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by John Lindstedt

5 Mar 2010

This Funny Or Die video features almost all the iconic presidential impressions from Saturday Night Live all in the same room, some reprising roles they haven’t played since the ‘70s.

The only notable absence is Phil Hartman’s Ronald Reagan. Hartman is sadly no longer with us, but he is impeccably replaced by Jim Carrey, who used to play Reagan back in his early days logging time on In Living Color.

All in all, a pretty momentous event for comedy and political enthusiasts alike.

Here’s one of the old legendary Phil Hartman sketches…

by Nick Dinicola

5 Mar 2010

Michael Abbott of The Brainy Gamer recently played Heavy Rain, and had some interesting criticisms of it:

Heavy Rain situates a system between the player and the game that heavily mediates the player’s experience…It wants to immerse me in a realistic, character-driven story with detailed environments and atmospherics; but it also wants me to remain outside that experience, ever-vigilant for the next quick-response button-press. (Heavy Rain, Brainy Gamer, 24 February 2010)

It’s a common criticism of the game and one that I couldn’t disagree with more.

by Bill Gibron

5 Mar 2010

As it slowly rolls out across the nation, PopMatters’ film blog, Short Ends and Leader, has two competing reviews of Roman Polanski’s latest, The Ghost Writer. While editor Bill Gibron found the film wanting in almost every facet, contributor Farisa Khalid feels it’s one of the aging auteur’s best. Read both reviews and see for yourself:
 
 
‘Ghost Writer’: The Futility of Good Intentions
 
 
‘Ghost’ is Minor Polanski at Best

by Darren Ratner

5 Mar 2010

Everyone can appreciate a good train wreck, and Courtney Love has become one of America’s finest. Keep that in mind and you’ll see that the birthing of some new Hole tunes doesn’t seem so intolerable - especially when the band’s new single, “Skinny Little Bitch”, sounds like a heroin-induced bitchslap. The new album, Nobody’s Daughter, drops April 26. Judge for yourself.

by Chris Barsanti

5 Mar 2010

Bearing about as much resemblance to its literary source as Electronic Arts’ Dante’s Inferno video game does to the fourteenth century poetry cycle it takes its name from, Tim Burton’s new 3-D version of Lewis Carroll’s Alice’s Adventures in Wonderland stands as a rather dire portent for things to come. If this is how film studios, particularly Disney, are intent to go about “reimagining” properties out of their back catalogs or the public domain, audiences would be better served to stay home and watch sitcom reruns; there’s less cynicism there.

Carroll’s stories didn’t make sense, not a whit, and that was their appeal. Alice follows a strangely time-obsessed rabbit down a tunnel and into a fantastic world where the laws of reality as she (and readers) understood them didn’t apply. She met curious characters and had curious encounters that wouldn’t even necessarily be called adventures. After it all, Alice seemed not so different, a touch more worldly, perhaps, but not necessarily any wiser. Carroll—a mathematician with a trickster’s heart—was less interested in teaching lessons (Victorian England already had a surfeit of moralizing storytelling) packed the stories with Catch-22 logic loops and nonsensical rhymes and puzzles, the sort of thing that appeals to precocious children and immature adults alike.

Now, normally, that target demographic is exactly who the films of Tim Burton are meant to appeal to, what with his patented mix of innocent whimsy and gothic obsessions. While Burton’s films were never exactly verbose or laden with quizzical conundrums, there was a definite affinity between their off-kilter visions and Carroll’s fantasies. What’s shocking, then, about Alice in Wonderland, is just how woefully conventional it all is.

//Mixed media
//Blogs

'Knee Deep' Has a Great Setting That Ruins the Game

// Moving Pixels

"Knee Deep's elaborate stage isn't meant to convey a sense of spatial reality, it's really just a mechanism for cool scene transitions. And boy are they cool.

READ the article