For decades now, the stigma surrounding horror has encompassed similar disdain to lower forms of entertainment all together, some media research even comparing the pleasures these films give us to the seedy and singular experience that pornographic films denote. Then, in recent years, we’ve been given regurgitated remakes, gratuitous gore-nography and trite torture porn.
With this month’s hilarious comedy Neighbors, starring Seth Rogen and Zac Efron, and next month’s 22 Jump Street (the sequel to 2012’s hit, 21 Jump Street), starring Jonah Hill and Channing Tatum, my friends and I began to notice a kind of trend emerging. The duos at the forefront of these films exhibit a kind of hot guy/goofy guy dichotomy— a sort of binary between a traditionally funny actor and an actor who is, traditionally, considered eye candy.
When I was in Berlin, Germany for a few months last spring, I wasn’t sure what to expect when it came to movies, despite my understanding that Berlin has always been, to varying degrees over time, a major European film hub. I was there for the Berlinale International Film Festival, and there were art house cinemas all over the city as well, showing everything you’d expect an art house movie theater to show regardless of location, really.
Everyone has that one movie that changed their life first. Even if many films thereafter astound, mesmerize and enchant you, you’ll always remember the first that made you capable of even seeing other films in those kinds of ways. For me, Eternal Sunshine of the Spotless Mind, released in March of 2004, is that very film. When I first saw it, I didn’t necessarily get it—I understood it to some degree, but I didn’t get it, and yes, there is a difference. But, it hooked me somehow; it hypnotized me in a way that no other film had up until that point. It begged me to watch it again, and again, and again.