morrison-dylan-fan Talking recently to a DVD seller about having greatly enjoyed viewing a Cznch-New Wave title,I was happily caught by surprise,when the seller sent me a DVD of Cznch Stop-motion short films completely for free!.With this week having celebrated my 9th year of being on IMDb,I felt that the perfect way to wrap it up would be to see the Cznch stop-motion,in motion.The plot:Tidying up an empty hall,a man begins to play around with a half broken puppet,who ends up coming alive.Jumping straight into life,the puppet heads down to the basement of the hall,where it discovers a hidden,broken society.View on the film:Backed by a pitch-perfect score from Lech Jankowski which combines sharp-toothed Classical music with an Industrial hum,co-writers/ (along with Bruno Schulz) directors Stephen and Timothy Quay create a wonderful decaying world,with all of the puppets being made out of torn to shreds objects,which despite not looking that cute,do have a real character about them.For the screenplay of the movie,the writers smartly decide to deliver their view on a broken society in a subtle,visual manner,which whilst adding a dept to the events taking place in the title,also allows the viewer to enjoy the treats they discover,on their walk down crocodile street.

Mattquatch This is honestly the single worst movie I have ever seen. The "brilliant" minds behind it are the hipster's Tim Burton. The level of disturbing is incomparable to even Human Centipede. The "explanation" at the end was not enough to justify the complete lack of tangible story. While I will admit the set pieces were amazing (sort of like I-Spy on meth), even that was not enough to rescue this shipwreck of a short film.In short, I despised nearly everything about this movie. It was the worst $5 I have ever spent on anything (and I've bought some dumb stuff in my day).

Michael Neumann The animated films of twins Stephen and Timothy Quay succeed more as art than entertainment, drawing heavily on ideas and imagery made popular by the Surrealists, adapted to fit their own highly individual obsessions. Using found objects (broken dolls, scraps of cloth, odd bits and pieces of junk) the Quay's create abstract and obscure short narratives noteworthy for their incredible precision and fluid mobility. The craftsmanship is startling and inventive, the mood haunting and dreamlike, but like most Surrealist art the meaning is often infuriatingly oblique. Like many other of their films I've seen, 'Street of Crocodiles' achieves a hypnotic flow of miniature detail torn straight from the subconscious mind.

desperateliving We feel as if we're in a completely different world watching this -- and not necessarily just because of the animation, which is spectacular. It has more to do with the architecture of the images, and the way the camera investigates the space -- you feel as if you're in a shoebox, tinted with brown-gold sepia tones of rot. The way the camera moves is really very striking. For the comparisons to Kafka, I think it's specifically in the dislocation of the image that the Quays bring out his influence. This film is as if Jack Skellington went down the wrong tree. (The eyeless dolls must have influenced "Toy Story"'s horror sequence.) We're in this strange, unfamiliar place, and the camera slides around in very smooth yet jittery movements as if our eyes. We see objects like screws move around on their own, and objects drop calmly as if the sky is falling; our vision is distorted as images of our hero are stretched. I haven't read the Bruno Schulz, so I'm pretty much limited strictly to experiencing this visually. 10/10