Comments on: Sorority Row

By: Jannet Sabha

Jannet Sabha — Wed, 28 Jul 2010 12:14:09 +0000

Interesting site dude Thanks

By: A Nightmare on Elm Street » Movie Monster

A Nightmare on Elm Street » Movie Monster — Tue, 11 May 2010 07:19:30 +0000

[...] grabbed the ball only to drop it. They’re too milquetoast even for the tawdry prankishness of Sorority Row; their biggest turnaround from the original is a halfhearted red herring that seems there merely to [...]

By: Daybreakers » Movie Monster

Daybreakers » Movie Monster — Thu, 21 Jan 2010 16:46:45 +0000

[...] like Twilight; indie gadflies like Shadow of the Vampire or Cold Souls; ghoulish giggle-fests like Sorority Row or From Dusk Till Dawn; and Rob Zombie’s psychopathic orgies. Ethan Hawke is not a big enough [...]

By: Ninja Assassin » Movie Monster

Ninja Assassin » Movie Monster — Fri, 11 Dec 2009 04:26:53 +0000

[...] at the blockheaded movie’s expense that you almost feel guilty watching this guilty pleasure. (In Sorority Row, you feel in on the joke; here, the movie is the butt.) McTeigue’s naïveté worked for V for [...]

By: Cold Souls » Movie Monster

Cold Souls » Movie Monster — Thu, 08 Oct 2009 16:22:28 +0000

[...] One friend said he could not reconcile the movie’s indie realism with its fantasy elements, but I don’t think there are any other ways to treat the material without betraying what it essentially is—a simple moral fable. If it were plopped down in, say, a Minority Report setting, the concept of soul-swapping would lose its obliqueness; the study of souls is such a queasy “science” that it’s better off left to the realm of complete fiction. The writer-director, Sophie Barthes, knows we can’t buy soul trafficking as a current trade, as popularized by a piece in the New Yorker; by placing this in the world of the familiar, she’s given us the distance we need to appreciate her metaphor. Her method is an index to her good humor, not her seriousness. (Similar concepts turn up as pseudoscience in The Lost Symbol, Dan Brown’s new page-turner, and I’m taken aback laughing each time they come up; these kind of conceits only work as pulp or poetry, and Dan Brown is no poet.) Eternal Sunshine of the Spotless Mind was a similar case; it can be summed up as “It’s better to have loved and lost…” But Charlie Kaufman has more of a Philip K. Dick temperament than Barthes; he’s dyspeptic, all right, but when he waxes poetic, it’s with a tricky tachycardia. Jumpy directors like Spike Jonze and Michel Gondry match his pulse. In Synecdoche, New York, however, writer-director Kaufman was victimized by his own volubility, and his ideas went kaboom. That’s the opposite of Barthes’s problem here. Her message echoes the sound, but tired, wisdom of everybody’s doting mother: “Just be yourself.” Cold Souls is a sweet, sincere little labor of love, but like most morality tales, it’s frail—a dream that fades when you rub your eyes, advice you shrug off before watching Sorority Row. [...]