An email from a friend informs me that Netflix is currently being sued for their lack of close captioning. Also, a third of their streaming titles already include captions — with 80% expected by the end of the year.
Though I’m not exactly happy with it, I have Dish Network and could become a lot happier if they acquired some kind of streaming service as part of their service. They’ve already acquired Blockbuster, which gives them an incredible inventory even after the physical stores go under (and they will). So adding Hulu would be a major triumph — though an expensive $2 billion one.
What I really want to do is dump cable/ satellite altogether. Thanks to you, Dear Readers, I have found Fox News, CNN, and MSNBC online, which is presently saving me $17 a month with the disconnect of a second receiver that was devoted to delivering news to my home office.
One down, two to go. Because…
Once football and “Burn Notice” can be screened via the Web on the TV (legally), the wife has okayed a big, fat buh-bye to the days of paying for television.
“Ghostbusters” is Dan Akroyd’s brainchild and although it’s been 22 years (!) since “Ghostbusters 2,” at least the owner of the idea is guiding things.
The first sequel was rather uninspired, though, and don’t get me started on “Blues Brothers 2000,” another of Akroyd’s late-attempts to resurrect cinematic lightning in a bottle.
It’s all rather unimaginable without Bill Murray, however, which Akroyd says is a possibility. Which leads to a bigger problem: the entire cast is irreplaceable. Akroyd, Harold Ramis, Rick Moranis, Annie Potts, Ernie Hudson, Sigourney Weaver… If “new blood” means twenty-something TV stars who look like teen models, it’s enough to make you cry. The original gang was composed of grownups, imperfect-looking but interesting adults — which is a very large part of their appeal.
Aren’t we all a little tired of “boys” and “girls” playing dress up.
Kyle Smith, on the other hand, thinks Akroyd’s talk is all hype.
You can hyper-analyze anything into confusion, but nowhere has Hollywood failed more over the last decade than with the adult drama. Nihilism, Leftism, and self-consciously posed “edginess” has made this genre especially unpalatable to mainstream movie-goers. So when a “Blind Side” or “The Help” arrives on the scene, drama-starved audiences will come out.
People like “The Help.” From everything I’ve read, they’re moved by the film, and so they’re flocking to see it and spreading the word.
There’s no secret code to crack here.
This is a re-release of a 1984 cut of the film that included a rather bizarre rock score. And now it looks as though the additional 20 minutes of “Metropolis” that were recently discovered will be added to this cut and also get the Freddie Mercury, Bonnie Tyler, Pat Benatar treatment.
It’s been 15 years or so, but I was no fan of the rock score. The film itself is a wonder to behold and the score feels gimmicky and takes you out of the story — which is the sign of a bad score. You’re supposed to feel the music, not notice it.
In 1984, MTV was the new rage and someone decided to make a two-hour music video.
LAST NIGHT’S SCREENING
The Devil and Daniel Johnston (2005): Johnston is a bipolar singer/songwriter/cartoonist who built up something of a cult-following in Austin Texas in the mid-80s and was on the cusp of real stardom before a series of disturbing episodes saw him institutionalized about a half-dozen times after run ins with the police, friends and family. Watching Daniel’s aged father retell the story of how his son almost killed them both in the small plane the elder Johnston was piloting is just one of many unforgettable moments in this very well-made and ultimately poignant documentary.
Whatever you might think of Johnston’s artistic talents, the film itself is superb, one of the best docs of the last decade, thanks to filmmaker Jeff Feuerzeig’s wise decision to let the narrative and subjects do the talking. Ultimately, this is a tragedy and probably one that was unavoidable. Who knows what strange brew of chemicals, illicit drugs, and environment conspire to create a Daniel Johnston, but the human toll is heart-wrenching and the film, thankfully, blames no one.
Others might see it different, but to me this is the story of Daniel’s devoted parents, who take care of their barely functioning 40-something son and likely live with the guilt that they might be somewhat to blame for his condition. Daniel certainly seems to blame them.
If you want a memorable tour of the human condition, this is highly recommended.
CHECK OUT STEVEN CROWDER’S LATEST: “GO GREEN NOW!”
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–Thanks again to ScottDS for the links!