Sex Bob-omb is the ultimate indie rock band: the struggling …
Ultimately Scott Pilgrim vs the World is a film that its admirers promote loudly and proudly whenever the opportunity presents itself. They did it from day it opened theatrically and still do today. The problem is that few people pay attention to the rumpus. The numbers do not lie: the picture cost close to 90 million dollars and struggled to earn 47 million during its theatrical run.
Crystal Fairy is an aimless wisp of a movie, a lackadaisical road trip in which very little of substance happens, but intentionally so. Michael Cera, as the film’s snide, dismissive lead, does as much deliberate damage here to his previously squeaky-clean persona as he did in his raucous cameo in This is the End.
It’s become something of a cliché to draw links between any claustrophobic discomfort piece and the work of Roman Polanski. Magic Magic not only has the chamber piece qualities of the man’s apartment films and Carnage, but also the island locale and proximity to paralyzing waters of films like Knife in the Water, Cul-de-sac and The Ghost Writer; furthermore, it also shares a blonde protagonist losing her grip on reality à la Repulsion. It’s an easy film to play ‘Spot the Roman’ with, but the comparison is valid and not just superficial checklist-ticking in this case. If, as a whole, it never reaches the same heights of quality as the best of Polanski’s more horror-inclined films, Sebastián Silva’s unnerving and enigmatic thriller has scenes that certainly stand up to worthy association.
Through satirically playing with the most outrageous parts of the average household and destroying the concept of normality, the sitcom family often represents a caricature of our own upbringings. It can be argued that the sitcom is a ruler of modern society given that the most popular television shows by far, are the ones that feature dysfunctional families; but it wasn’t always that way. It wasn’t until the 2000s that the rise of family comedies broke format and content.