To seamlessly blend his style of surreal and perverse sexuality into the mainstream was a 2-step program. Gregg Araki settled upon us a fine film depicting a titillatingly road trip not complete without a Ménage à trois of madness and murder. Araki took the same concept existent in The Doom Generation and layered it over a chic film along the lines of Clueless. The result is pertinent to the outcome of his latest film, Smiley Face.
Splendor is a film that reminds me vaguely of the Edward Norton film The Painted Veil. Both films have a slow build up subversively hinting towards the stupidity and errors of women. In Splendor, you will watch as a "good girl" fucks and teases a literate "tortured artist" guy who eventually turns into a final form of Chris Kattan, and also a lug head band drummer with spiky blond hair. Both of these men seem to be very personal to Gregg Araki as he spends most of the film building atop their relationship and heterosexuality is challenged and "love" comes from all angles.
Our main female is given many narrative segments in which she sits in a pristine white backdrop and discusses her many mistakes. Filters and after-effects are digitally added to give her eyes a sparkling halo within and a virgin-esque aspect of her perfect face. For once, Araki is approaching the situation at an entirely new angle, but this move is fatal on his mainstream career. A year later, he will have directed a pilot for MTV of a show that marveled with surrealism and oh-so quirky situations. He finally perfected his mainstream endeavors but at a fatal time. He would later release Smiley Face, a film starring the retarded Anna Faris as a pothead who winds up in "outrageous situations" with the Communist Manifesto.
To call Splendor romantic is as much of a sin to call A Night at the Roxbury romantic. The only difference between the two is that one retains humor and by the tone of my writing, you can guess the latter takes the award home. Splendor is a doctrine of misled misandrism. The females in the film are over forced to be the exquisite saints but the truth is far from. The female lead in Splendor is a spoiled, slutty princess who abuses men and later giggles about it. The same could be said with most of the younger female population. They cover the sexist discrepancies with a half-spoken message of true love.
Splendor ends with a cookie cutter version of everyones favorite motif - Girl loves guy, girl leaves guy(s), girl realizes she is a dumb whore and reunites to a happy ending. Araki isn't one for these measly stereotypes and is better off without them. Rather than suiting the mainstream, Araki should continue "sticking it to the man". He's one of the few auteur's producing homosexual, heterosexual, and everything in between that I can appreciate. Splendor is entirely passable and isn't even worth a viewing, even for fans of angst and antirealism.
-mAQ
Splendor is a film that reminds me vaguely of the Edward Norton film The Painted Veil. Both films have a slow build up subversively hinting towards the stupidity and errors of women. In Splendor, you will watch as a "good girl" fucks and teases a literate "tortured artist" guy who eventually turns into a final form of Chris Kattan, and also a lug head band drummer with spiky blond hair. Both of these men seem to be very personal to Gregg Araki as he spends most of the film building atop their relationship and heterosexuality is challenged and "love" comes from all angles.
Our main female is given many narrative segments in which she sits in a pristine white backdrop and discusses her many mistakes. Filters and after-effects are digitally added to give her eyes a sparkling halo within and a virgin-esque aspect of her perfect face. For once, Araki is approaching the situation at an entirely new angle, but this move is fatal on his mainstream career. A year later, he will have directed a pilot for MTV of a show that marveled with surrealism and oh-so quirky situations. He finally perfected his mainstream endeavors but at a fatal time. He would later release Smiley Face, a film starring the retarded Anna Faris as a pothead who winds up in "outrageous situations" with the Communist Manifesto.
To call Splendor romantic is as much of a sin to call A Night at the Roxbury romantic. The only difference between the two is that one retains humor and by the tone of my writing, you can guess the latter takes the award home. Splendor is a doctrine of misled misandrism. The females in the film are over forced to be the exquisite saints but the truth is far from. The female lead in Splendor is a spoiled, slutty princess who abuses men and later giggles about it. The same could be said with most of the younger female population. They cover the sexist discrepancies with a half-spoken message of true love.
Splendor ends with a cookie cutter version of everyones favorite motif - Girl loves guy, girl leaves guy(s), girl realizes she is a dumb whore and reunites to a happy ending. Araki isn't one for these measly stereotypes and is better off without them. Rather than suiting the mainstream, Araki should continue "sticking it to the man". He's one of the few auteur's producing homosexual, heterosexual, and everything in between that I can appreciate. Splendor is entirely passable and isn't even worth a viewing, even for fans of angst and antirealism.
Gregg Araki must be destroyed because he a is a faggot, it was interesting (and admirable) that he tried to correct the problem in 1997 when he had a relationship with the gorgeous actress Kathleen Robertson but after 2 years the bastard went back to being a faggot again, DESTROY HIM, KILL HIM, ANNIHILATE HIM, NOW ! ! !.
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