Sundays are for lying in bed in the morning as sun creeps around the edge of the blinds and wondering where the hell all of the week went to. Well, that and catching up on all that juicy, juicy content that you missed out on.
Another entry in the Beyond Postmodernism series looked at Post-Truth Politics and why that may in fact be a clumsy name:
To define a position or view as post-truth is to take a descriptive view of the world, in order to make this statement one has to believe in an objective truth to the world that is being distorted. In the contemporary world, however, we gotta understand that ‘truth’ has changed from something that exists outside a person, to something that exists within them. Has anyone told y’all to live your truth? That’s a good realisation of how in the same way as we project our interiority into the world, the world projects itself into us.
Kong: Skull Island turned out to have a lot in common with that Sahara, that 2005 blockbuster nobody saw:
Did you ever watch Sahara? I don’t think many people did, it’s not that good. I think it’s one of the contenders for the title of the biggest Hollywood flop. It’s the bizarre, sloppy, racist attempt to turn Matthew McConaughey into the action star he never was. Part of the joy of the thing is its utter shamelessness, it throws all concepts of sense, propriety and taste out of the window in its mad quest to be the new Indiana Jones, seemingly oblivious to its own incompetence.
Polygon’s Monster Factory created another sweet boy this week, I tried to explain what makes the series so great:
Once these characters are given names they stop being merely an expression of the functions of a machine (both the game’s engine and the eponymous Factory) and are gifted with actualisation. When this happens, the jokes about them, about how weird and silly they are stop. It feels so sweet because after that point they are treated with the respect that people deserve.
While reviewing Bill Conden’s Beauty and the Beast remake I stumbled upon Disney’s master plan:
That leaves the remake in a bit of a bind. It was never really going to be able to win, not really. Change too much and they’d be tarnishing a classic, change too little and then what’s the point the remake in the first place, outside of the business perspective of course? I guess it’s in the flesh, and spring-boarding off of 2016’s Zootopia what better way to confuse a new generation of young furries? Why else would they make the beast so sexy? All part of Walt’s plan, by the 100th anniversary of his death they’ll be screening high quality gay furry porn into cinemas all over the world and nobody will even have noticed.
And Jordan Peele’s Get Out is the sort of thing both film-school students and not-film-school-students will love
It’s a film school student’s dream, one of those films which is immediately successful, has wide popular appeal, and is also just whip smart. I expect over the next few years university professors will tire of papers titled ‘Examining the varied depictions of racism in Jordan Peele’s Get Out.’ Now it’s so tempting to go into opinion piece mode here in the review, try to analyse all the spinning plates, completely spoil the movie, write my own shitty version of that essay title.
In other news an old post of mine got discovered by some internet pissbabies this week and I became briefly notorious. I got more views on Thursday alone than in the entire month of February.
Coming up in the next week are reviews of Paul Verhoven’s Elle (seriously this time because I’ve now actually watched it), Olivier Assayas’ Personal Shopper and Asghar Farhadi’s The Salesman. There’ll be other stuff too but that’s all still work in progress.
And again, I try not to ask this too often, but if you are enjoying this work, please follow, and like, and share with your friends and family. I’ll love you forever if you do.
This week’s album recommendation is “God Forgive These Bastards” Songs From the Forgotten Life of Henry Turner by The Taxpayers.
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