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GET OUT

There’s nothing quite like Jordan Peele’s Get Out, and that’s why this horror movie is getting a lot of deserving buzz. Peele, who is half of Comedy Central duo Key & Peele, wrote and directed this racially-charged horror film about an interracial couple and the creepiness that ensues when Rose (Allison Williams) brings her boyfriend Chris (Daniel Kaluuya) back home to meet the parents (Bradley Whitford and Catherine Keener). The film contains all the elements of a truly riveting horror film while at the same time managing to weave in themes of racial tension, police profiling, and the issues that some interracial couples face.

Get Out is in theaters on February 27, 2017, so mark your calendars!

Money Monster - entertaining enough - mostly due to Jack O’Connell’s performance - but ultimately hollow and discordant. The subject matter couldn’t be more relevant, but the characters are so paper thin that the lack of depth only elicits complete apathy from viewers. However, the ending is quite poignant and it speaks to the unfairness of a system that rewards Wall Street crooks while punishing the people they swindle.

The Huntsman: Winter’s War - I don’t remember The Huntsman having a Scottish accent in the first movie, but he does in this sequel, and the accents are distracting as hell. Jessica Chastain and Chris Hemsworth get their Scot on in this completely unnecessary sequel to Snow White and the Huntsman. The costumes were phenomenal and the visual effects (especially for Emily Blunt’s Ice Queen powers) were impressive, but they weren’t enough to buoy this joyless debacle.

thefilmfatale:

planetaire:

livingxfile:

laravegas:

I don’t know if y’all know, but NBC bought the comedy called Mail Order Family. (Source)

This show apparently “follows a widowed single father who orders a mail-order bride from the Philippines to help raise his two preteen daughters”. It is supposed to be a sitcom.

And let the fucking anger commence.

1. EVERYTHING ABOUT THIS IS UGLY. Racist? Check! HUMAN TRAFFICKING? Check! Fetishization of Asian women? Check! There is not ONE THING funny about ANY OF THESE TOPICS. 

2. This is loosely based off of the writer’s life whose dad DID THIS. You can here her talk about her experience DISGUSTINGLY here. (Source) Literally, listening to this alone made me so angry. She talks about how she wanted to connect with the mail order bride, so she basically tried to be Asian? She tried to flatten her nose to look “more Filipina”. She legit said that she considered herself Filipina. She talks about how the mail order bride her father BOUGHT wasn’t GOOD ENOUGH for her as a mother, and she defended her father through it all… HER FATHER ALSO HAS A SECOND SECRET FAMILY IN THE PHILIPPINES. Just a lot of ugly and a lot of fetishizing of Asian women. She also talked about it here in this article. (Source)

3. LET!!!!!!!!! PIN@Y!!!!!!!!!!!! PEOPLE!!!!!!!!!!! EXIST!!!!!!!!!!!!!! Give them roles. SE Asians are often seen as Not Asian by white people and East Asians, and we barely see them in media. REPRESENTATION FUCKING MATTERS.

4. Jackie was terribly RACIST in trying to defend her RACIST ideas on Twitter. I don’t have the Time to pull up every ugly thing she’s said today, but… it’s just ugly.

5. CANCEL!!!! THIS!!!! SHOW!!!!

I have more thoughts, but I’m pressed for time. I made a small thread on Twitter about why this whole thing is bullshit if you want to read more.

Fuck. This. Show.

i dont usually write about these things cuz im generally so incoherent but i went on a twitter rant or two that jackie clarke responded to and consequently let us know she didnt REALLY care :\  

definitely LISTEN TO THE SOURCE IN #2 if u have the time, i am just so beyond myself right now. i am disgusted, i am so angry.

Make sure to also read the vile shit Jackie Clarke has written about Asian women! (and gay men in the same breath???) http://jackieclarke.blogspot.com.au/2006/11/season-of-giving.html

I sure love white women!

FUCK NO. This is disgusting. What the hell is NBC on? This garbage needs to be shut down stat.

UPDATE: The network has scrapped the show! http://www.hollywoodreporter.com/live-feed/nbcs-mail-order-family-comedy-934372

planetaire:

livingxfile:

laravegas:

I don’t know if y’all know, but NBC bought the comedy called Mail Order Family. (Source)

This show apparently “follows a widowed single father who orders a mail-order bride from the Philippines to help raise his two preteen daughters”. It is supposed to be a sitcom.

And let the fucking anger commence.

1. EVERYTHING ABOUT THIS IS UGLY. Racist? Check! HUMAN TRAFFICKING? Check! Fetishization of Asian women? Check! There is not ONE THING funny about ANY OF THESE TOPICS. 

2. This is loosely based off of the writer’s life whose dad DID THIS. You can here her talk about her experience DISGUSTINGLY here. (Source) Literally, listening to this alone made me so angry. She talks about how she wanted to connect with the mail order bride, so she basically tried to be Asian? She tried to flatten her nose to look “more Filipina”. She legit said that she considered herself Filipina. She talks about how the mail order bride her father BOUGHT wasn’t GOOD ENOUGH for her as a mother, and she defended her father through it all… HER FATHER ALSO HAS A SECOND SECRET FAMILY IN THE PHILIPPINES. Just a lot of ugly and a lot of fetishizing of Asian women. She also talked about it here in this article. (Source)

3. LET!!!!!!!!! PIN@Y!!!!!!!!!!!! PEOPLE!!!!!!!!!!! EXIST!!!!!!!!!!!!!! Give them roles. SE Asians are often seen as Not Asian by white people and East Asians, and we barely see them in media. REPRESENTATION FUCKING MATTERS.

4. Jackie was terribly RACIST in trying to defend her RACIST ideas on Twitter. I don’t have the Time to pull up every ugly thing she’s said today, but… it’s just ugly.

5. CANCEL!!!! THIS!!!! SHOW!!!!

I have more thoughts, but I’m pressed for time. I made a small thread on Twitter about why this whole thing is bullshit if you want to read more.

Fuck. This. Show.

i dont usually write about these things cuz im generally so incoherent but i went on a twitter rant or two that jackie clarke responded to and consequently let us know she didnt REALLY care :\  

definitely LISTEN TO THE SOURCE IN #2 if u have the time, i am just so beyond myself right now. i am disgusted, i am so angry.

Make sure to also read the vile shit Jackie Clarke has written about Asian women! (and gay men in the same breath???) http://jackieclarke.blogspot.com.au/2006/11/season-of-giving.html

I sure love white women!

FUCK NO. This is disgusting. What the hell is NBC on? This garbage needs to be shut down stat.

(via closedfists)

  • from Snow Angels
  • Source laravegas

thedailyshow:

Students at The University of Texas are open-carrying dildos in protest of the state’s loose gun laws. Roy Wood, Jr. gets both sides of the story.

(via ruinedchildhood)

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If No Country for Old Men, The Place beyond the Pines and Butch Cassidy and the Sundance Kid had a baby, it would be Hell or High Water, the latest from British director David Mackenzie (Young Adam, Perfect Sense).

Starring Chris Pine in his best role to date (which, let’s be real, isn’t that astonishing of a feat, considering his previous roles include Princess Diaries 2 and Star Trek) and the criminally and perpetually underrated Ben Foster (30 Days of Night, 3:10 to Yuma), the story centers on the Howard brothers - Tanner (Foster) and Toby (Pine), perpetrators of a string of bank robberies across Texas in a last-ditch effort to save their family farm. Elements of a road movie abound in Hell or High Water, as the police (led by the effortlessly charismatic Jeff Bridges) chase after the amateur robbers in a game of cat and mouse. What starts out as a seemingly pedestrian, almost bumbling criminal affair quickly turns into a dangerous situation with real consequences, punctuating the story perfectly and poignantly.

Hell or High Water’s premise is shockingly simple, but that’s precisely what allows its storytelling to be laser focused and, ultimately, compelling. Writer Taylor Sheridan (Sicario) rightly relies on the relatability of the brothers’ plight to reel the audience in. This minimalistic approach is effective; in stripping the characters bare and leaving only what is absolutely necessary to convey to viewers, Sheridan allows the actors to really shine. Colorful dialogue, while sparse, filled in the spaces where visuals alone wouldn’t suffice. This lean approach was reminiscent of Mad Max: Fury Road, not necessarily in tension or violence, but in the deliberate way the lack of dialogue was used to tell something more about the character. Tom Hardy’s Max notoriously had very few lines in the film, which forced the actor to use the physicality of his role to do most of the talking.  

image

Pine and Foster borrow from the same playbook. Although Tanner and Toby aren’t new or unique characters - the archetype of the rugged outlaw is a constant fixture in American cinema - both actors fully embraced the Howard brothers’ humble origins. Each was careful not to embellish in a way that would harm the authenticity of their characters, resulting in performances that made for fine tribute to the likes of Paul Newman, Robert Redford and Clint Eastwood, the original rugged outlaws who came before. Whereas some films are tempted to bloat their story with minutiae and back story in an attempt at “character development”, Hell or High Water divulges only what is necessary. Sometimes viewers don’t need to know everything about a character’s motivations, and that’s okay. That kind of discipline in a script is a rarity in a movie industry where runtimes go up to to 3 hours yet nothing of substance gets fleshed out.

Though its plot is simple and straightforward, the film explores complicated relationships and complex human behavior in a myriad of interesting ways. We don’t know much about Tanner and Toby, but we understand the fraternal bond they share. There’s tension there, but no animosity. The relationship between Jeff Bridges’ Marcus Hamilton and his partner Alberto (played by Gil Birmingham) is just as fascinating because of how it swings from being fraught with tension to brimming with brotherly affection, not unlike Toby and Tanner’s dynamic. One pair just so happens to be the law-abiding kind.

What really makes Hell or High Water a standout, however, is its brilliant use of setting as a main character in the story, a technique usually exemplified and associated with Westerns, for which this movie pays plenty of homage to. Mackenzie borrows from the Coen Brothers (in both Fargo and No Country for Old Men) and Wim Wenders (in Paris, Texas) in his cinematic lament of West Texas, painting a vivid picture of what it’s like to live in a town devastated by economic recession and left behind by the rest of the country. Aside from brief glimpses of homes in foreclosure and boarded up businesses, the film is peppered with characters who are world weary and worn out yet still possess that Texas swagger viewers know and love - from Jeff Bridges’ disgruntled, racist epithet-spewing sheriff to Margaret Bowman’s salty restaurant server. This is a town populated by folks with no more fucks to give, but if you commit armed robbery, you can rest assured you’ll be shot at and chased down by gun-wielding, truck-driving cowboys. In this, the script tries to be careful not to portray people as caricatures, attempting instead to portray a genuine image of the culture.

Hell or High Water provides a thought-provoking look at the lives of forgotten whites whose stories aren’t lurid or highbrow enough to grace the pages of liberal newspapers and magazines of the elite. When journalists write think pieces about “Donald Trump’s America”, wondering about who these “white working class voters” are that make up the Republican Presidential candidate’s most vocal voting bloc, they’re referring to the people in Hell or High Water - poor, white Americans whom the economy hasn’t worked for in years, whose towns are dilapidated and deserted, and whose lives seem to be routinely overlooked. Sheridan, the film’s scribe, actually makes a brief cameo in the film as a dismayed ranch hand who dejectedly tries to herd his cows to another pasture after a fire. It’s these problems - very real and pressing for people in many towns across the country - that Hell or High Water reminds viewers of and asks us not to forget.  

Hell or High Water’s celebration of the Western is one that audiences of today can appreciate and enjoy, thanks in large part to relevant themes, relatable characters and a talented cast of characters whose performances ground and propel the story. Sheridan’s script is sharp yet succinct, a careful balance of laugh out loud one-liners and moving (but never cloying) moments. With Hell or High Water, the Western genre seems to be making a glorious comeback, and it will be most exciting to see where new and upcoming filmmakers like Mackenzie will take it next.

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