“After seemingly selling off the remake rights to every movie he’s ever made, Wes Craven (A Nightmare on Elm Street, The Hills Have Eyes) has taken the money and, with the freedom to create an all-new tale of terror and release it with an R-rating, he made this? A derivative day-trip to dullsville? D’oh!”
“Now more of a memory-lane trip than the anarchic shocker it used to be, Jackass celebrates its tenth anniversary with a new collection of the usual gleefully idiotic antics, augmented at times with 3-D.
Your character in Red has a unique perspective on the world, because they say he’s been fed a lot of LSD in the past. How method did you get in your research?
JM: [Laughs] I was never an LSD person, I’m not a drug person. Although pretty much most of my friends were in college in the early ‘70s. But I never was all that curious about it, really, and the last thing I need is to expand my consciousness. That could end badly.
The theme of The Lost Boys is eternal youth. You never seem to age. What’s the deal?
Corey Feldman: The truth of the matter is that I have a portrait in my closet. We call it “The Portrait of Corey in Gray.” Very strange. I’m joking. I’m very lucky. I’m fortunate. Good clean living is what I chalk it up to. I don’t drink, I don’t eat red meat, or any meat for that matter. I’ve been a vegetarian for 25 years, and I have a youthful perspective. I believe that age is a state of mind, and I don’t believe that we have to physically age because a number says that we’re this old. You can be youthful at heart. The more that you believe in that notion, the more it comes across physically.
This all-new web series for Geekweek — featuring me, Todd Gilchrist, Damon Houx, and Jen Yamato — will air online live, most Mondays at 4pm Pacific Time. You can watch live at http://www.justin.tv/geekweek. But today’s episode is embedded below, if you missed it.
Despite Hal’s usual, consistent cheap shots at wrestling fans, I enjoyed this….
The problem, of course, is that libertarians are supernaturally naive. They operate in neurotic denial of human nature. Like most ideologies—communism, laissez-faire capitalism, anarchism—libertarianism is based on the belief or disingenuous claim that human beings will naturally behave well. All evidence cries out to the contrary. Who knows what evil lurks in the hearts of men? The Shadow, perhaps, but certainly the business editors of The New York Times. If you read the business pages every day, as I do, you understand that no government on earth could afford enough regulators to police the avaricious who take unfair and criminal advantage. From Bernie Madoff and the Ponzi industry to recalls of shoddy pacemakers to insurance companies (Prudential) who steal from the survivors of dead soldiers, the parade of greed and deceit would make a sneering cynic of Winnie the Pooh. And still deregulation is a passionate religion. The free-market right raged against regulators and environmentalists for decades, while the government babied the oil industry with incestuous concessions. Then came the disastrous BP oil spill, right on schedule. Naturally the bastards apologized and took it all back, right? Right.
The limits of libertarianism were dramatized when Ron Paul’s son Rand (named after you-know-who?), Republican candidate for the U.S. Senate, suggested that we were being much too hard on British Petroleum. Further limits were displayed when Rand Paul declared that civil rights laws should not apply to private businesses, causing one journalist I know to declare Paul “crazy as a tick” and another, an African-American, to suggest that in Rand Paul’s America, he could drive from West Texas to Pennsylvania without finding a welcoming restroom.
The late Molly Ivins made a critical distinction between the right libertarian, who, like a spoiled child, pursues only his id, his Randian “I want,” and a left libertarian, a category in which Ivins included herself and where I also feel comfortable. A left libertarian wants to be left alone, too, but he doesn’t think that what he wants is more important than what other people need.
Full article HERE – please read the whole thing if you wish to comment.
E! reviews and a bonus…Click red headlines for the full article.
BURIED
It takes both a solid actor and a visually savvy director to make a guy in a box interesting for an hour and a half, and both Reynolds, unproven in dramatic roles, and Cortes, with one other feature to his credit (the Spanish film The Contestant) could have easily misstepped. But with a variety of angles and tactics up the director’s sleeve and relatable frustration and fear conveyed by the star, the result delivers a what-would-you-do? horror scenario on par with the original Saw.
HOWL
Franco-as-Ginsberg, using a mixture of real and extrapolated quotes, does have some interesting things to say about the writing process, which would be great if he were teaching a literature class. But directors Rob Epstein and Jeffrey Friedman, perhaps too used to making documentaries, don’t seem to have the aptitude for filming creatively when given total control over all the elements.
THE SOCIAL NETWORK
What will be difficult for some viewers, and likely Academy voters as well, is that The Social Network doesn’t really offer anybody to root for. Though there’s a forced attempt at a grace note near the movie’s end, Zuckerberg as depicted here is not a guy you’d ever want to be friends with, and most of the folks he has run-ins with are even worse; his lack of pretension relative to them is refreshing, but doesn’t necessarily make him more likable.
CASE 39
True, the script may have plot holes that could trip up M. Night Shyamalan, but Lilith is one of the most chilling creations to hit the horror screen in a long time, and the frights she elicits elevate the movie around her.
And from GeekChicDaily, which occasionally offers bonus web extras, my interview with LET ME IN’s Elias Koteas:
“The funny thing as actors is that the little things that open doors might not have anything to do with the story. I was reading a lot of Abraham Lincoln, and fell in love with Abraham Lincoln, and the fact of malice toward none, and compassion. There was just something about that life that somehow allowed me to observe. I don’t even know how to make the connection, but there was a connection. You can use anything as long as it grounds you. It was fun wearing a mustache and the glasses too.”
