Start somewhere familiar, in one of your favorite haunts, and follow a back road to hidden treasures, films you didn’t know existed.
There’s an explosion of obscure movies now, with Netflix, Amazon and others bankrolling films that wouldn’t have been made 10 years ago.
I’ll give a pitch for two: THE EDGE OF TOMORROW and SHIMMER LAKE. Here’s the trailer for the second one, which deserves a lot more love. Fire up Netflix and watch this thing. It’s a better movie-in-reverse than MEMENTO.
This is about why Flappy Bird was such a surprise hit, Taylor Swift’s newest mega-video is meh and why your favorite movies, novels and video games work when others fail.
Here’s why: audiences want something interesting, and entertaining, which means different and surprising. Yet there’s a fuzzy line between Hard and Impossible and a deadly chasm between Complex and Bizarre.
It’s like thinking, “chocolate chip cookies are yummy, so why not chocolate chip cookies with almonds, M & M’s, pecans, Oreo sprinkles, peanut butter and a Snicker’s Bar on top?”
Watch the big Taylor Swift video, BAD BLOOD, then we’ll chat.
Now, this has high production values and great costumes, and I’m sure Michael Bay watched it on an endless loop all weekend. Yet it’s not elegantly complex and entertaining. It’s a hot mess, the music video equivalent of THE EXPENDABLES, with so many random stars thrown in for cameos that I have no idea who’s who. Does it look cool? Sure. Do we care one bit? No. Not even half a bit, or a quarter bit.
Compare that to the simplicity and beauty of Iggy Azalea’s BLACK WIDOW, which is a masterpiece, paying homage to KILL BILL and flat nailing it.
Typically, I usually dive into the lyrics of a song, dissecting the true meaning of ELECTRIC AVENUE or parsing every line of Vanilla Ice’s unappreciated classic, ICE, ICE BABY, which was tarnished only by his lame followup song about ninja turtles and his habit of trashing sets and terrorizing TV journalists, though now Vanilla is all grown up and remodeling houses on television or whatever.
This music video by Vic the Mensa is the rare beast where the visuals are more worthy of dissecting. Check it out.
Vic does something unusual here, turning a music video into a short film where his character repeats the same scene in a nightclub again and again, with different choices and results.
If you’re a screenwriter, you’ll start throwing out RASHOMON references and point out how this is nothing like MEMENTO, since that movie reversed the order of all scenes. To get technical, this music video is more like GROUNDHOG DAY or THE EDGE OF TOMORROW, which the studios are renaming LIVE, DIE REPEAT instead of the original comic title, which is far more superior – ALL YOU NEED IS KILL.
Back to this video: This piece by Vic is far, far better than the typical music videos where (a) the lead singer looks mournful while he croons about lost love, (b) the lead singer tries to look sexy while backup dancers gyrate, or (c) random things happen in slow motion because the director thought it would be awesome to hire a bunch of art students do smash eggs on their heads and such, making the video somehow deep.
I appreciate how there are new twists every time, with the sequences lining up with Vic’s lyrics.
He avoided all the usual clichés and gave us something different. Well played.