Showing posts with label Postmodern Warfare. Show all posts
Showing posts with label Postmodern Warfare. Show all posts
Friday, October 19, 2012
Friday, October 12, 2012
Tuesday, September 11, 2012
By One Line – Issue 1. Music
I decided to begin new series of posts where I will observe music or movies or books just by one phrase. Often you cannot say more, and my past experience showed that any intermediate format of review expands to full-length without such a restriction. Welcome then!
Pictograms
near the title are analogues of Watch It/Listen It line in full-size reviews:
- definitely awesome but nothing to say
- matter of taste and controversial
- get the fuck out of hereWednesday, September 5, 2012
The Cabin in the Woods (2012)
You know,
it is really rare case when the movie could really break the stub. For last
years cinema industry had been choosing technologically intensive way of
development, constantly improving shooting technologies, special effects and
computer modeling. Since viewer used to consume such kind of product, movie
industry changed its direction from acting and interesting films to epopees and
blockbusters, and while technical quality of film increases viewer’s
indiscriminateness, quality of plots and screenplay accordingly gets lower and
lower.
So because
of that tendency each movie with story even a bit differs from common is being accepted as a revelation; such movies get awards, their director becomes famous
and gets a lot of money and promotion for further films and usually fails on
it. The best example is Christopher Nolan, whose triumphal rise with “Memento”
turns into complete fuck-up with “The Dark Knight Fails Rises”. Joss
Whedon, a corpulent redhead and possibly jew (that is definitely good) is
already self-established scenarist, so I hope he will not repeat this sorrowful
way. Whedon is an author of gorgeous “Firefly”, mysterious “Doll House”, and
many more awesome or just outstanding works, so it was evident to anticipate
something special from him.
As every another
well-established subgenre of well-established genre, slasher movies have a wide
variety of stamps, clichés and traditions. The beginning of the tendency was
brought years ago, and it was supported recently by “Tucker and Dale vs. Evil” where
Tyler Labine and Alan Tudyk portrayed all the feelings laying on another side
of slasher movie conflict, but those efforts was not enough. Thus the universe
still had need in a film that will point dots over “i” about slasher clichés once
and for all, and finally this film arose – welcome “The Cabin in the Woods”.
It is
almost impossible to tell something about this movie avoiding any kind of
spoilers. This obstacle appears on the way because of monolithic unity of movie’s
all components, but what should be mentioned is general wit running through the
whole movie. Witty is all in this film, from opening and closure titles
(especially the latter), from characters and dialogues to plot and screenplay,
no need to mention citations, parallels and all homage to slasher movie history. In
addition to wit, second weapon (hail Spanish Inquisition) of Cabin is inpredictability
that could compete with M. Night Shyamalan best works. Although director and
story writer constantly give us clues and hints during the narration
development, but you can try to get an idea about what the fuck is going here
only near second part of the movie.
The Cabin
in the Woods is brand new (without irony or mistake) sight on the slasher
movie, sight full of both sarcastic mockery and gentle admiration, and
unfortunately this sight declines all the possibilities to genre evolution. This
movie points all the dots on all “i"’s, and the biggest dot gets its place
at the end. I doubt that sometimes somebody could invent something that could
overcome “The Cabin in the Woods” on its field, so do not hesitate to see this
movie.
As A
Result: brilliant postmodern movie in best meaning of these controversial words
Watch It?:
not a matter of discussion
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