Showing posts with label Arsebook. Show all posts
Showing posts with label Arsebook. Show all posts

Saturday 30 November 2013

The cable guy

This is a review of Channeling (2013), as shown at Bath Film Festival 2013

More views of - or before - Cambridge Film Festival 2013
(Click here to go directly to the Festival web-site)


30 November (revised 3 December)

This is a review of Channeling (2013), as shown at Bath Film Festival 2013 (@BathFilm) and thanks to a complimentary ticket from the festival


89 = S : 15 / A : 15 / C : 14 / M : 16 / P : 14 / F : 15


A rating and review of Channeling (2013)



S = script

A = acting

C = cinematography

M = music

P = pacing

F = feel

9 = mid-point of scale (all scored out of 17, 17 x 6 = 102)



The title of Channeling* (2013) is deliberately multivalent, meaning both the sense of He channelled his energies into archery, and putting something on a channel (so that others can see and hear it).

As director / writer Drew Thomas told us in answer to one of my questions, the family of whom Wyatt (Taylor Handley), Jonah (Dominic DeVore) and Ashleigh (Skyler Day) are the grown-up offspring is a dysfunctional one : one son travels from Yemen for a funeral, and is then (in his only real-time appearance) told off by the father for not being there in time. I had asked because, when we see him, as a younger man caught on home video, pick up a boy at whom he has barked orders, it is unclear what he did, but it smacked of abuse.

As with Ashleigh’s confessional moment on camera into the mirror, Thomas said that he had intended to portray a self-loathing that might lead someone to seek approval from ratings for their actions or choices (made or to be made). When we saw this system of rating manipulated in the night club, and indeed the events that had led up to it, the film did seem momentarily a bit insubstantial and trivial in a way that The Bling Ring (2013) is in spades, but it moved away from it, and this was something, perhaps a little self-indulgently, that Thomas almost did throughout the film of mining different genres for what they were worth before moving on, and a little too much at the risk of lacking cohesion.

Saying that, the dummy commercial that opens the film is funny, thought provoking, and satirical, with insights into where the world of Twatter and what I call Arsebook logically lead to – it plunges one straight into a counterfactual world that, as in Looper (2012), does not stray far from the things that we know in what it changes.

The moments of humour characterize the film, although we are not always sure that it is permitted to laugh, and it also expects us to do some work in piecing together what has happened in and following the pursuit sequence that we see. Whether it is the equipment that was giving us the audio or how it has been recorded that made the early dialogue hard to follow was unclear – it might partly have been ‘tuning into’ Wyatt’s accent (different from that of his brother, but then his brother is an army sergeant, and has been serving for a long time), or partly that, as in Top Gun (1986) (for example), those in situations of combat or other peril are not perfectly audible in their pressurized communication.

Not least since this is set in California and begins with a car chase, expectations of topping Drive (2011) spring to mind, but the excitement of the action on the road, and elsewhere, has been styled, Thomas told us, to be more like the era of Dirty Harry (1971) (he did not name that series of films) and of film noir. Just in these things (there was a feel of The Rockford Files or Starsky and Hutch, not least with the token black guy who is the IT whizz), there was already quite a mixture of feels, let alone with a gangland punishment (including a British-sounding baddie ?) that made one wonder if it was going to have equivalent scenes in Seven Psychopaths (2012) or – sticking with Colin Farrell – In Bruges (2008) in its sights.

Whether these disparate elements enhance or dissipate the film’s energies, I remain unsure, as it is all too true that many a science-fiction film sticks to type, whereas this one shows off its director’s literacy of references. It also has an enviable soundtrack, making an impact right with the opening commercial, and even a live band in the night club reminiscent of The Doors.

The other question that I asked relates to a film that I only saw once, but which teasingly plays with the question of free will versus determinism, which is Michael Douglas in The Game (1997) : appropriately ‘channelled’ by the festival’s founder**, Chris King, I asked Thomas whether the technology of people sharing their actions and following their ratings, which the film initially seems to be about, had come first, or whether the deterministic theme had always been what interested him most (it had). He had wanted to explore the ways in which people do not (or refuse) to take responsibility for what concerns them, and had seen a link with how people in the US use the technology of social media to arrive at an answer based on what others tell them.

If that Doors tribute was deliberate, maybe it leads off in some other directions : Maybe not the advocacy of mescalin and other mind-altering substances, though, in the film, we see tablets of what turns out to be called Oxy crushed and then snorted as if it were coke, but using the edge of the pervasive sort of mini-tablet as a straight edge to line it up.

Perhaps the Warhol-type being famous for fifteen minutes, and just doing things to get a higher number of followers, is a sort of intoxicant or tranquillizer, not unlike Marx’s ‘opiate of the masses’, not least when we see both what use the club bosses are putting participants’ behaviour to and how they control it ?

All in all, a thoughtful film, even if it may be too much of a rich blend of influences for the competing calls on our attention to allow us to settle down – though, since Thomas seems to have aimed at the feel that it has, and if it does still hold together, it may not be right (in a film about people taking responsibility) to imagine a film that he have made by suppressing some of those instincts***…


Postlude

Through fatigue and oversight, a few comments did not get formulated originally as more than notes, from which this text is developed :

Wyatt is not alone in his perilous exploits, for he has an accomplice (or whose side is she on ?) in Tara (Kate French). When Jonah tries to explore what his elder brother has been up to, Tara's allure is tangible, but her first reaction to Jonah using Wyatt's device and channel is hostile (a number of retorts to his attempts to speak, such as wishing him cancer).

Comparisons between the brothers are inevitable and deliberate, and, although we see that the professional soldier (Jonah) is tough, and can also drive, he is never going to be Wyatt (perhaps a pressure that he has always put on himself, helped by his father's attitude and actions).

Perhaps it is Tara's confusion, on all levels, that leads her to blow hot and cold towards Jonah, but she definitely starts by imputing blame : here, there seems to be a sort of fog of war about who people really are and who did what, which, in a digital age, when people do masquerade, and when the film explores the boundaries between what is real, what staged (and what predictable, what fixed), makes for even greater richness of reference.



Other questions from the Q&A

Had the Eyecast technology been patented ? Thomas seemed pleased enough not to have been sued, and did mention Google glasses (which, he said, make one look like a dork). He did not appear to have investigated whether it had any commercial possibilities.

Was Eyecast a real application (some would say 'app'), or had the screens that showed it been green-screened ? Yes, it is a real application, but, for technical reasons, some screen-shots had been re-done in post production.

Was Ashleigh meant to be sympathetic or irritating ? Thomas took it that the questioner must have found her irritating (which was confirmed), but answered by emphasizing her position as a person seeking approval (see main text, above).

Given the acts that people are performing or committing on a live channel, why were the police not - or slow to be - involved ? Thomas pointed to other works on film and t.v. where the police lag behind, and suggested that the same might be as true here. (The Agent Apsley wondered whether Eyecast had bought them.)



End-notes

* One ‘l’, because it is a US spelling.

** Who relayed questions through a microphone linked to the laptop for the Skype connection.

*** Just one likely flaw : when Jonah goes to Eyecast, gains access by his brother’s account name, and passes himself off as he, the assumption is that Wyatt never did what Ashleigh does and put herself on camera by reflection. (It could be that, given how the account has been used, that was never done.)




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Tuesday 29 January 2013

Twitter and Facebook: making language a dying art? (a report from Varsity)

More views of - or before - Cambridge Film Festival 2012
(Click here to go directly to the Festival web-site)


29 January

This story is carried by Varsity, but, since I do not go near Arsebook, I must post my comment here:

When, more than thirty years ago, there was a Cambridge Collegiate Examination (CCE), the only applicants who did not have to take an 'essay paper' were those studying English : I have no idea when the CCE was abolished, but, before then, colleges could bear writing ability in mind prior to interview.

Are these the days that Dr Abulafia harks back to ?



Actually, what is bizarre is that, first with text-messages, then with the Tweet, we so readily acceded to the reintroduction of the telegram (for the character-limit tends to relate to some sort of cost).

What Dr Abulafia, to be an historian of such matters, would really need to show is that use of telegrams by the classes that could afford them made them as dull as he makes out the so-called social - nearly said 'facial' ! - media have made recent undergraduates*...


End-notes

* I like the alleged exchange between Cary Grant and a reporter (in which you will have to imagine the question-mark, because I do not recall how it was styled in a telegram) :


HOW OLD CARY GRANT

OLD CARY GRANT VERY WELL STOP HOW YOU




Monday 3 December 2012

Short films at Festival Central (6) - Friend Request Pending (2011)

More views of - or before - Cambridge Film Festival 2012
(Click here to go directly to the Festival web-site)


3 December

* Contains spoilers *

Director : Chris Foggin ; Writer / Producer : Chris Croucher

Friend Request Pending (2011) – the clue is in the title – brought together two of my least favourite things about life, Judi Dench’s acting and Arsebook, the former through too much exposure to dire situation comedies (which, for me, have also wasted the talents of Zoë Wanamaker, Geoffrey Palmer and Robert Lindsay), the latter on account of the tales of bad experiences from those known to me, which make sound anything that happens on Pratter / Splatter benign.

(I know that one should divorce oneself from such influences, but I didn’t, although I have somehow managed to shut off the Dench detectors for the latest Bond films.)

The premise, then, was not one that appealed: that I was to witness Dame Judi (ably assisted by Penny Rider*) employing her rudimentary keyboard skills in seeking to be a friend on Arsebook with a man whom she had just met, and Penny’s and her ideas of dating and of chatting him up on instant messaging (that all sounded a bit drunkenly implausible – not that they should have been drunk, but gravitating to a cocktail bar, where, one must infer, they must have managed to swap quite a means or two of contact** for her to be doing this messaging).

I grant you, translate the things of youth to someone of Victor Meldrew’s age, and the hilarity and japes in him getting it all wrong are an endless mirth factory. We are not in dissimilar territory here, for me, and it was where two noisy older women in the audience became raucuous, as if given permission, when Tim Healy (as the sergeant in Man in Fear (2011) had not.

What can I say, save that the ending had a J. R. Hartley quality to it, or of one of those good old British Telecom adverts (before they became BT, and more hard nosed), of warm, homely good-feeling? No, it couldn’t have preceded anything else in the bill of fare, and, yes, I did phase out a little, though all credit to Chris Croucher, who reported how he had pounced on Chris Foggin when the latter had let slip that Dame Judi had said that she wanted to be in a short, if he made one, and who showed how he had earned wings in the usual job of Assistant Director.


Back to the Joy of Six menu from here



End-notes

* Chris Croucher told us afterwards that Penny is a long-time mate of hers, who goes through lines for her and stands in when they are getting the shot and the lights right on set.

** Why do we talk about contact details ? The details are not of the contact that we have had, or will have, but the wherewithal to make it.



Friday 19 October 2012

Who's Who

More views of - or before - Cambridge Film Festival 2012
(Click here to go directly to the Festival web-site)


20 October

Now, for some reason, I probably had no notion of who might own IMDb (www.imdb.com), but, when an idle click on a link to jobs brought me to a page about eligibility to work in the States, and with links to Amazon.co.uk and Amazon.com, it all became a bit clearer.

We may know about offers of Twitter followers or Arsebook likes (wipes?) in return for a payment - and some people must be so desperate, as for sex, that they will pay for it - and it wouldn't be an impossibility, on that analogy, for such hired hands to vote a film up (or down), or even to make a user review seem more (or less) popular than it is. It would be quite easy to do that, let's say.

But it means that, if you think of buying, say, the DVD of Midnight in Paris (2011) from Amazon and want to look more widely than its own Amazon customer reviews, you're not actually seeing anything that's independent, and not under Amazon control, at IMDb...


Monday 30 April 2012

The Tower of Pritter

More views of - or before - Cambridge Film Festival 2012
(Click here to go directly to the Festival web-site)


May Day

Once upon a time, on his album Up (2002), Peter Gabriel included a track in which he had taken the phrase signal to noise (from the world of hi-fi) and created a song - which, of course, one can interpret as one will (just as one can, say, the song 'Wallflower' from a much earlier album: whose theme is used in Birdy (1984), a film on whose music I commented in The Future or How do you choose a satisfying film? (Part 2))


On my interpretation of what some might find a limited (because repetitive) lyric, Gabriel is clearly distinguishing between what is valuable (the signal) and what might impede it (the noise). Therefore its own message (something like, from memory, turn up the signal, keep out the noise) is just as applicable to finding the occasional real news-story amongst what else appears in a number of our alleged newspapers as it is to that convenient triangle of factors - perhaps unthinkingly beloved by those who run training courses on assertiveness or communication skills - that purports to establish as empirical fact that some very low percentage* of what we (think that we) say is in our (choice of) words**

I have given counter-examples elsewhere, but, on what level of perversity as to the power of actual words does one have to be on to think that contextual data supply all 93% of what is meant to be lacking in simply saying?:

* You're fired!

* I want you to sleep with me

* You're standing on my foot!

* You've won first prize

* This duck is delicious

* Do you mind if I sit here / take this chair?


Bombard yourself, as Splatter can (I mean Twatter), with messages from an unlimited number of people, though, and you might - amongst 'the noise' - miss someone asking you to tea / to bed / for a drink.

Or following Bassfuck in a crowded bar on your preferred mobile device, highly meaningful though I'm really sure that all of its content is, might make you unaware that you are some banknotes and a credit-card or two lighter than when you started the evening.


Remember: the value of the Internet can go up as well as down


End-notes

* Usually between 7 and 11%.

** As Cher successfully suggested in her cover-version of 'The Shoop Shoop Song' in Mermaids (1990), it's in his kiss.


Saturday 21 January 2012

Allegedly, Katy Perry unfollows Russell

More views of - or after - Cambridge Film Festival 2011
(Click here to go directly to the Festival web-site)


21 January

And I doubt that it's Grant of that name (or Hoban), I like the verb (even if it relates asuredly to disengaging from someone presence on Arsebook, that even more potent waste of time than blogging), and here the woman is again miraculously, just days after (supposedly) being 'slammed' by Dim Sum, I mean David Cameron.

Whatever next in the autonomous world of my AOL sign-on page (where I never know whether it will be the angry bearded man or the girl with the copper hair and appealing green eyes, both trying to interest me in its product System Mechanic)...?