By Roger Ebert
Roger Ebert's I Hated, Hated, Hated This Movie and Your motion picture Sucks, which amassed a few of his so much scathing stories, have been best-sellers. This new assortment maintains the culture, reviewing not just videos that have been on the backside of the barrel, but additionally video clips that he stumbled on beneath the barrel.
A terrible adventure of insufferable Length collects greater than 2 hundred of his experiences on the grounds that 2006 during which he gave videos stars or fewer. recognized for his fair-minded and well-written movie experiences, Roger is at his razor-sharp funny most sensible whilst skewering undesirable video clips. contemplate this opener for the one-star Your Highness:
"Your Highness is a juvenile excrescence that sounds like the paintings of 11-year-old boys in love with dungeons, dragons, warrior ladies, pot, boobs, and four-letter phrases. That this can be the paintings of David Gordon eco-friendly beggars the mind's eye. one in every of its heroes wears the penis of a minotaur on a string round his neck. I hate it whilst that happens."
And ultimately, the muse for the name of this booklet, the one-star Transformers: Revenge of the Fallen:
Transformers: Revenge of the Fallen is a terrible event of insufferable size, in brief punctuated via 3 or 4 a laugh moments. this kind of comprises a doglike robotic humping the leg of the heroine. for you to retailer your self the price ticket rate move, pass into the kitchen, cue up a male choir making a song the song of hell, and get a child to begin banging pots and pans jointly. Then shut your eyes and use your imagination."
Movie buffs and humor fans alike will enjoy this treasury of films so undesirable that you could be simply are looking to see them for an excellent chuckle!
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Additional resources for A Horrible Experience of Unbearable Length: More Movies That Suck
A character often becomes the target of an evil spirit by a mistaken belief in his or her ability to read the texts emitted from electronic devices that unexpectedly become conduits of spirits. Ringu’s sense of the horrific derives from the idea that a curse is disseminated through trans-media, such as Sadako crawling out of a television screen, a notice of death via telephone, and videotape functioning as a medium for transferring the curse to others. ” Like an epidemic spiral, the more these everyday technologies are diffused, the more the horrific spreads along with them.
19 The film also mimics “digital errors,” the now familiar innovations of electronic musicians and video artists. They “intentionally mess with the hardware: turning the computer on and off, or plugging the ‘audio out’ into the ‘video in,’ liberating the electrons to create random effects,”20 and they try to subvert or challenge already existing music or images with techniques 24 Mitsuyo Wada-Marciano such as “stutter,” repeating the same sound or image as if it is caused by a technical mistake, and “breakdown,” shutting down the sound or image abruptly.
A surveillance camera or its aesthetic is often used in works that are digitally shot, whether they are films or video art. Timecode (Mike Figgis, 2000) deploys four screens, continuously and simultaneously shot by four digital cameras. Dead End Job (Ryan Stec, 2003) uses the actual images from surveillance cameras and edits them into a hallucinatory collage. The device allows for an exploration of real-time recording, albeit to different effect than J-horror. A significant number of J-horror films use surveillance camera images to create a moment of shock through the intrusion of something extraordinary within the banality of the ordinary.