One thing about “Young People Fucking” that I detested was that it’s really just pseudo mumblecore, when all is said and done. And if there’s one thing I hate it’s mumblecore. I hear enough people blathering on about nonsense day in and day out, I would actually like dialogue with purpose in films. “Young People Fucking” is pseudo mumblecore that really explores the plight of the young hot blond sexy folks of California. Oh no, they’re a dying breed, aren’t they?
Tag Archives: Romance
Gnomeo and Juliet (2011)
You’ve heard this story a thousand times but we’re telling it to you again, whether you like it or not. Yes, that’s usually the sign we’re about to stumble on to one of the animated greats of the millennium when even jokingly we’re told that this story has been retreaded a thousand times. But we’re going to hear it anyway. “Gnomeo & Juliet” is a film that is marketed to someone but I’m not sure whom exactly. It’s too obscure for kids to understand, and too sugary sweet for the adult sector to enjoy.
Big Mommas: Like Father, Like Son (2011)
I love how studios assume that just because you stuff a moderately funny man like Ken Jeong in a hip moderately entertaining show like “Community,” you’re destined for comedic greatness. They thought they could work Jeong in for easy laughs in “Vampires Suck!” and they failed. And lo and behold he shows up in the first five minutes of “Big Momma’s” playing–what else–a crazy Asian man who happens to be a disgruntled postal worker. No one in “Big Momma’s” acts like an actual person you’d see on the street. No one would actually chase down and violently tussle with a mailman but hey, Martin Lawrence is grasping at straws in the final film series he really seems to be holding on to for dear life.
The King's Speech (2010)
Director Tom Hooper’s British drama about the power of words and the man lacking the stature and power of such abilities in the face of a looming evil with the power of speech is something of a quaint animal. Seemingly sneaking out of nowhere, Hooper’s drama is a film not only about a man stricken with the disability of stammering, but a man finding his power in the face of ultimate powers around him. This is a man of pure impotence, a man whose felt dwarfed by the importance around him. And when he’s finally forced in to the world that demands his capacity to become an individual, now it’s a time where he must show the world that he is someone of immense presence. He is someone demanding of a capable individuality. Even to his wife whose unabashed support is laced with a sense of patronizing tone and dominance over his lack of speech functionality.
Seeking Happily Ever After (2010)
I think it’s misleading to tell people that men don’t think about this sort of relationship issue where they want to find the right person because I’ve met many men who are career motivated but also are committed to finding the right woman. Hell, I am currently a man seeking the right woman while also sticking to my guns as a writer, so it’s disparaging for the directors to proclaim women the all feeling all loving animal looking for the right mate while the men are mainly just selfish individuals focused on their jobs. More so, it’s pretty obvious most of the film is scripted, especially in the interviews where the women always seem to have the right anecdote and the correct story that can lead in to an escapade. Beyond that the directors want to blame everyone but themselves.
Blue Valentine (2010)
Director Derek Cianfrance ‘s romance works on the premise that subtlety is everything. That quirks and facial expression can do more than actual dialogue can achieve. But it also helps if you tell a story that’s actually involving and engrossing. “Blue Valentine” is a film we’ve seen a thousand times around Oscar season. It’s the experimental drama about a couple in turmoil struggling to regain that spark. We saw it with “American Beauty” to some regard, we saw it with “Revolutionary Road,” we saw it with “The Good Girl” and lord almighty we’re seeing it again. This time, “Blue Valentine” is about the choices in our lives and how sometimes we can make the wrong ones and not have any idea how to get out of the perpetual rut we’re in. The characters of Dean and Cindy are a couple whose strengths are based around habit and routine.
Transylvania Twist (1989)
Along with being one of my earlier horror movie memories, Jim Wynorski’s “Transylvania Twist” also happens to be one of the earlier horror movie satires that predates “Scary Movie” by almost ten years. It lampoons the slashers of the eighties, it tackles horror movie clichés to a fine art, and even props a few music videos here and there. A mix of “Kentucky Fried Movie,” some “Monty Python,” and a dash of “Young Frankenstein,” Wynorski’s “Transylvania Twist” is an admirable and often giggle inducing attempt at spoofing the entire horror genre and the fads of the mid to late eighties by staging some raucous old fashioned television commercials (with a horror twist of course), while also positing its own plot line in the process. After a hilarious prologue involving a hapless busty traveler and three demented slasher icons getting more than they bargained for, we meet Dexter Ward, a young man who visits his dead uncle at his funeral and is shocked to discover his uncle has yet to kick the bucket.