Joel Schumacher is a filmmaker whom at his best can be quite interesting to watch – but such a standard is so rare inside of his body of work knowing what feels so common for films under his own eye. Twelve is yet another one of these scenarios, but what surprised me is that even though it is quite evidently a bad film, it was still a tolerable one to watch. It seems fitting that the best way in order to describe Twelve is that it is a film that merely exists, without any reason to, but there’s nothing going against the fact that it already does. You can at least credit it on the count that it has at least one sense of an admirable intention, but the way everything is executed is so sloppy from first moment to last – it only presents a feeling of pure nothingness. Continue reading →
NOTE: My current views on politics have changed so much ever since the election of Donald Trump and thus most of what you would have remembered seeing here will have been altered to match how I feel now.
I think it’s best that I start off this review stating how I feel about feminism. I’m never one to talk about anything political because I know it’s an area that leads to the most fights: for on social media there’s a mindset in some people which we have people being objectively correct in whatever side of the spectrum they’ve landed on, and I’ve lost friends over it. I state this because I like to think of myself as a person who has no political leaning of any sort, because the fights I’ve witnessed made me dislike many aspects of both the left and the right. I’ve started to find myself leaning more towards the left as time passed by, and my understanding of feminism perhaps has led to why I think 18.104.22.168 doesn’t work at all, it’s a misguided piece of filth that otherwise has no idea representing what it believes it does.
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This film has so much going for it and the biggest problem behind it comes from just how tame it is. I understand the directors’ choices with trying to pander to a much younger demographic because there’s something interesting to be said, yet everything is just played too safely. My best guess is that Nerve is what directors Henry Joost and Ariel Schulman were hoping to achieve in Catfish with a message about what social media is doing to our world and ended up being preachy about it, and what they leave here is much better on one count. On the other, what Nerve leaves behind is rather easily forgettable since as noted earlier, its lack of taking risks leads to a vanishing within memory. A real pity indeed because there was a lot of potential within the idea it presents, but it ends up falling down on the count that it’s just so tame. Continue reading →