Cinema is slowly being devalued as “content,” where Intellectual Properties trump artistic freedom and expression. The current best form of cinema is found through independent or arthouse films. Most blockbusters have failed to expand their visual and aural palette to kowtow for a specific, social-media-savvy audience. This is the number one problem plaguing our mainstream films: studios believe pre-existing IPs are the future instead of focusing on new and original stories while simultaneously pushing the boundaries of conventional modes of filmmaking. The only series excused from being conventional is the Marvel Cinematic Universe since the storylines they create have become more intricate and ambitious as the times went on. But with a film like He’s All That, a gender-swapped remake of Robert Iscove’s She’s All That, the only thing director Mark Waters and Netflix are interested in is the latest popular trends in social media, not cinema, which creates an egregiously manipulative and horribly saccharine product that will be forgotten when Stephen Herek’s Afterlife of the Party comes out next week on the streaming service.
MTV-style reality shows are so 1999, so our main protagonist is a TikTok (yes…) influencer by the name of Padgett Sawyer (Addison Rae), who is in a relationship with another influencer, Jordan Van Draanen (Peyton Meyer). When Padgett finds out that Jordan has been cheating on her with a model from his music video and has her meltdown live-streamed for the entire world to see, she loses everything, from her sponsors to her college scholarships. So to avenge her breakup from Jordan, she decides to accept a bet from her friend Alden (Madison Pettis) to turn the school’s least-known student, Cameron Kweller (Tanner Buchanan), into Prom King. And if you’ve seen She’s All That, you’ve absolutely seen He’s All That, with a few differences that completely worsen this remake.
If MTV reality TV shows were the precursor to our decade’s “look at me!” culture through social media, He’s All That only exacerbates that feeling. Both characters are extreme egocentrics on both sides of the spectrum: Padgett wants everyone to look at her amazingly posh and luxuriant life (though, in reality, she’s actually poor and lives with her mother, played by Rachael Leigh Cook, who portrayed Laney in the original film), while Cameron wants everyone to look at how disconnected everyone is and how we’ve all become egotists, through our social media filters. So both characters are complete opposites, and their chemistry wouldn’t have likely worked in real life, but here we are, and the movie needs to make them fall in love. As they get to know each other more, Padgett begins to have legitimate feelings for Cameron, and our male lead starts to get out of his shell and become more open to the world. It’s a shame that both actors are quite dismal in their roles, as they can’t imbue natural charm, the same way Freddie Prinze Jr. did with Rachael Leigh Cook in She’s All That. Iscove’s film had its share of problems, but it had damn good acting in it partly because they had a legitimate talent for the film: Paul Walker, Usher Raymond, Kevin Pollak, Elden Henson, Dulé Hill, the list goes on. He’s All That contains TV movie actors and social media influencers who know how to put a façade through their posts but can’t look nor act convincing in a legitimate film.
The only actor that had the decency to care about the film is an extended cameo from Matthew Lillard (who played the obnoxious boyfriend/MTV influencer in She’s All That) as Principal Bosch, who shares the movie’s funniest lines. Watching Lillard having a blast on set is a thrill to watch, especially when this is his first non-animated Scooby-Doo role in a film since 2017. Unfortunately, his commentary on social media culture is a little too on the nose. Still, he at least addresses the problem with our own society: we’re too busy looking at our filters instead of making a legitimate human connection. COVID has made us lose sight of this goal, as we had to confine ourselves for a year in a half inside a bubble, but now we’re slowly getting out of it and learning what it means to connect amongst others person-to-person. If only the influencer-addicted audience who are watching this dreck could ever grasp that message…
Because the only thing Mark Waters enlightens throughout this 93-minute atrocity is Padgett’s epiphany, that maybe being an influencer is bad after all! You don’t say? After talking to her social media sponsor, played by Kourtney Kardashian (literally reading her lines through a cue card you don’t see) about preserving her image, you may think the movie is propagating the wrong message to gullible teens who eat up strangers’ so-called “perfect” social-media life, even though most of it is all a lie; and that Padgett hasn’t been doing herself any favors by photographing everything and putting her whole fake life on TikTok of all platforms.
The Kardashians’ insertion in the film showcases the number one problem of our “look at me!” culture: they have made millions of dollars endorsing products and promoting their posh lifestyle while looking down at the very people who are following them. Take a look at Kim’s private island trip post for her birthday, treating her trip as being “normal” and a “simple luxury” while boasting that she can have COVID tests with the snap of a finger and take her entire family on a private island just like that “where we could pretend things were normal just for a brief moment in time.” For Kim and the Kardashians, it’s normal to rent an island, fly a private jet and have these elaborate birthday parties because they’re rich, but for the average joe who is barely making ends meet and has struggled to either find a job or keep their mental health in check during the COVID-19 pandemic, it’s a slap in the face. Influencers are propagating a dangerous outlook on life and are constantly looking down at their audience while simultaneously saying, “LOOK AT HOW WONDERFUL MY LIFE IS!”
So, whenever you see Addison Rae, a real-life influencer, regret saying that her life as a TikTok personality showed her the wrong values, there is nothing genuine about her performance or plea because she’s portraying one of her multiple façades from social media. Of course, being a social media personality filled with a plethora of controversies, Rae will use the royalties she received from Netflix to promote the film on her diverse accounts, collecting more money and making more millions while looking down at her audience worships her and contribute to her success. This is what’s wrong with influencer culture. The number one thing wrong with modern cinema is that teenagers worship false gods who continuously use them to make more money and gain more sponsors for a cyclical goal of obtaining more royalties and success. At the same time, our social media-driven audience has lost sight of legitimate human contact and their relationship with art.
Mainstream cinema has no longer become an art form since it only cares about Intellectual Property and promoting derived products. It has become pure advertisements for social media personalities and better movies. When critics are aching or pleading for cinema to be better than the usual “content” we get, it’s because we know cinema can become better and start caring about the medium first and foremost, instead of the distractions. Free Guy was a distracting film, Space Jam 2 was a distracting film, and He’s All That is the most distracting film of the year. It does nothing to please fans of the original while simultaneously presenting a shamelessly manipulative commentary on influencer culture led by two protagonists who have no chemistry together and only care about themselves. And while She’s All That wasn’t great, it at least treated its audience with intelligence and cared about the medium of cinema and the power of acting. Paul Walker bringing his signature brand of natural charm is better than quite literally any actor in this piece of hubris. And the fact that He’s All That is trending at #1 on Netflix showcases that our cinematic culture is going backward and not forwards to more ambitious and creative projects. Let’s hope the trend will die as fast as it was born…
Brooke Markham and VyVy Nguyen in 'Shaky Shivers' (Cineverse)
If you thought that Sung Kang can only thrill you with amazing car stunts, then you are wrong. The acclaimed star is set to take you on an entertaining ride with his directorial debut titled ‘Shaky Shivers’.
The latest horror-comedy film marks the feature directorial debut of Sung Kang, renowned for his roles in the ‘Fast & Furious’ franchise and several other big projects. The movie stars Brooke Markham and VyVy Nguyen, with an ensemble cast including Jimmy Bellinger, Erin Daniels, and Herschel Sparber.
A still from ‘Shaky Shivers’ (Cineverse)
From the very beginning, ‘Shaky Shivers’ grabs hold of your attention with the comedic chemistry between lead actresses Brooke Markham (Lucy) and VyVy Nguyen (Karen). Their hilarious banter and dynamic friendship draw you into their world of magic, mayhem, and monstrous encounters. While a few other characters make appearances, the heart of the film rests on the shoulders of Karen and Lucy, whose relatable and believable friendship makes the story even more bewitching.
One of the best aspects of the film is how Sung Kang skillfully directs the title despite limited cast and limited settings. It still manages to keep audiences engaged and entertained. Kang also pays homage to classic horror films like ‘American Werewolf in London’ and injects fresh energy into the scenes while showcasing his comedic flair.
A still from ‘Shaky Shivers’ (Cineverse)
If you are one of those who enjoy unapologetically goofy and fun movies, ‘Shaky Shivers’ is undoubtedly a fun watch. Embracing its campiness, the film doesn’t try to be anything other than an enjoyable ride filled with supernatural elements. The characters have a helpful book of spells that they use to solve problems, which adds a clever and funny element to the story that will make you laugh..
While categorized as a horror-comedy, ‘Shaky Shivers’ leans more towards comedy than horror. However, don’t worry, as the supernatural beings like werewolves, zombies, and witches make their presence known throughout. The practical effects and impressive monster makeup, reminiscent of old-school horror flicks from the 70s and 80s, immerse you in a world of creatures and enchantment.
A still from ‘Shaky Shivers’ (Cineverse)
The plot of ‘Shaky Shivers’ escalates in an exciting and compelling manner, filled with unpredictable twists and goofy surprises. While it may not leave you terrified, the perfect blend of supernatural ambiance and comedic moments guarantees plenty of laughter and enjoyment.
In conclusion, ‘Shaky Shivers’ is a must-watch horror-comedy that delivers on laughs, friendship, and supernatural encounters. With its engaging storyline, talented cast, and Sung Kang’s impressive directorial debut, the film is a delightful addition to the genre. So grab a large tub of popcorn and take your family for this fun-filled ride.
Official posted of 'Sex Education' Season 4 (Netflix)
When the first season of Sex Education came out on Netflix in 2019, it felt pretty daring and exciting for everyone. While there were many shows about teenagers and sex, ‘Sex Education’ stood out because it talked about these topics openly and covered them in a pretty detailed manner. Without any guesses, the show became really popular and is now considered a classic on Netflix. For 3 long seasons, viewers have seen students of Moordale, and everyone around them, dealing with a lot of complications, but now, it’s time to say goodbye to some of our character as the Netflix series has returned for its fourth and final edition.
At the end of Season 3, Moordale Secondary School closed down. This means that Otis, Eric, Aimee, Jackson, Vivienne, Cal, and Ruby have to go to a new school, Cavendish Sixth Form College. Some of them fit in well, while others struggle. And while Otis tries to focus on his therapy work, he finds out that there are other young people who are experts on relationships and sex in town.
Gillian Anderson as Jean Milburn in ‘Sex Education’ Season 4 (Netflix)
One of the strengths of Sex Education is its diverse and inclusive representation. The show shines a light on various sexual orientations, gender identities, and cultural backgrounds, providing a platform for underrepresented voices. Season 4 continues to explore these themes, introducing new characters who add depth and complexity to the narrative. On ghe other hand, the only problem with Season 4 is that there are too many things going on at once. There are so many sub-plots that might distract you at times and make you feel that this story might have looked good if there was another season in pipeline.
Even then, the writing remains sharp and witty, creating relatable and genuine teenage characters who grapple with their own insecurities and desires.
Ncuti Gatwa as Eric Effiong in Sex Education Season 4 (Netflix)
The performances in ‘Sex Education’ Season 4 are consistently strong. Asa Butterfield brings vulnerability and charm to his role as Otis, portraying the character’s growth and maturity. Ncuti Gatwa shines as Eric, capturing both his strength and vulnerability as he navigates new relationships and personal challenges. Emma Mackey delivers a nuanced performance as Maeve, showcasing her character’s intelligence and emotional depth. Mimi Keene is stupendous as well and bring another layer to her character which was so nice to see. Meanwhile, Gillian Anderson does what she is best at: deliver another extraordinary performance.
Emma Mackey as Maeve in Sex Education Season 4. (Netflix)
On the other hand, Aimee Lou Wood continues to mesmerise us with her charm and simplicity. Directors should definitely look at her and give her a leading role soon because she deserves it. Another actor that is surely a star in the making is Anthony Lexa, who portrays Abbi in Season 4. Her performance adds an additional charm to the series and gives a hope to Trans actors that they can too achieve their dreams.
A still from ‘Sex Education’ Season 4 (Netflix)
The final edition tackles difficult topics with sensitivity and care, highlighting the importance of consent, communication, and understanding in relationships. The show’s ability to tackle these issues head-on without becoming preachy is a testament to its thoughtful storytelling.
While the final season of ‘Sex Education’ does have some pacing and narrative issues, the strength of the performances, the thoughtful exploration of important issues, and the show’s commitment to inclusivity make it a satisfying and engaging watch. It’s bittersweet to say goodbye to these beloved characters, but the legacy of Sex Education will undoubtedly leave a lasting impact on the television landscape.
Sex Education Season 4. (L to R) Mimi Keene as Ruby, Asa Butterfield as Otis in Sex Education Season 4 (Netflix)
In conclusion, ‘Sex Education’ Season 4 continues to deliver a standout and boundary-pushing narrative that explores sexuality, identity, and personal growth with humor and sensitivity. Despite some minor flaws, the show remains a shining example of inclusive storytelling and offers a heartfelt farewell to its beloved characters.
Some goodbyes are hard and this is certainly one of them.
Eve Hewson and Oren Kinlan in a still from 'Flora and Son' (Apple TV+)
Flora and Son, directed by John Carney, tells the compelling story of Flora, a single mother struggling to navigate the challenges of parenthood and find her own identity. Starring Eve Hewson as Flora, the film dives into the complexities of motherhood, relationships, and the power of music in bringing people together. There have been a lot of musicals in recent times that take a very complex route in telling a story, but Flora and Son is a bit different than all of them. The story is really simple and that’s what makes the film such a treat to watch.
The movie opens with Flora enjoying a night out at a club in Dublin, only to end up in a disappointing hook-up. Flora’s life is far from perfect, as she grapples with her troubled teenage son Max (Orén Kinlan) and a less-than-supportive ex-husband, Ian (Jack Reynor). Flora’s interactions with Max are often tense, filled with sarcastic banter and strained attempts to connect with him. As a single mother, Flora faces numerous hardships and setbacks, leading her to doubt her own potential. Her attempts to do right by her son are often met with indifference or resistance. However, a pivotal moment occurs when Flora acquires a guitar for Max, unaware that it will have a profound impact on her own journey. Flora’s decision to learn to play the guitar leads her to Jeff (Joseph Gordon-Levitt), a songwriter and teacher based in California. Despite the distance between them, their connection is palpable, and through music, they bridge the gap. Jeff encourages Flora to embrace her creativity and express herself authentically, unlocking a passion she didn’t know she possessed.
Eve Hewson in a still from ‘Flora and Son’ (Apple TV+)
The performances in Flora and Son are exceptional, particularly Eve Hewson’s portrayal of Flora. She effortlessly portrays a range of emotions, from humor and charm to vulnerability and raw emotion. Hewson’s nuanced performance brings depth and authenticity to the character, making her relatable and captivating. It will be a travesty if she is not spotted by a big filmmaker and gives her a chance to lead another extraordinary movie. On the other hand, Joseph Gordon-Levitt is soulful and gives a performance that is really enchanting. The chemistry between Hewson and Gordon-Levitt, even through virtual interactions, adds an extra layer of depth to their characters’ connection.
Carney’s direction creates an intimate yet heartfelt atmosphere in the film. The use of music as a driving force in the narrative is a testament to Carney’s storytelling prowess, showcasing the transformative power of melodies and lyrics. One of the film’s strengths is its refusal to tie everything up neatly in a predictable manner. Instead, Flora and Son choose a more realistic approach, leaving some loose ends and logistics unresolved. This choice allows the characters to continue their journey of self-discovery, leaving viewers with a sense of hope and possibility.
Eve Hewson and Joseph Gordon-Levitt in a still from ‘Flora and Son’ (Apple TV+)
In conclusion, Flora and Son is a touching exploration of a single mother’s journey to find her voice, both as a musician and as a parent. With exceptional performances and a thoughtful narrative, the film resonates with authenticity and emotional depth. Carney’s direction and the film’s emphasis on the transformative power of music make Flora and Son a standout family drama. The simplicity and innocence is what makes it such a heart-warming watch. This film will make your heart sing.