With the impending Y2K apocalypse fast approaching, Abbie is faced with the ultimate challenge - the unbeatable level 256 on Pac-Man - and he can't get off the couch until he conquers it. A survival story set in a living room.
On the eve of their high school graduation, two academic superstars and best friends realize they should have worked less and played more. Determined not to fall short of their peers, the girls try to cram four years of fun into one night.
A teenage girl is raised underground by a kindly robot "Mother" -- designed to repopulate the earth following the extinction of mankind. But their unique bond is threatened when an inexplicable stranger arrives with alarming news.
Another post-irony prank. Remember in Spring Breakers how there was this trace of conscience behind it? Just enough to see it at social critique as the girls gradually drop out and return back to humanity or face the consequences of their actions, bringing forth some accountable artist at work behind it. Beach Bum hints at avenues where it might go there with the daughters tiredness and stoicism, the ex-wife's fate, and his legal repercussions; but any traces of lessons, growth or consequences are stomped to pieces moments later. Korine's artist commentary is strangely hidden in its excess. Every one of my audience walked out. It's so gleefully immoral that in this universe he's rewarded with the highest accolades society can offer because nothing matters.
"He just makes me so crazy." Constantly it makes fun of any kind of real authenticity people can have between each other. It's sarcastic Terrence Malick. It don't care about nothing. A canary in the cold mine in late stage capitalism where one has these infinite resources and distribution, to make fun of god. The court jester throws out his inhibition to mock the king, laughing while getting hanged for it. Problem with both this and Spring Breakers is they become the real deal, actual culture in the process of their critique. While works like this you can only see the meaning in the opposite. So the film's function seems to be mocking its own audience and their motives to see it in the first place.
Think of the performance art as the juggle of financing, banking, courting the industry to make this at all, reflecting the machine's decay against itself. You could hate getting dragged through the mud but it's pretty much the definition of iconoclast. Korine said, "These films mean nothing to me and everything." As in it's his way of chipping away and bringing down the structure from within. Its existence is an act in radical accelerationism. The end of the empire. collapse, civil war, the global digital juggernaut paradise-hell.
The ones not concerned with the world around them move the same direction except within delight.
Then the moral frame missing unlocks its true motive in reflecting the surrounding culture at war. Individual to a satiric extreme; laissez-fair 'life is fun, have a laugh, there's Moondog in all of us', while really believing the opposite. Bum is a pejorative. The film's conscience is not missing but inherent, and all the 'endearing' and 'feel good,' despite its endless evils and debauchery, are maybe being fooled by Moondog's charm, which might have been its actual prank.
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