In revisiting this film, I am struck by several things. First of all, I think it's mostly very funny, although like most movies with a weird gadget, the setup until they get to the point (them in high school in this case) is pretty clumsy. It's also a pretty sweet movie in its silly way, following most high school movies by having parts where he really tries to say something about friendship, growing up, and letting go of certain things. So yes, funny and touching. Let's put that aside.
The problem is, surrounding it all is the rudeness of that toxic jovial masculinity that is pervasive in all of these movies, whether they're written by Apatow, Rogen, or Hill or any of the people who make these kinds of movies more. . They try to tackle these complicated emotions in the context of a funny movie, but they fall over and over again into two big lazy traps: homophobia and misogyny. None of it seems particularly conscious, but it is present in a lot of scenes, and the films seem to totally ignore how shocking their `` meanings '' are compared to how people are treated on the fringes of the film.
First of all, homophobia. I understand: cocks are funny. I have one, I know, they're wacky appendages and the minute a boy hits puberty he knows his garbage is ridiculous. I have no problem with cock jokes in general, because it doesn't matter, right? The problem is, these jokes often take place in the context of two brothers talking or inflicting their cocks on each other, through a `` playful '' bump or the occasional insults from a male teenager. `` suck my dick '' or whatever, all of which mingle with a latent. gay panic feeling. Dicks are everywhere, but the worst thing anyone can do is take their presence sexually seriously, because it's gay and being gay is scary and weird.
Which extrapolates to the treatment of women. If cocks and the men attached to them are the norm, then women are automatically the strange Other. In this case, the film try to have a not entirely romantic affair between Jonah Hill and Brie Larson where the moral is that they don't hook up because adults don't sleep with high school girls? But that's hardly a thing to encourage when the leader draws this conclusion. And when he makes that speech to her, after lying to her and using her beyond what is necessary for her job, about the fact that she should never go for assholes like him, how much is- that heartwarming that she smiles and that they have a moment? Because of course, as long as you say sorry predatory behavior and emotional manipulation are just adorably unhappy character quirks, right?
The problem is that it is apparently each film of this type more. It was only the rare film that was made through women, be it the Bridesmaids or The Heat or whatever, who seem to ignore that occasional kind of disregard for anything that isn't in the real status quo. For a movie about how two people have to learn to get past the shit they clung to in high school, 21 Jump Street It's a step in locking with the teenage mentality of “bros before hos” and “no homo” right down to his sweaty, sweaty grave. Which is a shame, because all of this is totally superfluous to the actual story, which has a lot of jokes that aren't at anyone's expense.
The streaming media company is raising the prices on its standard and premium plans for etats unis customers. Its standard plan is now $14 a month, up $1 a month from last year. Its premium subscription will go up $2 to $18 a month. Its basic plan remains unchanged at $9 a month.
Netflix’s ( NFLX ) stock rose 5% following the news. The new prices will take effect starting immediately for new members while current members will be notified that their subscription is going up as it rolls out over the next few months.
' We understand people have more entertainment choices than ever and we’re committed to delivering an even better experience for our members, ' a Netflix spokesperson said in a statement. ' We’re updating our prices so that we can continue to offer more variety of TV shows and films. '
The spokesperson added that Netflix offers ' a range of plans so that people can pick a price that works best for their budget. '
Netflix’s price hike, which was first reported by The Verge, is not a huge surprise. Netflix spends billions on content, and this is a way to boost revenue as the ' outlook for subscriber growth is substantially slower in the future than the past, ' according to Bernie McTernan, a senior analyst at Rosenblatt Securities.
' The price increase was a matter of when not if, ' McTernan told CNN Business. ' It shows they think people will be willing to pay more for the service as the pandemic disrupts content fabrication thus making their vast library more valuable. '
The news comes a week the company posted slowing growth in new subscriptions and lower-than-expected profits. This came after Netflix had a huge 2020 because of people being stuck at home during the coronavirus pandemic. Netflix was asked about raising prices during its earnings call last week.
' The core model we have, and what we think really our responsibility and our emploi is, is to take the money that our members give us every month and invest that as judiciously and as smartly as we can, ' Greg Peters, Netflix’s chief operating officer, said on the call. ' If we do that well... and make that efficiency and effectiveness better, we will deliver more value to our members, and we will occasionally go back and ask those members to pay a little bit more to keep that virtuous cycle of investment and value creation going. '
Netflix is the king of streaming and the moves it makes, especially in terms of cost to the consumer, reverberates throughout the market. For example, McTernan noted that Disney’s stock had a positive reaction following the announcement of Netflix’s pricing going up.
Patricia Highsmith’s lesbian romance novel “The Price of Salt, ” originally written under the pseudonym Claire Morgan, is sensitively and intelligently adapted by the director Todd Haynes into this companion to his earlier masterpiece “Far From Heaven. ” Cate Blanchett is smashing as a suburban ’50s housewife who finds herself so intoxicated by a bohemian shopgirl ( an enchanting Rooney Mara ) that she’s willing to risk her entire comfortable existence in order, just once, to follow her heart. Our critic said it’s “at once ardent and analytical, cerebral and swooning. ”
Jack Nicholson built one of his most iconic compétences ( he plays the role with “such easy grace that it’s difficult to remember him in any other film, ” our critic wrote ), and won his first Oscar in the process, in Milos Forman’s adaptation of Ken Kesey’s novel. Nicholson had plenty of company; this is one of the few films to win all of the “big five” Academy Awards, including best picture, best director, best screenplay and best actress. Louise Fletcher won the last for her unforgettable turn as the steely Nurse Ratched, whose iron-fisted rule of a state esprit hospital is challenged by Nicholson’s free-spirited Randle Patrick McMurphy. Ratched was a memorable enough foe to spawn a Netflix origin series, but this is the genuine article.
The Oscar-winning Steven Soderbergh brings together a jaw-dropping ensemble — including George Clooney, Matt Damon, Brad Pitt, Andy Garcia, Don Cheadle, Bernie Mac and Julia Roberts — for this sly, funny remake of the 1960 “Rat Pack” caper, investing the new work with a “seismic jolt of enthusiasm. ” Soderbergh keeps the basic story ( a gang of con artists robs several Las Vegas casinos simultaneously ) and the “all-star cast” hook. But he also updates the story to acknowledge Sin City’s current, family-friendly aesthetic and invests the heist with enough unexpected twists and turns to keep audiences guessing. ( Pitt also shines in “Moneyball, ” another Netflix offering. )
The unlikely marriage of the screwball-inspired screenwriter Aaron Sorkin and the chilly visual stylist David Fincher birthed one of the finest works of both their careers, a “fleet, weirdly funny, exhilarating, alarming and fictionalized” account of the early days of Facebook and its founder, Mark Zuckerberg ( brought to hard-edge, sneering life by Jesse Eisenberg ). Sorkin’s ingenious, Oscar-winning script spins the Facebook origin story as a Silicon Valley “Citizen Kane, ” dazzlingly hopscotching through flashbacks and framing devices. But the ruthlessness of Fincher’s cleareyed direction is what brings the picture together, presciently framing Zuckerberg as the media mogul of the future — and hinting at the dysfonctionnement that entails. ( Another Sorkin-scripted Silicon Valley bio-drama, “Steve Jobs, ” is also available on Netflix. )
This winking update to “The Scarlet Letter” has much to recommend it, including the witty and quotable screenplay, the sly indictments of bullying and rumor-mongering and the deep bench of supporting players. But “Easy A” is mostly memorable as the breakthrough of Emma Stone, an “irresistible presence” whose turn as a high-school cause connu quickly transformed her from a memorable supporting player to a soaring leading lady — and with good reason. She’s wise and wisecracking, quick with a quip but never less than convincing as a tortured teen.
Stanley Kubrick’s most controversial film, and perhaps his most disturbing ( neither a small claim ), was this 1971 adaptation of the cult novel by Anthony Burgess. Tracking the various misdeeds and attempted rehabilitation of a certified sociopath ( Malcolm McDowell, at his most charismatically chilling ), this is Kubrick at his most stylized, with the narrative’s hyperviolence cushioned by the striking cinematography, futuristic fabrication style and jet-black humor. Our critic wrote that it “dazzles the senses and mind. ”
The director Yorgos Lanthimos casts a dryly absurd and decidedly dark eye on interpersonal relationships in this “startlingly funny” and undeniably acidic satire of courtship and the societal pressures tied to it. This isn’t some gentle spoof, snickering at gender roles or dating conventions : It’s bleak enough to imagine a couple-centered world where revolutionary movements fight unbendable mating regulations. Colin Farrell finds the right tempo for the material as a frustrated romantic in a state of perpetual disbelief, while Rachel Weisz’s hard-nosed narrator and love interest provides bursts of unexpected warmth and plenty of pitch-black laughs. ( Fore more misanthropic comedy, queue up “The Death of Stalin” on Netflix. )
This freewheeling biopic from the director Craig Brewer ( “Hustle
“I’ve always wanted to be in the movies, ” Dick Johnson tells his daughter Kirsten, and he’s in luck — she makes them, documentaries mostly, dealing with the biggest questions of life and death. So they turn his struggle with Alzheimer’s and looming mortality into a movie, a “resonant and, in moments, profound” one ( per Manohla Dargis ), combining staged fake deaths and heavenly reunions with difficult familial interactions. He’s an affable fellow, warm and constantly chuckling, and a good sport, cheerfully playing along with these intricate, macabre ( and darkly funny ) scenarios. But it’s really a film about a father and daughter, and their lifelong closeness gives the picture an intimacy and openness uncommon even in the best documentaries. It’s joyful, and melancholy and moving, all at once.