It’s the year 2023. Unnoticed by the rest of the world, a small group of artists, enthusiasts and academics celebrate a 100 years of 16mm film. Meanwhile, the TV tube, the eponym for YouTube, but now incapable to receive even a single frame of moving image, has become a mere fetish for retro fans. Gone are the days when one could be lulled to sleep at night by the soothing white noise. But the echoes of neoliberal wisdom from the 80s and 90s will continue to reverberate in the ether forever...
As noted in the headline, I didn’t like this movie. Not to say it’s the worst thing ever, but it’s just…meh. Nothing much to it. Very generic. No surprises. At the very least, the cast is diverse so I’ll give it that.
These confines won’t really encourage you to read the film as a metaphor for the nerve-inducing experience we’ve all been through over the last year, however — and in the interest of maintaining your dignity, you probably shouldn’t. While the sociopolitical commentary may have worked for the similarly-themed Buried (2010), in which we find Ryan Reynolds on his own buried alive in the Middle East, but this futuristic take on the premise is best left as a piece of distracting entertainment. Nevertheless, the atmosphere is no less suffocating, literally and dramatically.
Most movies give you their point upfront, while others make you think it’s about a specific topic, then reveal that the story is about something else. Pink Lady belongs somewhere in the middle of those two categories.
After two months of refusing to see this movie, I have decided that it’s finally Morbin’ time. After its re-release as a box office bomb; I watched it just to laugh at it. But, I was also surprised, because 'Morbius' is a queer allegory.
The newest in a long line of Cinderella adaptations, Amazon’s Cinderella (2021) prizes girlbossification above the very story it tries to adapt.
“Reboot” can be crass and has much room to improve, but with investments of time and care, could flower out of the seed of a vision.
