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Rolling Stone: Stories from the Edge
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Directed by Oscar-winner Alex Gibney (HBO’s Taxi to the Dark Side and Going Clear: Scientology and...
Chris Sawin (602 KP) rated Under the Silver Lake (2018) in Movies
Jul 6, 2019
In David Robert Mitchell’s (It Follows) Under the Silver Lake, Andrew Garfield portrays a jobless and lethargic young man named Sam. Apart from his obsession with conspiracy theories and finding obscure messages in common pop culture, Sam typically spies on his topless and bird-loving neighbor. He also blatantly ignores the fact that he’s facing eviction in five days for unpaid rent. His current infatuation is a zine entitled Under the Silver Lake, which seems to mirror what’s currently transpiring in Los Angeles. Sam develops a crush on his new neighbor named Sarah (Riley Keough), who seems to disappear without a trace overnight. What begins as an investigation into Sarah’s current whereabouts evolves into something deeply rooted in the peculiar.
There’s a lot to digest with Under the Silver Lake. Not only is the story constructed on finding clues and deciphering the bizarre, but the film itself is also loaded with homage to famous music, film, and people. Nirvana, The Legend of Zelda, Nintendo Power, and Spider-Man are just a few references in the film and that doesn’t cover the blatant influence of films such as Rear Window or 2001: A Space Odyssey. What you have to ask yourself, and this is probably what makes the film so polarizing, is if what lays between the admiration for popular culture a worthwhile experience?
What you can appreciate is Andrew Garfield’s performance. Sam is so bored with his uneventful existence that he tries to find hidden meaning in everyday items. He is basically a stalker fueled by paranoia and consistent lusting of whatever woman is closest to him. When sex isn’t an option for Sam, he masturbates and somehow this becomes a common theme of the film. The first thing you ever pleasured yourself to is suddenly a conversation piece. Garfield has an unusual demeanor as Sam, but never really comes off as creepy. The method in which the story keeps snowballing into something bigger with more and more connections helps Sam’s case. Sam beats the snot out of a kid who keyed a giant penis ejaculating onto the hood of his black GT Mustang and you only seem to like him more because of it.
The fact of the matter is you also become invested in Sam’s discoveries. Despite what you feel about Under the Silver Lake as a film, it’s still unpredictable and intriguing even with its 139-minute duration. With its abrupt camera movements, a kamikaze squirrel, a serial dog killer on the loose, pets named after soda, the discovery of saltines and orange juice being one of the most unique combinations ever, a gory dream sequence, animated zine stories, people barking like dogs, the map on the back of a cereal box being the answer to everything, a seething hatred for the homeless, a way too impressive piano medley, and an almost unrecognizable Topher Grace as a reliable friend, Under the Silver Lake feels like it is overloaded with these overwhelmingly precise details that don’t necessarily lead to anything substantial.
On first watch, it’s impossible to decipher if Under the Silver Lake is destined to be a cult classic or a misguided neo-noir mystery. David Robert Mitchell knows how to introduce elements of comedy, mystery, and drama, but that final product is what leaves you scratching your head. Maybe this gets better with multiple viewings and you find more Easter eggs with each watch or everything connects differently in your head after knowing what direction the story is headed in. In the meantime though, Under the Silver Lake mostly feels like a nearly two and a half hour session of stoner ramblings that can’t decide whether to be Brick, Inherent Vice, or Southland Tales; even The Homeless King feels like a side story lifted from Terry Gilliam’s The Fisher King.
What’s happening directly in Sam’s world isn’t what matters most in Under the Silver Lake. He’s more worried about Sarah and Los Angeles than he is about not having a job or possibly a place to live in a matter of days. The outside world is far more interesting to Sam because it’s that, “The grass is always greener,” kind of mentality. Sam is consumed by Sarah because she is the one woman in the film he doesn’t get to sleep with. Having everlasting discussions of what your topless neighbor’s parrot is saying is far more humorous than revealing anything remotely personal. Becoming entangled in this crazy spider’s web of a conspiracy is far more interesting than living a boring existence. Sam makes the most out of nothing, literally. Under the Silver Lake is this spellbinding enigma of a film that is equally stimulating as it is mystifying.
There’s a lot to digest with Under the Silver Lake. Not only is the story constructed on finding clues and deciphering the bizarre, but the film itself is also loaded with homage to famous music, film, and people. Nirvana, The Legend of Zelda, Nintendo Power, and Spider-Man are just a few references in the film and that doesn’t cover the blatant influence of films such as Rear Window or 2001: A Space Odyssey. What you have to ask yourself, and this is probably what makes the film so polarizing, is if what lays between the admiration for popular culture a worthwhile experience?
What you can appreciate is Andrew Garfield’s performance. Sam is so bored with his uneventful existence that he tries to find hidden meaning in everyday items. He is basically a stalker fueled by paranoia and consistent lusting of whatever woman is closest to him. When sex isn’t an option for Sam, he masturbates and somehow this becomes a common theme of the film. The first thing you ever pleasured yourself to is suddenly a conversation piece. Garfield has an unusual demeanor as Sam, but never really comes off as creepy. The method in which the story keeps snowballing into something bigger with more and more connections helps Sam’s case. Sam beats the snot out of a kid who keyed a giant penis ejaculating onto the hood of his black GT Mustang and you only seem to like him more because of it.
The fact of the matter is you also become invested in Sam’s discoveries. Despite what you feel about Under the Silver Lake as a film, it’s still unpredictable and intriguing even with its 139-minute duration. With its abrupt camera movements, a kamikaze squirrel, a serial dog killer on the loose, pets named after soda, the discovery of saltines and orange juice being one of the most unique combinations ever, a gory dream sequence, animated zine stories, people barking like dogs, the map on the back of a cereal box being the answer to everything, a seething hatred for the homeless, a way too impressive piano medley, and an almost unrecognizable Topher Grace as a reliable friend, Under the Silver Lake feels like it is overloaded with these overwhelmingly precise details that don’t necessarily lead to anything substantial.
On first watch, it’s impossible to decipher if Under the Silver Lake is destined to be a cult classic or a misguided neo-noir mystery. David Robert Mitchell knows how to introduce elements of comedy, mystery, and drama, but that final product is what leaves you scratching your head. Maybe this gets better with multiple viewings and you find more Easter eggs with each watch or everything connects differently in your head after knowing what direction the story is headed in. In the meantime though, Under the Silver Lake mostly feels like a nearly two and a half hour session of stoner ramblings that can’t decide whether to be Brick, Inherent Vice, or Southland Tales; even The Homeless King feels like a side story lifted from Terry Gilliam’s The Fisher King.
What’s happening directly in Sam’s world isn’t what matters most in Under the Silver Lake. He’s more worried about Sarah and Los Angeles than he is about not having a job or possibly a place to live in a matter of days. The outside world is far more interesting to Sam because it’s that, “The grass is always greener,” kind of mentality. Sam is consumed by Sarah because she is the one woman in the film he doesn’t get to sleep with. Having everlasting discussions of what your topless neighbor’s parrot is saying is far more humorous than revealing anything remotely personal. Becoming entangled in this crazy spider’s web of a conspiracy is far more interesting than living a boring existence. Sam makes the most out of nothing, literally. Under the Silver Lake is this spellbinding enigma of a film that is equally stimulating as it is mystifying.
Gareth von Kallenbach (968 KP) rated The Social Network (2010) in Movies
Aug 8, 2019
It’s hard to find anyone who doesn’t know about Facebook. On any given day, at least 250 million active users log on to Facebook and spend over 700 billion minutes per month updating their status, posting pictures or playing casual games. So dominant is this social network, the name itself is both a brand and a verb. Who would have thought that sharing inanities about what we’re currently thinking, eating, reading, watching with our friends would garner such interest? In the new movie The Social Network, director David Fincher sets out to show how, from the very humblest beginnings, Facebook became the juggernaut that it is today.
In 2003, after a debate and breakup with his girlfriend, fueled by his frustration at his exclusion from the social elite, Harvard undergrad and computer programming genius, Mark Zuckerberg, sits at his computer one night and changes the face of the internet. In just a few hours Zuckerberg, deftly played by Jesse Eisenberg, circumvents the firewalls and security of Harvard and creates a website that allows visitors to rate the ladies of the campus. Within a few hours, the thousands of hits crash the vaunted computer network of the university.
While Harvard staff was not impressed with his efforts, it certainly caught the attention of his fellow students, most notably the Winklevoss brothers, who seek out Zuckerberg with the intention of creating an exclusive website for Harvard students. While seemingly mulling over the proposal of the new site, Zuckerberg rapidly, and obsessively, develops his own. The early version of what would eventually become Facebook soon becomes a campus sensation, much to the dismay of the Winklevoss brothers.
Andrew Garfield plays Zuckerberg’s friend Eduardo Severin who funds Zuckerberg’s efforts. Facebook rapidly became the height of social hipness as its exclusivity widened to more colleges and universities. College students across the country created profiles and quickly spread news of the site simply by word of mouth. Or rather word of email. The success of Facebook soon gains the attention of Sean Parker, played by Justin Timberlake. Parker had risen to prominence as the creator of the popular file sharing site Napster and was eager to become involved with the growing success of Facebook. While Mark is fascinated and inspired by Sean’s slick style, Eduardo isn’t impressed and is highly suspicious of Sean’s motives as well as his shady reputation. As the trailers and posters have touted, you can’t get to 500 million friends without making a few enemies. Jealousy feeds insecurities that feed accusations that eventually lead to lawsuits.
Eisenberg is fantastic as the egotistical, neurotic, and highly intelligent Mark Zuckerberg, but the true breakout performance of the film has to be that of Andrew Garfield, who has been cast to play Spiderman in the next trilogy of the very popular film series. The British actor who was born and raised in Los Angeles has an understated charisma and appears very capable of becoming a leading man. He infuses Eduardo with class and humanism as he tries to be the friend Zuckerberg doesn’t think he needs.
The film is told largely through flashbacks during a deposition hearing between the parties involved in the lawsuits. Director Fincher skillfully allows his characters to drive the film, letting the story unfold in telling scenes, giving the characters ample room to shine without becoming preachy or resorting to grandstanding.
The characters, despite their flaws, do come across as very believable and sympathetic, even though it’s difficult to imagine going from students to inventors of a pop culture phenomenon, to billionaires in just a few short years. Very few corporations that become dominant in their industry do so without critics, challengers, and those that claim they were responsible for whatever success a company gained.
While The Social Network does not overtly place blame, the light it shines on Zuckerberg isn’t altogether flattering. Surprisingly, the film does not go to the extreme with tech talk. It instead focuses on the relationship between the characters and how they handled the drastic and sudden changes in their lives brought on by a simple program called Face Mash, which became the basis for Facebook.
Strong supporting work in the film combined with the great performances of the lead characters makes The Social Network”a very solid and entertaining film that, for my money, is one of the better films of the year.
While it would be easy to jump to judgment and brand many in the film as egotistical rich people who should be grateful for what they have, I remembered that absolute power corrupts absolutely and I wondered just how well any of us in the audience would react if we were ever faced with a similar situation.
In 2003, after a debate and breakup with his girlfriend, fueled by his frustration at his exclusion from the social elite, Harvard undergrad and computer programming genius, Mark Zuckerberg, sits at his computer one night and changes the face of the internet. In just a few hours Zuckerberg, deftly played by Jesse Eisenberg, circumvents the firewalls and security of Harvard and creates a website that allows visitors to rate the ladies of the campus. Within a few hours, the thousands of hits crash the vaunted computer network of the university.
While Harvard staff was not impressed with his efforts, it certainly caught the attention of his fellow students, most notably the Winklevoss brothers, who seek out Zuckerberg with the intention of creating an exclusive website for Harvard students. While seemingly mulling over the proposal of the new site, Zuckerberg rapidly, and obsessively, develops his own. The early version of what would eventually become Facebook soon becomes a campus sensation, much to the dismay of the Winklevoss brothers.
Andrew Garfield plays Zuckerberg’s friend Eduardo Severin who funds Zuckerberg’s efforts. Facebook rapidly became the height of social hipness as its exclusivity widened to more colleges and universities. College students across the country created profiles and quickly spread news of the site simply by word of mouth. Or rather word of email. The success of Facebook soon gains the attention of Sean Parker, played by Justin Timberlake. Parker had risen to prominence as the creator of the popular file sharing site Napster and was eager to become involved with the growing success of Facebook. While Mark is fascinated and inspired by Sean’s slick style, Eduardo isn’t impressed and is highly suspicious of Sean’s motives as well as his shady reputation. As the trailers and posters have touted, you can’t get to 500 million friends without making a few enemies. Jealousy feeds insecurities that feed accusations that eventually lead to lawsuits.
Eisenberg is fantastic as the egotistical, neurotic, and highly intelligent Mark Zuckerberg, but the true breakout performance of the film has to be that of Andrew Garfield, who has been cast to play Spiderman in the next trilogy of the very popular film series. The British actor who was born and raised in Los Angeles has an understated charisma and appears very capable of becoming a leading man. He infuses Eduardo with class and humanism as he tries to be the friend Zuckerberg doesn’t think he needs.
The film is told largely through flashbacks during a deposition hearing between the parties involved in the lawsuits. Director Fincher skillfully allows his characters to drive the film, letting the story unfold in telling scenes, giving the characters ample room to shine without becoming preachy or resorting to grandstanding.
The characters, despite their flaws, do come across as very believable and sympathetic, even though it’s difficult to imagine going from students to inventors of a pop culture phenomenon, to billionaires in just a few short years. Very few corporations that become dominant in their industry do so without critics, challengers, and those that claim they were responsible for whatever success a company gained.
While The Social Network does not overtly place blame, the light it shines on Zuckerberg isn’t altogether flattering. Surprisingly, the film does not go to the extreme with tech talk. It instead focuses on the relationship between the characters and how they handled the drastic and sudden changes in their lives brought on by a simple program called Face Mash, which became the basis for Facebook.
Strong supporting work in the film combined with the great performances of the lead characters makes The Social Network”a very solid and entertaining film that, for my money, is one of the better films of the year.
While it would be easy to jump to judgment and brand many in the film as egotistical rich people who should be grateful for what they have, I remembered that absolute power corrupts absolutely and I wondered just how well any of us in the audience would react if we were ever faced with a similar situation.
Dana (24 KP) rated The Tempest in Books
Mar 23, 2018
I had to read this play for my Shakespeare class in college and it was the first time I had ever read it.
This was an interesting play, and I'm not sure where it will fit on my scale for my favorite Shakespearean plays. While the plot was pretty straightforward, I do not know how I necessarily felt about the characters themselves. This being Shakespeare's final play, I feel like he wanted to pull in some aspects from his previous plays to draw the crowds in one last time.
I definitely see Shakespeare in Prospero. Both men are known for their art, Prospero's being magic and Shakespeare's being his writings, and in the end, both will give up those arts to be with their families. While it cannot be proved, Shakespeare did die fairly soon after his career ended, making yet another connection where possibly his "every third thought would be of the grave" just as Prospero foretold. And of course, Prospero's final soliloquy is said to be Shakespeare's swan song, his final curtain call.
Miranda can be seen as a voice for the audience a lot throughout the play. She is the reason we get the backstory about why Prospero is doing what he is doing, she voices concerns that the audiences may all be thinking. I think this was intentional because in most of the Shakespearean plays, there is at least one character who stands in for the audience.
Ariel, not going to lie, I thought he was a female character, though I found out by reading more, and watching a filmed production of it, that he is often portrayed as a male. I do, however, want to see what a female could do with this character. Especially since he is such a pivotal character to the plot line being in most, if not all, scenes in some way or another. Without Ariel, the story would not have been able to happen.
Caliban is weird. I understand why he hates Prospero and Miranda so much, but that doesn't excuse his actions both in the actual play and before it in the history sections.
I do not quite know what to classify this play as. It is definitely not one of the tragedies (mainly because it doesn't have a character name in the title) but it also isn't really a comedy. Would it be a mystical play? I don't really know. If you do, please, message me or comment on the post, because I am curious.
This play is often referenced in literature and in pop culture, but I never fully understood what they meant, so it was fun to be able to finally get what people were talking about. That being said, I do not think this is one of his most popular plays. Yes, it was his last, but I have not seen it come up as much in my studies as, let's say, Hamlet or Romeo and Juliet.
Overall, I enjoyed the play, but it definitely isn't my favorite. That spot still goes to Macbeth.
This was an interesting play, and I'm not sure where it will fit on my scale for my favorite Shakespearean plays. While the plot was pretty straightforward, I do not know how I necessarily felt about the characters themselves. This being Shakespeare's final play, I feel like he wanted to pull in some aspects from his previous plays to draw the crowds in one last time.
I definitely see Shakespeare in Prospero. Both men are known for their art, Prospero's being magic and Shakespeare's being his writings, and in the end, both will give up those arts to be with their families. While it cannot be proved, Shakespeare did die fairly soon after his career ended, making yet another connection where possibly his "every third thought would be of the grave" just as Prospero foretold. And of course, Prospero's final soliloquy is said to be Shakespeare's swan song, his final curtain call.
Miranda can be seen as a voice for the audience a lot throughout the play. She is the reason we get the backstory about why Prospero is doing what he is doing, she voices concerns that the audiences may all be thinking. I think this was intentional because in most of the Shakespearean plays, there is at least one character who stands in for the audience.
Ariel, not going to lie, I thought he was a female character, though I found out by reading more, and watching a filmed production of it, that he is often portrayed as a male. I do, however, want to see what a female could do with this character. Especially since he is such a pivotal character to the plot line being in most, if not all, scenes in some way or another. Without Ariel, the story would not have been able to happen.
Caliban is weird. I understand why he hates Prospero and Miranda so much, but that doesn't excuse his actions both in the actual play and before it in the history sections.
I do not quite know what to classify this play as. It is definitely not one of the tragedies (mainly because it doesn't have a character name in the title) but it also isn't really a comedy. Would it be a mystical play? I don't really know. If you do, please, message me or comment on the post, because I am curious.
This play is often referenced in literature and in pop culture, but I never fully understood what they meant, so it was fun to be able to finally get what people were talking about. That being said, I do not think this is one of his most popular plays. Yes, it was his last, but I have not seen it come up as much in my studies as, let's say, Hamlet or Romeo and Juliet.
Overall, I enjoyed the play, but it definitely isn't my favorite. That spot still goes to Macbeth.
BookblogbyCari (345 KP) rated This Idea Must Die in Books
Aug 14, 2018
Book Review by Cari Mayhew.
There’s nothing like reading a popular science book to make you feel more worldly wise! The Idea Must Die is a compilation of over 150 separate articles, by different contributors, arguing that certain scientific concepts are blocking progress and should be put to rest.
Its scope is very broad - at first I felt the book was concentrating on physics, but it later went on to include psychology, linguistics, genetics, criminology, economics and computer science. The title of each article comes from the concept that it is argued should be put to rest.
There were plenty of articles I found interesting and learnt from, including: - “Long-term memory is immutable”, "One genome per individual", “Economic growth”, "Intelligence as property", "Continuity of time", Knowing is half the battle" and "Information overload", “Essentialism”, "Malthuanism" (which is the idea that population will outstrip food supply).
For the majority of the articles I agreed that the theory should be put to rest, and plenty that I thought it was good to see included. These included topics such as: race, nurture vs nature, reductionism. Cancer research theories were also addressed.
There were several topics I was surprised to see argued against, such as evidence-based medicine, scientific method, evolution, carbon footprint, string theory, culture, science being self-correcting.
It was refreshing to see "We are stone age thinkers" but I was disappointed to see the title "Languages condition worldviews". It was also a shame to see AI there, along with robot companions. Ideas in some chapters were disconcerting, claiming there's no self, no cognitive agency, and no free will.
There was a potentially useful article entitled "Scientific knowledge structured as literature" suggesting how publication could move to a new updated method.
With each article ranging in length from a mere 1 to 7 pages, it is an incredibly easy book to dip in and out of, or to fit around a busy week. At times there is a flow between one chapter and the next, but not always. Several of the articles proffer conflicting viewpoints, prompting the reader to reflect and wonder.
Some articles are more-well written than others, and similarly some arguments are more strongly put forward. Usually only one argument is made per article, but at times there were several. I believe some of the articles were chosen for their brevity, which is a shame because some of the articles could use a stronger argument. Some articles are hard to get your head around. The language is not always accessible and often presumes reader already has some knowledge of the subject. Although intriguing to begin with, with so many articles it began to feel dry and laborious at about 60% through. Some articles I deliberately skipped, others I attempted but found impenetrable.
It’s a refreshing read if you haven’t picked a science book in some time and it’s definitely a thought-provoking read if you feel confident that you can get to grips with the material.
For more of my reviews, check out www.bookblogbycari.com
There’s nothing like reading a popular science book to make you feel more worldly wise! The Idea Must Die is a compilation of over 150 separate articles, by different contributors, arguing that certain scientific concepts are blocking progress and should be put to rest.
Its scope is very broad - at first I felt the book was concentrating on physics, but it later went on to include psychology, linguistics, genetics, criminology, economics and computer science. The title of each article comes from the concept that it is argued should be put to rest.
There were plenty of articles I found interesting and learnt from, including: - “Long-term memory is immutable”, "One genome per individual", “Economic growth”, "Intelligence as property", "Continuity of time", Knowing is half the battle" and "Information overload", “Essentialism”, "Malthuanism" (which is the idea that population will outstrip food supply).
For the majority of the articles I agreed that the theory should be put to rest, and plenty that I thought it was good to see included. These included topics such as: race, nurture vs nature, reductionism. Cancer research theories were also addressed.
There were several topics I was surprised to see argued against, such as evidence-based medicine, scientific method, evolution, carbon footprint, string theory, culture, science being self-correcting.
It was refreshing to see "We are stone age thinkers" but I was disappointed to see the title "Languages condition worldviews". It was also a shame to see AI there, along with robot companions. Ideas in some chapters were disconcerting, claiming there's no self, no cognitive agency, and no free will.
There was a potentially useful article entitled "Scientific knowledge structured as literature" suggesting how publication could move to a new updated method.
With each article ranging in length from a mere 1 to 7 pages, it is an incredibly easy book to dip in and out of, or to fit around a busy week. At times there is a flow between one chapter and the next, but not always. Several of the articles proffer conflicting viewpoints, prompting the reader to reflect and wonder.
Some articles are more-well written than others, and similarly some arguments are more strongly put forward. Usually only one argument is made per article, but at times there were several. I believe some of the articles were chosen for their brevity, which is a shame because some of the articles could use a stronger argument. Some articles are hard to get your head around. The language is not always accessible and often presumes reader already has some knowledge of the subject. Although intriguing to begin with, with so many articles it began to feel dry and laborious at about 60% through. Some articles I deliberately skipped, others I attempted but found impenetrable.
It’s a refreshing read if you haven’t picked a science book in some time and it’s definitely a thought-provoking read if you feel confident that you can get to grips with the material.
For more of my reviews, check out www.bookblogbycari.com
Gareth von Kallenbach (968 KP) rated Scary Movie 4 (2006) in Movies
Aug 14, 2019
Anna Faris returns as Cindy Campbell in the fourth installment of the popular “Scary Movie” franchise and your favorite horror films will never be the same.
Continuing the tradition of lampooning the horror genre that was established in the three previous segments, Scary Movie 4 takes aim at SAW, War of the Worlds, The Grudge and The Village while countless other pop culture shows and events are lambasted.
The film is pretty much a collection of scenes that are designed to mimic other films for comedic results so as such, only a very minimal plot is in place. In this case, the story follows War of the Worlds where a down and out father named Tom Ryan (Craig Bierko), must stay one step ahead of an alien invasion and protect his two estranged children from the devastation unleashed by the invaders.
Without the concerns of a plot to follow, the movie jumps from one locale to another in order to parody the various genre films. One segment has Cindy escaping the aliens by leaving her “Grudge” inspired house to reunite with her friend Brenda (Regina Hall), only to be thrust into an extended parody of The Village while Tom and company continue their parody of War of the Worlds”. While this may seem hectic to some, the film pulls it off very well as there are other subplots to follow such as Leslie Nielsen’s hilarious take as the President who is more concerned over the outcome of a children’s book then the fact that aliens are destroying the country.
Once again directed by David Zucker who took over the franchise after Scary Movie 2, the film uses the same style that made Zucker’s Airplane and Naked Gun series such box office favorites. Jokes ranging from the crude to the absurd fly at record pace inundating the audience with a torrent of jokes. As before, some jokes are truly inspired such as the Shaq and Dr. Phil parody of SAW and others take the crude road such as a sponge bath from hell and a Viagra overdose. While there is nothing that is truly fresh or original to the film, some of the jokes work very well, and make up for the jokes that bomb.
This is not the type of film where there is anything you can say about acting, plot, character development, and chemistry as those aspects are all non-existent as the focus is on parody. In that regard Scary Movie 4 works as despite the fact that much of the film is silly and dumb, it is by and large funny. If you do not mind wading through the jokes that fail to get to the ones that work, you will be rewarded as there are some very good bits in the film.
If you are a fan of the series then you know what you are in for and are likely to get some laughs, but if you are new to the franchise, then you might want to wait for the DVD release.
Continuing the tradition of lampooning the horror genre that was established in the three previous segments, Scary Movie 4 takes aim at SAW, War of the Worlds, The Grudge and The Village while countless other pop culture shows and events are lambasted.
The film is pretty much a collection of scenes that are designed to mimic other films for comedic results so as such, only a very minimal plot is in place. In this case, the story follows War of the Worlds where a down and out father named Tom Ryan (Craig Bierko), must stay one step ahead of an alien invasion and protect his two estranged children from the devastation unleashed by the invaders.
Without the concerns of a plot to follow, the movie jumps from one locale to another in order to parody the various genre films. One segment has Cindy escaping the aliens by leaving her “Grudge” inspired house to reunite with her friend Brenda (Regina Hall), only to be thrust into an extended parody of The Village while Tom and company continue their parody of War of the Worlds”. While this may seem hectic to some, the film pulls it off very well as there are other subplots to follow such as Leslie Nielsen’s hilarious take as the President who is more concerned over the outcome of a children’s book then the fact that aliens are destroying the country.
Once again directed by David Zucker who took over the franchise after Scary Movie 2, the film uses the same style that made Zucker’s Airplane and Naked Gun series such box office favorites. Jokes ranging from the crude to the absurd fly at record pace inundating the audience with a torrent of jokes. As before, some jokes are truly inspired such as the Shaq and Dr. Phil parody of SAW and others take the crude road such as a sponge bath from hell and a Viagra overdose. While there is nothing that is truly fresh or original to the film, some of the jokes work very well, and make up for the jokes that bomb.
This is not the type of film where there is anything you can say about acting, plot, character development, and chemistry as those aspects are all non-existent as the focus is on parody. In that regard Scary Movie 4 works as despite the fact that much of the film is silly and dumb, it is by and large funny. If you do not mind wading through the jokes that fail to get to the ones that work, you will be rewarded as there are some very good bits in the film.
If you are a fan of the series then you know what you are in for and are likely to get some laughs, but if you are new to the franchise, then you might want to wait for the DVD release.
Lucy Buglass (45 KP) rated Knives Out (2019) in Movies
Oct 24, 2019
Due to its ensemble cast, gorgeous aesthetics and whodunit storyline, it’s safe to say that I had high expectations for Knives Out.
I’m pleased to report that it surpassed each and every one of them.
Rian Johnson’s tale of mystery follows the death of renowned crime novelist Harlan Thrombey (Christopher Plummer), which took place after his 85th birthday. Presumed to be a murder, his eccentric and very large family are soon under investigation by Detective Benoit Blanc (Daniel Craig) and his team.
Straight away, Daniel Craig steals the show with his hilarious performance of Detective Blanc. From his deep Southern American drawl to his quirky mannerisms, this is so far removed from what you’d expect from a Craig performance. I’ve never seen him have this much fun in a role before.
He’s tasked with getting to the bottom of what happened, which involves a delightful series of interviews in which the family are sitting in front of several display knives, just one of the many eccentricities of the Thrombey manor house. In terms of set design it’s just glorious to look at, and even one of the characters compares it to a Cluedo board.
Even the characters themselves are quirky enough to be boxed up inside the classic board game, and could give the likes of Miss Scarlet and Colonel Mustard a run for their money.
Characters include Thrombey’s daughter and real estate mogul Linda Drysdale (Jamie Lee Curtis), her husband Richard (Don Johnson), and outcast trust fund son Ransom (Chris Evans), who form quite the dysfunctional family even when you remove them from the bigger picture.
Then there’s the rather insufferable, yet hugely entertaining, lifestyle guru Joni Thrombey (Toni Collette) and her daughter and social activist Meg (Katherine Langford). These two characters are parodies of popular blogging culture and ‘social justice warriors’, and they’re hilarious.
Each character has been wonderfully crafted by Rian Johnson, who both wrote and directed Knives Out. They’re essentially caricatures, but the result of this is a thoroughly entertaining cinema experience. What a brilliant use of such a talented cast.
The only seemingly normal person wrapped up in all this is caretaker Marta Cabrera (Ana de Armas), who acted as both a friend and nurse to Harlan prior to his death. Even against a backdrop of such bold characters, de Armas’ performance shines just as brightly.
Mysteries are hard to get right, and being able to predict the ending is a bragging right for many cinephiles. Well unfortunately, this script absolutely floored me with how fantastic it was, and I was unable to predict anything that went down. Johnson has serious talent when it comes to crafting a murder-mystery.
Don’t even get me started on how gorgeous the wardrobe in this film is either. If anyone knows where I can get Jamie Lee Curtis’ striking red suit, you need to tell me immediately.
Watching Knives Out was the most fun I’ve had in the cinema this year, perhaps ever. I was fully engrossed from start to finish, and walked out with the biggest smile on my face.
If you see one film this autumn, make it this one. You won’t regret it.
I’m pleased to report that it surpassed each and every one of them.
Rian Johnson’s tale of mystery follows the death of renowned crime novelist Harlan Thrombey (Christopher Plummer), which took place after his 85th birthday. Presumed to be a murder, his eccentric and very large family are soon under investigation by Detective Benoit Blanc (Daniel Craig) and his team.
Straight away, Daniel Craig steals the show with his hilarious performance of Detective Blanc. From his deep Southern American drawl to his quirky mannerisms, this is so far removed from what you’d expect from a Craig performance. I’ve never seen him have this much fun in a role before.
He’s tasked with getting to the bottom of what happened, which involves a delightful series of interviews in which the family are sitting in front of several display knives, just one of the many eccentricities of the Thrombey manor house. In terms of set design it’s just glorious to look at, and even one of the characters compares it to a Cluedo board.
Even the characters themselves are quirky enough to be boxed up inside the classic board game, and could give the likes of Miss Scarlet and Colonel Mustard a run for their money.
Characters include Thrombey’s daughter and real estate mogul Linda Drysdale (Jamie Lee Curtis), her husband Richard (Don Johnson), and outcast trust fund son Ransom (Chris Evans), who form quite the dysfunctional family even when you remove them from the bigger picture.
Then there’s the rather insufferable, yet hugely entertaining, lifestyle guru Joni Thrombey (Toni Collette) and her daughter and social activist Meg (Katherine Langford). These two characters are parodies of popular blogging culture and ‘social justice warriors’, and they’re hilarious.
Each character has been wonderfully crafted by Rian Johnson, who both wrote and directed Knives Out. They’re essentially caricatures, but the result of this is a thoroughly entertaining cinema experience. What a brilliant use of such a talented cast.
The only seemingly normal person wrapped up in all this is caretaker Marta Cabrera (Ana de Armas), who acted as both a friend and nurse to Harlan prior to his death. Even against a backdrop of such bold characters, de Armas’ performance shines just as brightly.
Mysteries are hard to get right, and being able to predict the ending is a bragging right for many cinephiles. Well unfortunately, this script absolutely floored me with how fantastic it was, and I was unable to predict anything that went down. Johnson has serious talent when it comes to crafting a murder-mystery.
Don’t even get me started on how gorgeous the wardrobe in this film is either. If anyone knows where I can get Jamie Lee Curtis’ striking red suit, you need to tell me immediately.
Watching Knives Out was the most fun I’ve had in the cinema this year, perhaps ever. I was fully engrossed from start to finish, and walked out with the biggest smile on my face.
If you see one film this autumn, make it this one. You won’t regret it.
Darren (1599 KP) rated The Abominable Snowman (1957) in Movies
Jul 8, 2019 (Updated Oct 24, 2019)
Due to its ensemble cast, gorgeous aesthetics and whodunit storyline, it’s safe to say that I had high expectations for Knives Out.
I’m pleased to report that it surpassed each and every one of them.
Rian Johnson’s tale of mystery follows the death of renowned crime novelist Harlan Thrombey (Christopher Plummer), which took place after his 85th birthday. Presumed to be a murder, his eccentric and very large family are soon under investigation by Detective Benoit Blanc (Daniel Craig) and his team.
Straight away, Daniel Craig steals the show with his hilarious performance of Detective Blanc. From his deep Southern American drawl to his quirky mannerisms, this is so far removed from what you’d expect from a Craig performance. I’ve never seen him have this much fun in a role before.
He’s tasked with getting to the bottom of what happened, which involves a delightful series of interviews in which the family are sitting in front of several display knives, just one of the many eccentricities of the Thrombey manor house. In terms of set design it’s just glorious to look at, and even one of the characters compares it to a Cluedo board.
Even the characters themselves are quirky enough to be boxed up inside the classic board game, and could give the likes of Miss Scarlet and Colonel Mustard a run for their money.
Characters include Thrombey’s daughter and real estate mogul Linda Drysdale (Jamie Lee Curtis), her husband Richard (Don Johnson), and outcast trust fund son Ransom (Chris Evans), who form quite the dysfunctional family even when you remove them from the bigger picture.
Then there’s the rather insufferable, yet hugely entertaining, lifestyle guru Joni Thrombey (Toni Collette) and her daughter and social activist Meg (Katherine Langford). These two characters are parodies of popular blogging culture and ‘social justice warriors’, and they’re hilarious.
Each character has been wonderfully crafted by Rian Johnson, who both wrote and directed Knives Out. They’re essentially caricatures, but the result of this is a thoroughly entertaining cinema experience. What a brilliant use of such a talented cast.
The only seemingly normal person wrapped up in all this is caretaker Marta Cabrera (Ana de Armas), who acted as both a friend and nurse to Harlan prior to his death. Even against a backdrop of such bold characters, de Armas’ performance shines just as brightly.
Mysteries are hard to get right, and being able to predict the ending is a bragging right for many cinephiles. Well unfortunately, this script absolutely floored me with how fantastic it was, and I was unable to predict anything that went down. Johnson has serious talent when it comes to crafting a murder-mystery.
Don’t even get me started on how gorgeous the wardrobe in this film is either. If anyone knows where I can get Jamie Lee Curtis’ striking red suit, you need to tell me immediately.
Watching Knives Out was the most fun I’ve had in the cinema this year, perhaps ever. I was fully engrossed from start to finish, and walked out with the biggest smile on my face.
If you see one film this autumn, make it this one. You won’t regret it.
I’m pleased to report that it surpassed each and every one of them.
Rian Johnson’s tale of mystery follows the death of renowned crime novelist Harlan Thrombey (Christopher Plummer), which took place after his 85th birthday. Presumed to be a murder, his eccentric and very large family are soon under investigation by Detective Benoit Blanc (Daniel Craig) and his team.
Straight away, Daniel Craig steals the show with his hilarious performance of Detective Blanc. From his deep Southern American drawl to his quirky mannerisms, this is so far removed from what you’d expect from a Craig performance. I’ve never seen him have this much fun in a role before.
He’s tasked with getting to the bottom of what happened, which involves a delightful series of interviews in which the family are sitting in front of several display knives, just one of the many eccentricities of the Thrombey manor house. In terms of set design it’s just glorious to look at, and even one of the characters compares it to a Cluedo board.
Even the characters themselves are quirky enough to be boxed up inside the classic board game, and could give the likes of Miss Scarlet and Colonel Mustard a run for their money.
Characters include Thrombey’s daughter and real estate mogul Linda Drysdale (Jamie Lee Curtis), her husband Richard (Don Johnson), and outcast trust fund son Ransom (Chris Evans), who form quite the dysfunctional family even when you remove them from the bigger picture.
Then there’s the rather insufferable, yet hugely entertaining, lifestyle guru Joni Thrombey (Toni Collette) and her daughter and social activist Meg (Katherine Langford). These two characters are parodies of popular blogging culture and ‘social justice warriors’, and they’re hilarious.
Each character has been wonderfully crafted by Rian Johnson, who both wrote and directed Knives Out. They’re essentially caricatures, but the result of this is a thoroughly entertaining cinema experience. What a brilliant use of such a talented cast.
The only seemingly normal person wrapped up in all this is caretaker Marta Cabrera (Ana de Armas), who acted as both a friend and nurse to Harlan prior to his death. Even against a backdrop of such bold characters, de Armas’ performance shines just as brightly.
Mysteries are hard to get right, and being able to predict the ending is a bragging right for many cinephiles. Well unfortunately, this script absolutely floored me with how fantastic it was, and I was unable to predict anything that went down. Johnson has serious talent when it comes to crafting a murder-mystery.
Don’t even get me started on how gorgeous the wardrobe in this film is either. If anyone knows where I can get Jamie Lee Curtis’ striking red suit, you need to tell me immediately.
Watching Knives Out was the most fun I’ve had in the cinema this year, perhaps ever. I was fully engrossed from start to finish, and walked out with the biggest smile on my face.
If you see one film this autumn, make it this one. You won’t regret it.
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