Top 10 Highest Quality SiIvaGunner Rips (2024 Edition)

Welcome back to another edition of the greatest creation known to humanity. People take music that other people made and change it—to be funny. As a connoisseur of things that the general public may or may not constitute as “funny,” I like to indulge in tracking this growingly common practice. Thanks to my natural affinity for ranking things like a Microsoft Excel program, I’ve come to my eighth gay year of displaying the ten highest of quality SiIvaGunner rips for your enjoyment.

Day Thirty-One: Orfeu Negro (March of the Movies 2024)

This was, in sports terms, a bit of an audible. Originally, I was intending to watch The Psychic (or Seven Notes in Black). However, after booting it up in my streaming service, I realized it was not subtitled; it had a very noticeable English dub. Wanting to avoid another Fist of Fury situation, I abandoned ship and decided to navigate the open sea without a map in search of another island.

Eventually, I came across Orfeu Negro, or Black Orpheus in English. Had not heard of it, seemed interesting enough, and it was labelled under “Classics” on the streaming service. And hey, it was foreign, which is something I wanted to invest more into. Everything seemed all right. I decided ten and there that this would be an appropriate final film for the month. Hopefully it would live up to its “Classic” status.

Day Thirty: 2001: A Space Odyssey (March of the Movies 2024)

Many of the films I’ve seen this month have had an impact on Hollywood and the larger film industry as a whole. How large that impact was varies to great degrees, with classics like Ferris Bueller’s Day Off and Breakfast at Tiffany’s being examples of substantial cultural influences. This marks the first time this month where I watch something that is considered by many cinephiles as “true cinema,” a landmark of the industry that pushed the standard past its limit.

2001: A Space Odyssey marks the fourth film by legendary director Stanley Kubrick. Despite his status as one of the greatest directors the world has ever seen, I’ve only really liked one of his films. So given that many consider this his magnum opus, there is some added expectation that this may be the pinnacle of what Kubrick can provide as a creative visionary. What will that look like?

Day Twenty-Nine: MouseHunt (March of the Movies 2024)

Won’t be too long of a post today. Not feeling up to writing today (on a full stomach and sleepy mood).

Day Twenty-Eight: Air Doll (March of the Movies 2024)

It’s somewhat frustrating to realize how few foreign films are on English-majority streaming services. Some choices here and there, yet the majority are either films of worldwide acclaim or by notable directors of a similar acclaim. What of the oddball indie flicks of alternative regions? Perhaps in time. Today, instead, will be an oddball film from a Japanese director that is known for making very depressing films.

Air Doll marks the first film I’ve seen from Hirokazu Kore-eda. Its premise, which you will see eventually, grabbed me pretty quickly with its absurd hook. If not for a review on Letterboxd pointing out said director, I would have assumed this was one of those “oddball indie flicks” I was searching for. Regardless, sometimes inanimate objects coming to life is all one needs to become interested—some objects more than others.

Day Twenty-Seven: Pumpkinhead (March of the Movies 2024)

Check out this freaky dude. Scrolling through films to view, I came across a peculiar cover with a bizarre name: Pumpkinhead. Even now, having finished the film, I cannot take the name seriously, nor do I feel it really fits the creature design. It’s irrelevant to me that the name isn’t necessarily a description of the creature, I went into this thinking the monster would have a pumpkin for a head, and now I’m disappointed.

Crying aside, this is apparently a cult classic with a decently flattering average score on Letterboxd. Given I tend to lean light on the “monster horror” side of things for these Marches (Godzilla excluded), this seemed intriguing enough to warrant a viewing. One thing I did wonder going in was whether or not this would be a well-made B movie, or a shoddily made big-budget production. The answer (if googling the film’s budget doesn’t suffice) becomes clear fairly quickly.

Day Twenty-Six: Kelce (March of the Movies 2024)

Look at that. A sports documentary seemingly tailored for me. Football is the primary sport of focus, the person of interest is someone I like and/or respect, and they play for the team I tend to root for most. The moment I learned of this documentary’s existence, I immediately threw it into the “to-watch” list. I like deep dives into sports figures’ lives!

Then again, this is an Amazon-original work that promises an “intimate and emotional” experience. If you see that type of description for a big-budget “all-in” access to someone’s life, chances are it’s likely not so. More likely it’s going to be manipulative in the sense that it focuses on specific moments that are natural to cause an emotional response, amplified to extreme effect. Nevertheless, I like Jason Kelce, so Kelce I viewed.

Day Twenty-Five: Dead Ringers (March of the Movies 2024)

Thinking back to many films I’ve seen so far this month, a common criticism I tend to bring up is the lack of originality in narrative structure. This romcom? Predictable. This emotional journey of discovery? Predictable. Am I a creature craving chaos? Whatever I may be, it’s something that abhors the idea of the tried-and-true. Anyway, David Cronenberg’s Dead Ringers is next up, and holy fuck.

Day Twenty-Four: No Hard Feelings (2023) (March of the Movies 2024)

Sometimes, after a near-month of watching varying levels of serious and iconic films, it’s nice to watch something a little less involved. Similarly to I Want You Back, unconventionally conventional romcoms starring somewhat oddball actors tend to interest me. Yet they all seem to end the same: amusing enough but mostly forgettable. How will this latest entry withstand my volatile expectations?

Day Twenty-Three: Breakfast at Tiffany’s (March of the Movies 2024)

Hey, it’s that one song!

Jokes aside, there is a considerable amount of fanfare surrounding this film. That black dress you see in the cover image just above? “Iconic,” apparently. And apparently this is the role that Audrey Hepburn is most known for. Outside of superlatives such as “classic” and “iconic” and “amazing,” I knew next to nothing about this going into it. Perhaps that was a good thing.