‘dads’: Does The Seth Macfarlane Backlash Touch His Movies?

Fall Movie Sneaks 2013

Comments 3 “Traumatized critics exhale: I’m unable to do the Oscars again,” Seth MacFarlane tweeted Monday. (Al Seib / Los Angeles Times / February 24, 2013) Also By Steven Zeitchik September 18, 2013, 1:26 p.m. Seth MacFarlane may have plenty of reasons to count his millions , but hes had a pretty rough year of it in the media. Last winter he was pummeled for his boob-happy Oscar-hosting turn, which many critics found misogynistic and unfunny. And this week hes been getting dragged through it all over again with the premiere Tuesday night of his live-action Fox sitcom Dads, which, in an unfortunate parallel to the Oscars , has been called racist and unfunny. Thats of considerable interest to moviedom. MacFarlane has two big films coming out over the next 20 months: the comedic western A Million Ways to Die In the West, out in May, and Ted 2, the sequel to the Mark Wahlberg blockbuster that shoots next year and will hit theaters in April 2015. West starring an ensemble cast of MacFarlane, Neil Patrick Harris , Sarah Silverman and Dads Giovanni Ribisi is about a sheep farmer, a duel, a criminal and other genre absurdities. Its a big test for MacFarlane, since it takes him deeper into a new territory and much further from the Family Guy-esque comedy hes known for on TV and was able to smuggle into Ted. Having a strike against you leading up to that film won’t help the cause. FALL TV 2013: Watch the trailers Indeed, the biggest problem for MacFarlane on Dads isnt the offensiveness its that, so far, its not bringing the laughs. Regardless of what you think of the so-called edginess the Hitler video-game jokes, the cancer jokes, the Asian-school-girl jokes that will matter a lot more than whether the show sets off taste alarm bells. As Mother Jones said , The real problem does not lie with any ethnic or racial stereotypes, but with the fact that it is unoriginal and often a painfully unfunny, lazy waste of production space.” Or as the Associated Press put it , “The truth is, viewers who celebrate MacFarlane as well as those who revile him should be equally dismayed by ‘Dads.’ It’s just a mediocre multicamera sitcom, complete with formula humor and unearned laughtrack. FULL COVERAGE: Fall TV preview 2013 The fact is, MacFarlanes yet to prove he can pull off true live-action without quippy computer-generated people or animals.

The First In-Flight Movies Had a Live Orchestra

BEST PICK OF THE WEEK ALL THE BOYS LOVE MANDY LANE- This film hit my top list of must see horror films when it was released back in 2006. I was blown away by the throwback giallo style portrayed in the film and was hooked to the end. All The Boys Love Mandy Lane not only takes you back to the first american style slasher that caught your attention it also has flawless execution. Don’t be worried about the team of Amber Heard and Jonathan Levine if you disliked Warm Bodies Mandy Lane is the real deal. The story involves the best looking girl in high school hanging out with the popular kids but for some reason bodies start piling up. This film has intensity, gore and amazing death scenes. All The Boys Love Mandy Lane is available right now on VOD and it is worth the price. 5/5 *available on all VOD outlets THE REST OF THE FILMS SCENIC ROUTE – I had a feeling this movie would be good but not this good. Scenic Route is not a horror by any stretch of the imagination. It has some horror qualities but the performances by Josh Duhamel and Dan Fogler are award worthy. Two long term friends are traveling through the desert when their truck breaks down. After finding out it was a ploy by Fogler to start a conversation with Duhamel the two erupt into a battle of life call outs and relationships with not only women but passions of the past. Scenic Route turns into a bloody, dark humours buddy flick that would have been what really happened in Due Date. I really enjoyed this movie and the dark turn it takes at the very end really completed the film.

HORROR MOVIES UNCUT FRIDAY SEPTEMBER THE 20TH

The music played through a single loudspeaker on-board, though we can guess based on the tech of the time that it was incredibly hard to hear over the sound of the aircraft. The magazine also describes how the pilot flew through dense clouds in order to darken the cabin, a necessary step for seeing the movie projection properly since they were flying during the day. Here in the early 21st century we often think of silent movies as just thatsilent. In reality, everything from grand movie palaces to humble showhouses in the 1920s were crackling with noise. There was virtually always music, sometimes in the form of a single pianist, other times with enormous live orchestras . And there were countless experiments with sound effects machines and even live actors reading lines, doing their best to sync their words with the actors being projected on screen. It’s worth noting that these European flights in the mid-1920s weren’t technically the first flights to show an in-flight movie. As a publicity stunt back in 1921, Aeromarine Airways circled Navy Pier in Chicago, showing a copy of the promotional travel film Howdy Chicago. As John Norman White notes in his 1994 paper [pdf] on the history of in-flight entertainment, the Chicago stunt was a silent experience. Aside from the deafening sounds of the prop plane, we can assume. A screen was hung in the fore cabin, an electric light socket supplied power, and a DeVry suitcase projector was secured to a table in the aisle. As sightseeing passengers flew above Chicago, the citys highlights appeared on the movie screen. There were no concerns related to sound talkies were years in the future. Why would you want to watch a movie about Chicago when you’re soaring over that very city during a time when powered flight wasn’t even two decades old? That’s a perfectly reasonable question, the answer to which has sadly been lost to history.

Movies: Hugh Jackman and Jake Gyllenhaal Anchor Tense ‘Prisoners’

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Who can digest from all the bile at home? That’s not the case in PRISONERS, the new dramatic thriller from undersung Canadian director Denis Villeneuve (Incendies), which is more retrograde in its approach with the family unit as something sacred and continually under attack. Despite the occassional interjection of ominous music (shut up Johannsson … there’s plenty of time for your score later!) and an initially drab grey color palette, things seem realistically jovial at this get together. The Dovers (Hugh Jackman + Maria Bello) are celebrating the holiday at the home of the Birches (Terrence Howard + Viola Davis) just down the street — close enough to walk — as they clearly do every year (or perhaps they trade off). The parents are realistically both amused and vaguely annoyed by their children, attentive but ‘don’t bother me’ tired. It’s only when the film leave the homes of the Dovers or Birches that there’s trouble brewing… somethings just off. Why did the movie open with a father/son hunting trip? Why is that strange RV parked on the road? Where did Anna’s (Hugh’s daughter) red emergency whistle go? Are Joy and Anna back yet?