More reflections on RoboCop (aka Paul Verhoeven is awesome, part three of eleventy billion multiplied by the square root of the distance between where I sit and Proxima Centaurii)

So after I published my previous writing about the subject of the most awesome film that has ever been made (and likely will be made, at least during my lifetime), I began to think to myself. I have really not begun to describe why it is so incredibly, utterly, mind-blowingly awesome, at least not on a level that fans can appreciate.

RoboCop is the greatest film ever made (aka Paul Verhoeven is awesome, part two of millions)

In the midsection of 1988, I got sick. I do not mean just sick like a flu, cold, or some other transient virus. I mean sick to such a degree that I stopped being afraid that I might die, and started to fear that I would not. Over a period of two or three weeks, I lost approximately two thirds of my bodyweight.

Before clicking on the jump, take note: much waxing poetic about the incomprehensible awesomeness of this film will follow. Although some elements will be kept unspoken, this will reveal much about the story. Given that the number of times I have watched this film now may even number above a thousand, that does not bother me. However, it might bother you, so consider yourself warned.

World changes, but we do not

In Interview With The Vampire, both the novel and the film, there is a moment in which the protagonist, Louis, has a meeting with a vampire who goes by the name of Armand. According to what Louis tells the interviewer, Armand tells him that after several hundred years, he (Armand) is the oldest vampire that he knows of.

Crank: High Voltage (aka Mike Patton is a genius, part two)

So one of my unforgiveable hobbies, as it turns out, is to watch films that offer a perspective on the world that is not coincidental with the Everyone Is A Child nonsense coming out of mainstream media’s mouth. And one of the best examples of this is a fun little piece called Crank: High Voltage. Crank: High Voltage is a sequel to Crank, a film I did not really enjoy that much until after I saw Crank: High Voltage. More on that in a moment.

The deficit between positive interaction and flat-out abuse

I have tried, and I do mean tried, to write two more posts that might mean something to anybody. But I just cannot at present. It is difficult enough to write when one is feeling relatively okay inside and has a collection of ideas (or even just one idea) to write about.

Learn to see the “worst” movies!

So here I am, midnight approaches, and I am watching one of the biggest disasters ever financed by Warner Brothers, one of the oldest studios that still exists today. I am watching no less a turkey of a film than Superman IV: The Quest For Peace. Superman IV is a classic example of when a franchise has gone on for too long without any real creative input or the money to pull off the ambitions of the creative staff. In the mid to late 1980s, Christopher Reeve was making it public knowledge that he was tired of playing Superman. After the debacle that was Superman III (or Stuporman ZZZ as Mad Magazine correctly dubbed it), one can hardly blame him. But all of this is beside my actual point.