St Patrick’s Day
“Like a scary version of ET.”
“You are a gateway!”
“The more you accept it, the easier it’ll be.”
“Always be camming bitches!”
“I don’t wanna!”
Green is incontestably threatening as he puts on the UVU and sees a debased sex slave and then the memories of the man he didn’t help. He has no moral dignity. This is causally sexist. The wife is turned on by his dodgy values and dodgier acts. This was campy and disdainful. He learns from the UVU that his wife killed her vile skinflint boss with an electric knife whilst wearing hooker heels. This was tawdry and not important or urgent. The UVU shows you, you.
What is the moral responsibility of the dead woman? She arrives menacing. She was found in the basement of a house. The people in the house died trying to break out. The autopsy reveals creepy details. There are numerous shots of the naked dead woman. Who treated the dead woman with callous indifference?
This was not poignantly sad. The dead woman faced deep-rooted animosity from extraordinarily conservative people. A shocking level of violence was inflicted on her by people with general conservative norms. How does she have a tattoo on the inside of her skin? This was maddeningly compelling. There is justified outrage and sincere intentions and forced intensity. This was visceral and did the dead woman deserve the absolute condemnation and barbaric acts and equivocal moral judgement she was subjected to?
This film got profound and enduring admiration from reviewers. There is constant nudity and no room for nuance or accountability. Brian Cox is not given to high drama as the possible dead witch has no interest in contrition or repentance. One has disinterest in the son. This has unrelenting impact. The witch has malign influence and narrative twists. This has perverse and effective grace and no moral fastidiousness.
Things get chaotic and dysfunctional in the funeral home with significant impact for the father and son. The dead body has troubling impacts and it carries on a malicious campaign toward the living. Was she really so vile, so foul and so execrable? Someone hated her so intensely. The father and son are deprived of solace. There are anguished responses. The world they took for granted, the structure that underlies reality, is shattered. There is tenacious tension.
The hero’s dick cousin refuses to acknowledge the event’s severity. There’s deep panic and their paranoid instinct was right. This was irreverent at first and then just got annoying. The cousin is an utterly disgrace who bemoans the jovial hero. There is technobabble and a character named Doc Brown. There is death and the irritating cousin is distasteful and causes damaging results and mumbling.
The bitch girlfriend is a dumb bitch. The cousin is an incel into toxic masculinity as he is endlessly disappointed by life. The plot gets stupider. Nobody does a committed, dignified performance. This is execrable by the end. This was okay at first but turns insufferable. The hero has cringing difference to his room. This was not even half-sane absurdity. It’s full of ludicrous sequences and reasonably simple idiots.
“Rogue space debris.”
“The dude form ‘Heroes’ in awesome in this.”
“Just like ‘2012’! I knew it!”
“Serious creative thought.”
“Planetary debris shield.”
He judges her for not liking his joke and making erroneous statements. He judges her body. Cue bitter divisions. He’s immediately aggressive. There is soul searching and this was not philosophically provocative. This was dramatically inert. This leaves audience locked out. The husband demands sex. The wife spews word vomit. This has no terrifying potency. He feels an undefined but creeping sense of dread. This was chillingly absurdist.
There is no emotional intelligence as the wife, Bea, acts in spectacularly odd ways. This was mentally undemanding and full of unsubtle premonitions. This was not eerie or compelling. There is wariness as the callow husband wails in a non-mature manner and has no manly patience. This was fantastically charmless and unpleasant and insidiously unsavoury and laughably irrelevant. I don’t care about the couple’s inner emotional lives. This was unpersuasive.
“Annoyed by no cake.”
“Who needs cell service or internet when you can keep busy watching your favourite VHS tape?”
“How gracious of you husband.”
“My little zombie.”
Schoolgirls study in bikinis whilst walking down the street. There is babble about psychics. Kirk Douglas gets shirtless. There are 2 cats in one scene. People run around. Various people are bad because they are bad. Kirk Douglas menaces a family. Logic and sense are conspicuously absent in this below par abomination. There are ugly 1970s clothes and uglier 1970s interior design.
People play an ancient computer game. A bad man with a damaged arm lurks. Here is blood and Kirk Douglas has wrath and his missing son undergoes a bizarre and total personality change for no clear reason. A woman plans to take parcels to the post office but none of them have addressees on them. There is slo-mo during a botched escape.
People get hysterical and commit bizarre acts and utter overwrought dialogue. The son, Robin, is a psychic and an embodiment of toxic masculinity. Robin wears a shit with a collar he could go hang-gliding with. Robin is not worth saving. Kirk Douglas slaps a girl (Irving) who is helping him in the face and tries to intimidate whilst wearing cream flares. Irving is also a psychic but they show up as the plot demands.
Robin (Andre Stevens) falls off a roof, so much for his powers. Kirk Douglas’ character just vanishes. The bad dude (John Cassavetes) is blown up. Dennis Franz shows up as a cop and Daryl Hannah plays a schoolmate of Irving’s. Nobody has a self-reckoning. ESP is the murky unknown. This was not tense or engrossing. Ideologies caused an irreparable rift between friends. Kirk Douglas was increasingly volatile, hateful and hostile. This was not a thoughtful mediation on ESP.
“I don’t matter anyhow.”
“I can make you get up.”
“Smells like stale bread in here.”