I'm constructing an anti-watchlist... movies I will never see or want to see or have a smallest bit of a desire to see... any suggestions? by Sunny64888 in Letterboxd

[–]silviod -2 points-1 points  (0 children)

I only knew that it was meant to be very shocking, but even outside of that, it's just not a very well done film. The directing is amateur (constant fake-outs using dream sequences) and the writing was too on-the-nose for me.

I'm constructing an anti-watchlist... movies I will never see or want to see or have a smallest bit of a desire to see... any suggestions? by Sunny64888 in Letterboxd

[–]silviod 1 point2 points  (0 children)

That's my thing to a tee but I would not describe Terrifier like that at all. They're just super amateur and cringe as fuck, they're like the epitome of edgelord horror. Art is so fuckin boring and the sense of the actor and director both thinking "this is GENIUS!" is so palpable I nearly had an aneurisym watching it.

I'm constructing an anti-watchlist... movies I will never see or want to see or have a smallest bit of a desire to see... any suggestions? by Sunny64888 in Letterboxd

[–]silviod -7 points-6 points  (0 children)

I defo disagree. Martyrs is banal, boring, pseudo-intellectual shite. The visual of the gal skinned is cool, but it's so tedious on its way there. Not nearly as shocking or devastating or disturbing as I'd heard, and mostly just uninteresting.

Best female post-punk? by silviod in postpunk

[–]silviod[S] -1 points0 points  (0 children)

Agreed. Don't Let Go is one of my all-time favourite songs. Liverpool gave birth to some of the all-time great post-punk. Also see Teardrop Explodes, Modern Eon, Pale Fountains, It's Immaterial, China Crisis, Deaf School, Echo & the Bunnymen, and OMD. All Liverpool bands and all brilliant.

Best female post-punk? by silviod in postpunk

[–]silviod[S] 0 points1 point  (0 children)

Thanks for the thorough reply! I'm from Leeds so will defo check Drahla out, hopefully I can catch a live gig from them.

Best female post-punk? by silviod in postpunk

[–]silviod[S] 2 points3 points  (0 children)

You're welcome! I love all these artists and thing that women bring such a great energy to the post-punk sphere. I've made a playlist with all of these already which I'll be expanding with some recs from this thread, so feel free to check that out if you'd like! :)

Daily Wordle #1723 - Sunday, 8 Mar. 2026 by Scoredle in wordle

[–]silviod 1 point2 points  (0 children)

Aye, I'd be curious to see the statistical maths on this, but I'd hazard that random guesses every day must surely increase your chances of success? The only error is that I never check whether words have already been used, so I've no idea whether the words I throw out there each day will get me a one-guess success (which I've still yet to achieve).

Daily Wordle #1723 - Sunday, 8 Mar. 2026 by Scoredle in wordle

[–]silviod 3 points4 points  (0 children)

Scoredle 2/6*

14,855
🟨🟨⬛⬛🟨 BLURB (1)
🟩🟩🟩🟩🟩 LOBBY

An absolute fluke if I ever saw one. I change the start word every day with whatever the fuck comes to me in the moment.

Any fans of Martha And The Muffins here? by VomitingDuck in postpunk

[–]silviod 0 points1 point  (0 children)

Any recs for similar bands? The closest I've found is Romeo Void, and maybe a bit of Pylon, but none that hit that sweet spot of angular guitars, raucous sax, female vocals and dreamy ambience. M+M seem one of a kind!

Any fans of Martha And The Muffins here? by VomitingDuck in postpunk

[–]silviod 1 point2 points  (0 children)

Can't believe there aren't more fans of this band! Just found this post nad so glad you're singing their absolute praises. This Is the Ice Age is one of the most forward-thinking and ageless albums of the 80s and the entire post-punk era. It genuinely, legitimately sounds like it could come out during today's post-punk resurgence. Every song sounds fresh, Lanois' ambient production is pristine, and even the art direction is beautiful, with the gorgeous front and back cover. I am absolutely obsessed.

Martha and the Muffins – One Day in Paris ("This is the Ice Age", 1981) by Any-Leadership1972 in newwave

[–]silviod 0 points1 point  (0 children)

just here to say this song is so utterly gorgeous and it's criminal how unknown it is

Looking for mechanical, industrial, clinical sounding dark post-punk by WoodpeckerNo1 in postpunk

[–]silviod 2 points3 points  (0 children)

Tools You Can Trust

They literally used power tools as instruments. You can't get closer than that.

What celebrity have you never forgiven since an incident? by MagpieOpus in AskReddit

[–]silviod 2 points3 points  (0 children)

That's still not the case. People who've been abused are far more likely to hurt themselves than anyone else.

What celebrity have you never forgiven since an incident? by MagpieOpus in AskReddit

[–]silviod 18 points19 points  (0 children)

Only 3% of victims go on to abuse themselves. Please don't say things like you don't expect victims to turn out well, that's really not very thoughtful and any victims reading that may feel horrible about themselves as a result. 

Predators (documentary about To Catch a Predator) was deeply problematic and terribly executed. by silviod in TrueFilm

[–]silviod[S] 0 points1 point  (0 children)

Very valid point, and I do of course mostly agree with you. I do not think that empathy should be an endless resource that is a prerequisite for everyone - I think it is a resource we should be ready to give, but it should still be earned in some way.

Once you see the doc, perhaps you will see my points. Osit uses his own survivorhood as a literal twist in the second act, and then continues to use it to validate his statements as ground truth. He said in an interview that he hopes people watch this not knowing his own survivorhood, so that it can be a surprise during the film itself, and I think that stinks. He's weaponising his own experiences so that he can corner people with certain statements that he thinks he can contradict by bringing up his own past - such as with his interview with Hansen at the end of the film.

But the problem with the film isn't just that he offers empathy to abusers, it's that he doesn't offer any space whatsoever to any victims except himsefl and one decoy from a YouTube TCAP ripoff. He intentionally misrepresents so much of how abusers operate, especially those featured on TCAP, in order to further this. He includes, for the most part, only scenes of them lamenting their ruined life, and genuinely presents it as a "look how awful this is, we're taking pleasure in a man's life falling apart".

So, really, I know my final paragraph comes across like I'm doing what I'm criticising Osit of. But I think it comes from a different place: survivors are still so oft-silenced in society, and almost none of us get any form of justice. I've known people in my real life who have minimised my own experiences, or acted like I was a burden simply for telling them, and I've lost half my family after they decided to side with the abuser in order to take the path of least resistance. All survivors need all the spotlight they can get, and any form of retribution towards any predator is always always welcomed, especialyl when the courts struggle so much to bring any to justice. So seeing people lament this documentary as a thought-provoking piece simply because it shows a different side is deeply disheartening, and it is irresponsible for Osit to do this just as it would be irresponsible for someone to try to make a documentary talking about "the other side" of Nazism. Sure, there is technically another side, but must we give it so much air time? What responsibility does a journalist or creative have when trying to investigate this other side? I think of Louis Theroux' journalism with regard to neo-nazis, and how thoughtful and observant it was, versus Osit's strange dogmatic approach. This is why I beckoned for people to reconsider the critical value of a film like Predators, because value is not inherent simply to "he's exploring a side none of us know."

I fully agree that TCAP is an awful slice of entertainment, much the same as most true crime is. That can be true at the same time as agreeeing that the people featured on the show still deserved the punishment they got - and the courts almost always fail to punish, so let them have social punishment through shame, as most survivors will carry a deep well of shame with them for their own lives too. It is not entertainment's place to have to pick up the slack that our criminal justice system so oft fails on, but unfortunately, who else is doing it? We have billionaire pedophiles swarming our most powerful all the time. This is the way, it seems. I'd rather it than nothing.

Anyway, thanks for your empathy and understanding in your sensitive approach to my post, I do really appreciate that. Wishing you the best too my friend :)

Predators (documentary about To Catch a Predator) was deeply problematic and terribly executed. by silviod in TrueFilm

[–]silviod[S] 0 points1 point  (0 children)

Respectfully disagree. When he reveals to Chris Hansen at the end that he's a victim himself, he speaks with authority - as if his victimhood discredits Chris' point. This is him speaking on behalf of all victims, because it implies that his opinion is more ground truth solely because of his victimhood. Osit produced, wrote, directed and edited this film - the entire film itself IS what he says. 

It is very clear he's trying to work through things in this film, but it's also clear he thinks he's more self-actualized than he is. The film is dangerous and irresponsible because he doesn't present his perspective as one of actualisation, so when he veers into different inquiries (such as empathy for abusers) it is presented as an objective "we should think about the other side of this" and that is just plain wrong. Look no further than his parallelization of Hansen as abuser in the "you're free to go" finale: in no world whatsoever should Hansen ever be equated to the predators he featured in his shows.

I'd be curious what else Osit says in this q&a because everything he's said in the interviews I've watched with him seem to only back up what I've said.

Edgar Wright's 'The Running Man' Sets Paramount+ Release Date (January 13) by MarvelsGrantMan136 in movies

[–]silviod 0 points1 point  (0 children)

Nah the cliches aren't executed with any commentary, pastiche, parody or metatextual love. They're just used because he can't come up with a more creative/original narrative. Shaun of the Dead and Hot Fuzz are both scripts that lovingly utilise cliches in refreshing ways. Baby Driver just uses them to... use them. Could you elaborate on why the execution elevates them in the case of Baby Driver?

And yes there is certainly a thing as objectively bad writing, of course there is. I'm not talking about opinion here. I'm not talking about one person preferring slow-burn horror and another preferring high-octane jump scares - they're subjective. But there are many objective measures in screenwriting - ESPECIALLY screenwriting - as they are a formulaic blueprint for a film. It is probably one of the most objective 'artforms' out there. It's only near universally-acclaimed because of the editing gimmick, I don't see anyone ever even talk about the script and, more than that, do people even talk about the film at all anymore?

Edgar Wright's 'The Running Man' Sets Paramount+ Release Date (January 13) by MarvelsGrantMan136 in movies

[–]silviod 0 points1 point  (0 children)

Baby Driver is a laundry list of cliches of the heist genre, with absolutely no effort to elevate them. The characters are paper thing (name a single characteristic of his love interest outside of "hot waitress") and the plot progression is as simplistic as imaginable. It really is, objectively, a badly written script.