Frozen Parody - Do You Wanna Smoke a Bowl Man?
This is my buddy Juan aka The Holy Complex. Usually he’s a rapper, but he decided to have a little fun this Easter.
A History of Violence (2005) - dir. David Cronenberg
The climax comes too soon. Other than that, a History of Violence is a jarring little film from David Cronenberg. It’s a bit much from the get-go, but this should be expected given the man’s previous works. Still, there’s a lot going on under the surface here so give the credit to Cronenberg for getting terrific performances from his actors. The score was great, the acting great, all around good work. But the film’s most intriguing character is absolutely Ed Harris and when he goes… so did my interest.
Dirty Pretty Things (2002) - dir. Stephen Frears
Frears makes decent films, but often tells a great story. Dirty Pretty Things is no different, it was, after all, an Oscar-nominated screenplay by Steven Knight that got Frears interested in the work. The film follows Okwe (Chiwetel Ejiofor), a mysterious immigrant from Nigeria via New York, as he explores the seediest sides of London. Audrey Tautou co-stars as Senay, a turkish factory worker saving up enough money for a passport.
The things that happen on screen are incredibly interesting when you stop and think about them… but this is far from Frears’ finest work as a director. The entire cast is made up of random accents, and after all that the incessant violence, I had had enough. The film stopped making sense and then it stopped having a point. That’s not to say the ending wasn’t still pretty great, but the film was just a little more than disappointing.
Prince of the City (1981) - dir. Sidney Lumet
"I sleep with my wife, but I live with my partners." Danny Ciello (Treat Williams) is the focus of Sidney Lumet’s epic about corruption in law enforcement. He agrees to help with a federal investigation, attempting to bring in crooked lawyers, judges, and district attorneys, but he outright refuses to turn against his partners. "No cops," he says about a thousand times during the nearly three hour production.
The film is dated. Like DATED, dated. The score is out of place from the beginning, the acting would be more suited to day-time television (though Jerry Orbach and Bob Balaban are both pretty great here), and the writing you can see coming from a mile away. But Lumet handles it all in a way where you stop caring about the little things, and you just want to know what happens. And you’ll enjoy it. And you may walk away with some new morals. Or not.