25 posts categorized "Fantasy"

July 15, 2017



Groupthink doesn't live here, critical thought does.


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ColeSmithey.comThe second installment in Alejandro Jodorowsky’s promised five picture cycle of filmic memoirs harmonizes with the theatrically heightened tone and style of “The Dance of Reality” (2013). This succession of films marks Jodorowsky’s return to filmmaking after a 23 year hiatus after his 1990 film “The Rainbow Thief,” a film he disowned due to conflicts with the film's British producers. 

“Endless Poetry” continues the narrative line of “The Dance of Reality.” A pubescent Alejandro (Jeremias Herskovits) is growing up with his parents in Santiago, Chile.


While the mother Sara (Pamela Flores) operatically sings all her lines, Alejandro’s brutish father Jaime (Brontis Jodorowsky) accuses his poetry-obsessed son of being gay when he discovers him reading aloud from Federico García Lorca’s poem “For the Love of Green.” You'd be hard pressed to find a more lovely poem. The die is cast that Alejandro must escape the clutches of his parents if he is to follow his dream of becoming a poet.

Endless Poetry - Paste

The casting seamlessly shifts to a twenty-something Alejandro (played by Jodorowsky’s younger son Adan) fearlessly taking a running start at his chosen profession of words by following his red-wigged muse Stella Diaz (also played by Pamela Flores in dual roles).


Stella insists on holding Alejandro’s crotch whenever they go out in public, but not allowing “penetrative sex” because she is awaiting an unknown mystic to descend from a mountain to part with her dubious virginity. Rejection and suffering are to be celebrated.

The episodic narrative tears a page from John Cheever’s “The Swimmer” when Alejandro and his latest poet friend go on an adventure walking across town in a straight line that takes them through people’s homes. The effect is an operatic trail of personal growth informed by visits from Jodorowsky himself where he advises his younger incarnations about the big picture of life. “I’ve sold my devil to the soul.”


"Life does not have meaning, you have to live it!”

Such is the pragmatic nature of Jodorowsky's nurturing, if poetically expressed, ideologies. Pedantic perhaps, but filled with undeniable passion. 


Alejandro Jodorowsky is the most euphoric filmmaker of our time. His transgressive artistic sensibilities form a focal point of pure artistic intentionality that the viewer can either accept or reject, embrace or shed. Either decision will lead the viewer to a personal place of artistically directed balance. You don’t get that from watching the latest “Spider-Man” movie.

Not Rated. 128 mins. 

4 Stars

Cozy Cole



March 08, 2014



Groupthink doesn't live here, critical thought does.

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Nymphomaniac Just as with Harvey Weinstein’s famous mistake of splitting Quentin Tarantino’s “Kill Bill” into two parts, the producers of Lars von Trier’s 240 minute film have seen fit to split it in two, rather than deliver the movie as the filmmaker intended. Big mistake.

The result is exactly what you would expect, that of watching half of a movie. It is not a fair way for an audience to screen the film, much less an acceptable format for a critic to judge and contextualize it by. To make matters worse, there will also be a 5.5 hour director’s cut that will demand interested viewers cover old ground if they are invested enough to want to see von Trier’s entire film. Meh. Pshaw. 


Volume I establishes the character of Joe (Charlotte Gainsbourg), a self-hating nymphomaniac rescued from the cold ground of a brick-wall-surrounded courtyard by Seligman (Stellan Skarsgård), a thematically-charged character whose sole purpose — in Volume I at least — is as a human sounding-board and harmonizing influence for Joe's litany of sexual transgressions.

Screen Shot 2022-04-24 at 4.11.44 PM

Seligman is a lonely guy, a bit too pleased to have in his company a piece of female damaged-goods who wants nothing more than to spill the beans about her life of wild and naughty sexual diversions — indeed her sexual experiences are many and varied. Joe is one carnally voracious girl. The titillation dial is stuck on ten.


The film opens on a black screen. Water tinkles. The viewer is left to imagine its source. Is someone taking a leak? No. Snow is falling, and melted ice drips down a tin drain.

A passed-out Joe lies bloodied on the pavement of a well-concealed courtyard outside of Seligman's apartment. Seligman awakens her. He offers to call an ambulance or the police. Joe threatens to run off if he does. It’s tea that she wants. He invites her inside his sparsely appointed place and puts her in bed. The defenseless Joe begins to recount her sexually adventurous life that led up to her present wounded condition — possibly from some act of revenge or semi-public bit of BDSM.

Stacy Martin - Nymphomaniac - Volume I - Director's Cut - 15_1-500

Seligman not only isn’t judgmental about Joe's checkered past, he finds all sorts of reference points from his own life — related to things such as fly-fishing. He sees similes in her troubled tale of bedding as many as ten men per day. Seligman is a dilettante counselor who is patient, and effete enough to listen to Joe’s outrageously erotic stories without becoming visually aroused or making a pass that would surely be easily received.


Not all of Joe’s flashbacks are sexual. She fondly remembers walking though a winter forest with her doting father (Christian Slater). Joe’s erotic journey is broken into chapters — four for each film. “The Compleat Angler” is the first section. Joe recounts playing a sexual conquest game with her best friend, in which the two teenage girls would compete for a bag of candies by seeing how many men they could seduce during a train ride. Joe gets extra points if she can extract a load from a married man on his way to impregnate his ovulating wife. His cock does indeed find its way into Joe’s hungry mouth. No surprise how that scene ends.

Screen Shot 2022-04-24 at 4.01.40 PM

Joe’s flashback description of losing her virginity — at her own request — to Jerôme (Shia LaBeouf), a local London boy with a moped, brings up the fact that he "humped her three times in the front, and five times in the back." Seligman identifies Joe’s “most humiliating numbers” as following a Fibonacci series. Von Trier steals a page from Peter Greenaway when he superimposes graphic onscreen sub-titles and diagrams of the way Fibonacci numbers are used. Referenced is the way they approximate the natural order of a seashell. The numbers themselves flash on the screen as Jerôme pumps away at a younger version of Joe (played by a fearless Stacy Martin).


As Joe’s personal tales of knee-jerk seductions go on, the sex scenes become gradually more graphic, and the sideline humor more sly. During the film’s third chapter “Mrs. H,” Uma Thurman plays the vengeful and curious wife of the man who has left her in order to be with Joe. Neither Mr. nor Mrs. H has any idea that they are interrupting a busy evening of carefully timed assignations that Joe has planned with various men.

Screen Shot 2022-04-24 at 4.07.51 PM

Nymph()maniac is a sly piece of anti-slut-shaming cinema aimed at demystifying female carnal desire. It is a character-study of an ostensibly rare type of sexually ravenous woman. Von Trier creates a new breed of social satire that is equally daring and tame. While the film is fiercely pornographic, it does not represent pornography per se.


“Love is the secret ingredient” that Joe denies and yet secretly seeks. Her loss of the ability to orgasm coincides with her father’s imminent death. Volume II promises to follow Joe’s experimentation into fetishized BDSM. 

To be continued...

Not Rated. 117 mins.

4 Stars

Cozy Cole

Cole Smithey on Patreon

March 30, 2013



Long Live Patty Hearst!

Trashmeister writer/director John Waters takes ironic comedy and social commentary to an all-time sleazy low in his new movie “Strap-On.” Waters deviates from his Baltimore roots to urban and rural areas of Afghanistan where Maya Stain (played by former SLA member Patty Hearst) fights for SOC (Socialism Over Capitalism), a left wing mercenary group caught in a cross-fire between Taliban fighters, the Mujahideen, American troops and desperate civilians. Hearst might be pushing 60, but she still knows how to handle a machine gun. You will never want to see another movie after seeing this one, and you won’t want to see this one again.

As the group’s gutsy feminist leader, Stain wears an 18-inch, neon-blue strap-on to symbolize her authority and to distract her enemies. The ploy works. Ilsa: She-Wolf of the SS has nothing on Stain. At times Stain is content to keep the bulge inside her camouflage fatigues, but for most of the film, Stain allows the large member and its flesh-burning, squirting acid to protrude from her pants in a permanent semi-erect state.

YGK's Strap on bitch - Femdom POV - Young Goddess Kim | Modelhub.com

Waters views the mercenary lifestyle as fodder for social camp. He satirizes the Afghanistan military and social structure of the country while also poking fun at things like their public bathrooms, which consist of a well from which the user must hang on a rope with a piece of wood as a half-seat. There is a scene where the strap-on-wielding Stain throws a knife into the back of a Tajikistan military officer, sending him down into the dung-filled hole, giving Stain the opportunity to lean back and roar like a banshee in devilish delight. Her victim is indeed left "stained."

Screen Shot 2021-04-09 at 11.25.01 AM

However most of the film’s violence is directed at America’s private military firms. The SOC’s primary targets are private military contractors, i.e. rival mercenaries. “Strap-On” takes no prisoners. Stain’s torture of U.S. soldier — using her preferred method of violent personal intrusion — makes anything in “Zero Dark Thirty” pale by comparison. Think snuff-movie.

Tatyana (played by British comedienne Tracy Ulman) is an Uzbekistan national that Stain takes as a hostage during one of the SOC’s hostile take-overs of an American military facility. The movie really gets going when Tatyana, a cross between Deborah Harry and Hillary Clinton, becomes romantically-involved with Stain after the dust has settled. A wild pornographic lesbian love scene involves Tatyana singing “Raindrops Keep Falling On My Head” while Stain pounds her from behind like a steam locomotive.


Waters’s “movie” satirizes death, sex, torture, weapons, military officials, the Taliban and the universal phallic obsession of all soldiers. “Strap-On” is yet another reminder that America has gone past the point of no return and dragged the rest of the world down with it. Just as America’s ethics have gone down the toilet, its films have followed suit. The stain cannot be contained. Cinema is dead. 

Rated R. 157 mins.

3 Stars



Groupthink doesn't live here, critical thought does.

This website is dedicated to Agnès Varda and to Luis Buñuel.

Get cool rewards when you click on the button to pledge your support through Patreon. Thanks a lot pal!

Cole Smithey on Patreon

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