The Happening?
More like, What the fuck Happened, Shyamalan? Pull your head out of your ass! You are not the next Hitchcock! You're movies are predictable and each gets worse (not to mention worse and worse lead actors). I still don't know if the whole thing was just a ham, or if the camp was 'Hitchcockian' - excuse me - 'M. Night Shyamalanian' (yeah, like that's going to catch on).
And the worst part? (No not the fact that people are attacked by trees - but close) Is the fact that you not only ripped off The Birds (you should have called it The Plants - grandmothers and gardeners everywhere would have paid and they probably would put it up with their other favourite movies, Driving Miss Daisy and Calendar Girls) but the fact that it stinks of ideology. (Warning, deeper analysis) For example, when does the terror end? When the father-figure (Marky Mark) reasserts his union with the Mother- (Zooey Deschanel - what are you doing in this movie?) and child-figures. The implication, of course, is that only the willful preservation of the family unit can halt terrorism. Oh, and a hammer-to-the-head message about environmentalism. Is that what Hitchcock was about? No, the union of the family 'unit' in The Birds precedes the bird attacks and is never resolved.
My conclusion? Fuck off, Shyamalan! Your movies tend to be weak and transparent!
The Dark Knight
Hello reader. Yes, I've been away for a while, but I can't pass up a blurb about this film!
It's everything the critics are saying: this film is excellent!
Comparable to The Departed... one of the best crime films in ages... Heath Ledger is truly ghoulish...
Go see it!
Ugly - Because this is a dark, dark film.
It's everything the critics are saying: this film is excellent!
Comparable to The Departed... one of the best crime films in ages... Heath Ledger is truly ghoulish...
Go see it!
Ugly - Because this is a dark, dark film.
Lone Star
This movie was recommended to me by one of my film profs last fall as an example of postmodern cultural identity. He admitted to not really knowing much about postmodernism. Fair enough, I mean come on, who really does? The dubious postmodernism of the film aside, it is definitely comparable to a film like Spike Lee’s Do The Right Thing, in that it presents the complexities of an American social reality (in this case a Texan, rather than Brooklyn), particularly by raising the slippery question of who is Texan and why.
The film borders on the allegorical as it attempts to answer the question with characters representing historical cultural groups of the area. Yet the further the film explores the history of its characters, the more apparent the complexity of the issue is.
What is most surprising about the film (formally, at least), is the sparsity of landscape shots that one usually expects from Westerns. Then again, Lone Star isn’t your typical cowboy movie.
Good - because it includes tasteful incest.
Directed by John Sayles
The film borders on the allegorical as it attempts to answer the question with characters representing historical cultural groups of the area. Yet the further the film explores the history of its characters, the more apparent the complexity of the issue is.
What is most surprising about the film (formally, at least), is the sparsity of landscape shots that one usually expects from Westerns. Then again, Lone Star isn’t your typical cowboy movie.
Good - because it includes tasteful incest.
Directed by John Sayles
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