Film Reviews

When we envision contemporary culture, no matter where in the world, we can’t help but see social cultivation played across a screen. The flat, two-dimensional, often garish, spectacle of contemporary culture materializes on televisions, computers, and mobile devices to captivate the attention of users regardless of language barriers, worldviews, or belief systems. There’s no going back, and most wouldn’t want to if they could.

As consumers, cultural citizens, and artists of one type or another, we walk a fine line, a balance between appreciating the art of artifice and succumbing to a screen that could, we fear, finally replace reality with the looking glass our more infantile drives wish reality to be and aggrandizing the window the screen represents, a window distorting, perhaps corrupting, the truth of life, claiming the really real, while exhibiting what everyone is doing, and, therefore, the cultural conversation we must, if we want to be anyone, join. Tacit acceptance isn’t honest, but neither is the road of willful neglect. Between the highway and byway is a middle path, a path of conscious consumption. Let’s consider what we consume, by whom it was made and why, and whether it connects to us in a matter we value.

Vice: Whose, exactly?

Adam McKay has a laser focus for symbol, concept, and humor. He’s less interested in story or character, except as they function symbolically, conceptually, and humorously, which, as a stylistic approach to the subjects at the heart of his recent films, serves him well. The Big Shortstood out due to its unique portrayal of social issues […]

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They Shall Not Grow Old

They Shall Not Grow Old has the feel of a video in a museum running in a continuous loop outside of history. Without any dates, facts, or specific events, the footage, retrofitted for a contemporary, postmodern audience, slides past the viewer demanding acknowledgement while disabling comprehension.

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