21 Jump Street (dirs. Phil Lord and Chris Miller, 2012, US)
He busy, with Korean shit.
1. Phil Lord and Chris Miller’s first film, Cloudy with a Chance of Meatballs, was a surprise, being not only funny but a mark of the duo’s directorial approach - taking a familiar American pop-cultural artifact and then juicing it for all its worth. Lord and Miller find the same comedic mileage in 21 Jump St, taking the thin TV-based conceit down as many detours as possible, like a gaudy drug trip or a running joke about bombastic action movie explosions. The delivery of the lines (rarely ever jokes) are particularly fascinating, a post-Apatow set of mumbly overlapping non-sequiturs littered with cursing. A lot of joy is found in the roundness of the word “fuck”, so much that it stings, becoming a punchline in its abrasion. Who could have envisioned that mainstream buddy-comedy franchises would get to this point, where ADD setpieces are tempered with “naturalistic” dialogue, dependent on trust between performers and the audience that these rambles and pauses will lead us somewhere?
2. Oh yeah, Ice Cube is in this and there’s a weird moment where ‘Straight Outta Compton’ plays and you are confronted with the voice of angry 19 year-old Cube. Then, seconds later you are confronted with the face of acting-angry 43 year-old Cube. We just can’t let the man age gracefully, can we? Did he bring it on himself with years of “yeay yeay”?
The Bling Ring (dir. Sofia Coppola, US, 2013)
1. That huge Veep advert to the right of the frame is hella distracting.
3. I do this every time a new Sofia Coppola film comes out and never see it. Feel free to call me out at the end of the year on this!
Rock of Ages (dir. Adam Shankman, 2012, US)
So Rock of Ages is not very good. You know this. You’ve heard all the best jokes already. But this image - coming at the end of Tom Cruise’s performance of a Def Leppard song - feels poetic in a way, a moment where the camera seems in awe that an actor is doing their damn job right, staying in character and devoted to the artifice. It is also the only moment where you feel like Tom Cruise is really playing a concert, way more effective than the crash zooms Shankman fills his musical moments with.
It doesn’t hurt to mention that Mary J Blige appeared on screen at the very moment I said “I wonder where Mary J Blige is right now? There are people she has to outsing!”
Terrible quality but this is Waka Flocka Flame yelling stuff while holding Diddy and will.i.am in the latter’s ‘Scream and Shout’ remix video.
I could easily just blog amazing things that Waka does because pretty much everything Waka does IS AMAZING.
The Congress (dir. Ari Folman, 2013, US)
Ari Folman really spending three years to make Robin Wright look just like Ke$ha.
No, 2012, Pablo Larrain
Look at this beautiful motherfucker right here.