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(Self-released, CD, digital) Scientists are saying the future is going to be far more futuristic than they originally predicted, Sarah Michelle Gellar s pseudointellectual porn star character Krysta Now says in the divisive cult film
Southland Tales. As philosopher Steven Shaviro points out in his 2010 book
Post-Cinematic Affect, this line is (intentionally) ridiculous, since futuristic is not an objective category but an anticipatory inflection of the present. That definition aptly describes the futurism of indie-pop outfit Strangled Darlings
Twenty Twenty, their fifth full-length album. The formerly peripatetic duo of Jess Anderly and George Veech, now based in Bethel, assesses the present with astute commentary and progressive production. But the musicians vectors shoot unambiguously forward much like the RV they lived in for three years while touring America. By chronicling and criticizing hot socioeconomic and political topics of today namely consumeris
So begins
Southland Tales, the wildly ambitious second film from writer/director Richard Kelly. Kellyâs three films (
Donnie Darko, Southland Tales, The Box) all share a unique sensibility, featuring outsider characters struggling to exist within a mundane normal in the foreground, with the very nature of existence and reality up for the debate against the margins. In these works, Kelly frequently uses the element of water, and the concept of time, as the shades he colors with. Though his work is more structured than that of David Lynch, he operates within a similar space where the very look and texture of the filmmaking is as important as whatâs on the page. Like Lynch, how the film makes you feel as you watch it is as much of the intended experience as the plot, and like Lynch, these films make instinctual sense to a certain percentage of moviegoers, while the wider audience struggles to make sense of it no matter how many explanations may be offered.