From the tederick.com archives: VCR2.
If you’ve never seen a VCR film before, this may help you, but probably won’t.
Super article about the success and influence of The Blair Witch Project, which was released 15 years ago today. Some of the highlights:
"It was proof that when it comes to having the goods, you either have ‘em or you don’t."
"…it seems appropriate that Blair Witch would be one of the first major films of the Internet age because the heated conversations it ignited on countless message boards embodied the way that the internet has gone on to transform (for the worse) the nature of our cultural dialogue – with people occupying extreme positions on opposing sides, leaving little room for any middle ground.”
"I believe that the constant chatter in Blair Witch is actually one of the keys to its effectiveness. Most horror films utilize silence in order to build suspense – for instance, think of the moments in Paranormal Activity when Katie and Micah are simply asleep in bed for long stretches of screen time – but silence is very rare in Blair Witch. As their situation becomes increasingly dire, all that talking from Heather, Mike, and Josh serves as a reassurance (both to themselves and us) that they’re still alive, still in the game, and still in it together. But as each voice is silenced one by one, with Heather’s being the last to go, the abruptness when Heather’s voice is cut off in mid-cry is as profound a jolt as the snap of the noose in An Occurrence at Owl Creek Bridge.”
"And her status in her first movie, as has been stated elsewhere but deserves repeating, matters. It matters that on a weekend where a female-lead action movie handily demolished the Rock’s latest action movie at the box office, the internet stopped dead for a couple of hours on Saturday afternoon to debate the merits of the first big screen iteration of the famous Wonder Woman costume.”
You know me, I’m always going to have a little more to say about Wonder Woman, comic book movies, DC, and women in film. Read on!
Building your spaceship. Question 1: Do you want your spaceship to look like a flying circumcised cock y/n
“NCC-1701. No bloody A, B, C, or D.”
Ironically, the (arguably) least consequential of the Original Series / Next Gen crossover episodes, “Relics,” is probably the best of the lot. As befits its guest star, it’s a wild and sloppy affair, but wonderfully entertaining and warmhearted. Scotty has, since about the third Star Trek movie, been a largely laughable caricature more than a character; and even as part of Star Trek’s core cadre back in the ‘60s, his role was, for the most part, purely functional. How unexpected, then, that in “Relics” we don’t just get to have a bit more fun with the original chief engineer, but we get some added emotional “oomph” for our money, too. And if you’re not tickled by the fact that Scotty beamed himself into the future, well, you’re reading the wrong rewatch column.Read more
(Why do I have the feeling that a lot of people in various movie theatres are going to yell out “no” after Thorin’s last question)
So, yeah, HOLY SHIT, we won BEST NEW SERIES at the Eisner Awards Friday night. The Eisner committee had to engrave the words “SEX CRIMINALS” on two of their trophies. I have hidden it in my home for when they realize what they’ve done and come to take it away from me.
It was a fantastic, nerve-wracking night, and jeez louise ain’t Matt Fraction the best? If it weren’t for him and his brilliant brain I’d be doodling dicks on cocktail napkins for spare change. I love that guy and can’t stress enough how great it’s been to work on this with him. He’s a great collaborator and a great friend and NO, YOU have something in your eye.
Oh, and issue seven is at the printers, printing away. No ads, all story and giant letters column. COMICS WOOOO
Things like this are what make me feel like making stuff is still worthwhile.
Make stuff, brimpers.
The ceaseless game of internet cocksmanship that film critics play with one another, to see who can write the most arch review, can become tiresome - but nevertheless, The Dissolve’s review of My Man Is A Loser is my current favourite. Thanks to finely crafted Ehrlichisms like this:
"Ageless and enduringly charismatic time lord John Stamos plays Mike, the smooth and single owner of a Manhattan bar."
"Make no mistake, this is simply the latest incarnation of the regressive ‘men are like this, women are like this, and marriage is a hell on earth that’s slightly preferable to a lifetime alone’ mentality that has defined the sitcom era and made sweatpants a synonym for sexlessness.”
"Even the supporting characters compulsively give names to their moves, with one of the interchangeable wives educating the other about ‘AmEx Sex’—’When the AmEx bill comes, I hide it, blow him so hard that his eyes roll into the back of his head, and the next day he isn’t even mad about the charges’—an important skill in any wife’s arsenal because women be shopping."
"Narratively scattered and about as visually interesting as the average 40-year-old man."