Tag: Enter the Void

Weekend box office never sleeps, does it?

It’s certainly not resting this very busy weekend when the return of Mr. “Greed is Good” himself and a bunch of 3-D fantasy owls will battle for the #1 spot, with any number of other interesting things happening on the sidelines.


The smart money seems to be pretty positive that “Wall Street: Money Never Sleeps” will earn in the neighborhood of $20 million and so may end up winning the weekend. At least that’s what I’m reading via jolly Carl DiOrio and the more circumspect Ben Fritz.

The audience for the latest from Oliver Stone skews fairly older, not only because it’s a topical thriller from the bombastic but literate Stone, but because it’s a sequel to a hit movie that is — shockingly for some of us — old enough that 24 year-old co-star Shia LaBeouf was barely a toddler when it first came out. That may help with the film’s longevity since older audiences tend to take their time seeing a new movie. Also, a bit of extra publicity from Gekko-man Michael Douglas‘s well-publicized upbeat battle with cancer might add to awareness over the long term. The reviews, which also have a somewhat stronger effect on older viewers, are only meh-to-okay with somewhat better response from more blue-state-centric “top critics.”

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“Enter the Void” for all your psychedelic trailer needs

In April, I wrote a bit about one of the most divisive love it/hate it/love-it-and-hate-it films from last January’s Sundance, Gasper Noe’s “Enter the Void.” Noe is the French director of the extremely controversial and reputedly ultra-disturbing/harrowing/violent “Irreversible”  — which I wonder if I’ll be able to motivate myself to see or even if I should try — and the earlier almost-as-controversial “I Stand Alone.” His new production, a sort of fantasy film inspired by The Tibetan Book of the Dead about a deceased drug dealer wandering around Tokyo called “Enter the Void,” has divided critics. This time there’s apparently a lot more sex than violence (and I gather it’s mostly consensual — yay!) and the controversy is mainly about whether it’s a visionary work of art comparable to “2001: A Spacey Odyssey” (but with sex instead of space ships) or an extremely annoying psychedelic bore (which is what some people still think about “2001”). All I know is some of the strobe effects seem like they could really give me a headache if they go on for as long as fear they might, but there is also something very compelling and kind of enchanting here also.

Anyhow, you can read more about it via that earlier piece, and see an older French “adults only” trailer,” but first here’s the brand new  looped-into-American general audiences trailer via waggish Lane Brown at the Vulture, who has dubbed it “Things to Screw in Tokyo When You’re Dead.” If you live in the right cities, it’ll be playing at an art-house relatively near you in late September.

It is not dying

It’s apparently just a movie called “Enter the Void” from director Gasper Noe which divided viewers at Sundance this year. In my gore-phobe cinema chicken hood, I’ve avoided seeing Noe’s infamously ultraviolent and/or disturbing art-house sensations, “Irreversible” and “I Stand Alone.” This time, however, I’m not imtimidated and ready to have my mind blown, or the opposite.

Certainly this new film is no less a love-it/hate-it/respect-it-but-vow-never-to-see-it-again proposition than past Noe films. However, this time the issue is not so much violence, or even the apparently frequent sex scenes (not a problem for me), so much as the fact that even critics who love it warn that you may well be thoroughly bored. Another writer was so negative that Noe asked if he had raped his mother (presumably the answer is “no”) but even he admits Noe is an enormous talent and even provided the trailer below.

Devin Faraci of CHUD, in a highly qualified rave, tells us that “Enter the Void” is in some way based on The Tibetan Book of the Dead, the ancient spiritual text about the afterlife which was rediscovered in the sixties by acid guru Timothy Leary and alluded to in the creepiest and most brilliant of John Lennon-penned Beatles acid tunes, “Tomorrow Never Knows.” Watching the trailer below — both subtly headache inducing with its strobe visual effect (at least I think that’s what’s going on) and very, very beautiful — I can’t but think just a bit of another oddly experimental film that not everyone can sit through from Noe’s favorite director, Stanley Kubrick “2001: A Space Odyssey.”

In any case, I definitely think everyone whose old enough should check out this trailer. It’s not something you see every day.

We’ve got a very special bonus video for you all, right after the flip.

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