In the 1980s, there were only 63 Black films by, for, or about Black Americans. But in the 1990s, that number quadrupled, with 220 Black films making their way to cinema screens nationwide. What sparked this “Black New Wave?” Who blazed this path for contemporaries like Ava DuVernay, Kasi Lemmons and Jordan Peele? And how did these films transform American culture as a whole? Presenting The Class of 1989, a new limited-run series from pop culture critics Len Webb and Vincent Williams, hosts ...
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“Y2K” Movie Review
Manage episode 455062703 series 10748
Contenido proporcionado por Fat Guys Network. Todo el contenido del podcast, incluidos episodios, gráficos y descripciones de podcast, lo carga y proporciona directamente Fat Guys Network o su socio de plataforma de podcast. Si cree que alguien está utilizando su trabajo protegido por derechos de autor sin su permiso, puede seguir el proceso descrito aquí https://es.player.fm/legal.
Rated R
Opens: December 6, 2024
Kevin says Y2K kinda sucks!
Every generation has it all-night teen movie – from AMERICAN GRAFITTI and SIXTEEN CANDLES to CAN’T HARDLY WAIT and SUPERBAD. Now Millennial nostalgics are getting their chance with Y2K.
The story follows a high school misfit in 1999 attending a New Year’s Eve party where he hopes to finally kiss the girl of his dreams. However, when the Y2K bug executes at midnight and the machines start a violent revolt, the partying teens have to try and survive.
I’m all for the genre mix-up we get in this film, however, the movie fails to commit to either one.
The all-night party film half of the script just strings together a series of clichés. At least the sci-fi thriller element tries to be unique. However, aside from aping the goofy opening sequence of Stephen King’s coke-fueled fever dream MAXIMUM OVERDRIVE, the story ends up stumbling into that film’s own incoherence.
Even if you’re weepingly nostalgic for 90s music, AOL, and a quote-unquote “simpler” time before social media, the lack of story depth and likeable characters found me rooting for the killer robots.
Y2K gets two dial-up modems out of five. I’m Kevin Carr, and that’s the way I see it.
Email the Show
Follow the show on Twitter (@FGATM)
Follow Kevin on Twitter (@kevincarr)
54 episodios
Compartir
Manage episode 455062703 series 10748
Contenido proporcionado por Fat Guys Network. Todo el contenido del podcast, incluidos episodios, gráficos y descripciones de podcast, lo carga y proporciona directamente Fat Guys Network o su socio de plataforma de podcast. Si cree que alguien está utilizando su trabajo protegido por derechos de autor sin su permiso, puede seguir el proceso descrito aquí https://es.player.fm/legal.
Rated R
Opens: December 6, 2024
Kevin says Y2K kinda sucks!
Every generation has it all-night teen movie – from AMERICAN GRAFITTI and SIXTEEN CANDLES to CAN’T HARDLY WAIT and SUPERBAD. Now Millennial nostalgics are getting their chance with Y2K.
The story follows a high school misfit in 1999 attending a New Year’s Eve party where he hopes to finally kiss the girl of his dreams. However, when the Y2K bug executes at midnight and the machines start a violent revolt, the partying teens have to try and survive.
I’m all for the genre mix-up we get in this film, however, the movie fails to commit to either one.
The all-night party film half of the script just strings together a series of clichés. At least the sci-fi thriller element tries to be unique. However, aside from aping the goofy opening sequence of Stephen King’s coke-fueled fever dream MAXIMUM OVERDRIVE, the story ends up stumbling into that film’s own incoherence.
Even if you’re weepingly nostalgic for 90s music, AOL, and a quote-unquote “simpler” time before social media, the lack of story depth and likeable characters found me rooting for the killer robots.
Y2K gets two dial-up modems out of five. I’m Kevin Carr, and that’s the way I see it.
Email the Show
Follow the show on Twitter (@FGATM)
Follow Kevin on Twitter (@kevincarr)
54 episodios
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Similar a Fat Guys Network
In the 1980s, there were only 63 Black films by, for, or about Black Americans. But in the 1990s, that number quadrupled, with 220 Black films making their way to cinema screens nationwide. What sparked this “Black New Wave?” Who blazed this path for contemporaries like Ava DuVernay, Kasi Lemmons and Jordan Peele? And how did these films transform American culture as a whole? Presenting The Class of 1989, a new limited-run series from pop culture critics Len Webb and Vincent Williams, hosts ...
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