Here's something you might be interested in.
To err is human, but (contrary to the thesis advanced near the end of The World's End) that does not mean that erring is the defining difference of humanity. So perhaps it's not uniquely human that I seem to have erred in allowing only one lonely star to shine upon The World's End. Everyone else seems to like it. They all love its treatment of nostalgia. I think it misses the true character of nostalgia utterly. Pegg's character isn't nostalgic for a bygone past, because for him, it isn't bygone. He's still stuck there. If one of the other blokes - the ones who had moved out and moved on - had gotten a yen to go back to Newton Haven, well, that would have been nostalgia at work. Pegg isn't mourning at a past that vanished. He's raging at a future that never arrived - not for him, anyway. But I'm getting ahead of myself. You guys and gals go see it, then we can talk about it on Monday. Or not. Your call.
Or, you can maybe go see Drug War, Scott's four-star foreign drug pic. (As opposed to my one-star foreign drug pic. Because, you know, England is sort of a foreign country, and beer is sort of a drug.) Four stars!
I would say that 12-year-old girls might enjoy Mortal Instruments: City of Bones, but I might get some 12-year-old girls mad at me. When what they should be mad at is this film.
Speaking of underage girls, The Hunt is a story about a man wrongfully accused of sexual misconduct with an underage girl. Small town awfulness ensues.
I went away for a week earlier this month - I know, I know, you didn't even notice - so I can't help you much with Austenland or Cutie & The Boxer, except to say that the former is getting lambasted and the latter exalted.
I think Scott's gonna see You're Next and get back to us. In the meantime, we can debate: are these home-invasion horror films essentially just commercials for the home-protection gun industry?
To err is human, but (contrary to the thesis advanced near the end of The World's End) that does not mean that erring is the defining difference of humanity. So perhaps it's not uniquely human that I seem to have erred in allowing only one lonely star to shine upon The World's End. Everyone else seems to like it. They all love its treatment of nostalgia. I think it misses the true character of nostalgia utterly. Pegg's character isn't nostalgic for a bygone past, because for him, it isn't bygone. He's still stuck there. If one of the other blokes - the ones who had moved out and moved on - had gotten a yen to go back to Newton Haven, well, that would have been nostalgia at work. Pegg isn't mourning at a past that vanished. He's raging at a future that never arrived - not for him, anyway. But I'm getting ahead of myself. You guys and gals go see it, then we can talk about it on Monday. Or not. Your call.
Or, you can maybe go see Drug War, Scott's four-star foreign drug pic. (As opposed to my one-star foreign drug pic. Because, you know, England is sort of a foreign country, and beer is sort of a drug.) Four stars!
I would say that 12-year-old girls might enjoy Mortal Instruments: City of Bones, but I might get some 12-year-old girls mad at me. When what they should be mad at is this film.
Speaking of underage girls, The Hunt is a story about a man wrongfully accused of sexual misconduct with an underage girl. Small town awfulness ensues.
I went away for a week earlier this month - I know, I know, you didn't even notice - so I can't help you much with Austenland or Cutie & The Boxer, except to say that the former is getting lambasted and the latter exalted.
I think Scott's gonna see You're Next and get back to us. In the meantime, we can debate: are these home-invasion horror films essentially just commercials for the home-protection gun industry?