Not Quite So Weekly Roundup: 25/11/18 Edition
The useless binch (me) is back online.
Month: November 2018
The Girl in the Spider’s Web Review — Grabbed cash
So, in the movie Paul Blart: Mall Cop 2 there’s a scene where the hypoglycemic hero has a drop in his blood sugar level and collapses on the ground. Kevin James, giving an unconvincing physical performance, must flail around the lobby of the Vegas hotel where the film takes place until a child’s melting ice cream drips into his open mouth. You can find this scene on youtube.
Robin Hood (2018) Review — Medieval leftists
I listen to a lot of podcasts, I always did before but now that I drive to my new job having to concentrate on the road means that I’m not able to skip the adverts. There’s one app that is being pimped everywhere recently called robinhood, a cursory search informs me that it is stylised without a space or a capital because of course. It claims to be opening up trading to all, allowing commoners access into the rarified world of capital. It is of course outside of its marketing puff one of the most petit-bourgeois concepts imaginable nobody without any money is gonna get rich off their fucking backs. And in the most self-congratulatory liberal way possible they brag about having an option to only invest in companies with female CEOs — so proud, a part of me dies every time.
Overlord Review — Zombie ideology
So, here’s what happened: somebody, at some point, played Call of Duty: Nazi Zombies. Or maybe Wolfenstein. Most probably both and decided, “Yeah, I could do that.” Then they went and did it.
They Shall Not Grow Old Review — The old lie…
To celebrate the centenary of the Great War, one of cinema’s great technical fabulists has attempted to change the way that we process our history. Peter Jackson has colourised, digitised and converted into 3D the cinematic and photographic documentation of the life of British soldiers on the Western Front. Of course this caused controversy in the world of film preservation, whether it was right to adulterate the footage in this way. Should one provide voices to the men caught only in video 100 years after the fact? Is it possible to add colour without adulterating the political and aesthetic intent of the original documentarians?
