#tetsuo the iron man 1989

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Favourite films ever :3 <3

Wings Of Desire (1987) // Phantom Of The Paradise (1974) // Tetsuo The Iron Man (1989) // Martin (1976) // The Cook, The Thief, His Wife and Her Lover (1989)

[weirdlookindog]

Tetsuo: The Iron Man/鉄男 (1989)

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[2001hz]

Tetsuo: The Iron Man (鉄男) Directed By: Shinya Tsukamoto (1989)

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[bodyhorrorbeatdown]

Body Horror Beatdown Match 3, Round 1

Vote for your favorite:

Propaganda under the cut.

Tetsuo:

"majorly influential japanese cyberpunk body horror with a subtextually queer bent"

"A classic of Japanese horror cinema. It is, like all the best art, nearly incomprehensible. Shot in black and white, a man, for reasons never made clear, begins to sprout machinery and mechanisms, he meets a woman suffering from a similar condition, and it just gets weirder and creepier from there."

"Tetsuo is such a classic and iconic body horror movie that is so delightfully horrible, uncomfortable, and strange, and centers around rust meeting metal meeting flesh. there's so much artistry in all the effects and costuming which are absolutely dizzying. also the soundtrack rules and it was even homoerotic."

The Blob:

Now, terror has no shape.

"It just has some really good scenes and fun practical effects! It also works well as a remake of the original. Almost, if not all, of the blob scenes in the old movie are reworked for this one! And honestly, it's some rly good twists on them Some notable body horror moments would be: 1.Girl's face imploding, and the blob shooting out of it 2. Blob lands on top of a guy. His girlfriend goes to pull him out by the arm, but his arm is instead dissolved off 3. Idk if this counts, but it is my favorite scene, guy gets dragged down sink drain by blob 4. Man is basically reduced to skin and a face spread across a ceiling. His face is still writhing as if in pain"

[closetofcuriosities]

Tetsuo: The Iron Man - 1989 - Dir. Shinya Tsukamoto

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23 • Tetsuo: The Iron Man (1989)

[rookie-critic]

Rookie-Critic's Halloween Horror-thon: Part 4 - #16-20

#16: Tetsuo: The Iron Man (1989, dir. Shinya Tsukamoto) [REWATCH]

A cult classic of Japanese cyberpunk horror and the debut film of one of my favorite Japanese directors, Shinya Tsukamoto (if you couldn't tell). The inspirational reach of this film is palpable if you know what to look for, having been cited by directors like Darren Aronofsky for his film Pi, Quentin Tarantino, David Fincher, and the Wachowskis for The Matrix. It's hard to argue with results like that. I personally love this movie, I have its scant 67-minute runtime nearly memorized and have seen it more times than I can remember. However, I can certainly acknowledge its shortcomings as something that's not accessible to most audiences. Plot is definitely more of a suggestion than a rule here, and a lot of the film is spent in a state of frantic bewilderment as you try to piece together what exactly is going on through the nearly incomprehensible madness onscreen, but ultimately the "why" of it isn't important. It's rare that I say this, but I almost prefer that the film doesn't really give the audience anything concrete to go off of. It gives enough, and for the purposes of its dissection (apropos word choice there, good job, Rookie) of the relationship between man and metal and the growing industrialization of the 80s, Tsukamoto does exactly what he needs to do, and doesn't overstay his welcome in the slightest. It's one of the bigger reasons why this film works better than either of its sequels/reimaginings, and why it's so well-regarded amongst international film buffs. A short, manic, bizarro-thrill ride, and I wouldn't have it any other way. Score: 8/10 Currently streaming on AMC+/Shudder.

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#17: Onibaba (1964, dir. Kaneto Shindo)

This, for a majority of its runtime, doesn't really feel like a horror movie. That being said, there are plenty of pieces of horror in it to where, by the end, I see why it's labeled as such. The suffocation of the grass field that surrounds our main setting from all sides aides the claustrophobic nature of the film, and casts an air of foreboding over every shot. It's an interesting watch that dives into the desperation we feel when we are starved of our base desires and how that can cloud our judgement, especially in times of great hardship (in this instance, war). It's a film that leaves itself wide-open for interpretation, and one I'm still pondering over days later. Score: 7/10 Currently streaming on Max.

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#18: Eyes Without a Face (1960, dir. Georges Franju)

This French horror from the early '60s is another that I've owned for quite some time, and just never taken the time to actually sit down and watch. It's a slow burn (much like a lot of these older, black-and-white films are), and there are moments that feel like they drag on for too long, but the parts of this film that do work, really work. What Franju and his team were able to accomplish with practical effects and makeup in this is exceptional by today's standards, let alone when the film was released in 1960. The acting from Édith Scob as Christiane is similarly excellent considering she acts through the entirety of her screen time with a mask on. To be able to convey emotion without the benefit of facial expressions and have it come through despite that handicap and the language barrier (the film is in French) rightfully earns this film the praise it has received over the decades. Score: 7/10 Currently streaming on Max.

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#19: Ginger Snaps (2000, dir. John Fawcett)

OK, so I've seen Jennifer's Body twice, right? Once back around the time it came out (I hated it then) and then once within the past 5 years because I heard it was underappreciated in its time and is worth re-evalutating (I still don't like it very much). So with the memory of Jennifer's Body still fairly fresh, I'm just gonna say this is so close to being the exact same movie (there's obviously some differences in their story: werewolf not succubus, sisters not best friends), to the point where I out loud in the group I was watching it with said "Jennifer's Body just straight ripped this off, right?" and got a fair amount of agreement. However, this, to me, is a much better film. It has a lot of the Diablo Cody-esque kitschy dialogue without tipping into hard cringe and the practical effects work, while B-movie-ish in nature (we're never, as a society, going to top the transformation sequence from An American Werewolf in London), is really well done. It strikes a good balance between camp and smartly written horror which Emily Perkins and Katharine Isabelle juggle competently. Isabelle especially steals the show here as the titular Ginger, and provides a good, if not slightly caricatured, depiction of female puberty. Narratively messy, but tonally sound, Ginger Snaps deserves its status as a cult classic. Score: 7/10 Currently streaming on Peacock.

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#20: Opera (1987, dir. Dario Argento)

Opera is largely considered director Dario Argento's last great film before the quality of his output started to drop, and I can see why. It has all of the things that make his movies so good: a compelling main character driven by an even more compelling lead performance, an engaging mystery that unravels itself naturally over the course of the film, and that impeccable giallo style that he is the king of. Cristina Marsillach gives an impassioned performance and easily garners the audience's sympathy. The biggest curiosity of the film is that the murder sequences, which are expertly shot and unique in that the killer always ties up our protagonist and tapes needles underneath her eyes so that she has to watch the horror that ensues, are always cut with this insane, Judas Priest-like heavy metal music playing over them. Let me tell you that the consistency with which that heavy metal music played throughout the film had me confused, and then put off, and then finally fully indoctrinated by the final time it happened at the film's end. So much so that when that final time was about to happen, I was quite literally on the edge of my seat with anticipation, because I could feel it coming, and then when it finally came on I jumped up and cheered. I'm not sure if the desired reaction was achieved, but man was it massively entertaining. It's a little goofy, but I feel like this was about as far as Argento's signature style can be pushed without being a parody of itself, and Opera still largely works in spite of that glaring oddity. Score: 7/10 Currently streaming on AMC+/Shudder.

[souvenirsofsurgery]

Horror Movies on Internet Archive

Spider Baby (1967)

Black Christmas (1974)

Carrie (1976)

Suspiria (1977)

Alucarda (1977)

Possession (1981)

An American Werewolf in London (1981)

The Evil Dead (1981)

Evil Dead II (1987)

Army of Darkness (1992)

Basket Case (1982)

The Thing (1982)

The Return of the Living Dead (1985)

Re-Animator (1985)

Bride of Re-Animator (1990)

The Lost Boys (1987)

Nekromantik (1987)

Elvira: Mistress of the Dark (1988)

Tetsuo: The Iron Man (1989)

Singapore Sling (1990)

Man Bites Dog (1992)

Braindead (aka Dead Alive) (1992)

Ghostwatch (1992)

Perfect Blue (1997)

Cure (1997)

Pulse (aka Kairo) (2001)

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[mostlygibberish]

I liked the part with the sausage.

Well, I'm not entirely sure what it was about but it looked and sounded cool as hell. Fantastic stop motion effects and a kick-ass industrial score throughout. There was a strobing effect near the end of the movie that straight up hurt my eyes and gave me a headache, which kind of left a sour taste, but apart from that I had a blast.

A weird, wonderful movie.

[villagewarlock]

had a nostalgic craving to watch iron man and I cannot stop thinking about two things. one, the sequences where tony is getting built into and out of the suit and when obediah sticks his fingers into the empty socket for the arc reactor are making me imagine what this movie would've been like if cronenberg had written/directed it. and two, where do obediah's legs go in that big ass mech. like not to be not suspending my disbelief but where are his LIMBS

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