Even ignoring his really mediocre (if altogether irrelevant) late work, the whole unwavering support of Roman Po-rape-ski thing is enough for me to dismiss Woody Allen. Who apparently dismisses sexual assault. And Microsoft Word.
Completely agree. I didn't mean to imply that the passenger's decision was any more responsible in regards to his own life, but it was far more responsible than Dunn's decision only because he couldn't harm anyone but himself by getting in that car, while Dunn's driving could have killed other people on the road.
" Everyone is assuming that it was a drinking and driving accident based on a twittered picture from several hours before the wreck"
Uh. I feel pretty safe making that assumption? Like, everything Ryan Dunn ever did kind of robs him the benefit of the doubt. It's funny when someone has a lack of regard for their own body and does stupid shit to it to make other people laugh, but a complete lack of regard for other people's lives is irresponsible and terrible, so my only reaction to this is that I'm glad he didn't hurt anyone else. Except other guy. R.I.P. other guy.
Okay, I get the whole 'laugh in the face of death' jackass ethos, but it's not easy to forget that he died in a way that very easily could have caused a world of pain and loss to others around him (in addition to whoever else was in the car). Ryan Dunn = sad story. Drunk driving = still very not cool bro.
I feel like The Situation, sitting in the living room eating popcorn while Sammi and Ron fight. It's okay Sam--Miami was a long time ago! Stay out of the clubs Ron!
In defense of J.J. Lens Flare, Super 8 seems like a totally natural and effective return to formalistic (sure, spielbergian) conventions as an approach to the genre. As of late genre movies like Battle: L.A., Skyline, Monsters, and J.J.'s own Cloverfield have used so called "realistic" techniques like hand-held cameras, choppy editing, etc. etc. presumably to some effect that the action comes off as more intimate, more "personal," more real. Super 8's camera movements, lighting, and general style are as calculated, formalistic and hollywood-glossed as they come, but the story still felt intimate and personal and caused me to actually care about the characters. THIS is what Spielberg nailed with his early work and what Abrams has effectively borrowed. Now, let's get a few less high-powered spotlights aimed at every camera...
Also, longtime lurker's first comment on videogum.
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