1/6/2024 0 Comments The space in between imdbTo impress the A.I., Brian buys a ton of expensive stuff, only to have it repossessed, prompting a concerned Stewie to build a body-swapping device - he'll place his personality into Brian's body and get his life under control. In "Switch the Flip," Brian Griffin, ever the desperately lonely and deluded ladies man, falls in love with Brandee, the voice of an Alexa-esque smart speaker. In the episode's other storyline, Joe Swanson becomes Quahog's sole active police officer after unhinged Mayor West sends the rest of the force to Colombia to search for the kidnapped woman from the '80s movie "Romancing the Stone." Peter, Cleveland, and Quagmire thus step in to become temporary (and incompetent) cops. They make out a little and Brian moves on, but Meg grows obsessed, cured of her inappropriate crush only after a surprisingly earnest heart-to-heart with Quagmire. Brian gets extremely drunk at the prom and unleashes a barrage of putdowns so cruel and accurate to Meg's bully that Meg falls in love with Brian. Meg can't get a date for the junior prom, and Brian, in a rare moment of sympathy, offers to take the person who is essentially his sister to the dance. Spenser Willden is the culture editor at the Daily Lobo.Meg Griffin is almost always the butt of the joke and the target of seething derision on "Family Guy." In the 2006 episode "Barely Legal," Meg gets to be the star of the episode, and viewers realize the darkly funny depths of just how starved she is for attention and affection. Come in with the trailers under your belt, and you’ll be pleasantly surprised with a perfectly fine night at the movies. Be prepared for an ambling-sort of film - not frightening or funny enough to fully fall into either camp, but enough of both to justify itself to its audiences. This movie, while better than I was expecting, was still lacking in a lot of areas, but all in all, it’s worth checking out. In classic slasher fashion, your eyes only tell part of the story. The camera is hyper-cognizant of what light is coming from where, so through the survive-the-night section of the film, I’d recommend viewers pay close attention to the lighting, both diegetic and nondiegetic, while trying to notice the things the camera barely shows you. Still, though this is only Reijn’s second feature, there are times where she shows great utilization of film’s visual language. It not only obscures the audience’s senses, but the script’s structure as well, especially in the middle of the second act when the characters’ movements through the house felt unmotivated - wanderings and separations designed only to provide opportunity to raise the tension. Though the camera work was as obfuscating as one would expect from what might be described as a chamber slasher, there were moments when the lack of contrast became almost too overbearing. Unlike “Scream,” the solution was evident by the second or third gorey execution, and as the misdirections gathered, they felt just like that - obvious misdirections. Though many have lauded the twist ending, it felt like it undercut the promises of both genres far too much. Unlike the quintessential slasher-whodunnit “Scream,” “Bodies” finds pleasure more in the idea of a mystery than in actually setting up compelling questions. “Bodies Bodies Bodies” exists in a space between slasher and whodunnit. Though the first act suffers from what is clearly the voice of a screenwriter who is not part of Gen Z (Sarah DeLappe) ringing clear in the Gen Z dialogue, the satire grows sharper and more vivid as the titular bodies begin to pile up, reaching a pitch-perfect high point in the bloody third act confrontation between four of the survivors. The satire in this film works far better than the trailers would suggest. Though “Borat Subsequent Moviefilm” standout Bakalova also delivers a strong performance, it’s dampened by a lacking chemistry between her and Stenberg. It’s clear Sennott’s strength in “Shiva Baby” was no fluke - this is an actress and comedian to watch. The four women who make it furthest in the film give by far the strongest performances, particularly Rachel Sennott as Alice, a vapid, drug-addled podcaster Sennott shows a clear understanding of the source of the satire more than any other actor in the cast. As the night gets bloodier and the ensemble gets trimmed, the performances get stronger - it helps that Pete Davidson’s phoned-in “David” is the first to go. The performances in this film are exactly what one would expect from watching the trailer: broadly disappointing, but showing real strength in parts.
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