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The Afterparty (2022–2023)
6/10
Worst first episode I've ever seen. And yet...
20 February 2022
Within 15 minutes of the first episode, I was ready to switch off and watch something else. This was truly awful television. The acting wasn't particularly terrible, but the script was dire, the jokes were so flat and so unoriginal and cliched I wasn't aware if most were supposed to be intentional. The whole direction was simply woeful. The programme appeared to struggle with what kind of show it wanted to be. Unfortunately, the campy, hammy, overblown performances missed the mark so widely, it just appeared a hideous turd of a show, with a hackneyed conceit and one-dimensional characters who were, simply, too unbelievable to suspend your disbelief.

Nevertheless, I persisted.

Nobody was more suprised than me when I found just how much the second episode picks up considerably. Aha! I realise the premise, now: each episode parodies a specific genre. The first failed so spectacularly, I wasn't even sure what it was trying to be. I don't think anyone involved in making it did. The second episode, however, entrenches itself in well-trodden action-thriller territory. It might overdo its parody of the Fast & Furious franchise, with Ike Barinholtz coming across like Mark Wahlberg & Vin Diesel's lovechild, but it's actually good fun, and well done.

I couldn't believe it was made by the same director.

The third episode ('Musicals') appears to have polarized most of the reviewers here, but I actually think it was a pretty good episode; even if Ben Schwartz is a 10-year-older version of Jo Keery from Stranger Things. The songs were catchy, if heavily Hamilton-influenced, and the comedy moments hit the mark more often and with sharper accuracy than any of the hamfisted attempts in episode 1.

Fourth episode brought in dramatic, psychological chiller vibes. It leans too heavily on haunting, swelling orchestral musical cues to set the atmosphere, and out-of-focus cliched camera tricks that have long gone out of style, but it's a solid episode, and gives a wider perspective on the events surrounding the high school reunion and subsequent aftermath.

Dave Franco is the standout actor. He manages to play the Xavier character with great depth and variety, capable of tonally shifting his character from the perspective of individual characters. Sam Richardson and Ilana Glazer go from diabolical to pretty believable in the space of a few episodes. Even Tiffany Hadish's overblown stereotypically sassy (click click) African American schtick becomes less grating as the episodes progress. She plays a remarkable turn of form from cliched to fairly believable by the Chelsea episode. I don't believe Jamie Demetriou is in any way American, but that's because I just see him as the Anglo-Greek Stath.

Overall, though, things improve significantly. NOW I'm invested, and I'm glad I stuck with it. I'm only at ep 5, but I would have happily given this a 1 star or less based on the first episode. It's ballooned to a solid six. Perhaps it might reach a seven by the time I'm finished, but I'll probably watch this, and then never think about it again. Does it make Apple TV worth it? Probably not, but it's no way near as bad as its dire opening suggests.
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Surreal, artistic, ...pretty short
19 October 2004
This short montage by Man Ray is interesting for fans of avant-garde, its photographic, surreal, Dadaist structure is highly experimental, and it appears to be the forerunner to the more rounded, structured Emak-Bakia, finished three years later. Man Ray has a particular penchant for close-up out of focus shots of revolving objects, which gives a strange jamais-vu feeling about many of the average household objects he spins in front of his camera. The image of Kiki's nude torso revolving and reflecting strips of light is particularly beautiful. However, Man Ray's best work, in my opinion are his home movies (particularly the film of the matador and also the colour film featuring a very young-looking Pablo Picasso)
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3/10
Less than average Avant-Garde film
28 March 2004
'Me and Rubyfruit' was shot entirely on a Fischer-Price PXL 2000 camera, hence the childishly grainy quality. It is ultimately a video diary or log commenting on Sadie Benning's troubles with her sexuality and unhappiness. The narrative is similar to Elizabeth Wurtzel in Prozac Nation, and the dialogue is interspersed with random shots of Benning's bedroom; a lamp, fluffy toys, the view of the Brooklyn (?) suburbs from her window. There seems little point to the film, as we are presented with a character who we have little or no sympathy for; Benning alienates her audience for her character is very rigidly set as someone who many people cannot relate to (16 year old confused lesbian with a stereotyped and cliched teen-angst aura about her). In terms of style, it is certainly original for there are few films available that are shot in "Pixeltron" yet it is certainly dull and has as much professionalism as an unedited home-made movie. Arguably that is the point of the film: it is not made for an audience, which is why it is unheard of outside cliques and underground film circles. But if you are looking for decent Avant-Garde, go see 'Un Chien Andalou' or the 'Bells of Atlantis', or even Warhol's 'Blowjob'.
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Resident Evil (2002)
1/10
Possibly the worst attempt at the horror genre.
4 March 2004
I honestly believe that Paul Anderson thinks adding heavy metal music to a zombie-littered action sequence will somehow improve the genre of 'horror'. What he fails to see is that Resident Evil in all aspects *should* be regarded as a horror film (with elements of action.) What he has managed to create is some obscene attempt at all-out action (involving horror elements.) What could possibly go wrong with that? Well, in all honesty; horror isn't scary with some teenage metal band pounding your ears whilst a plague of zombies fills the screen, looking very unimpressive. Where's the atmosphere? Play the video game - you get bucket-loads; so why isn't that reflected in the film? I was very disappointed that the film is obviously aimed at the male 15-18 teenage-angst market, although I guess that's to be expected, as it is a videogame. Overall, tedium... unless you're into loud shouty heavy music interrupting a (quite stylistically) shot movie. Just hope he doesn't **** it up with Alien versus Predator... Yet that will be aimed at the same market. Gah! Still, nothing can be as bad as Mortal Kombat... How could a person who made something as stunningly tense and atmospheric as Event Horizon make trite like MK and Resident Evil?

I voted this film as a 1-star.
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