One of the trends of our time is the way that extreme culture can wind up turning into kiddie culture. Head-banging metal that was once the down-and-dirty province of those in their teens and twenties had evolved, by the time of “School of Rock,” into a grade-school activity as wholesome as choir practice. “Psycho Goreman,” written and directed by Steven Kostanski, offers a variation on the same phenomenon. In spirit if not in fact, it’s a Troma film (you remember those, don’t you?) — in this case, a gonzo absurdist intergalactic sci-fi horror comedy that flaunts the gory ingenuity of its no-budget analog effects, along with a lot of so-broad-it’s-camp acting. “Psycho Goreman” wants to bring back those heady Troma fumes. But this one, quite knowingly, is like “The Toxic Avenger” remade by the Robert Rodriguez of “Spy Kids.”
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PG (Psycho Goreman) (2021)
Release : 2021–01–22
Runtime: 99 minutes
Genre: Science Fiction, Comedy
Stars: Matthew Ninaber, Reece Presley, Rick Amsbury, Kristen MacCulloch, Matthew Kennedy
Director: Steven Kostanski, Steven Kostanski
Sinopsis : Siblings Mimi and Luke unwittingly resurrect an ancient alien overlord. Using a magical amulet, they force the monster to obey their childish whims, and accidentally attract a rogues’ gallery of intergalactic assassins to small-town suburbia.
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The title monster is an ancient alien overlord who was entombed on Earth after a failed attempt to destroy the universe. Played in a hulking gargoyle demon costume by Matthew Ninaber, he’s got jagged purplish skin, a horned back and jutting shoulder blades, a deep-dish slithery electro Darth Vader voice, and the ability to tear people’s limbs off as if he were plucking dandelions. He’s like the Toxic Avenger meets Skeletor meets Pinhead meets Thanos, with powers that are telekinetic and also good old body-snapping horrific. But he’s unleashed by a couple of suburban kids, the proudly bratty Mimi (Nita-Josee Hanna) and her passive brother, Luke (Owen Myre), who uncover a glowing amulet that allows them to control this beast.
Our monster friend is from the planet Gigax, which sounds like a product you polished your car with in the ’70s, and he’s a very pre-ironic, uncool heavy-metal stentorian villain. As voiced by Steven Vlahos, he speaks with a sinister “classical” flourish so overwrought it’s almost Shakespearean, saying things like “That is a tale bathed in the blood of a million dead memories.” The joke of “Psycho Goreman,” and it’s a good one, is that everything that might make this dude the darkly charismatic center of a Marvel movie — that magnetized voice of doom, his monologues of apocalyptic fire — is greeted by the two kids with absolute indifference. Mimi: “Do you have a name, monster man?” Alien: “My enemies will sometimes refer to me as the archduke of nightmares!” Mimi: “Well, that sucks! Never mind, we can workshop this.” They do, and name him Psycho Goreman (PG for short).
The electro-drone Vader voice has been done so many times that to parody it may not seem like much of an inspiration, but “Psycho Goreman” brings off a neat trick. That voice, used relentlessly here, makes the film feel higher tech than it is. (With a less processed soundtrack, PG would just seem a walking costume-shop mannequin.) Mimi and Luke remain unfazed by PG’s towering scariness, sort of like the blitzed blokes from “Shaun of the Dead.” As he lapses into his monologues of destruction, the kids mostly just ignore him. He’s a demon stuck in his own sci-fi head, a self-involved intergalactic stuffed shirt. Which makes for an amusing tweak of space-fantasy geekdom.
“Psycho Goreman” could have used more storytelling verve, and at times it’s a distended one-joke movie, but it’s peppered with funny bits, like the fact that PG can’t remember Luke’s name simply because the kid is so bland, or the totally gross way he’ll provide one of his foes with “a warrior’s death.” The gross-out factor lends “Psycho Goreman” its note of midnight-movie depravity. Yet Kostanski, as a director, isn’t just a schlock hound. On Gigax, he offers up a witty sendup of Jedi High Council fussiness, and the whole movie serves to take the hot air out of what blockbuster sci-fi has become: villains with robotized voices threatening to end the world in an endless rerun of inflated nothingness.
In a mid-movie montage, “Psycho Goreman” turns into a knowingly goofy alien-monster-out-of-water comedy, with PG walking around downtown as a kid shouts “Hey, asshole! Nice Halloween costume!” (he explodes the kid into a blood bubble), or PG trying on hipster clothes and playing drums in Mimi and Luke’s rock band. He learns to say things like “Frig off,” he turns their friend Alastair (Scout Flint) into a blobby beach-ball brain, and in one pretty sick joke he melts down a cop into a version of that guy at the end of “RoboCop” who got a toxic-chemical bath; instead of dying, the cop staggers around in a state of herky-jerky agony. As satire, “Psycho Goreman” is no “Planet Terror,” but it’s a droll enough schlock-in-quote-marks diversion, and part of its appeal is just how damn cheap it is. In the omni-tech era, it’s fun to see a filmmaker build an FX fantasy out of scraps, from the ground up.
Film, also called movie, motion picture or moving picture, is a visual art-form used to simulate experiences that communicate ideas, stories, perceptions, feelings, beauty, or atmosphere through the use of moving images. These images are generally accompanied by sound, and more rarely, other sensory stimulations. The word “cinema”, short for cinematography, is often used to refer to filmmaking and the film industry, and to the art form that is the result of it.
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Streaming media is multimedia that is constantly received by and presented to an end-user while being delivered by a provider. The verb to stream refers to the process of delivering or obtaining media in this manner.[clarification needed] Streaming refers to the delivery method of the medium, rather than the medium itself. Distinguishing delivery method from the media distributed applies specifically to telecommunications networks, as most of the delivery systems are either inherently streaming (e.g. radio, television, streaming apps) or inherently non-streaming (e.g. books, video cassettes, audio CDs). There are challenges with streaming content on the Internet. For example, users whose Internet connection lacks sufficient bandwidth may experience stops, lags, or slow buffering of the content. And users lacking compatible hardware or software systems may be unable to stream certain content.
Live streaming is the delivery of Internet content in real-time much as live television broadcasts content over the airwaves via a television signal. Live internet streaming requires a form of source media (e.g. a video camera, an audio interface, screen capture software), an encoder to digitize the content, a media publisher, and a content delivery network to distribute and deliver the content. Live streaming does not need to be recorded at the origination point, although it frequently is.
Streaming is an alternative to file downloading, a process in which the end-user obtains the entire file for the content before watching or listening to it. Through streaming, an end-user can use their media player to start playing digital video or digital audio content before the entire file has been transmitted. The term “streaming media” can apply to media other than video and audio, such as live closed captioning, ticker tape, and real-time text, which are all considered “streaming text”.
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Copyright is a type of intellectual property that gives its owner the exclusive right to make copies of a creative work, usually for a limited time. The creative work may be in a literary, artistic, educational, or musical form. Copyright is intended to protect the original expression of an idea in the form of a creative work, but not the idea itself. A copyright is subject to limitations based on public interest considerations, such as the fair use doctrine in the United States.
Some jurisdictions require “fixing” copyrighted works in a tangible form. It is often shared among multiple authors, each of whom holds a set of rights to use or license the work, and who are commonly referred to as rights holders. These rights frequently include reproduction, control over derivative works, distribution, public performance, and moral rights such as attribution.
Copyrights can be granted by public law and are in that case considered “territorial rights”. This means that copyrights granted by the law of a certain state, do not extend beyond the territory of that specific jurisdiction. Copyrights of this type vary by country; many countries, and sometimes a large group of countries, have made agreements with other countries on procedures applicable when works “cross” national borders or national rights are inconsistent.
Typically, the public law duration of a copyright expires 50 to 100 years after the creator dies, depending on the jurisdiction. Some countries require certain copyright formalities to establishing copyright, others recognize copyright in any completed work, without a formal registration.
It is widely believed that copyrights are a must to foster cultural diversity and creativity. However, Parc argues that contrary to prevailing beliefs, imitation and copying do not restrict cultural creativity or diversity but in fact support them further. This argument has been supported by many examples such as Millet and Van Gogh, Picasso, Manet, and Monet, etc.
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Credit (from Latin credit, “(he/she/it) believes”) is the trust which allows one party to provide money or resources to another party wherein the second party does not reimburse the first party immediately (thereby generating a debt), but promises either to repay or return those resources (or other materials of equal value) at a later date. In other words, credit is a method of making reciprocity formal, legally enforceable, and extensible to a large group of unrelated people.
The resources provided may be financial (e.g. granting a loan), or they may consist of goods or services (e.g. consumer credit). Credit encompasses any form of deferred payment. Credit is extended by a creditor, also known as a lender, to a debtor, also known as a borrower.