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‘The Interview’: A Farce of Global Proportions

posted Dec 26, 2014 17:00:38 by Consfearacynewz

Portrayed the dear leaders son as a homosexual
Dear leaders son even crapped his pants in the movie
Simply hyped up so people would watch it
Only good thing in the movie was the puppy that the dear leader's son gave to the reporters
Could see why it would tick the N Koreans off

So this is how it ends: lining up on Christmas Day, not at a blockbuster-stuffed multiplex but at one of the scrappy independent theaters that have been struggling to stay afloat in a hard marketplace, or hunkering down on the couch at Mom’s house (this...
‘The Interview’: A Farce of Global Proportions

So this is how it ends: lining up on Christmas Day, not at a blockbuster-stuffed multiplex but at one of the scrappy independent theaters that have been struggling to stay afloat in a hard marketplace, or hunkering down on the couch at Mom’s house (this is how it was for me) with a laptop and a couple of little ones while the rest of the loved ones fusses more than the tree.

By a miracle of geopolitical lunacy and media craziness, a commonly antisocial, even irresponsible activity — did I mention that I had a precocious ten-year-old nephew sitting next to me, obtaining an earful of wildly age-inappropriate humor? — was transformed into a solemn skilled duty. But why be modest? It was an act of patriotism. In defiance of a dictator and obeying a diktat from my editor, I fed my credit card info into YouTube (hack that, Kim!) and did my element for freedom of speech and the Sony Corp. You’re welcome, America.

What I’m saying, just in case you’ve been distracted by other news, is that I watched “The Interview,” starring Seth Rogen and James Franco and directed by Rogen and Evan Goldberg. Was this a satisfied ending or an anticlimax? My colleague Mike Hale, who saw the film at an advance screening and wrote about it immediately after Sony’s initial decision to pull it from theaters, mused that “the only genuine mystery is how one thing this ordinary could have brought on so considerably agitation.”

Precisely. “The Interview” is pretty a great deal what absolutely everyone thought it would be prior to all the difficulty began: a goofy, strenuously naughty, hit-and-miss farce, propelled not by any particular political ideas but by the usual spectacle of male sexual, emotional and existential confusion. It turned out to be best laptop viewing, apart from an sometimes wonky Wi-Fi connection. The bloodshed was significantly less gross on the modest screen, and the best jokes — loose, absurdist, improvised-sounding riffs — landed improved in a quiet, half-distracted area than they may possibly have in a crowded theater.

“This Is the End,” the prior Rogen-Goldberg-Franco feature, seemed to leave the raunchy bro-com genre with nowhere new to go. It was funny, for confident, but its apocalyptic high jinks couldn’t very disguise its conceptual exhaustion. “The Interview” confirms this impression. Franco plays Dave Skylark, a sleazy, celebrity-hounding journalist, and Rogen is Aaron Rapaport, his longtime buddy and producer. Lovers in all but the technical, physical sense, they sustain an elaborate charade of heterosexual heartiness, Dave’s more determined and significantly less convincing than Aaron’s.

What this indicates is a lot of jokes about the outstanding truth that the male body, so to speak, is equipped with both a auto and a garage. In compensation, the girls who show up are aggressively decreased to objects of sexual interest. There are two of them: Lizzy Caplan as a CIA operative and Diana Bang as a North Korean official in charge of managing the logistics of Dave’s interview with Kim Jong Un (Randall Park).

Tweaking a tiny totalitarian state and its dynastic leader is — or was possibly intended to be — a way of striking a provocative and topical pose whilst still playing it protected. North Korea is not a nation with quite a few sympathizers in the moviegoing world, and the stereotyping of Asians and Asian-Americans flourishes even in supposedly liberal Hollywood. It is unlikely that the filmmakers would have felt as sanguine about holding an African, Latin American or even a Middle Eastern dictator up to the very same kind of ridicule.

Sufficient scolding. The movie’s Kim is genuinely just yet another dude, while one with nuclear weapons and genocidal inclinations. He worries that drinking margaritas means he’s gay and is embarrassed to admit that he likes Katy Perry’s “Firework.” That song and “The Lord of the Rings” are the movie’s principal pop-cultural reference points, by the way —oh proper, Eminem shows up, too — which might be a sign that Goldberg and Rogen are slipping toward middle age. They applied to get to stuff a beat or two just before everyone else did. Now they appear to be slowing down.

But that is aspect of the pathos of the film. Dave and Aaron are similarly stuck. They seek out a dubious journalistic opportunity in Pyongyang for the reason that they’re tired — Aaron in distinct — of the endless cycles of gossip and celebrity pseudonews. They want to get out in the world and do anything significant, though they aren’t completely sure what that would be. “The Interview” mirrors their quest, in a touchingly self-defeating way. Its lesson is that American pop culture is inescapable, our wonderful achievement and most preferred export, the weapon we wield abroad and the glue trap we struggle with at dwelling. In the mirror the film holds up, we are at our greatest when we are funny, stupid, sincere and immature, and that is why everyone loves us. Even if we in some cases have problems admitting how a great deal we appreciate every single other.

Hollywood propaganda threatens world peace

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