If WB‘s new trailer for Mad Max: Fury Road is any indication of the dystopian final product that awaits us this summer, then fans of cyberpunk pulp can breathe easy.
Once upon a time, a dude named Tayne stole the honor of writing “Five Thoughts About Fast Five” from Sir Morpiedra himself. And, now, the tradition continues, as I – Sahar – have commandeered the Fast & Furious 6 mini-review from Tayne. (HAH! So, eat it!) Very graciously, I might add.
A couple months ago, a rather odd (viral) film emerged out of the Icelandic ashes of one Valtari* (XL; 2012), the latest soundtrack-friendly album by Sigur Ros — one of the seminal pre-millennial disestablishmentarian tilrauninas (Icelandic for “experimenters”) that helped define and shape the very landscape of what many music connoisseurs affectionately refer to as “post rock.”
Once upon a time, Morpiedra promised the editor a brief write-up about Fast5. A million years later, the article still hasn’t happened. Having recently gained access to HBO, I stumbled on this movie among the OnDemand choices and finally got a chance to watch it. I’m not ashamed to admit that I’ve seen all of the films in this franchise. Also, I’m unashamed to say that I like most of them. Maybe it’s because the films are popcorn fare, so they get a pass. Maybe it’s because I’ve always liked cars. I was never a tuner, but anyone else frequent New Carrolton Metro in the early 2000s? Maybe it’s because, as an Asian American man, I’m always hoping for more POC (people of color) on the silver screen. So while Morpie (pronounced more-pee) roams the great yonder doing his hermit thing, I’m taking the reins of this write up as well as stealing a page from his book (with his blessing) to scribble five thoughts on Fast5 (Justin Lin, 2011). Enjoy.
This piece intends to comment on Ridley Scott’s Prometheus in relation to its allusions to deities, creation and religion. Being that I come from a Christian background, however, much of this article (unavoidably) relies on Prometheus’ supposed Biblical allusions — as it appears to have been Ridley Scott’s intention to draw from such themes. Still, because I axiologically write from a Creationist perspective, it is in no ulterior way meant to challenge secularist interpretations of the film.
This is not an essay. As of now, there is no structure, MLA formatting, citations, or working thesis.
Drive Yourself Morose with Ryan Gosling and Nicolas Winding Refn
After writing that Kentucky Fried Christianity piece, I told IHL Editor Richie that my next review/commentary would be for Justin Lin’s Fast Five (2011). Said piece has yet to be written. This is, in part, because I recently encountered and became enamored with another Lin film: Finishing the Game (2007). An article that addresses both will come eventually.
In the meanwhile, lest I become known as the dude who only likes to talk about old-ass films, here are my thoughts about a slightly more-recent film: Drive (2011).