It’s funny to watch T-Dog’s fever soaked rant about being the only black man in a group of Southerners and how little he’s contributing because the writers seem to be going somewhere with this. Mid-way when the changing of the guard drastically transforms the second half of season two, there seems to be a hint at something going on with T-Dog.
We just don’t know what, yet. We know that T Dog is kind of an outcast, and definitely the only African American in the group. So what was going on here?
“Christian Mingle” and its main character Gwyneth in a nutshell: “I’m a successful and ambitious woman, a quality that completely turns men off. So to attract someone I’m going to lie about everything that I am and submit myself to subservience and relinquish everything I worked for! That’ll get me a guy!”
Granted, Lacey Chabert is adorable, but she’s just so much better than what this propaganda fest entails.
“Jurassic World” is the “Gremlins 2” of the “Jurassic Park” franchise. It’s filled with call backs to the original film, and garners a tongue in cheek attitude about itself, while commenting on the ills and woes of consumerism, the media, and theme park spectacles. And the very spectacle that became of “Jurassic Park.” There’s one instance where the technicians groan at Verizon sponsoring an animal exhibit, and there’s constant talk about how consumers always want bigger, better, and toothier. And that’s what “Jurassic World” is. It’s bigger, toothier, yet not exactly better.
The Robert Englund starring “Phantom of the Opera” is a mix between “Darkman,” the original “Phantom of the Opera,” with a hint of “Nightmare on Elm Street.” Like the aforementioned film, Englund’s character thrives in dreams, and sports a nasty pizza face that is only slightly darker than Krueger. It’s almost as if Krueger was pulled in to our world, and found a way to live among the mortals through various false faces. Christine Day is an opera singer trying out for a brand new musical, and decides to sing a mythical piece of music called “Don Juan Triumphant.” While performing, she’s knocked unconscious by a falling light that drops her like a bag of rice, and she awakens in ancient times.
It’s great that such a polished film like “Gone Girl” doesn’t opt for a more safe and Hollywood bound climax where we’ve seen a labyrinth of lies unfold in to a new bow. By the time “Gone Girl” has ended, director David Fincher has written his characters in to a corner, and they’re not at any point going to squirm out of it. I loved “Gone Girl” mainly because it’s a murder mystery without the kind of surprises you’d expect. Our characters are amoral and unlikable, and director Fincher has a keen sense of cynicism toward marriage and how it can be a fiasco that devolves in to a play.
Director David O. Selznick’s civil war drama epic about an upscale socialite is one of the many cinematic masterpieces I’m not very fond of. Visually, it’s a stunning work of art, with sweeping splashes of bold colors that help to establish the power of the love for the South, and character Scarlet O’Hara’s ability to take from her beloved land to rebuild her empire. But underneath the gloss and brilliance of the cinematography, “Gone with the Wind” really doesn’t garner much of a complex narrative beneath its seams, relying on very unlikable and vapid characters that serves their purpose all too well. While they could really complete a story about the inner turmoil of the wealthy in the war torn South, the characters of Scarlett and Rhett really offer nothing interesting to the narrative, and most of the interesting tidbits are handed over to character Mammy.