Movie news on your iPhone today!
Advertisement
Coverage of what is truly interesting in the film world

TOP STORY:

Five Things The Matrix Got Right About the Future

Five Things The Matrix Got Right About the Future

erickohn
By Eric Kohn posted 8 months ago
  • del.icio.us
  • Technorati
  • Reddit
  • Ma.gnolia
  • YahooMyWeb
  • Facebook
  • StumbleUpon

I remember the first time The Matrix made sense to me. It was a sunny afternoon at a Seattle multiplex in 1999; I was about thirty minutes into watching the discombobulated world of existential musings and wacky technological discontent when suddenly the whole thing clicked: The red/blue pill polarity that divided truth and illusion, how the advent of thinking machines threatens our individuality, the epic battle between those willing to break down and understand the world in all its true colors and others willing to blindly accept it. A few months later, The Sixth Sense would leave me scratching my head for several days before I made peace with the final act twist, but The Matrix offered instant satisfaction. I left the theater energized, ready to challenge my own notions of reality and match Neo’s heroic ambitions as the One. Then I went home and played a video game in quiet solitude.

And so we arrive at the central paradox of The Matrix paradigm: Technology can set us free, but it also threatens to bind us from the real world. Today marks the tenth anniversary of The Matrix’s triumphant theatrical release (a special edition Blu-ray DVD hits shelves on the same day). A decade after directors Larry and Andy Wachowski established their fictional timeline for humanity’s enslavement at the hands of artificial intelligence, several of the movie’s predictions about our relationship to new media have started to come true.

At the time of its release, the dot com bubble was on the brink of bursting, the inventors of Facebook and Twitter were in high school, and some people thought the world faced imminent destruction from the Y2K virus. With The Matrix, the Wachowskis suggested that technology would indeed precipitate our downfall — although not quite so soon. Still, many of its imaginary conceits proved strikingly prescient. Take the following detailing of its accuracy as an exciting testament to modern progress, a harbinger of the apocalypse, or some unseemly combination of both.

…Read more

Sex Workers In Hollywood

Sex Workers In Hollywood

Lauren Wissot
By Lauren Wissot posted 1 year ago
  • del.icio.us
  • Technorati
  • Reddit
  • Ma.gnolia
  • YahooMyWeb
  • Facebook
  • StumbleUpon

I’ll never forget the thrill I felt reading Werner Herzog’s advice on how to become a film director, which boils down to skipping film school, taking up boxing, walking everywhere and working in a sex club. So where’s my Oscar, damn it?

Yet when Juno was delivered to theaters around the country I remember feeling nothing but outrage over the stripper-turned-screenwriter Diablo Cody hype. I found the film incredibly tedious (though in retrospect I was probably a bit hard on Cody’s writing in my review – after reading excerpts from the script I think I had a much bigger problem with Reitman’s directing), but I had an even bigger problem with the condescension surrounding Cody herself: Look, a stripper who can put together more than three sentences!

I often find myself in general sticking up for those who society deems “bimbos,” from muscle boys (most of whom are walking encyclopedias of anatomy and nutritional chemistry, if not exactly classic film connoisseurs) to sex workers (the majority savvy businesspeople), who are the exact opposite of their stereotypes, and often just a lethal combination of being incredibly intelligent and equally messed up. The condescension comes in the form of pity as well – “how sad for Courtney Love to have been a stripper” – as if the vast majority of the trade is made up of zombie sex slaves, not consenting adults who willingly chose their profession. As if it were always the industry of last resort.

In other words, Cody’s not the brainy, together exception even if she’s not the Academy Award-winning rule. You just don’t hear about “smart sex workers” because of the stigma attached to the oldest profession in the world. Cody was already publicly “out” as a stripper by the time she penned Juno thanks to her book, but most sex workers only make news in Eliot Spitzer-type scandal not art. Thus the myths remain firmly in place.

So today I’d like to follow up last week’s tribute to the valiant Eddie Izzard (who downplays the prurient aspect of cross-dressing by simply acknowledging it, thus demystifying it, thus transcending the taboo) by celebrating four more talented folks who have made the transition from sex industry to mainstream screen.

…Read more