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SunnyD (6 KP) rated Lady Bird (2017) in Movies
Jun 19, 2018
Not extraordinary
If you love the starting actress, Saoirse Ronan, and indie films, then this is a fairly good watch. Lady Bird's relationship with her mother is the main theme here. The two continuously butt heads. At first, Lady Bird says that her mother is hard on her because she loves her so much, but it later gets harder for Lady Bird to accept their rough relationship as she questions whether her mother loves her because she has to or if she actually likes Lady Bird as a person. Her mother struggles to maintain their relationship while keeping their household afloat financially, especially after her father is laid off from his job.
I liked that, in addition to the mother-daughter theme, Lady Bird goes through a journey of selfdiscovery that starts when she dates her first crush at her Catholic high school. Lady Bird learns more about herself and those closest to her with every decision that she makes.
The quality of the ending might be up for some debate. If you're looking for real closure here, you won't be getting one. Ultimately, what happens after Lady Bird gets to college is up to your interpretation. The only thing that leaves your mind at some peace is that Lady Bird seems to learn to be grateful for what she has been given in life.
I liked that, in addition to the mother-daughter theme, Lady Bird goes through a journey of selfdiscovery that starts when she dates her first crush at her Catholic high school. Lady Bird learns more about herself and those closest to her with every decision that she makes.
The quality of the ending might be up for some debate. If you're looking for real closure here, you won't be getting one. Ultimately, what happens after Lady Bird gets to college is up to your interpretation. The only thing that leaves your mind at some peace is that Lady Bird seems to learn to be grateful for what she has been given in life.
Phillip McSween (751 KP) rated Depraved (2019) in Movies
Dec 29, 2019
Good but Needed a More Inventive Story
In this intriguing retelling of Frankenstein’s monster, a man finds himself the victim of a kidnapping and gruesome science experiment.
Acting: 10
Beginning: 10
Characters: 10
Cinematography/Visuals: 10
Conflict: 8
Entertainment Value: 4
Memorability: 1
Pace: 10
One of the things Depraved does extremely well is keep you engaged. We move from one scene to the next at a pretty quick clip. Even during scenes with heavier dialogue, there are no lingering moments which I appreciate. Thoroughly enjoyed the speed as the movie didn’t feel like two hours in the slightest.
Plot: 5
The sum of the story’s parts doesn’t really pass the smell test. Fast is good, yes, but there are some speed bumps that are hard to overlook. It felt like it was trying so hard to mirror Frankenstein at times that it never fully tried to do its own thing.
Resolution: 5
Overall: 73
I try to support indie movies as often as I can. And not just Fox Searchlight type of movies but those up and coming from lesser known studios. Films like Depraved can find themselves outgunned and overmatched but I appreciate what directors like Larry Fessenden are able to do with less. I hope to see more of his work in the future.
Acting: 10
Beginning: 10
Characters: 10
Cinematography/Visuals: 10
Conflict: 8
Entertainment Value: 4
Memorability: 1
Pace: 10
One of the things Depraved does extremely well is keep you engaged. We move from one scene to the next at a pretty quick clip. Even during scenes with heavier dialogue, there are no lingering moments which I appreciate. Thoroughly enjoyed the speed as the movie didn’t feel like two hours in the slightest.
Plot: 5
The sum of the story’s parts doesn’t really pass the smell test. Fast is good, yes, but there are some speed bumps that are hard to overlook. It felt like it was trying so hard to mirror Frankenstein at times that it never fully tried to do its own thing.
Resolution: 5
Overall: 73
I try to support indie movies as often as I can. And not just Fox Searchlight type of movies but those up and coming from lesser known studios. Films like Depraved can find themselves outgunned and overmatched but I appreciate what directors like Larry Fessenden are able to do with less. I hope to see more of his work in the future.
Bong Mines Entertainment (15 KP) rated Cult Classic by Fiona Grey in Music
Jun 21, 2019
Fiona Grey is an LA-based singer-songwriter from Chicago, Illinois. Not too long ago, she released a music video for her “Saviour” single featuring Emma Cole.
The Sean Berger-music video was choreographed by Kevin Stea (Madonna, Michael Jackson).
The visuals are an ode to Felini, Marie Antoinette, and the dark and dreamy black and white films of the ‘60s.
‘Saviour’ contains a relatable storyline, pleasing vocals, and charismatic instrumentation flavored with an indie-alternative aroma.
Also, the likable tune is featured on Fiona Grey’s latest EP, entitled, “Cult Classic”.
“Each song has its own identity and story it wants to tell.” – Fiona Grey
‘Cult Classic’ vocalizes cultural issues and expresses Fiona Grey’s vulnerability. Also, it highlights her anger towards the world we are living in and her desires for the world we are shaping.
Grammy Award-Winning Mike Schuppan (Paramore, M83, Ziggy Marley) produced the 6-track project. Also, Dave Cooley (Fitz & The Tantrums, Stone Temple Pilots) mastered it.
“There is a lot about living in a pop culture centered world that we deem as ‘normal behavior’. Also, I hope that the music can remind the listener that this follower-centric, alternate persona universe we live in is all temporary happiness.” – Fiona Grey
Fiona Grey draws inspiration from the world of Hollywood, it’s unrealistic expectations and the vices that people use as a form of escapism.
She hopes her music will help listeners aim to be the purest and honest versions of themselves.
The Sean Berger-music video was choreographed by Kevin Stea (Madonna, Michael Jackson).
The visuals are an ode to Felini, Marie Antoinette, and the dark and dreamy black and white films of the ‘60s.
‘Saviour’ contains a relatable storyline, pleasing vocals, and charismatic instrumentation flavored with an indie-alternative aroma.
Also, the likable tune is featured on Fiona Grey’s latest EP, entitled, “Cult Classic”.
“Each song has its own identity and story it wants to tell.” – Fiona Grey
‘Cult Classic’ vocalizes cultural issues and expresses Fiona Grey’s vulnerability. Also, it highlights her anger towards the world we are living in and her desires for the world we are shaping.
Grammy Award-Winning Mike Schuppan (Paramore, M83, Ziggy Marley) produced the 6-track project. Also, Dave Cooley (Fitz & The Tantrums, Stone Temple Pilots) mastered it.
“There is a lot about living in a pop culture centered world that we deem as ‘normal behavior’. Also, I hope that the music can remind the listener that this follower-centric, alternate persona universe we live in is all temporary happiness.” – Fiona Grey
Fiona Grey draws inspiration from the world of Hollywood, it’s unrealistic expectations and the vices that people use as a form of escapism.
She hopes her music will help listeners aim to be the purest and honest versions of themselves.
Kirk Bage (1775 KP) rated Wheels (2014) in Movies
Mar 3, 2020 (Updated Mar 12, 2020)
According to the film’s IMDb page, this low budget indie production, filmed in Los Angeles is the greatest film of all time! A month ago it sat at 9.3, which is better than The Godfather and The Shawshank Redemption! As I am writing and compiling a book about the best 200 films of the 21st century, up to the end of 2019, I was obliged to check this out. With almost 18,000 votes to its name, there must be something in it being rated that highly, right?
Well, obviously not. Someone smart behind the film, listed variously as a 2014 or 2017 production, depending on where you look, had clearly gone out of their way to manipulate its online presence in the hope of gaining viewers. Look, it worked – I watched it, and now I’m writing about it. Pretty shameful really, as you find that almost no website has a bad review or rating for it out there; it has pretty much been scrubbed clean. How they did it, I do not know, but it is indefensible to be honest. The real shame being that it isn’t a bad film for the budget at all, and may have got more views and respect the old fashioned way.
The story revolves around a recently paralysed man becoming suicidal and finding another guy in a wheelchair to ask if he will blow his brains out with a gun. From there the two go on a rampage of drug addiction, self harm and anti-social misbehaviour. For every cliche in there, there is another moment which is quite well done, and although you can see the cracks here and there it is mostly a watchable and enjoyable film, with some laughs and some genuine emotion. Acting wise, the two leads (writer and co-director Donavon Warren and Patrick Hume) have their moments too; perhaps lacking anything hugely inciteful, but certainly competent enough to compare favourably to some higher profile movies.
Ultimately, it is merely fine. Not something you would recommend or especially remember, but not a complete waste of 2 hours either. It is clearly going for the idea that disabled people are helpless victims on its head, and does largely succeed in not condescending or amping up the pity. That doesn’t stop either of them being unlikable people, however – perhaps that is the point.
More interesting than the film by far is how these guys manipulated the publicity system to get it seen. So many films worth seeing drift into obscurity for lack of money, take the films of Shane Caruth, Primer and Upstream Color. Both incredible, original and intelligent movies that no one saw, and only word of mouth many years later puts them on anyone’s radar. Then there are the endless festival films that do the rounds and can’t pick up distribution, no matter how good. Perhaps a film like Wheels needs to employ these kind of tactics to survive. It is really a question of ethics. I have to say, as an honest reviewer, it does bother me that fake ratings and reviews can exist and slip under the wire. But maybe that is just me…?
Well, obviously not. Someone smart behind the film, listed variously as a 2014 or 2017 production, depending on where you look, had clearly gone out of their way to manipulate its online presence in the hope of gaining viewers. Look, it worked – I watched it, and now I’m writing about it. Pretty shameful really, as you find that almost no website has a bad review or rating for it out there; it has pretty much been scrubbed clean. How they did it, I do not know, but it is indefensible to be honest. The real shame being that it isn’t a bad film for the budget at all, and may have got more views and respect the old fashioned way.
The story revolves around a recently paralysed man becoming suicidal and finding another guy in a wheelchair to ask if he will blow his brains out with a gun. From there the two go on a rampage of drug addiction, self harm and anti-social misbehaviour. For every cliche in there, there is another moment which is quite well done, and although you can see the cracks here and there it is mostly a watchable and enjoyable film, with some laughs and some genuine emotion. Acting wise, the two leads (writer and co-director Donavon Warren and Patrick Hume) have their moments too; perhaps lacking anything hugely inciteful, but certainly competent enough to compare favourably to some higher profile movies.
Ultimately, it is merely fine. Not something you would recommend or especially remember, but not a complete waste of 2 hours either. It is clearly going for the idea that disabled people are helpless victims on its head, and does largely succeed in not condescending or amping up the pity. That doesn’t stop either of them being unlikable people, however – perhaps that is the point.
More interesting than the film by far is how these guys manipulated the publicity system to get it seen. So many films worth seeing drift into obscurity for lack of money, take the films of Shane Caruth, Primer and Upstream Color. Both incredible, original and intelligent movies that no one saw, and only word of mouth many years later puts them on anyone’s radar. Then there are the endless festival films that do the rounds and can’t pick up distribution, no matter how good. Perhaps a film like Wheels needs to employ these kind of tactics to survive. It is really a question of ethics. I have to say, as an honest reviewer, it does bother me that fake ratings and reviews can exist and slip under the wire. But maybe that is just me…?
BankofMarquis (1832 KP) rated The Adam Project (2022) in Movies
Mar 23, 2022
Family Friendly, fun, action/comedy
Ryan Reynolds is making a nice living, not only is he on the “A” list for such films as DEADPOOL and FREE GUY (a wonderful film that you have to check out if you haven’t seen it), He is also popping up in charming action/comedy films that go straight to Streaming on Netflix. Following the fun romp that was RED NOTICE (with Gal Gadot and Dwayne “The Rock” Johnson), he is back in the Shawn Levy helmed THE ADAM PROJECT.
And while this film is not doing anything special, nor will it be nominated for any kind of awards, it is a fun, entertaining way to spend a couple of hours.
Family friendly, THE ADAM PROJECT, stars Reynolds as…you got it…Adam. A time traveling pilot who goes back in time to find his father - the inventor of time travel - and stop him. Along the way, her runs into his younger self, his mother and a very important person from Adam’s past…or rather…future…or…
You get the idea, it’s a time travel movie, so I wouldn’t get too caught up in “the rules” or dig too deeply into the plot.
Reynolds, of course, is charming as pilot Adam, ready with a laser gun and a quip. His quick wit and snappy banter is reminiscent of many, many other roles that Reynolds has played…and that is okay. He is joined by his younger self (dubbed Small Adam) who is played as a young Ryan Reynolds mimic very well by newcomer Walker Scobell. To be honest, Scobell is annoying early on in this film - and that is on purpose - for what is charming in the adult Reynolds is really annoying in a 12 year old.
Jennifer Garner (Mom), Mark Ruffalo (Dad) and Zoe Saldana (mysterious person from Adam’s past…I mean…future) are “professional” in their respective roles, bringing the right amount of whatever their character needs at the moment. Finally, surprisingly, indie film icon Catherine Keener is very good as the “bad buy” in this piece.
All of this is handled deftly by Shawn Levy (NIGHT AT THE MUSEUM). His track record shows that he knows how to do these family friendly, action/comedy/adventure films and he does not disappoint here. He moves things along at a brisk enough pace to keep all interested while throwing in comedy and snappy banter along the way.
All-in-All, a very fun way to spend a couple of hours - certainly a good way to spend a crisp Spring evening whilst waiting for the warmer weather to arrive.
Letter Grade: B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
And while this film is not doing anything special, nor will it be nominated for any kind of awards, it is a fun, entertaining way to spend a couple of hours.
Family friendly, THE ADAM PROJECT, stars Reynolds as…you got it…Adam. A time traveling pilot who goes back in time to find his father - the inventor of time travel - and stop him. Along the way, her runs into his younger self, his mother and a very important person from Adam’s past…or rather…future…or…
You get the idea, it’s a time travel movie, so I wouldn’t get too caught up in “the rules” or dig too deeply into the plot.
Reynolds, of course, is charming as pilot Adam, ready with a laser gun and a quip. His quick wit and snappy banter is reminiscent of many, many other roles that Reynolds has played…and that is okay. He is joined by his younger self (dubbed Small Adam) who is played as a young Ryan Reynolds mimic very well by newcomer Walker Scobell. To be honest, Scobell is annoying early on in this film - and that is on purpose - for what is charming in the adult Reynolds is really annoying in a 12 year old.
Jennifer Garner (Mom), Mark Ruffalo (Dad) and Zoe Saldana (mysterious person from Adam’s past…I mean…future) are “professional” in their respective roles, bringing the right amount of whatever their character needs at the moment. Finally, surprisingly, indie film icon Catherine Keener is very good as the “bad buy” in this piece.
All of this is handled deftly by Shawn Levy (NIGHT AT THE MUSEUM). His track record shows that he knows how to do these family friendly, action/comedy/adventure films and he does not disappoint here. He moves things along at a brisk enough pace to keep all interested while throwing in comedy and snappy banter along the way.
All-in-All, a very fun way to spend a couple of hours - certainly a good way to spend a crisp Spring evening whilst waiting for the warmer weather to arrive.
Letter Grade: B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
Eddie Redmayne: The Biography
Book
In February 2015, when Eddie Redmayne won the Oscar for Best Actor for his portrayal of the...
Kirk Bage (1775 KP) rated Buster's Mal Heart (2016) in Movies
Jan 22, 2021
Remember before the digital revolution and on demand TV channels when you had to stay up late and watch the films shown after midnight to see anything outside of the mainstream? Quite often they were awful, cheap, rambling experiences that maybe had one or two memorable scenes, or something so weird that you had to find out if any of your friends had seen it. Well, this is one of those films, except it was made in 2017 and I saw it in 2020 on Netflix.
I had added it to my watchlist some time during my obsession with Rami Malek and Mr Robot, knowing he had popped up in several cameo roles in big films over the years, but keen to see him take a lead role before the Oscar train of Bohemian Rhapsody and A-list fame. It is also that kind of film that arthouse cinemas would show during indie festivals or on late night double bills; stepping stones, hopefully, for all concerned to bigger things.
Writer director Sarah Adina Smith hasn’t quite made it yet, so you probably haven’t heard of her. She directed 2 episodes of Hanna, which I liked a lot, and will be talking about on The Wasteland at some point, and a few other bits of TV, but that’s about it. Judged on this oddity there is a good deal of vision and talent going on – but not yet an eye for total coherence.
Buster doesn’t know what it is, and neither do the critics, listing it as a mystery, a drama, a thriller, a sci-fi and a crime film, which… ok, yes, it has elements of all those, but isn’t really any of them, also. The titular character played by Malek is an ethereal enigma trapped in his own weird existence, and through a series of out of time and out of sequence flashbacks we come to understand his journey and descent into madness, after encountering a down at heel salesman with a big conspiracy theory to pedal, called The Inversion.
It remains shrouded in ambiguity and strangeness for most of the modest, but not off-putting, 96 minute running time, as Malek grows a beard, loses a beard and grows a beard again. Even when all is said and done, it takes a minute to put it all together and figure out what the point of it was. As something curious to let wash over you, I have to say I kinda liked it. Malek was as committed and interesting to watch as he always is, and I was just happy that films like this can still get made.
Ultimately, possibly a short film idea stretched too thin into a feature, which is an all too familiar phenomenon for new directors. But, an idea interesting and original enough to earn the right to be thought of as “showing potential”. If Smith ever does make it as big as say Jim Jarmusch or Kelly Reichardt then the arthouse geeks like me will be looking back on this with great interest. You just wonder how many people will see it at all, now the days of post midnight movies on a set channel are pretty much over?
I had added it to my watchlist some time during my obsession with Rami Malek and Mr Robot, knowing he had popped up in several cameo roles in big films over the years, but keen to see him take a lead role before the Oscar train of Bohemian Rhapsody and A-list fame. It is also that kind of film that arthouse cinemas would show during indie festivals or on late night double bills; stepping stones, hopefully, for all concerned to bigger things.
Writer director Sarah Adina Smith hasn’t quite made it yet, so you probably haven’t heard of her. She directed 2 episodes of Hanna, which I liked a lot, and will be talking about on The Wasteland at some point, and a few other bits of TV, but that’s about it. Judged on this oddity there is a good deal of vision and talent going on – but not yet an eye for total coherence.
Buster doesn’t know what it is, and neither do the critics, listing it as a mystery, a drama, a thriller, a sci-fi and a crime film, which… ok, yes, it has elements of all those, but isn’t really any of them, also. The titular character played by Malek is an ethereal enigma trapped in his own weird existence, and through a series of out of time and out of sequence flashbacks we come to understand his journey and descent into madness, after encountering a down at heel salesman with a big conspiracy theory to pedal, called The Inversion.
It remains shrouded in ambiguity and strangeness for most of the modest, but not off-putting, 96 minute running time, as Malek grows a beard, loses a beard and grows a beard again. Even when all is said and done, it takes a minute to put it all together and figure out what the point of it was. As something curious to let wash over you, I have to say I kinda liked it. Malek was as committed and interesting to watch as he always is, and I was just happy that films like this can still get made.
Ultimately, possibly a short film idea stretched too thin into a feature, which is an all too familiar phenomenon for new directors. But, an idea interesting and original enough to earn the right to be thought of as “showing potential”. If Smith ever does make it as big as say Jim Jarmusch or Kelly Reichardt then the arthouse geeks like me will be looking back on this with great interest. You just wonder how many people will see it at all, now the days of post midnight movies on a set channel are pretty much over?
Chris Sawin (602 KP) rated Jennifer's Body (2009) in Movies
Jun 22, 2019
Devil's Kettle is a small town where everyone knows everybody. The story revolves around the relationship between Needy (Amanda Seyfried) and Jennifer (Megan Fox) and other than having similar interests, the two are polar opposites. Needy is more of the quiet, girl next door type that is a bit of a bookworm with a heart of gold whereas Jennifer is more spontaneous, mean spirited, and the stuck-up, hot cheerleader type that every high school boy seems to dream about being with. One night, Jennifer drags Needy to Melody Lane, the one bar in town, to see a new flavor of the week indie band called Low Shoulder. When the bar catches on fire and most of the people inside are crushed or burned in the destruction, Needy thinks that's where this horrible night gone wrong would end. That is until Jennifer decides to go off with the band in their van and Needy has to make her way back home alone. After that night, a demon is transferred into Jennifer's body with an unquenchable hunger for high school guys. As Needy begins to accept what's happened to her BFF, she realizes that she's the only one that has a chance of stopping Jennifer once and for all.
Other than Megan Fox, the other factor that was pushed really hard in the advertising campaign for Jennifer's Body was the fact that Diablo Cody, the screenwriter for Juno, was attached to this film. To be honest, I think Cody's contributions are what I enjoyed most. The dialogue and humor of the film are both witty and laugh out loud funny at times. The writing, in general, made what otherwise would have been your average horror film worth watching and fairly entertaining in the long run.
This is probably the best we've seen acting-wise when it comes to Megan Fox. She isn't much other than eye candy in the Transformers films and was just an egotistical tramp that just so happened to be a rising star in How To Lose Friends and Alienate People. Other than the demonic possession part, her role in Jennifer's Body isn't too different from her role in How To Lose Friends and Alienate People. I'd give most of the credit to Cody's great writing, but Fox is actually able to display a bit more of her acting range this time around. While it probably isn't much compared to, you know, actresses with talent and she sounds like she has a cold most of the time, it's more than what we've seen from the actress in the past and everyone has to start somewhere.
The storyline doesn't offer much fresh material when it comes to horror films, but it gets the job done. The ending offers a bit of a different take on what would otherwise be an ending that would leave room for a sequel. With the conclusion to Jennifer's Body, however, it's more open ended. They could stop here and it would be a fine stand alone film, but it leaves enough questions unanswered that a sequel could see the light of day. Since the movie only made around $18 million worldwide, a sequel seeing theatrical distribution seems unlikely. A direct to DVD sequel with B-actors is definitely a possibility though. Aren't they always with horror films?
Jennifer's Body is superbly written on one hand, but feels like a run of the mill horror film on the other. The high point is definitely the screenplay by Diablo Cody, who manages to make Megan Fox's acting abilities look better than they ever have. But it seems the films enjoyment will rest solely on the shoulders of how much you enjoy horror films that don't shy away from blood. If you're not a fan of horror, I'd recommend staying away from this one. But if you're a fan of great writing, quite a bit of blood, horror, or Megan Fox's sex appeal then you should definitely give this one a go.
Other than Megan Fox, the other factor that was pushed really hard in the advertising campaign for Jennifer's Body was the fact that Diablo Cody, the screenwriter for Juno, was attached to this film. To be honest, I think Cody's contributions are what I enjoyed most. The dialogue and humor of the film are both witty and laugh out loud funny at times. The writing, in general, made what otherwise would have been your average horror film worth watching and fairly entertaining in the long run.
This is probably the best we've seen acting-wise when it comes to Megan Fox. She isn't much other than eye candy in the Transformers films and was just an egotistical tramp that just so happened to be a rising star in How To Lose Friends and Alienate People. Other than the demonic possession part, her role in Jennifer's Body isn't too different from her role in How To Lose Friends and Alienate People. I'd give most of the credit to Cody's great writing, but Fox is actually able to display a bit more of her acting range this time around. While it probably isn't much compared to, you know, actresses with talent and she sounds like she has a cold most of the time, it's more than what we've seen from the actress in the past and everyone has to start somewhere.
The storyline doesn't offer much fresh material when it comes to horror films, but it gets the job done. The ending offers a bit of a different take on what would otherwise be an ending that would leave room for a sequel. With the conclusion to Jennifer's Body, however, it's more open ended. They could stop here and it would be a fine stand alone film, but it leaves enough questions unanswered that a sequel could see the light of day. Since the movie only made around $18 million worldwide, a sequel seeing theatrical distribution seems unlikely. A direct to DVD sequel with B-actors is definitely a possibility though. Aren't they always with horror films?
Jennifer's Body is superbly written on one hand, but feels like a run of the mill horror film on the other. The high point is definitely the screenplay by Diablo Cody, who manages to make Megan Fox's acting abilities look better than they ever have. But it seems the films enjoyment will rest solely on the shoulders of how much you enjoy horror films that don't shy away from blood. If you're not a fan of horror, I'd recommend staying away from this one. But if you're a fan of great writing, quite a bit of blood, horror, or Megan Fox's sex appeal then you should definitely give this one a go.
Scott Tostik (389 KP) rated The Movie Crypt in Podcasts
Jan 8, 2018
Adam Green and Joe Lynch (3 more)
Different guest each week
Heartfelt stories
It's pretty damned funny
Awesome Pod for anyone who wants to make movies
Adam and Joe are two of the best "indie" film makers out there. Adam brought one of the horror genres newest icons to life in the form of Victor Crowley and Joe has been responsible for a pair of my favorite independent films with the births of Mayhem and Everly. But did you ever wonder how they got their starts in the film industry? Or what it takes to make a horror film? Or how some of your favorite actors writers directors and people involved in the industry got to be where they are today?
This pod brings it all to light. They hold nothing back and tell all things. Both good and bad.
With awesome guests such as horror icons Kane Hodder, Sid Haig, Bill Moseley and Ray Wise as well as fellow filmmakers the likes of Darren Lynn Boussman, Adam Wingard and Ti West. The boys leave no stone unturned as they bring everything to the table.
The pod is also welcome to subscription through Patreon with some cool little gifts to those who want to donate. Including Film commentaries once a month, first come basis viewer mail questions and Hollywood tell all answers to industry questions in a segment called Ask Dr. Arwen, named after Green's Yorkie and fellow show host.
I would recommend this Podcast to anyone who wants to learn the ins and outs of the film world told from a perspective that is understandable to anyone. And it's good for a few laughs as well. I've been a devoted listener since 2013. And the vast library of webisodes is available to anyone via iTunes and other podcast generators.
Listen and enjoy folks. You won't be disappointed.
This pod brings it all to light. They hold nothing back and tell all things. Both good and bad.
With awesome guests such as horror icons Kane Hodder, Sid Haig, Bill Moseley and Ray Wise as well as fellow filmmakers the likes of Darren Lynn Boussman, Adam Wingard and Ti West. The boys leave no stone unturned as they bring everything to the table.
The pod is also welcome to subscription through Patreon with some cool little gifts to those who want to donate. Including Film commentaries once a month, first come basis viewer mail questions and Hollywood tell all answers to industry questions in a segment called Ask Dr. Arwen, named after Green's Yorkie and fellow show host.
I would recommend this Podcast to anyone who wants to learn the ins and outs of the film world told from a perspective that is understandable to anyone. And it's good for a few laughs as well. I've been a devoted listener since 2013. And the vast library of webisodes is available to anyone via iTunes and other podcast generators.
Listen and enjoy folks. You won't be disappointed.
Bob Mann (459 KP) rated Get Out (2017) in Movies
Sep 29, 2021
“It really doesn’t matter if you’re ‘Black or White”.
Due to a mixture of holiday, work commitments and sickness (I would not wish to inflict my bronchial cough on ANY cinema audience for a while) I haven’t been to the cinema in over a month… shocking. But it has given me a chance to catch up on some of the films in 2017 (and a few from last year) that I hadn’t got to see. So this will be the first of a series of such “DVD” reviews.
“Get Out” was written and directed by Jordan Peele and was his directorial debut. And a hot item on his resume it is too.
Daniel Kaluuya (“Sicario”) plays African-American Chris Washington who, nervously, takes a trip ‘upstate’ to meet the parents of his cute white girlfriend Rose (Allison Williams). The parents, Dean (Bradley Whitford, best known as Josh Lyman from “The West Wing”) and Missy (Catherine Keener, “ Captain Phillips”), are extremely welcoming.
But the weekend coincides with an “annual gathering” of family and friends, and events quickly take a left turn into “The Twilight Zone”, with anti-smoking hypnosis and a bizarre game of Bingo where the win is so substantial that playing becomes a ‘no brainer’. Can Chris ‘Get Out’, with his mind still intact, before it’s too late?
This is a really clever script by Peele. The film baits you into thinking this is some redneck-inter-racial-revenge flick, but actually the colour of the skin is almost irrelevant. (Or is it? This angle is left deliciously vague). Some of the filming is spectacularly creepy, with the hypnosis scene being reminiscent to me of the excellent “Under The Skin”. And never has a teaspoon in a cup of tea been a more devastating weapon.
I seemed to have talked at length this year in this blog on the subject of the “physics of horror”: the story elements hanging together in a satisfying – albeit sometimes in an unbelievable – way. “Get Out” delivers this to perfection, keeping its powder dry until the closing moments of the film before delivering a series of satisfying “Ah!” relevatory moments.
While the ‘physics’ of the film is good the ‘biology’ is bonkers, featuring a plot point from the terrible first episode of the 3rd season of the original “Star Trek” (if you can be bothered to look that up!). But I’ll forgive this, parking my incredulity, to salute what I think is one of the year’s most novel and impressive low-budget indie horror films.
“Get Out” was written and directed by Jordan Peele and was his directorial debut. And a hot item on his resume it is too.
Daniel Kaluuya (“Sicario”) plays African-American Chris Washington who, nervously, takes a trip ‘upstate’ to meet the parents of his cute white girlfriend Rose (Allison Williams). The parents, Dean (Bradley Whitford, best known as Josh Lyman from “The West Wing”) and Missy (Catherine Keener, “ Captain Phillips”), are extremely welcoming.
But the weekend coincides with an “annual gathering” of family and friends, and events quickly take a left turn into “The Twilight Zone”, with anti-smoking hypnosis and a bizarre game of Bingo where the win is so substantial that playing becomes a ‘no brainer’. Can Chris ‘Get Out’, with his mind still intact, before it’s too late?
This is a really clever script by Peele. The film baits you into thinking this is some redneck-inter-racial-revenge flick, but actually the colour of the skin is almost irrelevant. (Or is it? This angle is left deliciously vague). Some of the filming is spectacularly creepy, with the hypnosis scene being reminiscent to me of the excellent “Under The Skin”. And never has a teaspoon in a cup of tea been a more devastating weapon.
I seemed to have talked at length this year in this blog on the subject of the “physics of horror”: the story elements hanging together in a satisfying – albeit sometimes in an unbelievable – way. “Get Out” delivers this to perfection, keeping its powder dry until the closing moments of the film before delivering a series of satisfying “Ah!” relevatory moments.
While the ‘physics’ of the film is good the ‘biology’ is bonkers, featuring a plot point from the terrible first episode of the 3rd season of the original “Star Trek” (if you can be bothered to look that up!). But I’ll forgive this, parking my incredulity, to salute what I think is one of the year’s most novel and impressive low-budget indie horror films.