Tuesday, October 4, 2011
T-Pain is Not Hot.
Tuesday, May 3, 2011
Coverage - Chillerama
this is a short-feature - its about 30 pages long - so its a fast read. A fast, retarded read. Its supposed to be a over the top horror/comedy which is mostly comedy, but really bad comedy. Its about this kid who is gay, but he doesn't want to accept that he's gay. He has a girlfriend who gets hit by a drunk driver right at the beginning of the story, and spends the rest of the story as this brain-damaged retard who just speaks gibberish. He has a run-in with this other gay kid who bites his ass during a wrestling match, turning him into a "werebear." which is some kind of hairy creature who can change forms at will, and loves buttsex. Then the protagonist struggles with the fact that he's gay, he accidentally kills his wrestling coach when his coach tries to molest him, and the action culminates with a big werebear fight at like a battle of the bands-type event. The protagonist comes to terms wit the fact that he's a werebear, but dones't have to run around killing people, like his predecessor were doing. Everyone lives happily ever after. Oh yeah - did i mention this is also a musical?
Overall, this script was really gay. It was also bad. The fact that it was a INCREDIBLY POOR allegory for the struggle that teenagers have to deal with when it comes to being gay when you are in a predominantly heterosexual, uber judgemental environment was FAR TOO OBVIOUS. The dialoge was awful, I'm pretty sure the author was high when he wrote the lyrics to the songs. I could understand an actor doing this if they couldn't get a job anywhere else, and actual legitamate work was something they weren't into, buuut this is just over the top. And bad. This is one of those movies, where if it got made, you would have that midwestern family sitting in front of their television berating Hollywood for their inability to make good movies. Not like Transformers 2 is helping out case, but still. Didn I mention this was awful?
PASSSS.
Thursday, April 14, 2011
Another compilation
Monday, March 21, 2011
The Cultural Movement That Wasn't
Hipsters.
You've seen them before. Wearing large, plastic glasses, some merely framing some glass, and not actual prescription lenses. Shirts from the 70s, jeans that are too tight, and boots that could be found at any local S&M shoppe.
"But Rizz!" you will find yourself saying. Its okay. Go ahead. Finish that thought. What HAVE they contributed? Keep on thinking. Maybe it will come to you. Someday. The fact is, to be a hipster, is to be not a contributor, or not even a user, but rather a re-user. To find something that has already been done, and do it again, using a shield of pretentiousness to deflect any ideas of "haven't i seen that before?"
Lets review:
The 90's gave way to both the Grunge and Hip-Hop movements. Enter torn jeans (which you can purchase pre-torn now), long hair, the biggest problem with authority to date (We were nicknamed Generation X), Nirvana, Marilyn Manson, et cetera. We saw the introduction of established Hip Hop rappers - Dr Dre, 2-Pac, Biggie Smalls. The look of Basketball started to change - from daiy-dukes to baggy shorts. Even some of our latest social movements, even whats going on now - with information sharing, and our fascination with digitally manupliating music - we get Youtube, Facebook, and Daft Punk.
Which brings me back to it. What have Hipsters given us, aside from the general annoyance of having to deal with them on the regular? Arcade Fire? Oh no - that's a band. Hipsters have no trouble finding music, and then deeming it worthy of bearing their stamp of approval (which, for the record, in most cases, means you just have to wail inconsolably into a microphone while you are accompanied by, at best, two other acoustic guitars.) This is a trend that seems to extend to most of the Hipster Persona: find something that someone else did, and deem it "cool." And then, to top it all off, they herald every discovery of theirs as something so cutting edge, and so groundbreaking, that only those clearly "in the know" would even have the slightest idea as to whatever they're discussing. In some cases, you might even go so far as to offend said hipster is the topic in question is supposed to be a "well known" one. (This can be any reference to Arcade Fire or NPR Program.)
Friday, February 25, 2011
Dreams
Thursday, February 3, 2011
Coverage - GONE
Synopsis: This is set as sort of a thriller - we follow the story of JILL - a girl in her 20s who is wandering through the woods. We learn later that she lives with her sister, MOLLY, who is still a student at the local college, while Jill works the late shift as a waitress. One night, on her way out the door to work, Molly asks her to wake her up when she gets back at 630 the next morning so Molly can wake up and study more for her mid terms. Jill works her shift, and a nice man tips her $20 for a cup of coffee. When she gets home, she finds out that Molly is gone - there is no sign of forced entry, but Molly is missing.
Jill immrediately goes to the cops, and this is when we learn that she had been kidnapped earlier, and thrown down a hole and tortured for weeks. After she managed to escape from the pit on her own, the authorities couldn’t find any sign of her abduction, and ruled the whole thing to be made up. Hence, when she comes to the police with the story, they don’t believe her at all. Convinced the police aren’t going to help her out, Jill begins to track down her sister.
As she speaks to her neighbors, and other various people around town who give her leads, she has to dodge the police. First she pulls a gun on a dude at a locksmith, then she runs, and her shrink calls her and tells her to come to her office to talk things out, but Jill realizes that her shrink is just working with the police, trying to bring her in.
As she closes in on the culprit, finding out what hardware store he goes to for his torture materials, Molly’s boyfriend calls to tell her that Molly came home, and Jill again surmises that the bf is also working with the cops, so she hangs up on him too. She finally learns who the killer is, and he leads her back into the woods, back to the hole where she was first captured.
In the interim, Molly manages to escape from where she was being captured, which also turned out to be right beneath Jills house. Jill tricks the killer into thinking she climbed into the hole, and when he shows up to gloat, she surprises him from behind, shoots him in the leg, and pushes him into the hole, and takes away the ladder. The cops text her telling her they found her sister, and she comes back home to find Jill and told the cops that she made the whole thing up, so that they don’t go looking for the killer, who is still alive, trapped in his own hole.
Overview: Ehhh, I don’t know what to think about this one. Its an okay thriller, but that’s all its going to amount to be. Its a about a girl who is sort of experiencing ptsd, except she’s not this time, and everone else thinks she is. It’s pretty standard. There isn’t enough suspense contained in what’s actually happening. She spends all of her time either whining to the cops, or coming up with half-cocked stories to make the local townspeople give out other people’s personal information. The way she sort of buys right into the killer’s talking is a little weird, and its sort of explained when she has the tables turned on him, but its not handled well. There is no ultimate conflict. Nothing is on the line - Molly escapes by herself, Jill’s actual interaction with the killer spans no more than.... 45 seconds of total screen time for the total feature? That isn’t an antagonist. And pointing out that the cops are the antagonists is just weak. Think about a good horror or thriller movie, and the protagonist always gets away by the skin of their teeth: bloodied, broken, scarred for life, barely alive, but alive nonetheless. People live for
the protagonist’s “Bitch, what?!?” moment in a movie, when revenge is finally exacted, but the protagonist has to earn it. That doesn’t happen here. Moreover, the villain is as good as killed off, all but cutting off any possiblity of a more boring franchise. PASS.
Dragonball Z Videos
Wednesday, January 26, 2011
Story Coverage
SHOULDERPADS
Synopsis: The year is 1963. This is the era where women are just starting make an appearance in the workplace. Fading away is the conception of women as the ideal housewives, there to cook, clean, and keep their husband happy - drink in his hand when he comes through the door. Enter HOPE, the Vasser valedictorian, who has just graduated, and refuses to be the ideal housewife. She wants to enter into the workplace, and she winds up with a job at a some beauty advertising agency, where she will be working as a secretary to ROWENA MARX - one woman at the firm who is everything that Hope wants to be. Powerful, smart, and driven - she doesn’t take shit from anyone else at the company, and it shows. The kind of boss who would be an agent at UTA or something. Hope makes friends with the two other secretaries, GRACE and JUDY - their bosses are the stereotypical. Judy’s Boss, RICHARD is a shovenest pig who is in his 50s, and just greasy and gross, thinks he still has it, but we know he doesn’t. Grace’s Boss CHAS. He is a younger version of Richard, except he actually does have it. And by “it” I mean “a torrid office romance with his secretary, Grace. Of course he’s using her.
In mid-song and dance number, Marx talks to Hope and describes to her their current project - to find the perfect woman for their new feminie product, SUMMER SNOW - shampoo, conditioner, vaginal perfume, and diuretic all in one. Oh yeah. Now all they need is the poster child for the product. In the midst of the song, we get to watch Richard and Chas use their secretaries for their own sexual gain, and then kick them to the curb.
Hope begins flirting with BILLY, who works in the mailroom (gasp! its totally off limits to be interested in someone lower on the totem pole than you.) He’s all apparently the perfect man - grows flowers, cooks like a god, and is super super nice and considerate.
The the girls continue to bond, and in their musical number telling us this is what is happening, “the girls become a jazzy girl group ala the Lennon Sisters.” It is revealed that whichever of the 3 bosses finds the perfect model to represent Summer Snow will be promoted, and the the other two are going to get the axe. Marx begins to reveal that behind all her bravado, she’s quite lonely, and vulnerable. But only for a moment.
The girls hatch a plan to seduce the other two guys and figure out what their respective plans are to do for the campaign. Grace gets hit by a truck singing about how much she loves her boss (who has no feeling for her at all.) Hope falls for Billy. We find out that Richard got Judy preggers, and she gets an abortion. More singing. Marx is ultimately fired, and as she leaves Hope with a choice - pursue her job, or pursue love (Billy.) Then she leaves to go to Tuscon to be with her long lost love, leaving Hope in charge of her part of the campaign. Getting lost in the midst of her work, she alienates Billy from her. Ultimately, Hope pulls the campaign off spectacularly, and gives a presentation using all of the women in the office, saying that the real face of Summer Snow is everyone. She gets promoted, gets a corner office, the men are axed, and Hope apologizes to Billy, gets him back, and marries him - in the last song she can be leaving the house while Billy waves good bye, holding twins and cooking. Fin.
OVERVIEW: Remember my original coverage? With the batman doll video? I maintain my stance. The lyrics are terrible, the message is stupid, the characters are stupid and flat, the friends are no good, and everything is far far far too predictable. Even the lines in between the songs are stupid. Some people are a little too perfect, and its just.... really goddamed lame. I mean, seriously. I don’t like any one of these characters. And the Summer Snow product? PLEASE. Mamma Mia was good cause it used Abba songs and had international pull because of it. THIS HAS NONE OF THAT. I mean, if you want to take all the work that went into Letters to Juliet, Im.Mortal, and Red Riding hood, and flush it down the toilet, after taking a crap on it, then go for it. I don’t care if Scorcese was attached to this project, its terrible. Shit, Marty would be smart enough to know that this is bad. I think someone put syphillis on the paper of these scripts so you actually go insane when you read it, and that’s why people keep saying “they’re crazy about it.”
But I digress. PASS.
Thursday, January 6, 2011
okay my last 2010 post
2010 Salute to Cinema from Ben Zuk on Vimeo.
Monday, January 3, 2011
Welcome to the future
Google has, in fact, created a self-driving car--not only that, the company took it on a test drive down the coast of California, from its Mountain View campus to its office in Santa Monica.Then, naturally, they cruised the thing down Hollywood Boulevard.And this isn't the first time Google has taken the car out into the wild. Past exertions have included Lombard Street (the world famous "crookedest street"), the Golden Gate, the Pacific Coast Highway, and the circumference of Lake Tahoe. The car has driven some 140,000 miles--with trained operators on-board, naturally.The goal of the vehicle is "to help prevent traffic accidents, free up people's time and reduce carbon emissions by fundamentally changing car use," according to the company. The cars (yes, cars plural) utilize video cameras, radar sensors, and lasers (that's how you know it's from the future) to spot other traffic. Built-in maps, meanwhile, help the vehicles navigate the road.The car is in constant contact with Google's data centers, which process all of the information gathered by the vehicles.In all, Google seems confident of the potential of its crazy future car, "We're also confident that self-driving cars will transform car sharing, significantly reducing car usage, as well as help create the new 'highway trains of tomorrow