotional sensors – and wondered how numb the belief of mine may be able to make me.