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Michael Dowse’s action-comedy-cum-Uber-commercial Stuber is tiresome from its very first scene, a dizzying chase through a ritzy hotel whose shaky-cam presentation is a disorienting imitation of an action style now a decade out of date. Partners Vic Manning (Dave Bautista) and Sarah Morris (Karen Gillan), whose collegial friendship is quickly and awkwardly established in a pre-fight conversation about whether Vic’s grown daughter (Natalie Morales) is having anal sex, are in pursuit of Oka Teijo (Iko Uwais), a drug dealer who, as the film will frequently remind us, sells heroin to kids. After some incoherent wrangling, Teijo escapes, and Sarah has been felled by a bullet to the gut, making Vic’s continued hunt for the dealer—you guessed it—personal.Stuber imagines Vic as working-class superhuman, his hypermasculine, extralegal excesses justified by the logic that, as a cop hunting a drug peddler, he is ipso facto a good guy—perhaps the best guy. It would be one thing if this tired myth became an object of satire or derision, but the film’s feeble attempts at irreverence don’t extend to the L.A.P.D.
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Aug 6, 2000 - We see people or objects that we know are false but which we. Jack Nicholson confronts ghosts and family terrors in this Stephen King. Responder verdadero o falso 1 si entendemos la filosofia segun el concepto moderno de ciencia entonces la filosofia es una ciencia 2 cuando decimos q la filosofia es un saber queremos decir q la filosofia es mucho mas q una ciencia.
Or Vic’s violent machoism. The humor that revolves around Vic concerns chinks in his aging hard-body armor, like his fading eyesight, or the thought that—gasp—such a man might accidentally end up in a male strip club. Vic’s methods of pursuing an investigation—his referring to criminals as subhuman animals, his intentional escalation of confrontations, his torturing of suspects—aren’t undermined by the film’s humor, but presented as the things that real men do.In short, Vic is Stuber’s straight man, in every sense of the term, and his Uber driver, Stu (Kumail Nanjiani), is the innocent goofball whose trepidation and reluctance to commit violence creates the film’s odd-couple dynamic. Still recovering from Lasik surgery, Vic has to order an Uber after crashing his car while pursuing a lead on Teijo’s whereabouts. Never quite understanding that Uber isn’t like a taxi in a Hollywood film, Vic ropes Stu into his quest, instructing him to “run his meter” while the cop saunters into gang hideouts and seedy strip clubs in search of Teijo.
Decades after their breakup and well after the end of rock’s rule over the music charts, the Beatles still loom large over popular culture. So synonymous is the group with musical evolution, technological recording advances, and the concept of the pop star as a legitimate artist that it’s impossible to imagine what today’s musical landscape would sound like had they never existed. And it’s no easier to imagine that scenario after seeing Danny Boyle’s Yesterday, which depicts a planet that suddenly loses all memory of the Beatles after an unexplained global blackout but ignores the butterfly-effect fallout of the sudden gaping void in the middle of pop history in order to focus on the lucrative opportunity afforded to the one man who happens to remember John, Paul, George, and Ringo.We meet Jack Malik (Himesh Patel) as a failed singer-songwriter who’s had enough of happy-hour gigs mostly attended by his obliging friends. After getting into a cycling accident during the global power outage and regaining consciousness, Jack slowly discovers that he’s the only person on Earth who knows the Beatles. And after briefly wrestling with his conscience, he decides to pass off the Fab Four’s songs as his own. Jack’s career trajectory skyrockets as local gigs lead to a low-budget recording session and a helping hand from Ed Sheeran, who invites Jack on tour and gets him a deal with a major record label.
The film moves through Jack’s meteoric rise at a rapid clip, effectively compressing the Beatles’s own extended stretch of stardom to the span of a few months as Jack simultaneously raids eight years of masterpieces.In this rush, though, the film neglects to explore the implications of its premise. At first, Jack’s covers go nowhere, performing as he does to the same disinterested crowds of bar and restaurant patrons that he did with his original compositions. There’s a kernel of insight there in terms of the Beatles’s music possibly sounding old hat if recorded for the first time today, but soon things blow up for Jack. His success is taken as inevitable, and the film makes no attempt to parcel out whether playing Beatles songs in 2019 in a landscape dominated by R&B, hip-hop, and electronic pop would just naturally rise like cream to the top of the charts.As Jack’s star rises, Yesterday curiously avoids exploring the complexities of introducing the Beatles’s music into a radically different milieu.
(Can you imagine “I Saw Her Standing There,” which is played several times in the film, being released today and not inspiring countless think pieces for its opening refrain of “She was just 17, if you know what I mean”?) This is music that was crafted with a level of creative autonomy that’s unheard of today in an over-managed, focus-tested entertainment industry. Based on the young adult novel by Lisa Klein of the same name, Claire McCarthy’s Ophelia reimagines Shakespeare’s Hamlet from the perspective of the troubled Danish prince’s would-be betrothed.
Here, Ophelia (Daisy Ridley) is a tomboy forced into court-life femininity, her tragedy rewritten as a triumph, but it’s hard to say that she comes out, in the end, either as a more full-blooded character or as a girl-power icon.Given Hamlet’s sustained cultural influence, Ophelia might be described as the original “refrigerator woman,” the girlfriend or wife whose shocking death serves to motivate the male main character to action. In Shakespeare’s play, the vengeance-obsessed Hamlet callously drives her to suicide, first by spurning her as part of his insanity charade, and then by accidentally murdering her father, Polonius. The Conjuring Universe suggests the rural cousin to Disney’s Marvel Cinematic Universe. Though the latter is breezy, bright, and flippantly secular and the former is heavy, dark, and noticeably Christian, the genetic link between them is unmistakable.
This article is a theoretical analysis of a particular niche in film studies. It examines the profound influence of early cinema on the development of the science-fiction genre by considering: the concept of spectatorship, the apparatus of exhibition, the manipulation of temporality, and the influence of master conjurer and filmmaker Georges Melies and his use of trick photography. This article seeks to reconstruct the genealogy of sci-fi from the fragmented remnants of early cinema. By adopting a historiographical and archival approach to research, each scholarly text presents a unique concept to the study of film history. Critical attention focuses on the theoretical framework of such notable scholars as Rick Altman, Mary Ann Doane, Thomas Elsaesser, Tom Gunning, Brooks Landon, Albert J.La Valley, Christian Metz, Simon Popple and Vivian Sobchack. Their work cumulatively proposes an interpretive history of early sci-fi cinema through a critical analysis of the genre in its formative era, of which Georges Melies is the foremost author.Before discussing the origins of the contemporary science-fiction genre, one must extrapolate a modern definition that is consistent with its earliest cinematic form.
In one of the leading critical studies of American sci-fi cinema, Screening Space, Sobchack distills science-fiction to its first principles by analyzing its decisive role in the broad landscape of cinema. The genre is quite broad, in a sense, with various theorists offering numerous competing definitions.
Sobchack, however, narrows her focus on the genre's speculative nature, noting that:ILLUSTRATION OMITTED The SF film attempts to meet our expectations by using the magic ofdesign and special effects cinematography to show us things which donot exist, things which are highly speculative, which astonish us bythe very fact of their visual realization on the screen since theyhave no counterparts in the world outside the theatre. (1)In his essay, 'A Semantic/Syntactic Approach to Film Genre,' Altman distinguishes between two methods of analyzing genre theory. The sci-fi genre may be examined in terms of its semantic properties-a set of common characters types, locations, camera movements, and so forth-as well as its syntax-the denotation of meaning from its aforementioned semantic characteristics. (2) Altman notes that, 'The semantic approach thus stresses the genre's building blocks, while the syntactic view privileges the structures into which they are arranged.' (3) Though still in its gestational period, early cinema employs recurring motifs to define science-fiction's syntactic theme of speculation.
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If traditional genre theory does indeed dictate science-fiction, then semantics are its bricks and mortar.In The Aesthetics of Ambivalence, Landon surmises that, 'Special effects facilitate the depiction of SF stories by providing the necessary images of non-existent phenomena-futuristic cities, other planets, space ships, aliens, faster-than-light travel' (4) and the like. Arguably then, the first science-fiction motion picture in the history of cinema is Georges Melies' Le Voyage dans la Lune (1902), a film that entertains several salient examples of such visual speculation. Influenced by the earlier literary traditions of Jules Verne's From the Earth to the Moon and H.G. Wells' The First Men and the Moon, the story follows a spectacular journey to the moon aboard a makeshift rocket. (5) After a group of explorers lands on its rocky and unstable surface, they are immediately surrounded by the strange and unfamiliar: streams of fire explode from beneath the surface; stars turn into women and snow appears to fall from the sky; after descending into the lunar surface, an umbrella magically transforms into a mushroom; the explorers encounter hostile moon creatures; captured by a society of civilized beings, the men escape in their rocket and fall back to earth unscathed.