Call for Essays About Any Aspect of Popular Culture, Present or Past

 
Bookmark and Share
Text:AAA
Friday, Nov 14, 2014
A 20 years too late sequel with some sporadically funny stuff measured out across an ever decreasing level of interest.

Want to know the difference 20 years makes? Two decades ago, Twitter was still 12 years away, Facebook a mere ten. Taylor Swift was four. Justin Bieber had just been born. The Matrix had yet to be released, and the only success Marvel could muster was the original Fantastic Four. If you live to be 80, two decades is one fourth of your life, and if you were a new parent at the start of 1994, your kid is either in college or moved back in with you by now.


Thomas Wolfe wrote the famous book You Can’t Go Home Again way back in 1940, but its titular sentiment still applies, even today. You really can’t recapture lightning in a bottle. About the best you can do is set-up your current situation to mimic the past as closely as possible, thereby hoping that, via karma or some unspoken magic, you can once again taste the fruits of your previous labors. That was clearly the plan for the Farrelly Brothers’ Dumb and Dumber To.


Bookmark and Share
Text:AAA
Friday, Nov 7, 2014

While fans of the possible franchise might feel cheated, Big Hero 6 proves that Disney did the right thing by bringing Marvel into its multi-billion dollar, multinational film fold. While concepts like The Avengers and Guardians of the Galaxy will continue to hold weight up and until the moment superheroes fall out of favor, the kid-friendly refashioning of this comic book property argues that the House of Mouse’s current creative approach has some incredible legs. Fiercely entertaining and unafraid to dabble in adult ideals, the end result rockets to the top of 2014’s array of age-appropriate titles.


Bookmark and Share
Text:AAA
Monday, Nov 3, 2014
For a genre that rarely deviates from the cyclical and the tried and true (torture porn this time around, '70s throwback terror another), Horns is a welcome bit of weirdness.

It would be easy to categorize Horns as a YA take on an a standard adult horror concept. The foundation for Alexandre Aja’s film is a book by Stephen King’s kid, Joe Hill (perhaps best known for his novels, Heart-Shaped Box and NOS4A2), and yet all the more mature ideas and concepts have seemingly been tossed aside for a hipster love story which turns on faith, fallen angels, and the various symbolism one can carve out of horns, crosses, snakes, and fire. In fact, had Aja simply focused on these obvious allusions, and backed away a bit from the quasi-paranormal Pacific Northwest love story between our hero, Ig (Daniel Radcliffe) and his comely gal pal Merrin (Juno Temple), we’d have more terror and less Twilight.


Still, this is a good movie. Not a great one, and one lacking significant scares, but entertaining and engaging, albeit in starts and spurts. In fact, this is much more a fantasy than a typical genre offering, Aja shifting tone as readily as we’re reminded of the dreary Seattle backdrop. Our story centers on a young man named Ig Perrish (Radcliffe) who is accused of killing his girlfriend, Merrin Williams (Temple) and for the last year or so, the police have been trying to put together a case against him. With the help of his best friend/lawyer, Lee (Max Minghella), he’s avoided prosecution, though the constant pressure from the media, and Merrin’s father (David Morse) is starting to wear on him.


Bookmark and Share
Text:AAA
Thursday, Oct 30, 2014
The first Saw is really a whodunit. The next six are all about the "why".

Few filmmakers can claim a successful cinematic franchise. Fewer still have one based on their own original idea. So what does it say about horror maestro James Wan that he has not one, not two, but three wholly unique and undeniably profitable scary movie series to be proud of. Most recently, the Australian auteur delivered The Conjuring, a $20 million dollar revisit to old school ‘70s fright that netted nearly $320 million at the box office. With such numbers have come a prequel, Annabelle, and the inevitable sequel.


Before that, Wan was also responsible for the ingenious and devious dark ride, Insidious. Part One arrived in 2010 with little fanfare and fewer expectations and wound up bringing in almost $100 million in turnstile receipts. Part Two made even more money ($161 million) before the filmmaker turned things over to his partner in creepshow crime, Leigh Whannell (Part Three arrives in 2014). But before there was the subtle scares and throwback mentality of these two properties, Wan and Whannell rode a wave of rave reviews for a little something called Saw.


Bookmark and Share
Text:AAA
Friday, Oct 24, 2014
As long as it avoids anything closely resembling the real world, Ouija works. Not as horror, but as a cautionary example as to why "gotchas" don't necessarily equal scares.

Welcome to the world of stupid horror, terror where the failed fear comes out of the character’s single digit IQ actions, not anything remotely realistic or relatable. It’s a place where no one ever turns on a lamp, where already scared individuals walk blindly into pitch black areas carrying only notoriously unreliable flashlights, where the police are never called or investigate very mysterious deaths, and where information is parsed out it narratively beneficial drips and drabs.


It’s a place where a house someone has lived in for years contains an easily discoverable secret room that no one has come across before (wouldn’t a home inspection and a title/blueprint search for tax/insurance purposes cover that?), and where clueless characters walk right into supernatural traps, clearly never learning their lesson the first 15 times around.


Now on PopMatters
PM Picks
Announcements

© 1999-2014 PopMatters.com. All rights reserved.
PopMatters.com™ and PopMatters™ are trademarks
of PopMatters Media, Inc.

PopMatters is wholly independently owned and operated.