The Rabid "Reel"

Play out this scenario in your delineative noggin -- a quaint vision to help you out, though it wont take much to throw you when the male protagonist suddenly sprouts a pair of "honey melons." Well... imagine how shocked you would be if you found out your best friend was a zerophiliac? A zero-what? According to the film, who may have invented this term, a zerophiliac is a person who possesses a rare genetic condition called "zerophilia," in which the host possesses an extra "Z" chromosome. The terms of this condition being that, following their first experience of sexual intercourse, they may change their gender whenever they are sexually aroused. I guess then the true challenge of this would be to find identical male and female actors. Notably, they did much better with this on the main character in retrospect to the other two zerophiliacs. Ideally, what I got from the film was a dual-awareness of the reciprocity/similarity between the sexes, the ability of the sexes to understand and complete one another, the internal struggle with masculinity/effeminacy, and sexual questions/frustration and confusion, synchronized with a normal, "chain of events" plot which I choose not to reveal lest you watch the film yourself. Put this wrench twist on an otherwise "boy meets girl" story makes me wonder how this film would have churned with a loaded, affluent hollywood budget. As the trio of gender mugwumps seek to discover their innate natures, the protagonist struggles with his will to remain male or become female, a choice others wouldn't think twice about. Though he becomes female when he is aroused, his heart and arousal belongs to a love interest who turns out to also be a zerophiliac... therefore, in the end... our confused protagonist doesn't really have to choose. This intimate relationship really scratches the ticket as the couple (lovers) experience intimacy as man with woman, man with man, and woman with woman intermittently as 4 individuals.

Pink Floyd's The Wall, can only be experienced through the perceptive goggles of metaphorical interpretation. Though a very intriguing and serious film, it can be afflicted with illusory correlations that leave sections open to interpretations that can also be easily taken out of context or misinterpreted. The Wall prescribes an emotional tax on the viewer and takes an inventory of control with it's inflictive totality. It sets the viewer in a position to suck it in as an art film of sorts with pretentious temperament and sublimal proxies. Hallucinatory in nature, pictoral illustrations molest the viewer with visions of copulatory flora, muddle-faced children, marching hammer armies, mutating nightmares and emergent proscriptive tranfigurations.

An obvious dialogue deficiency allows for creative introspection and as the story progresses through licensed flashbacks, the protagonist internalizes his fixations on hatred and adopts a nazi-fascist, mad-crazy, sub-human, alternate personality. The madness continues and his delusions encapsulate him through nightmarish fabrications that parallel his reality as a performer. Viewer satisfaction is ultimately found in a senseless hotel room destruction scene that falls flat on the schematic of movie-made fantasies!



I can imagine the supposed biographical aspect reflected in the emotional vectors of a serious soundtrack as The Wall. Every song is experienced in intermittent confusion, madness and emotion. Perhaps he is asphyxiated by the domestic routes of control for dealing with the event which spawned his maniacal hysteria. He recedes into isolation and experiences lucid realizations through his evaporating state of mind.

My supreme lick of interest manifested in the scene where he assembles the broken everything that he had earlier destroyed in a fit of rage to transpose the objects on the floor into configurations that aesthetically appeal to him.
Anyway... Tear Down The WALL!!

This is an old one, I know it. Citizen Kane was filmed back in 1941 (back when doctors came to your bedside) and here I am today watching it in 2009. With that said, it was recommended to me as coined "the greatest film of all time." Well who would I be to pass up the "greatest film of all time,"? And with that, let the reels chatter now on DVD!



So this nosy reporter considers Mr. Kane's death for "news" and meddles Kane's severed affiliations to uncover the mysterious significance behind the "wealthy" (understatement noted) "media magnates" last dying word, "Rosebud." This statement reverberates as majestically among film enthusiasts as that of "Redrum."

The story is told primarily through flashbacks, delivered with black and white lifestyle for the past and present. I soaked up this quote because I think I heard it before somewhere... "Old age, the only disease you don't look forward to being cured of." Later in the movie I recalled, but maybe you can be cured of gravity defiant slacks and ties, way too short for fashion to defend. Less arguably arresting of a phrase was in reference to Kane's second wife, describing her as "a cross section of the American public." No wonder she left him with his silver spoon in his throat. His classic reaction, could join an entire flick composed of a thousand destructive, house-destroying rage scenes accompanied by a discordant audio outfit.

Any Charles Kane meeting was no circle jerk. "The Inquirer" pencil pushers made yellow journalism glamourous with their success and slappy humor. Not so much for Lelands reaction to the opera scene. His nervous outlet was only to tear layered strips at the program in frustration with the self-evident lack of talent, which even she is aware of but is forced to pursue by Kane's domineering personality. Kane's pride is relayed also in his immaculate collections such as statues and furniture which is panned over at auction after his lonely death in his retired "palatial" real-estate.



So where did the connection wire up for the "Rosebud" explanation? Concluding the film, an antique from Kanes early childhood, a sled named rosebud, present during the seperation from him and his mother (insinuating this critical moment in his lifetime attributed to his personality development) burns as its fumes carry to the sky to join his dead soul. I guess what all I took from this was that not with all his power and money could he keep his loved ones from leaving him and that his need to be loved manifested in ego. "Mr. Kane was a man who got everything he wanted, and then lost it."

What a wonderful construction of a film to come of such a horrible permutation of the future. Its obvious where the elements of inspiration stem from. Video games become life, essentially. Gamer stars Gerard Butler, whos rugged character implies masculinity and all that is man such that is mirrored in his star role in 300. Logan Lerman seems to serve as the poster child of an alternate future's generation.

Users transpose themselves into accommodating vectors (willful participants) to release their hidden agressions, as with Slayers or to satisfy their innermost perversions, as with Society.

The plot unravels as action sequences ensue. Simon (first person shooter FPS addict teenager) semi-controls Kable (death row inmate seeking freedom through the survival and thus completion of 30 deathmatches) to his advantages and disadvantages in effort to win, all for the entertainment of the public at large. Castles mind control technology (nanites) incorporates the facets of todays technology to leave us all with an unsettling cognizance of what may actually come of future scientific understanding and experimentation. Clever nanotechnology rears its head again in 21st century film-making.



Its the kind of film you can mix big names with no names because of the costume work and demand for wardrobes in insane style. Rave scene attire. Color indexes by the volume. Extras... just for looks. Heavy makeup and fast "hot body" shots clear the environment for a generic perspective of the game Society. I quote another person describing the sinful-natured game as "a modern day Sodom and Gommorrah and personification of The Sims."

But I wont give it all away...

Music From Another Room

I regret to inform you how this one begins. What better way to intro but with a clip of a child with his hand in a vagina within the first ten minutes of the film. But wait you have to know the scenerio! No use walking in on the middle of this one. Screaming prego is in labor and the doctors hands are "too big" to unwrap the cord around the unborns neck. So this is when a little five year old boy comes in handy.

Then this poor boy is destined to fall in love with this baby he delivered at the age of five, because that would be just the most romantic of romance film plots, wouldnt it?

The only way miss Tilly got away with playing a blind woman was because her eyes are dark, you could only see her "mind's eye" trying to fool itself into seeing nothing but darkness and depressing, lonely emptiness. Amusingly, she learns how to ride a bike and fall in love too with someone nobody could fall in love with.

This movie was made for the lovers of Jude Law, but for me it was all about that Jeremy Piven hotness.

I watched Cloudy with a Chance of Meatballs in 3D, which is the only way to watch movies if it is an option. It was absolutely nothing like the book. I mean they did have to crunch a ten minute read into an hour and a half so I guess it got kind of wacky, very fast. The book originally by Ron and Judi Barrett was definately a classic, one of my favorites. So I had to of course, I just had to see how this film would do justice to its much revered counterpart.



Of course you must visit the Cloudy with a Chance of Meatballs website though beware you will be stagnated to watch an umbrella taking a beating from baseball-sized meatballs for five seconds while the flash based website loads. You are forced to go at it's pace.

Altogether it was an entertaining childrens feature. With the inventions of spray on shoes, hair unbalder, and the monkey thought translator, how could one such protagonist go wrong but with the invention of the "fldsmdfr," a communication device that allows people to order what they want to eat. Nice so the food starts raining from the sky and all, like in the book... although the book never gave an explanation for how this phenomenoa occurs, the film pledges to do so.



It seems like almost all movies are good this day and age. Especially for children who are not as picky or insightful. This movie I would imagine takes hold a hulk-like grip on their attention span. It is colorful as a package of skittles exploded onto a lisa frank "rainbow chaser" wearing a technicolor dreamcoat. The food continues to grow larger and terrorize the city of Chewandswallow as the protagonist struggles with his fathers acceptance and pursuance of a love interest. The film holds all the components of a drama, action, and comedy film. I cant say what I thought about the food machine having a mechanism for "a mind of its own" and putting on an sophisticated "eagle eye" control/attack mode, although i do have a weakness for jello-mold sunsets.