The LEGO Movie 2: The Second Part
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Salò, or the 120 Days of Sodom will strike some viewers as irredeemably depraved, but its unflinching view of human cruelty makes it impossible to ignore.
All Critics (31)
| Top Critics (5)
| Fresh (22)
| Rotten (9)
| DVD (5)
Salo... is forceful only in making the viewer want to turn away.
This film is essential to have seen but impossible to watch: a viewer may find life itself defiled beyond redemption by the simple fact that such things can be shown or even imagined.
It's very hard to sit through and offers no insights whatsoever into power, politics, history or sexuality. Nasty stuff.
Very hard to take, but in its own way an essential work.
A perfect example of the kind of material that, theoretically, anyway, can be acceptable on paper but becomes so repugnant when visualized on the screen that it further dehumanizes the human spirit, which is supposed to be the artist's concern.
What is evident in the film is its power of provocation, very much within the spirit of the famous Marquis... [Full review in Spanish]
It's a masterpiece, still the most convincing representation of human cruelty in the history of the cinema.
Its themes are so severe as to feel like a howl of despair more than an articulate statement of radical politics. But it is pure cinema
It... speaks to the authoritarian abuses of twentieth-century history - but it has also, thanks to the chilling (and unflinching) way in which it presents grotesque atrocity, proven as difficult as feces for censors to swallow whole, if at all.
I can't think of a reason in the world that anyone should subject him or herself to this.
Pasolini illustrates his belief that society forces people to conform by making his victims turn on each other, then making the audience complicit. Just by watching, we are voyeurs, and Pasolini calls us out in the movie's final moments.
By reputation alone, owning Salò should be enough to impress your cinephilic friends; watching it with them will be whole lot harder.
It took nearly 40 years, but we've gotten to a point in modern cinema where looking back on Pasolini's swan song is now a doable, not entirely nauseating task. An essential viewing for any prospective filmmaker.
'Salo' masquerades as some sort of political allegory, but the supposed subtext is just a tenuous excuse for covering a whole spectrum of perversity - it has no purpose apart from to shock and disgust.
A disgusting, extreme and shocking vision by Pier Paolo Pasolini of Marquis de Sade's book. Salo is an uncomfortable and unique experience, that also presents some black humor and humanism. It's a psychological, moral and a metaphor vision of the ditadorship and all the ways of kill the freedom. Unforgettable. Fresh.
Salo, or the 120 Days of Solom is not a film you're likely to seek out on your own. You pretty much have to be goaded into seeing it. It's one of the most controversial films ever made, despite the fact that it's all a work of fiction. It's based on true events (actually, the book it's derived from is), but if you watch the film closely you'll realize just how fictionally well-made it is. I can't begin to defend it on any sort of moral level. If filmmaking had any deadset morals to it then it would a pretty sparse landscape and I wouldn't be doing what I'm doing now. The film has a level of social consciousness to it, despite the vile things taking place in it. It contains enough brutal violence, rape, sadism, torture and coprophagia for ten other films. I can't say I enjoyed the film or that I can recommend it. It's clearly an art film and nothing more, but if you can handle the unpleasantness of it without pure disgust or outrage, then by all means, see it as a work of art.
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