Brent Lorentson

For a while now it has been accepted that cartoons are no longer for kids, and it can be argued that most of the popular animated shows now are more geared towards adults rather than kids these days.  I’ve grown up with The Simpsons, and I’ve enjoyed the run that Family Guy has had, but really these have been the only animated shows I’d consider myself loyal to.  Upon seeing some ads promoting Rick and Morty as well as hearing my friends talk about the show, I couldn’t help but think perhaps this could possibly be a new animated series I could get excited about. At first glance Rick and Morty seems like the perfected animated blend of Family Guy and The Simpsons, and for the other-worldly locations even Futurama.  The comparisons are hard to look past; after all, the family dynamic is just about the same, and the shows both are filled with their pop-culture references throughout, so what is that makes Rick and Morty stand out from the other shows?
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The argument about violence in entertainment has been going on for decades.  Groups have always wanted to point the finger at music, television, books, and movies for being the cause of violence or inciting crime, and typically the creators of this art are the ones being blamed.  In the 90’s I remember the uproar about how Natural Born Killers  was going to create a generation of serial killers but had people been paying attention to the film and how the violence of real life was being exploited, but by the media.  Then even Metallica and Marilyn Manson were thrown under the bus for “creating” murderers in regards to the infamous West Memphis 3, who were accused of murder simply because of the music they listened to. Then there were the Columbine shooters, who were guilty because of the music they listened to and the movies they watched.  Only recently does it seem that the finger-pointing has gone the direction where it’s deserved — towards mental illness.  That’s not to say that life doesn’t ever imitate art.
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Come Play is the most recent film to be expanded to feature length following a successful short project. With the moderate success of Lights Out, it’s no big surprise that a studio would want to take a chance on Come Play, whose short film, “Larry”, worked as a prototype for the feature it would become.  This kind of thing happens quite often with genre projects, but sometimes you have to wonder is there really enough story to expand a 5-minute short into a 90-minute feature.  Using the addiction to technology and its ever-expanding AI features, there is plenty of story to be mined from this.  Recently there was the update to Child’s Play that had AI technology seeking a new best friend it would kill to have, and in that film, Chucky was able to manipulate the technology around him.  Come Play somewhat takes the same approach but instead creates a boogeyman for the age of modern tech. Then factor in that it’s a film under the Amblin umbrella, a company that is responsible for Poltergeist, ET, and numerous 80’s and 90’s genre classics … well, it’s hard to not have some raised expectations.
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The Twilight Zone is simply one of those pop culture staples that everyone knows about even if they’ve never seen a single episode. Because of SYFY channel I’ve gotten to see the original show as well as the reboots that would follow. While I’m not as passionate about the anthology series as others, I certainly can appreciate its impact on the not just the sci-fi/horror genre but the history it’s had on television as well. I was curious about this new incarnation of The Twilight Zone, but I was less than enthusiastic about Jordan Peele being involved with the show.  As much as I’m a fan of Key & Peele, his foray into horror and sci-fi has left me more than underwhelmed. Being a fan of anthologies and with a little bit of curiosity, I went into Season 2 of The Twilight Zone with an open mind, and the result is a bit of a mixed bag.
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It’s not uncommon for actors to want to take that leap from being in front of the camera to taking on the mantle of being director.  There are some big names who have made that transition successfully. Ben Affleck, Mel Gibson, George Clooney, Peter Berg, and Clint Eastwood are some of the bigger names that I can name off the top of my head. For The Vanished, Peter Facinelli is adding his name to that list. So how does he fare in this low-budget psychological thriller?  While I wouldn’t put him in the same league as those previously mentioned, Facinelli does show some promise, but the film’s greatest weakness is its script, which Facinelli also is credited for writing.  This is one of those instances where I just wonder if someone else took a pass at the script how much the film could have improved, because this was a frustrating film to sit through.
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