One of the big sensations of the youtube age are Mukbangs: where people or a person sits on in front of a camera to eat food for the audience. Sometimes they’re usually discussing an issue or completing a challenge, but most times the attraction is watching someone eating food. “Mukbang,” from ACM Official, is a great twist on this formula that takes this trend and turns it in to a bonafide tale of horror.
Tag Archives: Dark Comedy
Stalled (2022) [CINEJOY 2023]
I was really interested in watching Eric Rich’s “Stalled” during Slamdance 2023 but sadly didn’t have the chance. I’m glad I was able to catch up with it now, as it’s such a darkly demented and funny short film. “Stalled” watches like an episode of an anthology series where audiences will be glad they’re not the main character.
Satisfaction Guaranteed (2017)
Director Yue Ma’s short horror comedy watches a lot like a gory version of “The Stepford Wives.” Much like its predecessor, it’s a movie that centers on domestication and chauvinism, as well as the idealized image of women. All of it is packed with a dark sense of humor, and some great turning of the tables. Much of “Satisfaction Guaranteed” garners an admirably dark sense of humor with a satirical and warped tone from beginning to end.
V/H/S/ 99 (2022)
The newest installment of the “V/H/S/” series was a welcome treat for me back in 2022, as I have always been a fan of the film series. With the popularity of lo-fi analog horror, “V/H/S/” can still have some good shelf life, and spin some damn good horror segments down the line. “V/H/S/ 99” sadly stumbles here and there in what is probably the weakest entry of the movie series to date. The great segments outweigh the weaker entries, but that’s not saying too much when even the better segments aren’t really as spectacular as something like “Safe Haven” from “V/H/S/ 2.” Even the framing device for the segments never quite comes full circle, in the end.
Nope (2022)
“Nope” explores the idea of fame, and sensationalism among other things. Much of “Nope” involves Haywood and Emerald looking for that one big shot that can acquire dreams of wealth and notice. But when they contact an acclaimed wildlife filmmaker, he warns that sometimes fame is “a dream you can’t wait up from.” Keke Palmer and Daniel Kaluuya are wonderful in their respective roles as a pair of ranchers anxiously trying to keep their family’s ranch afloat after the inexplicable death of their dad (Keith David has a welcome cameo). Fate inevitably comes knocking down their doors, as they begin witnessing strange phenomenon in the skies.
The House (2022)
“The House” is one of the most unnerving and abstract anthologies ever made. Despite its stop motion format, and meticulous attention to detail, “The House” introduces a trio of short films that border on horror but explore more interesting themes. The directors choose to change animation forms through the trio of shorts, and they’re all interconnected with a house that’s basically a menacing character all on its own.
Babylon (2022)
Damien Chazelle’s latest is one of the most controversial movies of the year, if only because it’s sparked a huge conversation about movies. It’s funny that a movie about the changing canvas of filmmaking sparked a very heated discourse about the changing canvas movies and bringing in audiences. The financial bomb feels a lot like Damien Chazelle correcting course for the sake of Oscar glory. Where as “La La Land” was a simple movie with aspirations to pay tribute to Hollywood, “Babylon” is a large, overlong, sweeping epic that aspires to pay tribute to Hollywood.
It doesn’t just pay tribute to Hollywood, though, it bends over to kiss its own ass every chance it gets.