1986 flick about little fuzzy balls with teeth that escape space prison and come to earth to terrorize a small town. There are space bounty hunters chasing after them who have laser firing leaf blowers that make everything around them explode. Fun 80s horror flick.
SLC Punk
I played this Friday night for the Teen and he really liked it. He did like how Stevo addresses the camera frequently (and had a “Hey, that’s Shaggy” moment 20 minutes into the movie). For whatever reason, we weren’t able to watch the whole movie so he may be surprised at the ending.
The only thing to really consider about the Scary movie franchise was that some of Zucker Zucker Abrahams of Airplane/Police squad/Top Secret fame were involved in 3 4 and 5 in varying degrees. I think I watched one of them because of that.
The first thirty minutes were hilarious and effective at creating Bob Harris’ sense of alienation. I thought, “this is going to be great.”
(The scene with the sex worker about killed me.)
After the two main characters start talking it just fell off a cliff. I was bored out of my mind. I resented being made to attend a loud party where everyone was drunk and high followed by some awful karaoke. Nothing of consequence happened.
I can, honestly, see an argument for why people like it. But not for me.
I think of a lot of indie movies don’t really have a beginning or ending, they just seem to start halfway through something, and then amble along a bit, then stop at some odd point. It’s not a story so much as a slice of life, which is full of long passages of very dull stuff. I don’t know why they get awards sometimes.
One of my friends is really into Arthouse movies like this, so I’ve seen a few that are supposedly fantastic, and I didn’t think they were fantastic. I’m all for weird, but I want a story. Maybe this genre is just not for me.
I genuinely love that movie (and its pseudo-companion movie, Her). I like thinking about what’s happening between the two of them and reading their reactions…both of the main actors are terrific at conveying their thoughts even when they aren’t speaking. But people like stuff, and other people don’t like stuff, and that’s fine.
And that’s the thing. I can see the artistic choices that were made and appreciate them without it being my thing. I was perplexed at first why a female director would so aggressively sexualize a 19 year old girl (I think the actress was under 18), but the more I thought about it, the more I think it played into this idea of how invisible she felt to her husband. Like her sexual frustration was definitely an element that factored heavily into her ennnui.
And I think it’s interesting that Bill Murray’s character not only didn’t sexualize her, he didn’t sexualize strippers and sex workers (to hilarious effect.)
And the cinematography was fantastic. The Arthouse guy who was seeing this for the first time didn’t really enjoy the film either, but he kept complaining that the beautiful cinematics felt like cheating. What he found most off-putting was the awkward humor, I think as an autistic person that felt too real for him.
I can see that these two people were not being seen and for these few days with each other, they felt visible to one another. My other friend commented that the whole thing feels like a dream, playing on the theme of insomnia. He compared it, oddly enough, to I Saw the TV Glow which is a totally different story, but…I see his point. It’s got those vibes.
I didn’t like I Saw the TV Glow either.
But they both feel like they could be important films. Does this make sense?
Schmaltzy but heartfelt and I like the cast and the headspace.
The little sister is adorable.
The two leads moved on to other movies.
The movie is used in schools to help kids with loss.
Not sure Anna Sophia Rob was ever so vibrant again tho she did well on the movie about the young surfer her lost her arm to a shark and went back to surfing.
Y2K (2024) on Max was pretty rough. The first 26 minutes were a failed impersonation of Superbad. Then when the wacky machine uprising started, it improved to okay at best. There was a surprise uncredited famous person playing themself later in the movie, ala Bill Murray in Zombieland. I only mention this because several scenes later, that celebrity was in a scene that cracked me up. So much so that when the credits rolled I was still basking in the warm glow of that funny scene. Overall it was bad.
So then I fired up a personal favorite I’ve seen several times: Mr. Right (2015) on Tubi. Anna Kendrick falls for the seemingly perfect Sam Rockwell, who happens to be a dancing assassin. But not like a musical. This movie is zany, manic and saccharine sweet. Rockwell is let loose to chew the scenery while Kendrick is peak adorable. I just love it to death, helped by the fact that I’m a huge fan of both of them. Sort of a poor man’s Kiss Kiss Bang Bang type of energy.
The end scene in Lost In Translation was perfect. What did she say to him? I think the key was the moment she rested her head on his shoulder. They are both weary and lonely and for a moment they made a valuable connection that will last a lifetime.
We have all been surrounded by busy people and still felt completely alone, I would image this happens to famous people even more so. Bill Murray just played himself, an old man tired of the show, and it resonated even with little ol’ me.
The best parts of that film were scenes showing how much work went into doing things that one person can now do with just a smart phone. Just making captions for a live broadcast was a very complicated yet primitive task.
We have a thread about horrible sequels to really good movies. This, however, is a sequel that is at least as good as a really good movie. It keeps the spirit of the original movie but has an entirely different story line. If you like the original movie, I think you’ll enjoy this at least as much.
Does it have as much forensic accounting as the first movie? Cause I kinda like that part. I mean I like the whole movie, but I like that part as well.
