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Gareth von Kallenbach (980 KP) rated Cabin Fever (2016) in Movies
Jun 19, 2019
Back in 2002, a fairly unknown filmmaker named Eli Roth brought a fresh and creepy horror film to theaters called “Cabin Fever”. It followed a time honored setup of a group of young people taking some time off in an isolated rural setting but instead of the worn to death psycho or monster on the loose setup, this film had something new in mind.
The film followed the outbreak of a flesh eating virus that was relentless, turned characters against one another, and had audiences wondering what would happen next. Filmed for a modest budget, the film became a hit and eventually spawned two direct to video follow ups, the most recent serving as a prequel to the original film.
There were plans to make a third follow up which was reportedly to be set on a cruise ship but they were scrapped in favor of a reboot of the main film with Roth serving as producer.
The 2016 version of the film is pretty much a scene for scene and in some cases; shot for shot remake of the original that duplicates the characters, situations, and outcomes from the first film with only a few changes along the way such as a deputy being female this time around, an addition to the ending, and some slightly better production values.
While it was entertaining to watch, I found that knowing what was to come stopped any tension in the film as has barely been 14 years since the first film came out, and without anything drastically different this time around, it made me wonder why the decision to reboot the film was made.
I do believe that there is still more to tell in this series, but that there is a better way to do it than the sequels we have had to date and a shot by shot remake. I think a story that ran parallel to the original or a more direct sequel might be very interesting as well as a look at the larger consequences of the outbreak.
That being said, if you are a fan of the series you will likely want to see the remake, but will likely wish that the series had continued forward with the story rather than going back to the beginning.
http://sknr.net/2016/02/20/cabin-fever-2016/
The film followed the outbreak of a flesh eating virus that was relentless, turned characters against one another, and had audiences wondering what would happen next. Filmed for a modest budget, the film became a hit and eventually spawned two direct to video follow ups, the most recent serving as a prequel to the original film.
There were plans to make a third follow up which was reportedly to be set on a cruise ship but they were scrapped in favor of a reboot of the main film with Roth serving as producer.
The 2016 version of the film is pretty much a scene for scene and in some cases; shot for shot remake of the original that duplicates the characters, situations, and outcomes from the first film with only a few changes along the way such as a deputy being female this time around, an addition to the ending, and some slightly better production values.
While it was entertaining to watch, I found that knowing what was to come stopped any tension in the film as has barely been 14 years since the first film came out, and without anything drastically different this time around, it made me wonder why the decision to reboot the film was made.
I do believe that there is still more to tell in this series, but that there is a better way to do it than the sequels we have had to date and a shot by shot remake. I think a story that ran parallel to the original or a more direct sequel might be very interesting as well as a look at the larger consequences of the outbreak.
That being said, if you are a fan of the series you will likely want to see the remake, but will likely wish that the series had continued forward with the story rather than going back to the beginning.
http://sknr.net/2016/02/20/cabin-fever-2016/
Goddess in the Stacks (553 KP) rated Vox in Books
Jan 30, 2019
I felt like I was reading a horror novel instead of a dystopia. The first third of the book, specifically, was enraging. It's the setup - the explanation of how the world is now, and how it came to be that way - that made me have to set the book down twice and walk away to calm down.
The book is the story of Dr. Jean McClellan, cognitive linguist. The forced silence is particularly painful for her, a former scientist who was working on a cure for people who had brain injuries or strokes affecting the Wernicke area of the brain, where we process language. She was about to start restoring language to people who had lost it, only to have it stolen from her and every other woman in the country.
The book opens on Dr. McClellan being asked to return to her work, because the President's brother suffered a brain injury while skiing and can no longer understand language. As one of the most important advisors to the president, the government needs him. In return for the removal of both her bracelet and her daughter's, she agrees, hoping to find some way to sabotage the work.
Vox sets out a sequence of events that seems far too feasible for comfort. The religious right extends its foothold from the Bible Belt to more and more of the country, pushing a return to "traditional family values" while methodically stripping freedoms from women and LGBT people. Women's passports are surreptitiously cancelled, schools are split and classes on Christian theology introduced to the boys' schools. Girls' schools consist of very basic math (so they can continue to do the grocery shopping and cooking!) and a ton of home ec. Sewing, Cooking, Housekeeping. LGBT people are sent to prisons/camps unless they marry someone of the opposite sex and produce kids. Basically, it's the right wing's dream world.
It's a horrifying scenario. Even given all the dystopia I've read, this book rocked me. It definitely belongs in the league of The Handmaid's Tale and The Power. My only complaint is I wish the ending had been a little more drawn out, and explained the fallout in a bit more detail. Other than that, though, amazing book.
You can find all my reviews at http://goddessinthestacks.com
The book is the story of Dr. Jean McClellan, cognitive linguist. The forced silence is particularly painful for her, a former scientist who was working on a cure for people who had brain injuries or strokes affecting the Wernicke area of the brain, where we process language. She was about to start restoring language to people who had lost it, only to have it stolen from her and every other woman in the country.
The book opens on Dr. McClellan being asked to return to her work, because the President's brother suffered a brain injury while skiing and can no longer understand language. As one of the most important advisors to the president, the government needs him. In return for the removal of both her bracelet and her daughter's, she agrees, hoping to find some way to sabotage the work.
Vox sets out a sequence of events that seems far too feasible for comfort. The religious right extends its foothold from the Bible Belt to more and more of the country, pushing a return to "traditional family values" while methodically stripping freedoms from women and LGBT people. Women's passports are surreptitiously cancelled, schools are split and classes on Christian theology introduced to the boys' schools. Girls' schools consist of very basic math (so they can continue to do the grocery shopping and cooking!) and a ton of home ec. Sewing, Cooking, Housekeeping. LGBT people are sent to prisons/camps unless they marry someone of the opposite sex and produce kids. Basically, it's the right wing's dream world.
It's a horrifying scenario. Even given all the dystopia I've read, this book rocked me. It definitely belongs in the league of The Handmaid's Tale and The Power. My only complaint is I wish the ending had been a little more drawn out, and explained the fallout in a bit more detail. Other than that, though, amazing book.
You can find all my reviews at http://goddessinthestacks.com
Kirk Bage (1775 KP) rated Black Mirror - Season 5 in TV
Mar 3, 2020 (Updated Mar 3, 2020)
Contains spoilers, click to show
Striking Vipers - 5.5
Perhaps in retrospect, season 5 should have held out for some better scripts. All 3 (and notably there are only 3, because of the effort and time put into the stand alone feature length Bandersnatch) episodes seem a little rushed and weak in terms of depth of idea; replacing it with more gloss and production value. You can see the cash on the screen in this episode about the natural progression of VR becoming all about virtual sex, regardless of your sexuality in the real world (or maybe because of it). There is some irony in considering how Black Mirror began feeling very British and here feels entirely consumed by Netflix and American values. Is that a clever statement in itself? Not sure. Either way, I am not a big fan on this one. I mean, it’s fine, but we have come to expect more.
Smithereens - 6
If there are any clever links to anything else going on here, in what I am now thinking of as the Black Mirror Universe, then I haven’t picked up on it. This one feels quite surface, and just a very sad story about a man in distress that wants technology to answer for its responsibilities. Andrew Scott is ever excellent in the lead – man, he can really act! – but the rest of the cast seem a little lifeless and under-written. Perhaps they were trying for something more sharply focused, but, for me, the moral message of don’t use your phone whilst driving, is a bit weak.
Rachel, Jack and Ashley Too - 6.5
Known as the Miley Cyrus episode, because… she’s in it, and so is an electronic “toy” that replicates her personality for her teen fans. There is some intrigue around the nature of fandom and obsession; also the idea of media manipulation in projecting a saleable image that may be far from “the truth”. There is a lighter tone here, though, which betrays the Black Mirror ethos to some extent. It is an entertaining piece: the CGI on the toy Ashley is great, and there is a lovely twist 3/4 in when the true personality of it comes out to hilarious effect. But, on the whole, another under-written piece that leaves us hanging on the precipice of doubt leading into another season.
Perhaps in retrospect, season 5 should have held out for some better scripts. All 3 (and notably there are only 3, because of the effort and time put into the stand alone feature length Bandersnatch) episodes seem a little rushed and weak in terms of depth of idea; replacing it with more gloss and production value. You can see the cash on the screen in this episode about the natural progression of VR becoming all about virtual sex, regardless of your sexuality in the real world (or maybe because of it). There is some irony in considering how Black Mirror began feeling very British and here feels entirely consumed by Netflix and American values. Is that a clever statement in itself? Not sure. Either way, I am not a big fan on this one. I mean, it’s fine, but we have come to expect more.
Smithereens - 6
If there are any clever links to anything else going on here, in what I am now thinking of as the Black Mirror Universe, then I haven’t picked up on it. This one feels quite surface, and just a very sad story about a man in distress that wants technology to answer for its responsibilities. Andrew Scott is ever excellent in the lead – man, he can really act! – but the rest of the cast seem a little lifeless and under-written. Perhaps they were trying for something more sharply focused, but, for me, the moral message of don’t use your phone whilst driving, is a bit weak.
Rachel, Jack and Ashley Too - 6.5
Known as the Miley Cyrus episode, because… she’s in it, and so is an electronic “toy” that replicates her personality for her teen fans. There is some intrigue around the nature of fandom and obsession; also the idea of media manipulation in projecting a saleable image that may be far from “the truth”. There is a lighter tone here, though, which betrays the Black Mirror ethos to some extent. It is an entertaining piece: the CGI on the toy Ashley is great, and there is a lovely twist 3/4 in when the true personality of it comes out to hilarious effect. But, on the whole, another under-written piece that leaves us hanging on the precipice of doubt leading into another season.
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