“See this pencil? ✏️ How did it get on this desk? Take it back…right back to when it was a tree. It was a tree. 🌲 But the difference between you and me is…you think it arrived as a pencil.”
Anti-Clock is the most mind-altering, profound, and ideologically intense film I’ve seen since that pivotal night in 2003, half my lifetime ago, when I slipped in the DVD of Possession completely unaware as to what I was in for. Right when Anti-Clock ended…
Mitchell’s cutaway from Tony Monero strutting confidently with the paint can through Saturday Night Fever’s red-fonted opening credits…to Shaft strutting more confidently through his own red-fonted opening credits 6 years earlier- looking over his shoulder as he hears Stayin’ Alive echoing in the distance...
I went into Smithereens knowing nothing about it except that it was an 80's indie with Richard Hell in it. I figured it would be in the vein of Times Square or Ladies & Gentlemen...The Fabulous Stains.
But Smithereens is a little different, and really got to me. This is a hard-hitting, uncompromising character study of a wannabe punk princess who doesn't end up getting what she wants. It shows the unglamorous side of the 80s NY art/music world you rarely…
To any 80's horror fan just discovering this film:
Read that synopsis.
You may think, "Wow. A movie that gets all those elements right would have to be one of the best films ever made. Could it really be as fantastic as it sounds? I mean is such an achievement in cinematic perfection possible?"
The answer to that is,