Artistic intent is an often-debated mode of dissecting a finished product. What the artist went into the project intending to render presumably dictates the manner in which we, as audience members and general consumers of art, perceive. With film, it’s also common conception that, once the piece is finished and released into the world, 50% of its production now lies in the hands of the audience. The thought is that a movie doesn’t fully exist without someone to watch and perceive it. Both concepts are true, while neither holds predominant sway over the reception of art. What we go into an experience knowing, or not knowing, can drastically alter our perception of any given event. But while in the moment of interpretation, we are subject to a series of perceptions that exist independently of pre-defined knowledge.
Made in the tradition of the New York underground, Bag Boy Lover Boyis a portrait of contemporary frustration. Albert is a pitiful hot dog vendor who soon finds himself intertwined in the bizarre world of fetish photography. Albert’s aspirations are centered on his desire to win the affections of a frequent customer at his stall, and her apparent love for art. Raw, funny and twisted, the film rips through the perceived comfort of modern living by putting focus on one of society’s outcasts. Albert is not just a sad sack, he’s more than a little slow and more than a little different.
The live-action adaptation of manga properties in Japanese cinema is just as popular and frequent as Hollywood’ s thirst to translate comic book tales originating from DC, Marvel and lesser-known publishers in North America. Both come with their share of trials and tribulations, such as what to leave in, what to leave out, and what to change in order to smoothen the transition from the page to the silver screen. TheCrows series — which began with 2007’s Crows Zero, wasfollowed by 2009’s Crows Zero 2, and continues with this year’s Crows Explode – is in a special situation considering the change in directorial talent handling each entry. The first two were guided by the crazy genius that is Takashi Miike (which is completely normal considering the premise), whereas the latest entry is shepherded by Toshiaki Toyoda.
This Friday will see the release of The Rock’s (None of this Dwayne Johnson nonsense, he’s The Rock) newest action tentpole Hercules, with him playing the historic hero. You’ve probably already made up your mind if you’re going to see this film or not, you’re not anxiously waiting on the fence. You probably haven’t given a second thought to Hercules. But I have, and for the first time in a long time, I’m worried about The Rock.
When you really stop to think about it, The Rock has built a career becoming one of the most unlikely box office superstars. In 2013 Forbes named him the highest grossing actor of the year with his films that year bringing in $1.3 billion. But I say box office superstar with a caveat: He only smashes numbers when he’s part of an ensemble. Put the guy in an ensemble cast and he’ll rake in big bucks for you. But have him headline a film? That hasn’t proven the same box office results. He’s not necessarily abysmal on his own, but the question remains, is he finally at the point in his career where he can smash the box office by himself?
Both the victim and perpetrator of a crime must live with the consequences of the events they were intricately involved in. For the guilty party, provided they possess an inkling of remorse in their body, the stigma carries over an extended period of time, with reminders coming in all shapes and sizes to reiterate that they did bad in the past and that society does not look kindly to them. For the victim, the situation is completely different. They committed no malicious act yet the psychological and emotional after-effects of their ordeal are sufficient enough to haunt them for weeks, months and years to come. Enter Han Gong-ju (Chun Woo-hee), the central figure in Lee Su-jin’s new drama baring the protagonist’s name.
Funded through Kickstarter, Ned Rifle is the final part of a trilogy inadvertently started with Henry Fool in 1997 and then continued with Fay Grim in 2006.
The irony of the penniless cult and mind-control expert is not lost on us. Ansel Roth’s got the tools to get your loved ones back within your grasp, he’s written them down for all to read, but here he is selling copies of his latest book one hotel conference room at a time, living out of an AMC Gremlin, fishing meal vouchers out of the trash, and shoveling ketchup in his mouth with a fork. He used to be a big shot with a bestselling book and a TV show, but that doesn’t stop him from getting beat senseless in front of a half-full room at a regional hotel. Nor will it stop The Wire and Toys R Me’s own Lance Reddick from showing up in the parking lot afterward, smilingly vicious as ever, asking for money his boss is owed.
Hustler, the notoriously gritty, shameless skin magazine, could easily double as the name of publisher Larry Flynt’s autobiography. For all the editorial prowess and First Amendment arguments he engineered and fought, he is still just a businessman.
Back Issues: The Hustler Magazine Story makes a point of demonstrating that the magazine’s success lived or died with Flynt’s public profile and outrageous behavior. Be it getting arrested, shot, changing his religious views, or running for President, sales always went up. And personal convictions aside, you can’t help but feel it’s all a long con by a very talented huckster from Kentucky.
We’re one week away from San Diego Comic Con and already the big comics news is breaking. Marvel announced a new Avengers team led by the newly outfitted Superior Iron Man, a female spinoff of Thor, the new Captain America (formerly Falcon) and a handful of other interesting characters pointing towards greater diversity in the comics landscape. This week, we’re breaking down what this means for the series and the industry itself. We’re also reviewing the new, surprisingly epic return of Damian Wayne in DC’s new series,Robin Rises: Omega as well as sharing our thoughts on The Strain, the TV spinoff of Guillermo Del Toro’s book and comic series and our thoughts on Universal’s announcement of plans to spinoff a whole new Universal Monsters multiverse. Give a listen, and don’t forget to share your reviews of Hey You Geeks on iTunes!
Twenty years ago, if someone said that ‘zombie romantic comedy’ was going to become an actual cinematic sub-genre, they’d have been called a witch and burned at the stake. And yet, they would have been right, and Fantasia 2014 has seen the unveiling of yet another film in the rapidly expanding genre, Life After Beth. Starring Aubrey Plaza of Parks and Recreation and Dane DeHaan, recently of The Amazing Spider-Man 2,Life After Beth is best described as a zombie breakup comedy. It’s also best described as “decent, but not amazing”, a serviceable enough zom-rom-com kept afloat mostly by the supporting cast.
What is it about foreign horror films that makes them more interesting than so many English language horror films? You would have to think that the language barrier makes it more terrifying; people screaming is already difficult, but speaking a language you don’t understand can only make it worse. So, why are the remakes typically so bad? On this portion of the list, we are treated to a few of the more upsetting films in the canon – one movie I wouldn’t wish for anyone to see, a few that blazed the trail for many more, and one that I would elevate above the horror genre into its own little super-genre.