Peter Snyder

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Movie online vhyes imdb. Movie online vhyesh. A movie about a wave ? and title of movie name is the wave great job ?. | Nick Allen January 17, 2020 A sense of humor is a funny thing, especially for those of us who treasure the weird stuff. When something that's "out there" works, it’s true love. When it doesn’t, it’s like a bad date that had huge promise until it got underway. Jack Henry Robbins'?“VHYes, ” with all of its nostalgia for late ‘80s TV and its endemic cheesiness, follows after the likes of Weird Al Yankovic's masterpiece " UHF, "?Casper Kelly's endlessly loopable opening credits hellscape "Too Many Cooks, "?and even the Kyle Mooney skits that are "cut for time" on "Saturday Night Live. " And while I adore all of those polarizing works, I didn't see what was funny about the shallow wackiness of "VHYes. " Advertisement Shot entirely on VHS and Betamax, the whole of "VHYes" is presented as the contents of a video tape, which was initially used to film the wedding for the parents of a young boy named Ralph ( Mason McNulty). When Ralph gets a camera for Christmas in 1987, and learns that he can record from the TV, it opens a world of possibilities. Namely, whatever he can find on the TV that is weird to him at the time. In one of its many abrupt, fuzzy cuts, an excited young Ralph jumps on his bed and?says that he wants to create the ultimate video playlist, and soon into watching “VHYes” you accept that that’s all you’re going to get. Instead of feeling like the chaos of a found tape, “VHYes” assembles itself like a series of?sketches that it can bounce between, with random peeks back at the original wedding video contents; it struggles to have a heart?by intermittently making it a story about Ralph realizing the truth behind his parents' marriage. Some sketch set-ups are directly, lazily recognizable to TV history: one cop parody steals the red and blue text from “Law and Order” because you wouldn’t get that it’s meant to parody if it didn’t have that logo. As if a tell on its weak absurdity, "VHYes" has yet another parody on TV painting instructor?Bob Ross (even after Deadpool did it), with a segment starring Kerri Kenney, who?turns the zen of such a host into the mindset of a creepy person who believes in aliens. The very nostalgia within the concept becomes a pit, even when “VHYes” threatens to get truly weird. It’s not until the final minutes that the movie taps into the reality-bending that had been hinted at earlier, when Ralph started to see himself in the stuff he was watching, after one segment involved a VHS expert talking about the soul-suck that will be handheld recording in the future. Many parody sketches don’t have a discernible reference to build on (the recognition is what makes it initially funny), and instead rely on a shallow cheesiness. Even though "VHYes" features many dynamic funny people like Kenney, Thomas Lennon, Mark Prosch, Charlyne?Yi, and Robbins' parents ( Tim Robbins and Susan Sarandon), many of?the characters in these sketches are so broad they aren't particularly clever. “VHYes” breaks the biggest rule of parody, over and over again: it simply tries way too hard with material that’s far too easy. That’s the case with an adult film bit that goes for low-hanging fruit of bad acting, as one guy is poorly reading cue cards in a late night movie about three alien women. Or there's an ongoing true-crime show about how a sorority thought one of their sisters was a witch because she did magic, which is a funny premise given a flat?execution. The commercials that are thrown in the mix, like about a violent security company, or pads to sound-proof your bathroom, are like random splatters of paint whose only intention is to fulfill the project's obvious?self-amusement. While “VHYes” is very much inspired by the?media experience of?1987, it’s actually about a very modern hell: Your friend sits you down to show you something really funny on YouTube, but oh, no?they’ve misjudged your sense of humor. Now you’re stuck, watching all of it,?trying to find something funny to offer a polite relief. I started to feel trapped by my obligation to watch something that could very well have been my type, but now I’m just grateful the filmmakers of “VHYes” didn’t watch me watch it in laughless silence. Reveal Comments comments powered by.
Movie online hayes songs. Im from Buffalo and this doesnt even look like Buffalo lmao. It wasnt even filmed here. It was filmed in Toronto. The most we get is a Bills reference. Was this filmed and/or set in Michigan? I know Faygo when i see it. Get brand Rogers on the show. Ich wollte einfach mal danke sagen für dieses geile Format. Ich freue mich jede Woche aufs neue, wenn ich sehe, dass eine weitere Folge hochgeladen wurde. Ich hoffe, ihr macht mindestens die 1000 Folgen voll.
Movie online hayes movie. Movie online hayes theater. New movie: meh Hugh Grant aka huge grant is in the movie: say again. MOVIES 5:38 PM PST 1/15/2020 by Nate Gold/Oscilloscope Laboratories A hipster-retro 'Kentucky Fried Movie' with a phantasmagoric twist. 1/17/2020 Jack Henry Robbins, son of Susan Sarandon and Tim Robbins, looks at the world through a short-attention-span montage of faux '80s television clips. Is it just an Eighties-drunk exercise in pastiche, or perhaps an experiment in slow-burn psychological horror for the Adult Swim crowd? Could it even be a disguised indictment of a generation that sat watching infomercials and dopey porn while its democracy passed the point of no return? Jack Henry Robbins' VHYes is a bit of all that, poured into a form that begs for midnight-movie consumption. The son of Tim Robbins and Susan Sarandon, Robbins briefly enlists both parents onscreen here, while relying more heavily on a small array of comic performers familiar from TV. Though hardly groundbreaking in either its content or its aesthetics, the film is more serious than it initially lets on, and can only benefit from the VHS nostalgia that has, often irrationally, taken root in some quarters. Shot entirely on VHS and Betamax, the pic's conceit is that it is the result of a Christmas gift whose recipient should have been more careful: When pre-teen Ralph (Mason McNulty) starts experimenting with his family's new video camera in December 1987, he unwittingly uses the tape of his parents' wedding as he runs around filming everything from fights between his dinosaur toys to his attempts to shoot off fireworks with best pal Josh (Rahm Braslaw). (Those who've actually used a camcorder may wonder how he managed to leave big swaths of wedding footage intact while recording stuff before and after; the not terribly-offensive cheat is necessary to support a theme the film will eventually get around to. ) Very quickly, Ralph realizes he can use a cable to record what's on TV; he plugs in and records a spree of channel-surfing that is hardly dictated by the merits of whatever happens to be onscreen. The clunky programs we witness sprinkle familiar faces among actors who look like they were plucked from the actual period. Thomas Lennon plays the co-host of a TV shopping network, currently hawking a Confederate Army memorial pen; the inimitably nerdy Mark Proksch plays an expert on an Antiques Roadshow -like program who explains the suspiciously bizarre origins of ordinary-looking artifacts. We see aerobics classes, nightly news and cop shows. We sit in on a Bob Ross-style painting tutorial that gets less Bob Ross-like with each passing minute. Its host Joan (Kerri Kenney) doesn't only host Painting With Joan, but stranger programs, like the unsettling Sleeping With Joan, which is pretty much the opposite of the gently wholesome Joe Pera Talks You to Sleep. While Joan and others give things an air of drug-addled discomfort, some program snippets contain hints of a more clear-eyed world view. The perfunctory scripts of porn films we see are built not around hunky cable-repair guys or pizza-delivery dudes, but scientists researching global warming, or blonde lesbian aliens who are forced to navigate American attitudes toward illegal immigration. Stranger and more on-target is a current-events talk show whose guest starts expounding on "Tape Narcissism": a phenomenon of indiscriminate self-documentation she feels will lead its victims to psychosis. To the show's host, her predictions sound so hyperbolic as to be insane; to us, she's describing the age of social media. So it goes, with occasional clips in which Ralph documents bits of domestic discomfort he doesn't quite understand. Viewers who stick with the ADHD skit-like material will be divided about whether this familial theme ties things together satisfactorily ??and about whether sticking to a single target, a la Between Two Ferns, makes more sense for those who would mine clunky idioms for laugh. For those on the fence, a detour into found-footage horror will only complicate the question. Production company: Hot Winter Films Distributor: Oscilloscope Cast: Mason McNulty, Rahm Braslaw, Kerri Kenney, Thomas Lennon, Mark Proksch Director: Jack Henry Robbins Screenwriters: Nunzio Randazzo, Jack Henry Robbins Producer: Delaney Schenker Director of photography: Nate Gold Production designer: Tyler Jensen Editor: Avner Shiloah 72 minutes.
LSD - The Movie. Movie online hayes park. Movie online vhyess. Movies online hiest huracain. I recently saw VHYES in theaters. It's a movie about two boys -- aspiring GreggHeads -- messing around with a VHS camcorder, recording themselves as well as dubbing content from TV. The format reminded me of Kentucky Fried Movie (running time: 83 minutes. ) MarkHeads should be aware that while Mark Protch appears as the host of his own show in the movie, he's bullied by one of his guests. Poor Mark just can't catch a break! I'll give it five bags, plus a little camcorder so you can record your own movies.
Warden: You can't escape here. Daniel Radcliffe: Bombarda Maxima. Photo: Oscilloscope Laboratories Anyone who’s ever plummeted down the rabbit hole of after-hours television knows there’s a goldmine of unintentional comedy waiting at the bottom. But it’s not as easy as Adult Swim makes it look, clowning on this twilight zone of programming. The challenge is that some of the funniest things you might stumble upon in the wee hours of the night/morning?infomercials, public-access talk shows, grade-Z movies?already sort of function as parodies of themselves, to the point where adding an overtly comedic spin can feel like overkill, neutralizing the pleasures with too many winks and nudges. There’s certainly an excess of self-awareness in VHYes, a funky new found-footage comedy that devotes long stretches of its skimpy running time to spoofing insomniac-courting content, specifically of the late 1980s. Director and cowriter Jack Henry Robbins gets some of the sonic-visual language right?the font choices, for example, are mostly perfect. But he also gilds the lily a little too often, punching up his tributes with ostentatious appearances by comedy ringers and absurdist punchlines. It’s a bit like putting a hat on a hat. Robbins’ nostalgia extends past the weirder graveyard-shift time slot fillers of the late Reagan years, to one of their burgeoning technologies. As its title teases, VHYes is also a tribute to VHS?namely, to the moment when access to commercial camcorders turned the whole country into amateur documentarians and exhibitionists. Set over the week between Christmas and New Year’s of 1987, and mostly shot on its eponymous format (there’s some Betamax, too), the film adopts the narrative framework of a video diary. Twelve-year-old Ralph (Mason McNulty) uses the new family camera both to capture his own adolescent hijinks and to record some of the stuff he finds on television. Very early on, we learn that the tape he’s using is, whoops, his parents’ wedding video; as in Cloverfield, there are little blips of romantic bliss spliced throughout. These turn increasingly bittersweet as it becomes clear, through Ralph’s footage, that his mom and dad are growing apart, their marriage collapsing on the periphery of the frame. Although this storyline provides VHYes with some bare-bones pathos, most of the movie is, again, made up snippets of fake TV, from an amusingly violent commercial for a home-security system to the kind of zero-budget basement music-buff showcase that SNL lampooned with Wayne’s World. There is, in general, a sketch-TV quality to the project, which grew out of a pair of unrelated short films?one an outrageously phony porno, the other a Bob Ross-style painting show, both included and expanded here. Some of the styles of programming are more convincingly replicated than others, and as with most omnibus comedy, mileage may vary on the actual jokes: To these eyes, Thomas Lennon as a slimeball QVC host making barely coded sales pitches to drug dealers is pretty funny, while the aforementioned softcore spoof overplays the bad acting of erotica? a prime example of the film exaggerating something that didn’t require exaggeration. Meanwhile, some of the target demo of ’80s-era pop culture archivists may balk at the anachronisms, like an Antiques Roadshow parody a full decade ahead of schedule and a string of f-bombs that never would have made it to air. Also, what’s with stopping the movie cold to let Weyes Blood, who wasn’t even alive in ’87, perform an entire song? Robbins, son of Tim Robbins and Susan Sarandon (both cameo, naturally), does have a message to shoehorn in: He sees the dawn of the VHS heyday as the first glimmer of our current age of “tape narcissism, ” portending an era that’s already arrived, a dark present-future when the “real world will exist to be filmed. ” Is that a valuable counterbalance to his retro fetish or just a hypocritically didactic point to make in a comedy built on nostalgia for a childhood spent behind and in front of the lens? Either way, the real problem with VHYes may be that its two modes don’t work well together. There’s a modest, sweet film here about a boy starting to process his parents’ impending divorce while just goofing off with some new tech; never is the movie more charming than when simply presenting the mundane subjects of his filmmaking curiosities: a spider web, a watermelon feebly smashed, a firework lit but unsuccessfully caught on tape. (One of Robbins’ better running jokes is Ralph’s failure to know when the camera is on or off. ) Unfortunately, this handheld coming-of-age story is frequently interrupted by variably convincing stretches of channel surfing, as though someone recorded over much of the former with the latter. And even with pros like Charlyne Yi and Kerri Kenney lending their deadpan chops, real weird TV is funnier. Weirder, too.
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