Review VHYes for macos x

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• Writers: Nate Gold
• Genres: Comedy
• Synopsis: VHYes is a movie starring Kerri Kenney, Thomas Lennon, and Mark Proksch. 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
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• Jack Henry Robbins
• year: 2019

I hope we will see Time Robbins return for future adventures. Review cheesecake factory. Review vhs to dvd converter. #VHYes HD 1080p [VHYES`Series`for`Free`Online] VHYes The website]… (Watch VHYes Full Movie Online Free Streaming.

Tom is like a mustache only version of Robert Downey jr. An engaging absurdist VHS collage which also features the directors parents, Tim Robbins and Susan Sarandon Dir. Jack Henry Robbins. US. 2019. 90 mins Deliberately scattershot and naïve, this engaging, absurdist collage, shot entirely on VHS tape, smuggles a serious message beneath its 80s poodle-permed public access television pastiche. Its Christmas, 1987, and 12-year-old Ralph has unwrapped a state of the art video camera. He grabs the nearest tape (his parents wedding video) and starts recording. His subjects – forbidden late night television, his best friend, his parents fracturing marriage – are disparate. But gradually, the seemingly random elements thread together and something loosely approximating a plot appears. An unexpected left turn in the final act, from wry comic nostalgia into genre, is less successful than the endearingly clunky recreations of workout videos, advertising, shopping channels and oddball amateur TV oddities. The chipper found-footage structure and skittering editing which reflects the attention span of a 12-year-old boy means that the picture never drags The first feature from Jack Henry Robbins evolved out of two short films, Painting With Joan and Hot Winter: A Film By Dick Pierre, which premiered at Sundance in 2017 and 2018 consecutively. It is tailor-made for festival audiences: the combination of its affectionate use of lo-fi VHS filmmaking technology (presumably the first brush with homemade cinema for many audience members) and its nod towards todays culture of obsessive self-documentation will make for an appealing program addition for festivals after the film has its international premiere in Rotterdam. Too quirky and slight to generate much momentum theatrically, the presence in the cast of comedienne Charlyne Yi, Mark Proksch ( The Office, What We Do In The Shadows) and Robbins parents Susan Sarandon and Tim Robbins might provide a marketing angle. The erasure of the wedding video, choppily obscured by the kind of cultural ephemera that a pre-teen boy might find attractive, has a certain poignancy. Through the glimpses of footage that Ralph captures of his parents, it becomes clear that the marriage is struggling. We hear muffled late-night recriminations as Ralph hides the camera under the bed covers, trying to conceal the fact he has been taping softcore porn from the television. This is the most significant of the story strands which gradually cohere over the course of the picture, as the amusing but initially disposable sketch format gathers momentum and a series of mini-threads emerge. A toxic relationship between two formerly married shopping channel presenters deteriorates live on air; the gauche host of a front room music show, Interludes with Lou, has a real-time lesbian awakening; the banal public access show Painting With Joan reveals an unimaginable darkness in the soul of Joan (Kerri Kenny, great fun) the chintzy middle-aged lady who keeps “lucky bones and hair” in her bedside cabinet, “to keep the night terrors away”. The chipper found-footage structure and skittering editing which reflect the attention span of a 12-year-old boy means that the picture never drags, but neither does it achieve much in the way of depth. Perhaps the most interesting element is the suggestion that VHS was the starting point for a cultural shift. Ralph records a brief clip of a televised interview with an author who has researched the impact of home video use and discovered “tape narcissism”, a pathology of the home video user which will eventually alter their relationship with reality. “Its the beginning of something very frightening. The world will exist to be filmed. ” But then Ralph loses interest and tapes a global warming themed porn movie instead. Production companies: Hot Winter Films International sales: Yellow Veil Pictures, Producer: Delaney Schenker Screenplay: Jack Henry Robbins, Nunzio Randazzo Editing: Avner Shiloah Cinematography: Nate Gold Production Design: Tyler Jensen Music: Eric D. Johnson Main cast: Mason McNulty, Rahm Berkshaw, Kerri Kenny, Charlyne Yi, Courtney Pauroso, Thomas Lennon, Mark Proksch.

He looks like a young Ron Swanson. So proud of him omg. His acting is top notch. He can do anything 😭❤🙌. My childhood favorite. Review vhs to digital converters. Review hypespeed shock. That would be the fastest 10 minute run in their life. Main guy looks like a Norwegian Darryl Dixon. By definition, sketch comedy is short-form. Sketches tend to be a few minutes long, featuring self-contained stories and characters; theyre meant to be brief, never pushing a joke past the point where its still funny. So sketches generally havent fared well when theyre transformed into feature films. Clunky sketch-derived movies like A Night at the Roxbury, Coneheads, and Superstar just prove the point; what was funny for four or five minutes feels like flogging a dead horse at feature length. Jack Henry Robbins VHYES beats the system by approaching the idea of a sketch movie from the opposite direction. Instead of trying to stretch out one sketch to feature length, Robbins packs his film full of sketches that seem unrelated, until they coalesce into a single story. Cartoon Networks Adult Swim has thrived on weird sketch comedy, with programs like Robot Chicken and Tim and Eric Awesome Show, Great Job! VHYES initially feels like an extended episode of a similar series. Young Ralph (Mason McNulty) has a new video camera, and hes used it to tape over his parents wedding VHS. The film is meant to be the result: a mixture of footage from the wedding, Ralphs recordings of life around the house, and various programs taped off TV. The new Bob Ross. Image: Oscilloscope Each TV-show bit parodies a familiar bit of TV lore, from Bob Ross painting tutorials to Antiques Roadshow. But they all come with twists: the painter in the tutorial show includes a segment meant to help viewers sleep, in which she simply stares into the camera, waiting for the audience to nod off. The shopping-channel hosts begin shilling for objects they claim are for regular use around the house, but are clearly drug paraphernalia. The bits and pieces are perfectly strange, and they feature some of the best comedians currently working. Kerri Kenney ( Reno! 911) plays the Bob Ross-esque figure, Thomas Lennon (also of Reno! 911) plays one of the shopping-channel hosts, and Mark Proksch (the What We Do in the Shadows series, Better Call Saul) plays the appraiser. They all nail the transition from standard TV programming to increasingly discomfiting chaos. As the clips alternate with footage from Ralphs life, hanging out with his mother (Christian Drerup) or his best friend Josh (Rahm Braslaw) it gradually becomes clear that everything is connected. VHYES is a story about a child reckoning with his parents divorce. The formerly neat, gentle world of late-night TV starts to blur and become cruel as Ralph realizes that his parents marriage is falling apart. The sketches break down as clips of the seemingly idyllic wedding still flash across the screen, emphasizing a sense of rudderlessness, as well as how confusing and inconceivable the impending break-up feels. Courtney Pauroso and Tom Lennon as channel hosts. The slow reveal of exactly whats happening is masterful. The bite-sized bits of late-night programming create the illusion that VHYES is a collection of discrete parts rather than a whole; it feels an experimental film, and the revelation that the film is telling a more straightforward story isnt a disappointment as much as it is a sort of twist. What makes VHYES even more remarkable is the fact that its actually entirely shot on VHS. The movie is in the nearly square VHS 4:3 aspect ratio, and its slightly grainy, accompanied by occasional lines of visual static. Nostalgia has hit it big in series like Stranger Things and the It movie franchise, but the commitment to VHS means VHYES actually feels like it was made in the era its depicting. (Its almost jarring to see the directors parents, Tim Robbins and Susan Sarandon, crop up in cameo appearances, as theyre the only overt clues that the movie wasnt actually made in the 1980s. ) Jack Henry Robbins, who co-wrote the film with Nunzio Randazzo, eventually takes the absurdity threaded throughout the film to an almost David Lynchian level, a gambit that works largely because of the sketch-y nature of the movie, and how brief it is at just 72 minutes. The strangeness of the material isnt VHYES primary attraction; its the atypical mode of storytelling and sense of sincerity. Given that the story isnt exactly linear — the audience pieces it together through multiple shows and stories — the amount of Ralphs story that can explicitly be told is lessened. So Robbins focuses on conveying emotions through the footage thats been cut together, creating an arc thats tangible rather than literally told. Hes figured out how to make a successful sketch movie, and hes tapped into nostalgia better than any of the Steven Spielberg or Stephen King would-bes mining the same vein. VHYES debuts in theaters Jan. 17.

Hun... 🤔 This made me realize Justin long would have made a great zach braff. 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.

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