camachbr0 Reviews

South Park: Freemium Isn't Free (2014) Season 18, Episode 6

An Episode with Old Characters and an Absurd Showdown

[8/10 · 13 November 2014]

This week's South Park featured the return of Canada's own Terrance and Philip, and also the homosexual character of Satan! Unusually, though T&P weren't just brainlessly farting on one another, and Satan wasn't fighting with Saddam Hussein. In this episode they were actually the moral voices trying to rid the wrong behind Canada's freemium scheme, which has our hero Stan Marsh hopelessly addicted.

For those not familiar with the term, freemium apps are "free" smart phone applications- usually games- that asks you to pay in order to progress in the world of the game. The point Trey and Matt make here is very true- freemium isn't free. In fact, thorough explanation from the head of the Canada's video game department tells us that freemium counts on their addictive personalities to get money out of their users. In another very funny South Park exaggeration, the freemium addiction is compared to alcohol and substance abuse, and Stan ends up spending five figure amounts on 49 cent game upgrades like some heroin addict. I found it hilarious how Randy's double life as Lorde has now been firmly established in the series. He says, "Even with my Lorde money how am I going to pay for this, Stan?"

There were a few side stories that drifted away as the episode went on. There was the set up of Jimmy working for the freemium company and also T&P trying to find justice in the Canadian video game department. Both didn't go far and seemed to fill up time until Stan's addiction was introduced. This is when the episode got crazy in the "South Park shoot-em-up" end sort of way. A new character, Canadian Satan, is introduced and the best part, Satan occupies Stan's body as flamethrowers are fired at each other. Maybe not the cleverest of endings but definitely a colorful, ridiculous and entertaining finish.

And there you have it: this week's episode pokes fun at the freemium apps, substance addiction, and Canada… again. I know a guy who has worked on various Comedy Central shows and he's not the biggest South Park fan—he's Canadian. This week's episode was great in that it brought back some series favorites in what concluded as one of South Park's most absurd finishes.

South Park: Grounded Vindaloop (2014) Season 18, Episode 7

A Funny Mind-Tripping Episode

[8/10 · 13 November 2014]

This is sad but this season of South Park has been bringing many current events to my attention that I didn't know of before. That shows you how much I watch the news and read the papers. Anyways, after watching this week's episode I learned about the Oculus headset, which is a virtual reality headpiece that's coming out in 2015.

This episode opened quite enjoyably with Cartman once again screwing with Butters by making him believe Eric's homemade Oculus ripoff, scrapped out of garage equipment, was actually sending him into a virtual reality--- this reality. I was all smiles when Butters was walking around school with the Oculus headset on, raving about how "real" everything is.... of course it is, BUTTERS, it's the REAL world. HA.

Like with every Cartman-Butter's scheme, things goes awry. Butters completely buys into the virtual reality world so much that he actually goes on a GTA style rampage, stealing cars, assaulting hookers, but best of all blasting his father in his private area for all the times he's been grounded. There sure has been a lot of emphasis on Stephen Stotch's character this season and it's made him one of the more interesting parents to watch behind Randy Marsh.

After a visit to an updated looking Hell's Pass Hospital the episode takes a turn into this wild never-ending maze. Apparently NONE OF THIS IS REAL and each setting is just another virtual world for another one of the boy's in their Oculus headsets. The problem here is that the Oculus's have malfunctioned and the characters are stuck believing their virtual world is real and they can't get out. Sounds confusing? It is. The whole episode, although entertaining, keeps flipping the script so many times that I lost which reality they were in rather quickly. What keeps this 'Inception/Memento' mind trip going are the light gags such as the "grounded" rules of virtual reality that state if your grounded in virtual reality you are grounded in real life, and the "f--- youuu" the boys utter whenever a new reality is introduced. There is also the Indian guy customer service gag, which is an okay joke, but in the "real world" even though we do stumble upon the occasional heavy-accented representative, most of them actually speak fluent English. I shan't forget the references to The Matrix and Inception and probably other films I don't know.

In the end, the episode was able to dig itself out excusably, ( I really didn't think it had a chance), with a little live-action South Park and a rip on the series' graphics.

Uniquely this week's South Park brought to my attention a current event or new technology, but didn't quite offer an opinion about it. Instead it took the virtual reality concept of Oculus and made a wildly imaginative and ridiculous premise out of it and let the boys play around in it. After opening strong with Cartman and Butters, the rest of the jokes were able to generate smirks. The subject matter was very confusing especially the cuts between the Indian representative talking to himself, but the resolution was somehow able to clear up everything and excuse the traffic.

3 more episode remain in this season!

Holiday special I hope!

till next week.

• jc

South Park: The Magic Bush (2014) Season 18, Episode 5

Great Cartman-Butters episode! with tributes to Ferguson, Drones, and Bushes

[8/10 · 8 November 2014]

"Your dad has a f-ing DRONE!?"

"My dad said drones aren't for spying on people"

"Butters that's all drones are for."

Cartman walks into Butter's room to begin this episode, so you know it'll be a good one. These opposites have always been fan favorites and it's nice to see them back in action.

Butters lets it slip out to Cartman that his dad, Stephen Stotch, has a drone. This, of course, prompts Cartman to bully his way into using it to spy on people. Quickly things go south in South Park as the drone picks up footage of Craig's mom changing, and she has FULL BUSH. Next thing you know Cartman somehow manages to get the footage public.

I especially liked this episode because of the juvenile pickle the boys put themselves in. Spying on people with a toy-helicopter looking drone is just the boys being boys, which is when Trey Parker and Matt Stone come up with their strongest episodes. The Cartman-Butters action is great too, as Cartman keeps telling Butters he's got everything under control but he really is just making things worse and worse.

Another thing that worked, and has always worked for South Park, is how the little boyhood problems escalate to the level of worldwide news. It's typical that one little drone issue in South Park would cause an epidemic of drones in the world. Cartman trying to get past the traffic of drones, and the parents operating their drones from inside their houses to interact outside was hilarious.

Then there was Craig's mom, who had the most speaking lines she's ever had in the series. And I just wanted to point out that Craig's dad's voice changed completely, which was disappointing and upsetting mainly because Trey and Matt do all the male voices. But Craig's mom's stand for her FULL BUSH was admirable and true. Hair on private hairs was the thing back in the day. However, it isn't anymore and the "accidental" slips from the mouths of the adults worked charms.

I think the best punchline though was how Butter's dad was going completely insane over the possibility that his Drone might be alive because he told Butters specifically he can't use the drone without his supervision. Stephen's obliviousness for South Park fans is great because we know Stephen and Linda Stotch are the strictest (and weirdest) parents in the series.

The end resolved itself rather okay, well, better than the other episodes. A sex doll posing as Craig's mom leads the drones away.

Episode 5 was full of laughs. It had an entertaining and followable narrative! What I really appreciate is how the parodies did not get in the way of the plot. With tributes to Ferguson, Amazon Drones, and bushes the episode was still able to thrive off the most important thing-- Cartman screwing Butters over yet again!

-JC

South Park: Handicar (2014) Season 18, Episode 4

A Fun Aside to the Boys - Nathan & Mimsy Episode #2

[8/10 · 16 October 2014]

Let me just start off by saying: give credit to Trey Parker and Matt Stone for the influential portrayals of their handicapped characters. The great thing about them has been that Timmy and Jimmy are always part of the crew, and one of the "boys". I loved how in this episode Timmy is a innovative business-minded genius. In addition, the quick line that "Jimmy gets all the pussy with his standup act" is awesome, just awesome.

Here's how I see it....

May contain spoilers****

This episode does not include any of the main characters. Starring in this week's episode, "Handicar", are the duo Nathan and Mimsy that we have seen before; goofy and laughable anti- heroes. This time Nathan is trying to thwart Timmy's booming "Handicar" business (a play on Uber cars) which is raising a heck-of-a lot-of money for the handicapped kids in South Park to go to summer camp. Timmy's business is honestly one of the cooler, sweeter ideas South Park has done in a while. The wagon operated vehicle attached to his chair made me smile. The conflict set up here also reminds us that in the last Nathan & Mimsy episode, Nathan was raped by a shark. So he REALLY does not want to go back to that camp. He enlists his sidekick, Mimsy, to help carry out his plans. I still find it funny every time Nathan's plans go down the toilet. I even still find it funny when Nathan smacks Mimsy upside the head. It's even funnier to me when, in this episode, Mimsy acts as the voice of reason. Maybe that's just the child in me, who grew up in the decade of self-deprecating & self-destructive humor. So, you can imagine, I really enjoyed the homages to Dick Dastardly and Muttley in addition to Rocky and Mugsy. With that being said this episode was for an older audience. The parents rioting over cereal in response to the Wacky Race announcement was a fun Saturday morning cartoons reminder, as well as the parents watching the races in their pajamas. The whole race sequence was cute to say the most. The battle between Timmy and his wagon against all the other modes of transportation-- Nathan, the taxi guy, the Hummer salesman, Matthew Mcconaughey, & the eco-friendly car creator guy-- didn't really have much sense to it. It was predictable what was going to end up happening, Nathan would get #@$!-ed & Timmy would prevail. Also, the ending gag between Nathan and his parents, "I can't understand you, you're retarded, son," is too mean spirited to be actually a joke.

While this was an enjoyable aside from the main boys I'm looking forward to seeing them back next week. Taking into account the Lorde episode we haven't seen Kyle or Kenny in two weeks! Hopefully everyone comes back with a vengeance. Till next week guys! I'm going to "Handicar" my way to a meeting now.

• jc

South Park: The Cissy (2014) Season 18, Episode 3

"The Cissy" Review: Continuing with the 18th Season Formula

[6/10 · 10 October 2014]

Here's how I see it:

The third episode of South Park includes another touchy subject in the world today-- transgender and gender identity. Cartman, in an effort to be able to crap in the girls bathroom, announces that he is transgender. He puts on a little pink bow, which he believes is enough to allow him to unload his powdered donut pancake surprise in front of the poor girls of South Park elementary. Very soon Cartman gets his own bathroom- the transgender bathroom-- thanks to a warning by Mr. Garrison to heed to the transgenders and cisgenders. (BTW a lot of Principal Victoria, Mackey, and Garrison, and a lot less of the boys so far this season.)

On the other side of town Randy continues his double-life as the teen pop sensation Lorde. In the world of South Park Lorde is a middle-aged man, working part time as a Geologist, who discovered his talent when he decided to transcribe the songs he sang on the toilet. Randy's hidden life exemplifies the transgender subject of the episode. Who is he really? Soon he has to explain to Stan his identity, which launches Stan into his own self-identity crisis. Back at the school some of the confused kids, who identify themselves as transgenders and cisgenders start using Cartman's bathroom, which obviously makes him very upset.

Although the message in this week's South Park episode is a good and influential one (Be who you want to be) the story lines feel awfully forced. Once again we have some more continuation from last week's episode, where Randy played Lorde at the boy's party. It's funny to think our beloved Randy as a 17 year old pop singer; and the part in this episode on autotune is amusing. But when it comes down to it there is no real connection between the two story lines; one could survive without the other. Not to say the story lines aren't good fun, it's just a head scratcher and a bit of an inconvenience when we are watching Cartman raging about his private toilet, Randy/Lorde facing discrimination in the geology office, then have it all wrapped together by a montage with a Lorde song I have never heard before in my life. The question that gets asked is "Did I sit through this episode to see a dramatic conflict get resolved, or a bunch of loosely connected satires, ironies, and fart jokes?" It should be both.

One thing I've started to notice about South Park is that the use of controversial topics make up the plot of their episodes. For example a plot line for today's episode would be: Cartman tackles transgender. Randy lives as Lorde. Not long ago episodes had their own creative plots such as last seasons, Taming Strange, where Ike hits puberty. The story was creative and it wasn't short of contemporary satire and humor with its bashing of Miley Cyrus. I have said this since episode one, of this season, I'm hoping the creators would try harder to come up with original plots and color them in with contemporary humor. Also, a Lorde montage doesn't feel right to me in South Park. I still smile over the montage in "Asspen" and the Cinderella soundtrack in "Raisins". I honestly miss those days when the humor was older rather than brand spankin' new.

ON a final note: What the hell is up with Butters and him burning down the school?? You can't just leave that untouched, Matt and Trey!

Till next week!

-jc

South Park: Gluten Free Ebola (2014) Season 18, Episode 2

Continuing on from "Go Fund Yourself"

[7/10 · 2 October 2014]

This week's episode, "Gluten Free Ebola" had some continuity with last week's. Is serialization the show's new formula? Here's how I see it: Episode two of South Park's 18th season jabbed at the gluten-free diet craze that has been going on in the country. No bread, except if it's wheat!! It also showed the boys recovering from their Redskins start-up program, in which they lost all their friends. Their solution is to throw a huge party with Lorde performing; and supplying it with endless snacks. Unfortunately the gluten-free 'craze' takes a turn for the worst. At a USDA meeting in South Park it is determined that gluten is so bad for you it will make your dick fly off. No seriously, your dick will fly off and bounce around the room at lightning speeds. The discovery sends the town into a panic and they burn all their gluten filled products, or everything except ice cream, which is "healthy". How will the boys throw their awesome party without gluten-filled delicacies?? There are a lot of laugh-out-loud moments here including the flying of the dicks. The town panic is also great as the adults rummage through their fridges and drawers to incinerate their food supply. And Papa Johns becomes a quarantine center. Randy Marsh has a lot of moments here. Mr. Garrison's character seems to be diminishing from that interesting, sexually confused whack job to just a grumpy old man. Although the gluten topic is not as recent and controversial as the NFL it is still satisfying that someone finally called out those self-righteous and self-proclaimed "healthy" dieters, who gloat as if their way is the only way. (Mr. Mackey humorously parodies these people.) In the end the message is clear– after a Aunt Jemima hallucination of course– eat all the junk food you want, life is like a party.

Speaking of parties the boy's struggle to throw theirs is coated with more Scott Malkinson abuse (the kid with a lisp and diabetes). Stan and Wendy are experiencing relationship difficulties. The boys market their party on the radio, and Eric screams to Kyle on the phone a few times. Not much going on here taking into consideration the incorporation of the food pyramid to solve everything.

In all this was a funny episode. I'm still feeling more distant from the characters as the parody and satire seems to be forcing them into specific roles. I'm also noticing a lot of new animation in terms of body positioning, which makes the show look even more state-of-the-art. There is also some new and noisy background music that sometimes trump the voices of the characters. This new age feel is complimented by the reference to Lorde (and we'll never be Royals Ro-yals). The decision to continue with last week's outcome is both exciting and concerning for me. Is this more a sign that there is a lack of creative development in the writing room? Or is this a whole new method to South Park? It seems to be the latter since the storyline that Butters burned the school's gym down was left untouched. We'll have to wait until next week. If there's one thing I can hope for it is more parody/satirical punchlines rather than story lines.

– jc

South Park: Go Fund Yourself (2014) Season 18, Episode 1

A Standard Season Opener for South Park

[7/10 · 2 October 2014]

It's hard to believe that I've been watching South Park for over ten years now. A lot has changed in this epic show during my time, but a lot has remained the same as well. The season 18 opener is not short on its usual satire, raunchiness, gore and shocking timeliness. However it's becoming more evident that Trey Parker and Matt Stone have lost their ability to close episodes. It's also becoming evident that they're literally out of ideas now, and that they are relying on current issues and headlines to write themselves in. But let me stop myself before I go too far.

Here's how I see it: The premise of "Go Fund Yourself" is that the boys want to start their own internet "startup" company to avoid going to school. The name— the Washington Redskins. After we learn about that the snowball of NFL jokes gets bigger and bigger. The football team, led by Kirk Cousins instead of an injured RJ3, and their owner, Daniel Snyder, plead the boys to change their name for the very same reasons they (in real life) refuse to listen to. Here, the boys play the football team and Snyder and the Redskins play the public. The boy's answer to Snyder is, Go "Fund" Yourself. I'm sure we can all figure that joke out. ISIS is also poked at, but their role serves solely so South Park can address their existence. The ending is blood-filled and anti-climatic: an accurate description of many of South Park's recent episodes. Daniel Snyder takes on the Dallas Cowboys and a hilarious cut-out animation of Jerry Jones. Roger Goodell also takes a hit here and it's pretty funny. But in all this is the product of Trey Parker and Matt Stone's six day episode production process. The writing is bad, the jokes are a stretch and I was left disappointed in the end; not because I didn't laugh but because I miss the boys being boys. Hopefully this week's episode will be more of that. I have faith in the creators – I mean the episode before this was the Black Friday trilogy! And that was awesome. They will get on their usual roll in the middle of this episode run.

• jc

Let's Be Cops (2014)

Let's Be Cops Review: Let's Be Real

[7/10 · 12 August 2014]

Goofballs in uniform; it's certainly something we've seen before. But what if they weren't actually cops? You now have the film Let's Be Cops. It opens quick with our two heroes, Ryan and Justin, declaring how unsuccessful and lacking in ambition they are. Ryan (Jake Johnson) is an ex-jock, who hasn't found his calling in life. Justin (Damon Wayans Jr.) is a reserved video game producer, who gets called a bitch every ten minutes. The pairing is odd itself; since when do quarterbacks hang out with video game nerds? But then they put on the cop uniforms and see that girls are looking at them differently. People actually listen to them. This is awesome. For a laugh-filled montage we see Ryan and Justin abuse every cop privilege possible; smoking pot with teens, cutting lines to clubs, making bad guys dance. These laughs are innocent, but then the film asks us to drop any realistic pretension we had. Apparently, Ryan and Justin aren't aware that impersonating a cop is a serious crime (until one of them Googles it). In addition, apparently driving on sidewalks goes unnoticed in LA. And apparently the kids in this film just moved in from South Park. So they continue to be cops, even buying a cop car off Ebay, and obtaining surveillance equipment from Office Segar (Ron Riggle), whose character is so muddy I can't tell if he's just incredibly stupid or just super dedicated to the force. It's also unclear what the bad guy, Mossi (James D'Arcy), does. Sure he's a crazed arms dealer, but his decisions in the film are never given a good reason. He's conveniently connected to Josie (Nian Dobrev), Justin's love interest, who is drop-dead gorgeous. And he likes to shoot things aimlessly when stalking his prey. Key, from Key and Peele, plays a ridiculous rasta. The tolerance for the cop jokes, at the cost of the plot, wears out at around the middle, where the movie's turn into full-on thriller saves it. Then it's about seeing how these guys are going to make it alive. The jokes are funny and very contemporary. Jake and Damon have great chemistry, but it feels like this could have just been a sketch on Key's show. Most disappointing is that Rob Riggle's comedic talent is not displayed. This is a good film to get some easy laughs in. 7/10

The Purge: Anarchy (2014)

The Purge Sequel: Less Anarchic than the First

[7/10 · 21 July 2014]

Here is how I see it. The second installment (to what promises to be a yearly occurrence) of the Purge was a lot better than the first. But it isn't because The Purge: Anarchy is a significant film. It's because Writer/Director James DeMonaco is finally able to incorporate the underlying theme of class hierarchy that was completely misguided in its predecessor.

The big mistake with the first film was making it a trite home invasion thriller. With Anarchy, we explore the outside world during the 6th annual Purge, and it proves, without a doubt, to be ten times more thrilling and suspenseful. We see the nut cases in freaky masks (one with GOD written on it) wielding their weapons of choice. We see the upper class citizens holding each others hands reciting the "New Founding Fathers" motto that feels like some satanic cult. In our seats, we feel that we have to look around all at times, because there could be a killer ahead or behind us.

There are three revolving stories of people who are entering the night. One is Eva and Cali, a waitress and her daughter. There is Shane and Liz, a crumbling couple with no killer instincts at all. And then there is Leo, the sergeant, the "kick ass and take names" guy. Leo is out to revenge Purge. The others find themselves wandering the street. Leo winds up having to protect them. Will his generosity effect his main goal? Can Leo really save everyone? Frank Gillo makes for a very convincing and likable hero. While we watch and the story unfolds, we learn that The Purge, and its purgers, aren't so much anarchic as they are regulated.

With it's unique premise the Purge is always able to separate itself from the average horror/thriller film. Most importantly, Anarchy is a step up because it realizes its potential to be truly scary from the realism of its "legal murder" concept; rather than just bludgeoning people left and right. Unlike the first film, your instinctive fascination with such a nightmare concept will multiply here, not diminish or turn into a laughing stock.

I can recommend Purge Anarchy. Not only does it save what looked to be a profitable franchise, but it is a decent film too.

Mad Men: Waterloo (2014) Season 7, Episode 7

One big step for Sterling Cooper

[10/10 · 26 May 2014]

The midseason finale took place on the day of Neil Armstrong's historic landing on the moon. Of course that's a metaphor on Mad Man: a metaphor for togetherness. Here's how I see it. Everyone got some face time in tonight's episode. Also, we wave good-bye to some. I won't reveal who. Ted, who's been in limbo this season, finally has a purpose. He's depressed, teetering on the edge, and is questioning his future in advertising. He wants something new in his life, and he makes it clear (or tries to) that money isn't everything to him. This is the big picture in the episode. For everyone else, money is the motivation. It's what brings smiles to the character's faces. It makes the blood sucking Jim Cutler (who's consistent yapping about Donald Draper's removal like a pull-string doll is hilarious) back off. It makes a new-faced Joan ease up. But money isn't worth celebrating for Don. "I'll have plenty money if I sell out" Ted says. Is multiple lifetimes worth of money necessary? Don sees an image. It leaves him wondering, holding himself up on a desk. His reactions saved for next year. Then there's the Burger Chef pitch, which is sold on family and togetherness, ironically for capital means. The use of the moon landing in the pitch is genius and genuine. As we get a look at the different groups united around the television to witness the moon landing, I noted that the characters who played villain this episode weren't included in this sequence. Is that a sign of their exclusion from who really matters in Mad Men? (Sorry, Harry, you really can't sit with us; at the partner's table). Roger Sterling matters a whole lot in the episode. I noted earlier in the season that Roger looking out for Don solidifies one of the show's greatest relationships (the bromance is real). If anything, this episode shows it's Don's truly most important and long-lasting relationship. He'll look out for Don again because ever since the merger with CGC the agency has been running further away from the original Sterling Cooper. Therein lies the metaphor of the moon landing. (This is what I believe to the be the "waterloo"). The agency has endured so much and has evolved in so many ways throughout the course of the series. The new step taken in tonight's episode marks "one big step" for SCP. A step in unfamiliar territory, but really a step to preserve the main fabric of the agency. And for the second half of the season we'll see, like Neil and Apollo's trip back, if the gang can make it back in one piece. History proves they will. Tonight's quote of, "Giving everyone that they want, when they want it"; I think that's when Mad Men will achieve its apex and its resolution. A cute B-story; Sally Draper's hormones, her (familiar) hairstyle, and her (familiar) smoking posture. The Francis's are having guests over for the moon landing, one of the kids is a hunk, the other is a star-gazer. Sally takes notice. If you enjoy a nice narrative break into song and dance. This is truly your episode. TIll 2015! 10/10

Pain & Gain (2013)

Pumped: Artsy, Cool, and Very Entertaining

[9/10 · 19 May 2014]

I like films that can pull off a sort-of avant-garde presentation of its story. Usually these have flashy cuts, flashy colors, narrator(s), and some surreal content. Pain & Gain does it well. Spring Breakers, Southland Tales- no so much. The characters, to start with, are heavily amusing. Three hulks each stupider than the next. Two blindly nodding to Wahlberg's ingenious (retarded) scheme to get them all rich. They have perfect bodies after all. They deserve perfect lives. It's a concept that's part of the many ironies in life. How does the jacked dude live paycheck to paycheck, while the scrawny dude lives in a mansion with the boats and babes. Aren't muscles what attracts the babes? Don't the jacked dudes fix the boats? Money does. And money is what attracts everyone; the jacked dudes, the ladies, the shrimps. Eventually, for Daniel Lugo (Marky Mark) it comes down to being a "do-er". Simply going out there and do-ing what it takes. In his mind, probably steered by HGH, it means through any means necessary, including kidnapping and extortion. His accomplices, Paul Doyle (The Rock) and Noel (Anthony Mackie) are easy prey to influence and deception. Paul is a highly religious Christian who praises the lord and cocaine. I could probably convince him that my dog house is a futuristic time machine. Noel's "package" is permanently tainted by steroids. The cost of his medication is reason enough to participate. The three "don't-ers", that are only on top of the world in the hours they pump iron, decide to make something more of themselves. More than what meets the first glance. As idiotic as the characters are, and as brutally painful it is to watch them carelessly carry out their crime, we sympathize with them because Victor Kershaw, the guy they're robbing, is a total pompous asshole. Also it's really just a trio of oafs. Think the huge troll in the first Harry Potter movie, swinging and swinging his stick trying to hit Harry then gets a wand up his nose. The period of the trio's success is fun to watch. Lugo becomes an admirable community man, sadly, only because he has stolen Kershaw's possessions. Noel gets married to a woman who understands and accepts his condition. Paul is the weak link, however, blowing his share up his nose. Then later seals their fates. He belongs in prison as the film might infer. He is happy there, cut off from vices, and can sing gospel songs with those pearly whites. A side story- Ed Harris, as the cop who isn't satisfied with retirement. Tired, trite. No one cares, but it's got to be there. A very entertaining film with a nice take. The mise-en-scene is unique. The bonds with the characters is exceptional, in addition to their chemistry. Bar Paly is SO HOT here. It really emphasizes how being a "do-er" can change your life, if you put a righteous foot forth that is. If you want to see the physically privileged cause havoc with their strength this is a good one for that. The Hulk is always fun to watch "destroy". We're bored with guns, chainsaws, and demonic forces. Hollywood.

Mad Men: The Strategy (2014) Season 7, Episode 6

The Mad Family

[9/10 · 19 May 2014]

Here's how I see it. This is an episode about family, more-so, non-related families. Peggy counters burger chef, with some insight from Don. Pete's back for a visit, and he's brought along Bonnie. Look up in the sky: it's a bird, it's a plane, no it's the return of Bob Benson! I really missed Pete's antics and petulant outbursts though. We see Pete and Bonnie are taking a "vacation" to New York. They're good together, in lust, a sexually experimental couple, but the news that Pete is going to visit his daughter and run into his not-yet ex wife unsettles her. Pete treats Bonnie like most divorced executives might treat their gorgeous, sexy rebounds. He shows her off at the office then abandons her in their motel while he carries out his personal agendas. These are working Burger Chef, and making his "yearly" visit to his daughter and wife. "You're not part of THIS family". Pete's got a boatload of family issues and it's just going to be better once the divorce if final. As I said last week, Don's return has been assisted by faithful members of the agency; up to now it's been Roger and Harry. This week Pete gets Don inside the Burger Chef meeting then insists he give the presentation. It will seem like Don will get credit for everything because he's going to be the "authoritative" speaker in the presentation, while Peggy is going to be the "emotional" one. Peggy is not happy with this, as she was under the assumption that Burger Chef, was her show, her shot, her call, and her account. But it's doubtful to think Lou and Pete, maybe even Ted, really wanted to give her full control. Otherwise they wouldn't be giving suggestions with carefully placed "ands" and "buts". Would they? It's still an unwelcoming time for women as authoritative figures. Don smacks himself a high five after Peggy tells him that the idea for him to present was hers. Peggy's trying to get any sort of credit here. Then, Peggy goes a little "Mad Women". She begins smoking and drinking while working. Waking up in the middle of the night to toss files around. And While Don is at home trying to entertain Megan, perhaps get her back to New York, Peggy is assuming the role Don's been playing the past six seasons. A drunk dial here, is very funny. Don and Peggy's eventual confrontation climaxes into the season's best moment. (Ginsberg last week was nothing). Megan does visit Don in this episode, but it's getting more obvious that there is something in this relationship that isn't meant to work out. Whether they are just different "coast" people, or not meant to be, Don confesses he still feels "that he has no one". Bob Benson makes a return and it's a dramatic one. He tells Joan he wants to see her Sunday, then says he wants to see "everyone" meaning her mom and son. Sparks ignite between them. Bob has brought the Detroit people along, who we know have a very "outlandish" style of living. It's how Ken Cosgrove got his eye patch. Bob Benson isn't just back to smirk, show up at places where he's least expected, and be a "Mr.Nice Guy". A very different side to him is seen in this episode and his return comes marked with big changes and opportunities for SCP. Roger Sterling is on top of it. Cutler ticks him off again. Ultimately this episode is about the Mad Men "family", just a group of workers that sometimes wish the other wasn't there. Sounds like a real family to me. Everyone seems to have trouble getting their personal lives together. Pete and Trudy, forget it. Roger's family, forget it. Bob Benson- who knows about his secret life? Peggy's 30 & single. Joan's 40 & single (living with her mom). Don and Megan aren't compatible. They are all connected, however, by one thing, work, where their devotion unites them. And when the LA people are flying off to LA (yeah, get out!), the New York people sit around a dinner table, cozy, with those whom they belong to. Next week's the finale and there's just too much going on. I predict an unbearable cliffhanger. 9/10. Side note: I don't understand what "exclusive club" Pete was invited to. Maybe it's the Mad Men family, or Burger Chef? Weird choice of words for episode log line.

Mad Men: The Runaways (2014) Season 7, Episode 5

A Shocking Episode that helps Don

[8/10 · 12 May 2014]

Here's how I see it. This was a SHOCKer of an episode, to say the least. The story lines include Don visiting Megan, Betty getting into fights, and Ginsberg unloading the looney balloons from his pants. I'll start with the least stunning story. Betty continues to prove her claim of how her children hate her. She also begins arguing with Henry about political factors. Henry likes Betty as his beautiful wife who stands by her side and asks no questions, rather than an actual partner with a voice and opinion. This is how her character has always been portrayed: a beautiful, perfect housewife managed by her husband. However, Betty drops the line, "I can think for myself!". In the ever-changing climate of Mad Men-- hippies and computers-- women resiliency is a theme we see continuing to develop gradually over the series... Michael Ginsberg isn't a big fan of the computer, he's REALLY not a fan. The humming from the computer, that we've become so accustomed to, impedes his work. But they aren't just distracting noises to Ginsberg, apparently they're waves, or something else sinister, that have the power to change people's sexualities. Ginsberg, whose supposedly is still a virgin, lets loose sexually, which is a surprise, a good laugh, but ultimately something detrimental. It's interesting that Peggy is written to deal with Ginsberg's biggest episode. Her brash leadership lately has turned her somewhat villainous, but we're reminded that she's been with us since day one (or episode one), and when her and Don stand side-by-side in the beginning, swords tucked away, it's settling. Speaking of "day one" relationships, Harry Crane comes big in this episode. Him and Don link up in LA after Harry unknowingly crashes Megan's party for her acting class. What's Don doing in LA? His pregnant niece has called him for some help. She's one of the ones that call him "Dick". Don welcomes her with open arms even if it may be for money. He's purely happy and excited to see and take care of her; it's an odd, sentimental side of Don. Megan doesn't take a liking to this. Even though she is Don's niece, Megan feels threatened by the affection and closeness that the two share. "I know all of his secrets"... Perhaps better than any teary-eyed confession, Megan dancing with another man, then giving Don a crazy night of sex, shows her sad attempts to connect with Don in the way that only knowing him as Dick Whitman can bring. If there was any hope that the return of Don's niece might bring about this, it was hammered into the ground by a trademark Don Draper pitch. He's back, really back. And as much as Cutler and Lou, and Lou's cartoons, don't want him there, they're dealing with a creative genius that not only has unparalleled skill, but also the allegiance of most of the agency. Mostly a comeback episode for Don, but there is no telling where the next two episodes could go. I think Peggy's glare at the end isn't to be ignored. There's plenty left to see in LA with Pete and Ted. And the possibility of more LA expansion is given new air. 8/10.

Mad Men: The Monolith (2014) Season 7, Episode 4

Computers, Hippies, Baseball, and most importantly Ad Men

[8/10 · 5 May 2014]

Here's how I see it. This week's Mad Men was the closest way you'll be able to time-travel back to 1969. 'Mazing Mets fans- all baseball fans- will be ecstatic. Mad Men fans will be satisfied as usual. And even science-fiction geeks can get their fix here (Therein lies the title). Main storyline, Harry and Jim Cutler deliver on their promise to get SCP a computer. (Not an Imac, you know, the old-fashioned ones that take up a whole lot of space and require a noisy, long, house-building installation process). Harry and Cutler are so into the technological advancement that they seem brainwashed by it: relocating the creative department furrows Ginsberg's brow, watch it! They're almost as brainwashed as Margaret Sterling. Hargrove? She's run away to live with hippies, who are on the complete opposite side of the technology spectrum. They sleep in hay and refute electricity, even though they can't deny their dependency on it. Roger and Margaret are far more entertaining than last week's "parent- child" B-story. Margaret seems happy living the Amish lifestyle and its soothing to watch Roger spend the day with her. But in reality, it's a house of vice, she has a child, and she's just a headache for Roger. Her attempt to justify her actions by pointing the finger back at him is such a psychiatric stretch, but it bothers Roger and it'll be exciting to see how he develops from this. Don vs. Peggy. Peggy gets the opportunity to lead a Burger account and Lou (instigator) tells her to include Draper on her team. This is all thanks to the work of Pete Campbell, who from "on the next Mad Men" clip seemed like he was going to get more than the opening minutes. But Don is not willing to be treated like a cupcake. He does not take kindly to the 25 tags, which he treats like chalk board punishment. He wants things to be how they were before, so he starts drinking in the office again, just like old times, except it's against the rules! Drama. The Met's inclusion in this week's episode proves to be an inspiring metaphor. A team who defied the odds, then rose to be World Series champs. Hopefully this is foreshadowing Don Draper's path as well. But he'll learn in the episode it takes one win at a time, or one tag at a time, and being on leave could have made him a bit rusty. In addition to large 1969 computers, 1969 hippies, and the 1969 Mets, we get a reference to space travel, a man on the moon, guess what year the U.S. first put a man on the moon? You got it. 3 more episodes left, and Don just started working? 8/10

Dead Man on Campus (1998)

The 4-8th leads steal this One

[6/10 · 30 April 2014]

I was drawn to this film because Randy Pearlstein (Buckley) is a mentor of mine and Lochlyn Munro is the funniest actor on the planet. If you don't think so watch the first 20 minutes of Scary Movie, and Night at the Roxbury. This film lives on their performances alone. Josh and Cooper are freshman. Cooper didn't come to school to study and Josh, on a scholarship, can't make decisions for himself. Cooper gets Josh wasted, gets him laid, but gets him failing his classes. (Literally F,F,F,F,F) Cooper gets busted up by his dad who tells him he's going to be working in the mill, devoid of all sunlight, if he doesn't pick up his grades. Josh doesn't have Cooper's family money, so he needs the scholarship to stay in school. Solution, find an unstable roommate to move in, and make them kill themselves. This is like a SAW! It's fun to see Jason Segel, Linda Cardinelli, Alyson Hannigan look young, and play funny college students. However leading men Tom Scott, and Mark Gosselaar come off as really annoying and sometimes undistinguishable. It's UNBEARABLE when Josh repeats "my guy". Cooper is an unlikable bad influence. (Steve Stifler had some heart) There's nothing the film establishes about Cooper that's good for Josh. Josh's love interest could have been better developed. The patchy ending isn't to my liking either. It's definitely ALL dumb fun leading up to its silly, interesting premise and especially when they're testing suicide candidates. But when it's time to get down to it, the climax, the drama, there's really nothing to be taken serious. Lochlyn Munro needs a leading role as this character he played in the late 90s.

I Love You, Man (2009)

Is this real Love, Man?

[6/10 · 30 April 2014]

I Love You, Man's gender reversal is fun. It's about a guy who gets the... guy. Peter just got engaged to Zooey, but he has no friends, really, not one. Too bad he can't drink. It's too bad he doesn't play poker. Sucks he's never attempted to hang out with his fencing buddies. And it's too bad he doesn't want to share his real estate commission with his electric, tan cubicle neighbor. He does, however, make milkshakes with chocolate straws in them. What a bro. This all makes his task of finding a best man to his wedding (Dammit, Rashida deserves one) pretty difficult. What ensues are a series of male blind "dates". Peter takes one of them to dinner, big mistake. And of course, like every love story ever told, Peter's man, Sydney, appears when Peter's least expecting, and they hit it off perfectly. Paul Rudd is fun to watch make up words to impress his buddy. It's like he's trying to impress the popular kids but looking more like a loser trying to. Paul Rudd and Jason Segel's chemistry feels like a man- woman love story, and it's fun to watch unfold. The only problem is Peter's real, heterosexual love is Zooey, and that's what makes forming two good, realistic relationships in a film so tough. After Peter and Sydney solidify their friendship the film feels like it's pretty much over. Get married, bring the ring, it's all good. Then the simultaneous break ups occur (Peter- Zooey, Peter-Sydney) and things start to feel fabricated and rushed. It's questionable how many, if anyone has dealt with a problem like this. And there's the feeling that John Hamburg wasn't too sure how it's supposed to go either. Zooey walks out briefly. I thought the $8,000 loan would be more of a problem. When you really think about it, there wasn't much reason for Zooey leaving at all. Over at the other relationship, Peter tells Sydney he doesn't want him at his wedding because he spent the loan on advertisements, advertisements that he was contemplating on getting into with his cubicle buddy. Things got too distant from me when seeing Peter and Zooey's wedding filled with Peter's failed blind dates and people who don't like him. (Jon Favreau is great in this film, btw) A couple of stupid set ups are added (the high pitch of your voice), characters were left for dead (the single chick) and nothing felt real anymore. Also, Sydney is just flat-out weird, in a cool way, but definitely not through a first impression. I think bromance in film works best when the emphasis is solely on that relationship (Pineapple Express to name one).When trying to make bromance and romance work in a film, Wedding Crashers is the undisputed king.

Mad Men: Field Trip (2014) Season 7, Episode 3

A Breath-Taking Field Trip

[9/10 · 30 April 2014]

Here's how I see it. This week's Mad Men did a few things well. It was able to sustain suspense with Don's storyline because it was dramatic, as well as using cutbacks to Betty's blase side- story (Betty's story may seem to have the sole purpose of filling 45 Mad Men minutes, but it proves it's somewhat important). Most lingering questions, still unanswered, from season 6 get addressed, meaning the episode focuses on everything Don and the New York side of SCP (No Pete, Ted, or her real-estate agent). You thought Lou was an asshole? Someone else holds a grudge against Don Draper, and in case this episode seemed to give some type of closure that everything is solved, it opens up a bunch of doors. Back to the main storyline, which I won't reveal even a bit for it will kill the episode for anyone who hasn't watched. Jon Hamm does his best acting here. For Don Draper- I use this analogy- is portrayed in this episode as a child going to his first day of school in a new town, but in the same state. ("Don, can you hold?" Is the best line ever) Therein lies the ambiguous title; Bobby and Betty's "real" field trip, and Don visiting "familiar" territory (with some land-mines in the way). He realizes the lies to his kids, his wife, to himself are about to expire, so it's time to take action. The decision in the end, whether you agree or not, is brought to the audience in a edge-of-your-seat, roller-coaster ride fashion. The suspense was real. I was biting my nails during the last few minutes, hoping they would reach a satisfying resolution (not make me wait another week). It keeps getting better. 9/10 -Something I especially liked about this episode is we see that Roger isn't really the guy who sat in his chair in the season 6 finale and told Don, "It's what's best". Don and Roger are buddies. They have history; nights on nights of debauchery. It's good to see the writers didn't forget that.

Anchorman 2: The Legend Continues (2013)

Anchorman: just with an R-rating

[8/10 · 26 April 2014]

If you came into Anchorman 2 looking for plot I don't really believe you understood what made the original so great. It's nonsense, disregard for morals, in a world of one-liners is what it's all about. It's such a "boy's night" film and I knew McKay was bringing me exactly what I wanted when he made it clear in the opening images that Veronica Corningstone would be a secondary character, at best. Thank you, Adam Mckay. I didn't come to see Ron Burgundy act like a good husband, or responsible father- which it tries to do, and it's the extra fat the film could have cut- but I came to see him report the news with his San Diago crew under different and greater circumstances. It's certainly raunchier, and meaner than the first (hence, the film's R rating), which may have given Burgundy a bit of a darker look. (He picks fights with dolphins in the film, in Anchorman 1 he slept with his dog). But in all it's just an uncensored, "balls to the wall" Ron Burgundy. There aren't as many memorable one liners, although there are noticeable attempts to cement new ones (Sex Panther returns!) Brick gets a love interest and even though its a migraine to try and understand them, god bless them, they're adorable. The main story is Burgundy and the team's comeback in the world of news reporting after a hiatus from hell. They move up the ranks in a New York based, 24 hours news channel, and the kicker (we've all it heard before) is can love and friendship trump fame and fortune (and a celebrity spiced brawl)? I laughed hard in this one and thoroughly enjoyed it with as much satisfaction for the original. I got even more satisfaction out of Burgundy's "revolutionary" takes on the news, which are simple parodies on real-world reporting. For those looking to watch it, dumb yourself down a bit (mentally or recreationally) and let your funny bone do the work.

Mad Men: A Day's Work (2014) Season 7, Episode 2

A "Productive" Day's Work for Unemployed Don Draper

[9/10 · 21 April 2014]

It appeared this episode was going to follow the same formula Mad Men has grown accustomed to lately, which is continually shoving Don Draper's head under water between allowing brief gasps of air. But tonight, something GOOD actually happened to Don and its been a year since that's happened. Also this felt a lot like a mid-season/early-season episode through its light stakes and amusing subplots. "A Day's Work" is something of an oxymoron because we know, and the opening images remind us, that Don's unemployed. Despite waking up past noon, he still wears a suit and tie for the day (sounds like my earlier undergraduate years). He still looks like a SCP partner and we know Don's all about fabricating his image. Sally's kind-of a little brat, but in a good way, the way defined by catching your Dad in acts of infidelities and lies, and having the power to wreck his life. The writers do a great job bonding Don and Sally despite their walking disease of a father- daughter relationship. It's Valentines Day in the world of Mad Men, and the only other character feeling the love is Pete Campbell, believe it or not. Of course he has his prissy moments, but when it is revealed that Pete is hooking up with that smoke-show realtor, I applauded. Then he went back to getting upset over a conference call with the New York partners and was his old self again, feeling under-appreciated. But, wow, good for him. Peggy's life is in shambles. Ted's on her mind still (duh, it's Valentine's Day). She can't get any work done because there are roses on her desk. She receives another blow in the episode, it's not a teary one though. If she hasn't get off the "Chaough" yet, I don't think she ever will. (I really disliked how the season opened with Ted in New York just so he and Peggy could be in the same area. It's like the season 6 finale didn't happen) Ted's just as miserable, as Pete says. Working late nights. Glued to his desk. Where's Nan? Maybe Ted and Peggy's mucky attitudes are a sign that they'll sprint into each other's arms later in the season... probably. Joan has a fun side story unfold. One that is a little racial. It also makes me want Matthew Weiner to write off Lou in fatal fashion, now more than ever. Joan ends up having a good Valentine's day, and rightfully so after the day she endures. On a negative note, no Megan in short dresses (or treat of side boob, like the opener). A Mad Men history note, In 1969, black assistants, Dawn & Shirley, are strong, diligent, and better workers than the white secretaries in SCP. A crucial year in civil rights. On a closing note, good episode. It takes the steam from the Don Draper stoning that's been going on. It's nice to have a fun and easy episode to remind us that we have ways to go before things get serious and this magnificent show comes to an end.

Ferris Bueller's Day Off (1986)

It's a Ferris Bueller World

[8/10 · 21 April 2014]

Ferris Bueller is probably the worst friend, brother, and certainly the most popular kid in the state of Chicago. From the very opening image of the film he exhibits the pretty boy, handed- everything-on-a-silver-platter attitude you'd see from the bustiest blond in your own high school. But as much as you can try to hate him, everyone else loves him. I probably wouldn't have been in Ferris's entourage if we went to high school together, but I'd likely revel at the chance to hang out and try to steal Mia Sara from him (probably to no avail). The choice of name (Ferris, as in Ferris wheel) is symbolic of this arcade-like world of Chicago, where everything plays under Ferris's rules (like carnival or casino odds). Ferris even takes over the conventions of the cinema world by breaking the fourth wall. He kinda breaks bro-code too in the film's most emotional driven side-story. The most entertaining side-story is the Tom & Jerry chase between Ferris and the principal. Mr. Rooney is everyone's imagination running wild, while sitting and being "justly" punished in the principal's office. We feel their punishments are cruel and sometimes unique to us, and we all dream that someday we can have our own German Shepherd give them hell. Contrary to traditional Hollywood film and storytelling, Ferris Bueller faces little to no drama on his day-off. He does every fun thing under the sun- till dinner time, so no booze and strippers, high school remember- with the apotheosis of high school sweetheart, Sloane Peterson, and a friend willing to lend his daddy's Ferrari because, why would Ferris need a car? Their youth is beautifully captured on this day through Prank calls, visits to Art Museums, Wrigley's Field, and promises to get married. The ambiguity of their "I love you" confessions brought me back to the innocence of my high school days. Jeanie Bueller, Bueller's sister, is the moral figure in the story. She's smarter than everyone else and can see through Bueller's b/s. Actually, Jeanie is "us", the viewer, looking in with the "normal-world" goggles. But the one person who can expose Ferris's 9th absence (because we know Tom usually never gets Jerry) being his sister makes for a clean resolution that even though we may think, here's a guy who got away with everything and learned nothing, we expect Ferris Bueller won't be skipping school anymore. 8/10

Thor: The Dark World (2013)

Came for Thor, Got a little More

[7/10 · 20 April 2014]

MINOR Spoilers; Nothing on what happened, just some scenes I wasn't a reader of the comic books. I didn't get to adore Thor till I saw the film. So being a "newbie" (as I bet most comic book geeks would label me) I felt that Thor: The Dark World was the first of the films that was a little too concerned with shifting the universe smoothly from its second phase to its third. Don't get me wrong Thor 2 was a fun film to watch, and a good one, but as much as it feels that it picked right up after Thor 1 (or the Avengers, I think that's the correct chronology) there were some character inconsistencies and a patchy ending that felt as though it was putting a band-aid on a gashing cut.

The biggest dynamic is the shift of chemistry from Thor's relationship with Jane Foster to Thor's relationship with Loki, that sonovagun Loki. When they team up in the film its hands down the most enjoyable part. Their brotherly banter, with Loki as the nagging little brother and Thor as the "shut up bro" older brother feels real. The looming question, Is Loki good now, or is he still bad, builds more suspense than the final showdown between Thor and the bad guy. Tom Hiddleston kills the role. As long as Loki remains a big of a part to the universe, we'll be seeing him in future "Top 10 Villains of all Times" lists. Apparently the ritual sacrifice to holy brotherhood was the love story of Jane Foster played by cutie pie, Natalie Portman. Bottom line is that a love scene would have kept the romance interesting (and the film PG-13). Thor and Jane Foster's relationship was a big reason why the first film was so good. The notion that Thor wasn't able to see her ever again was the biggest question I wanted to see answered in The Dark World. Despite the bi-frost being totally destroyed in Thor 1, Thor is sailing from realm to realm (apparently for two years) kicking ass and taking names before he casually plops on Earth to see Jane. Common girlfriend line, "Where were you my superhero hunk? You never called" is answered with, " Babe, I was too busy making sure the realms were free of ugly creatures." I wasn't a fan of how they "band-aided" that situation, and I wasn't a fan of the romance-less between the two. I think they kiss twice, and one of those times is in a post-credit scene.

Our Earthlings, Darcy, Eric Selvig, and a new intern, are really, really un-interesting: the worst part is they play a part in the resolution. Selvig's dive from the responsible moral voice in the first film to "running around naked in public" crazy scientist is one of the easier character inconsistencies to spot. Darcy's a bunch of one-liners. Chris O' Dowd (cop from Bridesmaid) plays an earthling interested in Jane Foster, but he's really there to set up a jealousy quip by Thor. Ironically these earthlings feel more like aliens than the Asgards.

The gatekeeper is still awesome. Thor's fighting sequences are still awesome. Odin is still awesome, although a bit meaner and questionable in his choices (character inconsistency #2). We all agree Loki is awesome. The humorous, relaxed feeling that we get from all the Marvel Universe films (except Hulk) is awesome. A touch of Star Wars is awesome. Essentially The Dark World delivers on the promise that it's going to be just as entertaining as the original. However it's too concerned with progression of the cinematic universe that it forgets Thor is what we picked to watch. You'll realize this in the end if you truly think about how the "twists" are actually cliffhangers to set up what's next. The patching to go along with a forgettable villain that's almost an illusion to distract us makes this a downgrade from the original, but it's another day another adventure in the Marvel Cinematic Universe and that's always worth watching. 7/10

The New Guy (2002)

No Brains, A lot of Heart

[7/10 · 27 March 2014]

This ridiculous film doesn't have much brains, but a lot of laughs at other's expenses and sexy girls, sounds like high school to me. This is a film I grew up with and I think it offers a legitimate way to get yourself out of the unpopular crew. It's an idea deep seeded in every dork or bullied kid's mind. Of course there are various extremities as the film plays like a cartoon without any logic or sense of pain for its characters. What is very true in the film is its overall theme, how to be popular (Be yourself, who hasn't heard that?) and how to get the hot girl (confidence). Because of its touchy subject of popularity that everyone can relate to, this film will grab everyone's heart and emotionally indulge you. That's what it, is a lovable film with a lot of heart and no brains. You'll definitely miss high school, after seeing this despite what part of the social hierarchy you were in. In the end, it's fair to everyone, and you'll smile, question things, shake your head, but try the "crazy eyes" for sure. Good film to re-imagine you scoring with your old high school crush. - camachbr0

Cabin Fever (2002)

Makes Watching College Kids Die Fun

[8/10 · 6 March 2014]

It took some time after I screened Cabin Fever to enjoy what I watched. It's actually real fun and I think that's what splatter films and Eli Roth is all about. There is some kind of chuckle of surrealism I do at some point in a film like this, usually towards the end of the second act, when I've seen enough buckets of blood make their way onto the screen. It's along the lines of "Come on dude, this is absurd." This happened for me in Cabin Fever, not because of an un-necessary amount of gore but because it becomes so much fun and it's so ridiculous. The film builds itself up beautifully to a great climax. A climax built where you don't give a crap about the kids, or anyone, being killed because it satisfies the sick pleasure that made us watch this film. The five college kids are each more unlikable than likable. I don't know if Roth and Pearlstein gave them the whack-est lines and college slang to say on purpose but I felt good knowing they wouldn't be able to convince me to come with on their getaway. Our "protagonist" has a squeaky voice and is friend zoned by the nice, respectable chick (yes there is a whore to compare her with). We have the husky goon who gets no ass but loves to get drunk and the alpha male who's false sense of tough is derived from the slut he bangs. What Eli Roth and Randy Pearlstein do here is non traditionally infect a character. Traditionally, meaning the unwritten law in horror where "so and so" is supposed to die before "so and so" because of "such and such" reason. Once that happens all morality goes out the door and pretty much we're not rooting for anyone to be safe, we just want to see in which way they succumb to the disease. And it's not in their sleep trying to nurse themselves in warm blankets and hot cocoa. The best part is, if you're infected you're screwed, and the unspecified countdown commences! The title's figurative meaning makes for an intelligent theme in the film as well and that also makes the 5 college students just more the reason to slaughter. As we can see from Roth's filmography he loves to make killing fun and he does that in Cabin Fever, better than he did in Hostel where it's just sick and sadistic. I happen to love the misc-en-scene towards the conclusion that makes you feel like you've caught the disease yourself. I also love Cerina Vincent. In all, this is recommendable if you want to have fun 90 minutes.