‘The Gift’ Unnerves Oneself More Than Most

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In the world of the film blogosphere we love to heaps mountains upon mountains of adulation all over films that spark originality — and for good reason — whether it be original in narrative or technical. However, at times originality isn’t always the only way to be praised, perfecting that which has existed forever is also a way of being praised.

The world seems to be divided on Edgerton’s The Gift. There’s the one half that sits and just rolls their eyes as Edgerton’s film moves from point to point without being surprised at all because it leans so heavily on the world of these sorts of thrillers that came before it; and the other half that stands up in applause at Edgerton’s ability to craft something so lovely that we almost forget that the tropes have been there forever. I happen to be a part of the later and proudly so. Continue reading

Class of ’53: Stalag 17

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In my childhood I grew up  on a lot of classic television. Some which many know, the likes of The Cosby Show, Sanford and Son & The Jeffersons. Some not that many know of, like Faulty Towers, Keeping Up Appearances and Black Adder. One show, which I’m uncertain which category it falls into, was Hogan’s Heroes. It’s a show placed in a German POW (prisoners of war) camp with an array of American characters all trying to just get by. THAT’S THIS MOVIE! And I didn’t know that. Continue reading

Class of ’53: From Here to Eternity

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If you’ve read the internet much — which I’m assuming you do since you’re reading this — you’ve heard of Internet backlash. This is the concept where after years of someone with little context of what this thing meant to the people of the time has seen soemthing they find some weird reason to be contrarion and disagree vehemently with the general consensus. I feel like today may be my time to ole out some backlash against a beloved piece of film.

From Here to Eternity is the Oscar winner from the year 1953 that soared Frank Sinatra as an actor and not just that guy who hummed about New York on stage for people who’d never seen the place. But jokes aside, the film didn’t feel monumental. It felt merely OK. Continue reading