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writed by: Nate Gold
stars: Thomas Lennon
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Duration: 1hour 12 min
release Date: 2019
country: USA

After claiming seats for a screening of a horror movie theyre definitely not old enough to watch unsupervised, Ralph (Mason McNulty) the protagonist of Jack Henry Robbins VHYes, and his best pal Josh (Rahm Braslaw) have a pre-show confab about Ralphs current obsession. Ralph has a mildly unhealthy attachment to the gift his mom (Christian Drerup) and dad (Jake Head) bought him for Christmas: a camcorder, which he apparently brings with him everywhere and uses to record everything, whether late night TV shows, model rocket launches, or conversations with Josh. Its the 80s. Taping in a movie theater wasnt strictly verboten as it is today. But Josh considers Ralph obsession with filming the world around him, including the movie theyre about to watch, highly unfashionable. “You? Youre gonna film it, ” Josh says. “Me? Im gonna enjoy it. ” Ralph may be the lead in VHYes, but Josh is the hero. Robbins shot the film on VHS entirely, weaving interstitial skits into the overarching narrative, in which Ralphs love for his camcorder slowly unravels his world (figuratively) and reality (literally. He discovers, for one, that his dad is unfaithful: Raph and Josh catch him in the theater, shuffling his way to seats a few rows ahead with a woman who is not his mother in tow. He also tapes over his parents wedding footage with censored porn films and infomercials hocking bric-a-brac and inessential objects packaged as essential, and true crime documentaries, and ominous newscasts, each staffed with actors like Thomas Lennon, Kerri Kenney, Charlyne Yi, Mark Proksch, Courtney Pauroso, John Gemberling and, last but not least, Robbins own parents, Tim Robbins and Susan Sarandon. Robbins (Jack Henry, that is) has basically made a fourth entry in the V/H/S horror series, but by way of the Upright Citizens Brigade and Adult Swim: Think of the film as an extended cousin of Too Many Cooks, where parody gives way to weirdness, which gives way to surrealism, which gives way to genuine horror by the end. Bonkers as the combination sounds, and it is unimpeachably bonkers, the effect of their marriage is hypnotic. Thats probably Robbins intent. Just as Ralph falls into the abyss of crappy after hours public access television, so too does the viewer fall under the sway of Robbins living collage of a bygone era that, frankly, isnt that bygone after all. Josh thinks Ralphs videographing hobby is a distracting king bummer. When he says something about it, hes saying something for everyone in the 2020s whos beyond sick to death of watching jamokes take selfies when they buy a smoothie from Orange Leaf. Cursed words like “Facebook” and “Instagram” are never uttered in VHYes, for obvious reasons, but the movie reads like Robbins thesis that for as long as people have been able to self-document, theyve done so with relish: Ralph is the proto-social media junkie, bereft of outlets for “sharing” his daily exploits with strangers, but still possessed of a need to capture himself on camera as opportunity affords. In one of VHYes micro-plots, talk show host Todd Plotz (Raymond Lee) speaks to his guest, Rita Sternwig (Mona Lee Wylde) about her study of “VHS culture, ” and her belief that VHS owners exhibit symptoms of “tape narcissism. ” As Plotz smugly sums up for his fictional viewers, Sternwig thinks excessive filming can lead to “isolation, lack of sexual desire, headaches, and in rare instances, a complete psychotic break. ” By the end of VHYes, Sternwig is proven right, but long before then, Robbins point is made that life lived on either side of the camera is life not experienced. Is that a self-defeating argument for a filmmaker to pose? Perhaps. But Robbins is making art where Ralph is curating his existence, using the fuzzed-up quality of VHS as a filter for what he sees and does and even feels. Even when reality rears its ugly head and he begins to question his parents relationship, Ralph cant quite register what it all means. Thats the effect of the camera. Thats the effect of VHYes. Director: Jack Henry Robbins Writers: Jack Henry Robbins, Nunzio Randazzo Starring: Mason McNulty, Rahm Braslaw, Christian Drerup, Jake Head, Thomas Lennon, Kerri Kenney, Charlyne Yi, Mark Proksch, Courtney Pauroso, John Gemberling, Tim Robbins, Susan Sarandon, Raymond Lee, Mona Lee Wylde Release Date: January 17, 2020 Bostonian culture journalist Andy Crump covers the movies, beer, music, and being a dad for way too many outlets, perhaps even yours. He has contributed to Paste since 2013. You can follow him on Twitter and find his collected work at his personal blog. Hes composed of roughly 65% craft beer.

Ganz ehrlich ich kann Bojack Horseman überhaupt nicht leiden kann mir jemand erklären was daran so toll ist. VHYes. 2020. Directed by Jack Henry Robbins. Starring Kerri Kenney, Thomas Lennon, Mark Proksch, Courtney Pauroso, Charlyne Yi, John Gemberling, Mason McNulty, Rahm Braslaw, Tim Robbins, and Susan Sarandon. SYNOPSIS: This bizarre retro comedy follows 12-year-old Ralph as he accidentally records home videos and his favorite late night shows over his parents wedding tape. Jack Henry Robbins manic mixtape VHYes is an ode to 80s nostalgia, bittersweet endings, and absurd Adult Swim homages all captured on videocassette. The part anthology, part sketch comedy, part coming-of-age story is shot completely on VHS and Betacam. Fuzzy in appearance until tracking can pull optics into order, much like the films core narrative. What starts as disillusioned jokes roasting daytime television one might record for prosperity ends with unexpected purpose. A bit scattershot at times, but Robbins ensemble recalls mockudrama successes such as WNUF Halloween Special ? minus the spooks, dialed into societal warnings. Our protagonist is a young child named Ralph (Mason McNulty) obsessed with his familys new camcorder. His father asks to make sure a blank tape has been inserted, but we know Ralphs recording over his parents wedding video. Cut between remembrances of marital bliss are Ralphs adventures, fake television shows, and voyeuristic trauma. A pre-teens expressive escape becomes distorted by his projected emotions, as we watch scripted serials and Ralphs recordings begin to blur the lines of reality. All from behind the lens of a camera. At first glance, VHYes positions itself as a pure comedy. Kerri Kenney softly instructs home viewers how to paint à la Bob Ross as “Joan, ” Mark Proksch appraises items as Antiques Roadshows host “Teddy, ” Courtney Pauroso and Thomas Lennon speed-talk their way through bedroom woes as home shopping hosts “Tony V” and “Cindy” ? an array of funnymen and women mock cable access schlock. Quite humorously. Were talking pornos about illegal aliens and global warming edited to just the “enriching storylines. ” Sitcoms about laboratory clone siblings. Charlyne Yis basement rock show co-hosted by her parental figures. Drug dealer starter kits being sold on national broadcasting. Alone, these bits make up a humorous cavalcade of crude television characterizations worth enough entertainment value by themselves. Then things *really* get weird. As Robbins threads in Ralphs artsier nature shots and camera experimenting, we begin to pick up on cues between mother and father. Best friend Josh (Rahm Braslaw) stays rock-solid when Ralph suggests new plans ? exploding fireworks to investigating haunted houses ? as the duo distracts from whats zooming into focus. Were witnessing the dismantling of a relationship from Ralphs point of view, which becomes a somber undercurrent that warps intentionally juxtaposed comedy segments. “Shows” eventually start taking obscure turns, melding together, as the wedding video wraparound becomes this taunting ghost of happiness past (reminiscent to underseen indie darling Motivational Growth. Yet, theres deeper messaging still. Underneath Ralphs heartache, beyond Joans next instructional session (cooking, plumbing, sleeping, you name it) Robbins warns against permanently fixing our eyes onto a cameras viewer ? or, in modern terms, falling victim to the hypnosis of screens. An interview segment describes an oncoming affliction (remember, the film is playing as 1987) called “Tape Narcissism, ” which is caused by excessive usage of cameras that “may even be able to fit in our pockets. ” I never said VHYes was subtle, and it never has to be. Robbins thematically favors personal memories over filmed home movies, as woven into the impending breakup on-screen. Its a tricky tangle of intentions, and while some execute a bit cleaner than others, the son of Tim Robbins and Susan Sarandon (cameo watch) brings a unique voice to his frenzied found footage feature. As “Too Many Cooks” vibes transition into V/H/S horrors then into transfixing out-of-body treatments akin to Red Lobster short “Great Choice, ” Robbins somehow retains a sense of humanity. While Tony V bullies Teddy, or Joan paints “moistness” as her cartoon self dunks on Dennis Rodman, or workout show “Blast Off! ” ends with violent regurgitation. Chaos consumes, calamity keeps Ralph from embracing his problems, but its all unavoidable in the end. Ralphs journey is complete, somehow, despite the billion subplots created through channel surfing. At times, VHYes feels like flipping through a TV Guide written by Mad TV staffers. Other glimpses are that of a sincere look into unexpected change and lifes unsuspecting blows. Further yet, Jack Henry Robbins begs us to throw our phones into a lockbox every so often in hopes well see the beauty of simple moments, unfiltered or touched-up by digital enhancements. VHYes can overwhelm, like a sensory bomb blasting subplot shrapnel every which way. Still, in concept and production, I respect this crazy little slice of personal growth that sticks to its old-school identity without sacrificing meaningful catharsis. Flickering Myth Rating ? Film: ★ ★ ★ / Movie: ★ ★ ★ Matt spends his after-work hours posting nonsense on the internet instead of sleeping like a normal human. He seems like a pretty cool guy, but dont feed him after midnight just to be safe (beers are allowed/encouraged. Follow him on Twitter/Instagram/Letterboxd ( DoNatoBomb.
VHYes Reviews Movie Reviews By Reviewer Type All Critics Top Critics All Audience Page 1 of 2 February 3, 2020 Throughout, VHYes" laces its nostalgia with bitter poison, reminding its audience that even in the carefree couch potato days of 1987, the end-times always loomed. January 30, 2020 Uneven retro comedy has lots of sex, drug humor. January 27, 2020 A skit-filled 'Kentucky Fried Movie' like takedown of kitsch 1980s media culture develops into a far more prescient and surprisingly moving satire. January 23, 2020 The amusing but initially disposable sketch format gathers momentum and a series of mini-threads emerge. January 21, 2020 VHYES is one of the most unique films I've seen in quite some time and it's a film I could watch over and over again. January 20, 2020 VHYES is a look back at a specific and odd time where UHF was a wasteland and people were just beginning to have an interceding presence between them and experiencing the moment, full of pinpoint period accuracy and lots of perfectly bizarre bits [VHYes] in all its throwback glory frustrates and amazes in equal measures as a genre mind-bender - connecting unrelated events into a mixed-bag of goodies. January 20, 2020... keep waiting for that moment where we can start to laugh along with the filmmakers. Sadly, it never comes. It's not grade A comedy, but I respected it for being so flat out bizarre. January 18, 2020 Nostalgia mixes with absurdity here, and somehow, it works. In particular, the way Robbins throws in some commentary and satire elevates things. Weird experimental film, that's not for everyone. This is a movie that is really just a stream of consciousness, experimental, Robot Chicken-style collage. January 17, 2020 VHYes is not for mainstream tastes, there really are no production values to speak of, but the aesthetic is sublime. Those of a certain age will find this retro comedy hits a certain nostalgic sweet spot, even if its fragmented nature becomes frustrating. Weird and creepy and funny and an exceptional social commentary on our society. In keeping with its punning title, this is ultimately a very positive film about our transitory relationship to time. It helps that it is also a hilarious hoot and a half, and full of generous, endearing charm. VHYes breaks the biggest rule of parody, over and over again: it simply tries way too hard with material that's far too easy. This is pretty thin stuff, written with medium-watt inspiration at best and acted by performers variably able to make it seem better than it is. January 16, 2020 [T]he real problem with VHYes may be that its two modes don't work well together. Robbins has a niche audience he's looking to appeal to, and he succeeds in recreating the strange planet of the late '80s with cheek, intelligence, and heart. Page 1 of 2.
10 MINUTES? Y'all just need to say, f #ck it and just stand still there. I watched this film today and wow it was hilarious. Just be aware of the accents lol. Edit Storyline 12-year-old budding home video director Ralph begins accidentally taping over his parents' VHS wedding tape. As he overwrites the magnetic echoes of their pre-Ralph past, he commemorates his love affair with the format by using the versatile tape to make new memories of himself with his parents while also employing it to tape eccentric pioneers of late-night cable television. Shot entirely on VHS. Written by Mae Moreno Plot Summary, Add Synopsis Details Release Date: 31 January 2020 (Canada) See more ?? Box Office Cumulative Worldwide Gross: 45, 391 See more on IMDbPro ?? Company Credits Technical Specs See full technical specs ?? Did You Know? Trivia The film was shot entirely on VHS and Betacam. See more ? Connections Edited from Painting with Joan ?(2017) See more ?.
This bizarre retro comedy, shot entirely on VHS and Beta, follows 12-year-old Ralph as he accidentally records home videos and his favorite late-night shows over his parents wedding tape. Nothing can truly prepare you for “VHYes. ” I missed it at Fantastic Fest and that was one of my regrets since everyone walked away talking about this movie. The film follows Ralph (Mason McNulty) when his parents give him a video-cassette recorder for Christmas. We follow Ralph as he records adventures with his friend Josh (Rahm Braslaw) the TV shows he watches, and tiny hints of his parents rocky marriage. The film could easily settle for a bizarre series of parody 80s TV shows, but it aims for loftier ambitions. The ending, which I cant exactly describe, delivers something strong as the sum total of its parts. Equal parts comedy and heartfelt drama, “VHYes” is a successful experimentation of form as well as function. So much of this movie rests on the shoulders of two child actors. Not only do McNulty and Braslaw deliver pitch-perfect performances, they also do it in the raw 80s aesthetic of the entire film. In other hands, it would feel saccharine or juvenile but their performance helps contextualize the endless channel-switching throughout the movie. Were given a glimpse into Ralphs mind through the late-night TV he records on his camera. They never have to go to extremes and ultimately get to play a whole lot, but they carry the movie so well. In one of the few dead serious moments, we get a powerful glimpse into their tiny minds even though they say very little. The sketches on the TV play like extra bits from Tim Robinsons “I Think You Should Leave” as they drip with oddball humor and dry wit. They bounce between lampooning Bob Ross, startling chemistry between two hosts on the shopping channel, and a “guess what this is” format so simple it cant help but garner a laugh or two. It helps that the actors in the sketches run like an A-list of comedy geniuses: Thomas Lennon, Charlene Yi, Kerri Kenney, Mark Proksch, and even some subtle cameos from Susan Sarandon and Tim Robbins. The whole thing comes together smoothly by tying into the loose narrative of Ralphs childhood. We see him singing the songs hes watched on TV and playing with his toys. We watch him grow up and develop a sense of his brain by basically watching TV alongside him. In the tidbits we get of his parents potential divorce, the film finds its heart and transcends beyond being just a lo-fi sketch comedy show. Truly, it goes way beyond that in the last twenty minutes as television and reality blend together. Were left with a phantasmagorical sprint through all the TV we just watched. I heartily recommend this film for all viewers. Its got heart. Its got laughs. Its got childhood innocence on its mind. Stick around for the credits too! Youre gifted a short window into the production of the film. Go watch this film in all its lo-fi glory! In Select Theaters Sunday, January 12th.
ANTIFA the movie????♂?. I got the ad for Combat Obscura on this video kek.