The LEGO Movie 2: The Second Part
The Walking Dead
Log in with Facebook
Forgot your password?
Don't have an account? Sign up here
and the Terms and Policies,
and to receive email from Rotten Tomatoes and Fandango.
Already have an account? Log in here
Please enter your email address and we will email you a new password.
We want to hear what you have to say but need to verify your account. Just leave us a message here and we will work on getting you verified.
Please reference “Error Code 2121” when contacting customer service.
No consensus yet.
Tomatometer Not Available...
No consensus yet.
All Critics (16)
| Top Critics (4)
| Fresh (16)
| Rotten (0)
| DVD (1)
Matsumoto mashes a barrage of audio-visual styles, tones and gimmicks into a brash kaleidoscope of filmic possibility.
Describing this transgressive take on Oedipus Rex purely in terms of plot would be as limiting as calling the King of Thebes slightly confused.
A cheeky and provocative experimental look at a largely unknown subculture.
You will walk away from Matsumoto's film with a newfound appreciation of what movies can be.
At times it feels like we're watching the birth pains of a new strain of queer cinema, one both beautiful and tragic, unapologetic and glorious.
At times the film can feel like a surreal dream and it can shift without warning back to reality.
While the normalization and societal acceptance of trans people are becoming more mainstream, the technique and way in which Matsumoto created this buzzy, gritty, and subversive world have still gone unmatched in modern cinema.
It should appeal to cinephiles and queers with an appetite for exotica and probably turn off most others.
Matsumoto's luscious black and white cinematography is ruptured by stylised desire, high melodrama, Jean-Luc Godard dictates, street cinema verite, experimental inserts, and some of the most evocative close-ups of eyelashes you'll ever see.
A gender-fluid take on Oedipus Rex that takes cues from Jonas Mekas (who's name-checked in the film), Seijun Suzuki, and Andy Warhol, Funeral is a frenetic hodgepodge of styles and moods.
As a cinematic and cultural document this is fascinating material, definitely worth your time.
It imparts the thrill of witnessing the hedonism and lawlessness-both sexual and artistic-of a bygone culture. You also feel an almost tragic surge of melancholia watching it: where and when, you wonder, will cinema ever get quite this wild again?
"Funeral Parade of Roses" has extra notoriety because its use of depraved, sped-up footage apparently inspired a similar "A Clockwork Orange" sex scene. But if this is your reason for seeing the movie, don't bother. You won't find the resemblance too striking.
This Japanese film is not easy to watch, but its radical style will be familiar to Nagisa Oshima fans. Director Toshio Matsumoto throws in every jagged, disorienting trick he can manage, including jump cuts, flashbacks, captions, repeated scenes, dialogue with cartoon bubbles, an avant-garde score (murky variations on the children's song "Did You Ever See a Lassie?"), shots of the camera crew, bizarre inserted imagery (a flower stuck in a nude man's behind is a particular favorite) and cast interviews. Even the film's title is perversely withheld until 18 minutes have passed.
There is not much story -- what's more important is the experimental filmmaking and the prominence of real-life transvestites. The homosexual love-triangle plot finds drag queens Eddie and Leda (both first-time actors) competing for the affections of club-owner Gonda (Yoshio Tsuchiya). The charismatic, unusually "attractive" Eddie is also nagged by traumatic childhood memories. But most of the screen time just depicts incidental behavior such as sex play, dancing, fighting, marijuana use, political protest and carousing in bars. This lack of narrative momentum can be wearying, but the shocking climax is a significant compensation.
On my first day in Los Angeles I ended up at a small independent cinema called The Cinefamily, and by sheer luck I managed to get in. It just so happened to be the opening night of the 4K restoration of Toshio Matsumoto's highly transgressive and influential "Funeral Parade of Roses". It was a fantastic experience, not the least because of this community's fervor for such a lost gem of arthouse/experimental film. Set in the Tokyo underground, the film concerns several transvestite prostitutes, primary among them one named Eddie. We follow their love lives and drug lives with occasional pauses for cinema verite styled interviews centered around their perspectives on sexuality and culture. Jarring editing, strobe cuts, provocative and disturbing imagery, and frequent fourth wall breaking keep you on your toes all throughout the viewing. In terms of influence, the plot is very loosely adapted from Oedipus Rex, and it paved the way for movies like Park Chan-Wook's "Oldboy" and Gaspar Noe's "I Stand Alone". Stanley Kubrick was directly inspired by the fast-motion action sequences and utilized the same technique in "A Clockwork Orange", complete with whimsical organ music. In fact there's even a few phantom ride shots that just had to be an inspiration for many iconic sequences in Kubrick's 70s output. The meticulous level of restoration by Cinelicious is readily apparent, and it is wonderful to see this level of passion put into preserving such a critical piece of cinematic history. "Funeral Parade of Roses" is disturbing as it is hilarious, and now it is essential viewing for cinephiles due to its impending Blu-Ray release.
What if writing novelties of say...Proust or Xingjian were to be translated as a neon mural of experimental musical compositions...add some Oedipal symbols,disjointed time-frames,oh..and vertical motives of multi-sexuality!
There you have it,a "blow-up" of docu-confession,Matsumoto's personal ode to youth,highlighting an era of wine and roses (or if you like: opium and proses)
Quite an experience, and a new one for me for that matter. I've watched all the extra's on the DVD, including Matsumoto's interview and commentary on the film, and that made it a little more accessible for me :)
Matsumoto rejected a lot of boys for the part of Eddie, and I totally agree with him that Peter is perfect for the part.
What can I say to give you an impression on what the movie is about? It's a "modern (Greek) tragedy" inspired on Oedipus Rex. Although I did connect to Eddie, I didn't really connect to rest of the story, but maybe that's because I'm totally new to the whole avant-garde stuff. There are some beautiful aesthetic scenes in the movie, and I love the short interviews that he cut through the movie.
There are no approved quotes yet for this movie.