Tag: Social Media

GOOD LUCK, HAVE FUN, DON’T DIE – Review

Director Gore Verbinski (PIRATES OF THE CARRIBEAN) teams up with the great Sam Rockwell for a sci-fi action/comedy with something to say, where a man from the future, who is trying to save humanity from an all-powerful Artificial Intelligence creation, travels back in time to try to stop it at a critical moment. He’s already done this 116 times, but why not try a 117th.

On a dark night in L.A., one man enters a diner full of people, while holding a detonator button and wearing a strange outfit covered in wires and tactical gear. He says he’s not there to rob the place but he does have a bomb, so they better sit still and listen up. Then he tells them he is from the future and he’s there to recruit people to help him save humanity from an coming A.I. apocalypse, something he has already tried unsuccessfully 116 times before.

In a world-weary, slightly sarcastic tone, he tells his captive audience about his mission to save the world. Most people in the diner assume he’s a crazy homeless person but this joker is deadly serious, although you’d never guess that from his crazy get-up. Others barely look up from their cell phones – until he snatches their phones and tosses them away. He strides about the room, jumping on tables, calling out people by name to convince them this is real, and gradually, they start to listen to this character who seems to know things about the people there, who they are, what they are about to do next. He tells them that somewhere in this group of 47 people in this diner is a magic combination to save the world. Then he asks for volunteers to help him in his quest.

This is crazy, funny opening scene kicks things off in goofy, high-energy high-gear, as an unrecognizable Sam Rockwell, his face obscured by full beard, smeared dirt and a ski cap pulled low, brilliantly delivers his speech, about cell phone addiction leading to societal collapse and AI domination, while in constant kinetic motion. Rockwell goose-steps across tables, snatches handfuls of fries off plates, and slips into booths with lightning speed, to call them by name and share personal details about them – and pausing to yell at the waitress just before she picks up the phone to call the police.

Rockwell’s wild guy from the future does get a few volunteers (plus a few hands also go up from diners he refuses to take, due to poor performance on past runs). But he needs a few more, so he “drafts” some into coming along, based on either good past results or just because he hasn’t tried that combination before. One of the people who does volunteer is a young woman in a bedraggled princess costume, named Ingrid (Haley Lu Richardson). At first, he refuses to take her, but then he relents – because he’s never pick her before. She might be the magic addition to this combination that makes his mission work this time.

The crew he assembles also includes a couple who are teachers, Mark (Michael Pena) and Janet (Zazie Beetz), and a grieving mom named Susan (Juno Temple), and blustery guy named Scott (Asim Chaudhry) plus a few more. Their mission is to install a bit of software that was developed in the future, which installs controls on an A.I. creation built by a 9-year-old boy (Artie Wilkinson-Hunt), before it can achieve singularity and surpass human intelligence. They have to reach the home of that boy before that happens, and time is short. The man from the future wears a timer counting down the minutes and knows where the boy is, and it isn’t even far, but that doesn’t mean it is easy to get there. Many have died trying over those 116 attempts.

This is director/producer Gore Verbinski’s comeback film after nearly a decade away from film making. GOOD LUCK, HAVE FUN, DON’T DIE (a phrase that is supposedly something virtual-reality gamers in this film say to each other) was independently made, maybe because no studio would touch a film that has A.I. as the villain. Nonetheless, Verbinski turns in an high-energy, entertaining film, with a good cast, while he and scriptwriter Matthew Robinson have their say about dangers of cell phone addiction and A.I. generally.

The ticking clock helps drive this energetic, entertaining gonzo comedy/adventure/action tale. which delivers with action and physical comedy but also delves into dark comedy (sometimes very dark, even unsettling), satire and social commentary, particularly in some flashbacks sequences. As the quest unfolds, we get flashbacks to some characters’ personal stories, specifically Haley Lu Richardson’s Ingrid, Michael Pena’s and Zazie Beetz’s and Juno Temple’s mom, as well as Sam Rockwell’s character’s tale. In flashbacks, we learn more about their alternate or near-future world, where school shootings are so common that schools come equipped safe rooms, disconnected teens are constantly on their phones or threatening if not, people are cloned in secret but come back with ads, and virtual reality goggles are so good, that people sign up to live in that alternate reality full time, permanently. All the flashbacks give us insight on how screwed up their world already is and, in the case of Rockwell’s character, part of how it got there.

Verbinski picked the perfect actor for the lead role but we know it is Sam Rockwell giving this speech largely because his name is in the credits. His face is well hidden, although why isn’t clear. His costume, however, is a perfect comic mishmash of electronics, wires, tactical gear and topped by a clear raincoat, making him look like a homeless person in a homemade time-traveler/bomber outfit.

As the story progresses, the lead shifts a bit toward Haley Lu Richardson’s Ingrid, as it hurtles towards it’s wild end with not just practical effects but also vibrant, even eye-popping visual effects.

I love the concept for this satiric dark comedy film, and it is a lot of fun, as well as having something to say, and Sam Rockwell is the perfect choice for the lead. While not everything is perfect, GOOD LUCK, HAVE FUN, DON’T DIE still is an entertaining quirky, fun and involving film, with something important to say. The film deserves credit for being a unique concept on a timely topic, instead of a timid retread, and it deserves credit for its snappy pace, good storytelling, its band of misfits characters, its determined use of practical effects and nicely-done visual effects. Sam Rockwell deserves credit for a winning and determined high-energy performance under all that makeup and forty pounds of costume. We should reward all that by seeing this film, in a theater, and if you do, you will be rewarded with an entertaining and thought-provoking experience.

GOOD LUCK, HAVE FUN, DON’T DIE opens in theaters on Friday, Feb. 13, 2026.

RATING: 3 out of 4 stars

DREAM SCENARIO – Review

(L-R) Nicolas Cage in DREAM SCENARIO. Photo Credit: Jan Thijs. Courtesy of A24

DREAM SCENARIO is more of a nightmare for Nicholas Cage’s character, in this darkest of comedies from Norwegian writer/director Kristoffer Borgli, a social satire commenting on the power and irrational nature of social media. While Cage’s character is not having a good day, actor Nicholas Cage looks like he is having a grand old time, relishing this role as a hapless guy at the center of this outside-the-mainstream dark comedy.

Like his role as a backwoods recluse in PIG, Cage is anything but prettied up for this part, playing an aging, balding professor whose ordinary guy life is upended when random people start seeing him in their dreams.

At first, Cage’s middle-aged academic is sort of flattered by the attention, although he has done nothing to cause his dream appearances. The biology professor hopes it will help him find a publisher for his book on animal behavior, a book he hasn’t yet even written.

A running theme in this satiric comedy, which goes darker and darker until its bitter end, is the pervasive power of social media, to elevate and to demonize, even when the focus on that attention does nothing to deserve either. But so are the danger in unfulfilled dreams and a wasted life. In some ways, Cage’s professor has done this to himself by setting the stage for the destruction – by not doing enough with his life, by just drifting and floating downstream in his comfortable life.

Hapless family man Paul Matthews (Nicolas Cage) has a pretty comfortable life. A dowdy tenured professor at a small college, he lives in nice home with his beloved wife Janet (Julianne Nicholson) and two daughters Sophie (Lily Bird) and Hannah (Jessica Clement). Still he radiates a sense of feeling like he is missing out, of unfulfilled potential. He is irritated by students who barely listen in his zoology lectures, and he talks frequently about publishing a book on his research but worries about finding a publisher. Right now, Paul is unhappy that another academic , someone he worked with in grad school, is publishing a book on research on ant behavior they did together. Of course, Paul never published his work himself but he’s still upset.

Actually, Paul hasn’t even written the book he talks about endlessly. He feels left out that another professor he’s known for years has never invited him and his wife to their storied, intellectual dinner parties. Basically, he doesn’t feel like he is taken seriously. And he’s right, because he’s been drifting through life for years, wrapped in the comfort of his family life, while everyone around him has moved forward.

Paul plans to confront this former colleague, who was also an old girlfriend, about her book, when they meet for coffee, where Paul assumes she is going to ask for permission to use their shared research. He hasn’t seen her in years yet she reached out about meeting, and although he loves his wife, Paul also seem a bit too eager to see this old girlfriend, wondering if that she is still carrying a torch for him.

Instead of discussing her upcoming book or any romantic feelings, he discovers what she wants to talk about is her dreams – nightly dreams in which he has started appearing. She wants permission to write about that on her blog.

Then it turns out a lot of people are seeing Paul in their dreams – millions of people he never met – and suddenly Paul is a social media sensation.

He just appears in their dreams as a passive presence, not a participant, even if terrible things are happening in the dream to the dreamer. Paul is kind of unhappy that he does nothing to help but there isn’t anything he can do to change someone else’s dream.

The professor is confused about the sudden fame, because after all he isn’t actually doing anything, but he quickly warms to all the attention. People seek him out, ask for his autograph and listen in his lectures – or at least seem to listen.

Then the dreams shift, and suddenly Paul becomes a negative presence, even a threatening one, in the dreams. The social media landscape changes with that, and then so does Paul. DREAM SCENARIO heads into ever-darker comedy and eventually towards psychological horror.

Tim Meadows gives a very funny, dry humor performance as Paul’s boss and friend, who really does not understand anything of what is happening. Michael Cera is spot-on in his role as one of the marketing executives hoping to cash in on Paul’s unexpected, unique fame.

This wicked comedy is the work of writer/director Kristoffer Borgli, whose previous film SICK OF MYSELF is a Norwegian/Swedish film also in a darkest comedy vein. Nicholas Cage is clearly having a wonderful time playing this schlub of a man, vain and unaccomplished soul despite his apparent early promise. This comically stiff character is very different from the reclusive slob Cage played in PIG but the actor’s skill and joy in stretching his acting muscles is just as apparent.

Cage is a great choice for this part, exceeding in the comic parts that dominate early on, but able to give the character a depth and complexity to carry the film as he falls into his personal hell. Despite Cage’s penchant for silly shallow roles and scenery chewing, a film like this shows that the actor really does have the goods to soar in his crafts.

One of the funniest satiric moments comes when Cage’s clueless professor agrees to work with a promotional company, a particularly absurd idea. The professor is hoping to find a publisher for the scholarly book he has not yet written but the agency has other things in mind, looking for ways to cash in on his unexpected fame, suggesting finding a way to insert product placement into his appearances in other people’s dreams. That nightmarish thought is persists as this tale unfolds.

The first two-thirds of DREAM SCENARIO are howlingly funny but then it takes a sinister turn, where the last 20 minutes are a painful slog of deep humiliation for Cage’s sad character. Having stripped everything away from Cage’s flawed but harmless character, writer/director Kristoffer Borgli continues to beat this dead horse long after the point has been made about toxic social media. With the plot’s social media-driven events having destroyed 90 percent of this character’s life, the film goes on to make sure we see every crumb of that life smashed and ensure we are clear there is no hope left at all, a squirm-inducing experience that strips any sense of comedy from the film’s remaining moments, transforming it into nightmarish tragedy. Borgli just doesn’t know when to leave this party, and seems determined to leave us with as grim and uncomfortable feeling as possible. Perhaps the director wants to ensure his film is memorable, and the last section does do that. It is memorable but not in a good way, just making us want to avoid ever seeing the film again.

DREAM SCENARIO offers a cautionary tale about social media and about a life not fully lived, in a darkest comedy form. Nicholas Cage gives a hilarious and then wrenching performance as a too-passive, too-small man whose life is upended by social media and events over which he has no control. Cage’s performance and the first two-thirds of the movie are excellent but the last twenty minutes, for many of us, are not an experience you’ll want to repeat.

DREAM SCENARIO opens Friday, Dec. 1, in theaters.

RATING: 3 out of 4 stars

PROFILE (2018) – Review

In this new “ripped from the headlines” thriller, an intrepid reporter goes deep, deep undercover to get to the heart of a controversial story. Oh, and there are no car chases or meetings in dark alleyways. But there is the “dark web”. That’s because, in the most modern take on the “get the truth out there” suspense saga, the heroine never really leaves her modest London “flat”. She’s online, and we’re watching her on her very own computer desktop as she bounces from social media sites to search engines to video “tele-chats”. Still, the danger is very real, along with the truly disturbing subject. And the whole thing truly hinges on the believability of the reporter’s fictitious PROFILE.

The year is 2014. As the monitor screen “fires up”, we hear the “key clicks” entering a search request for news stories concerning women from the US and Europe who have been recruited online to become part of the Middle Eastern terrorist group known as Isis. We soon learn, via a “Skype” call with her boyfriend Matt (Morgan Watkins), that this is the computer of an ambitious freelance London-based journalist Amy (Valene Kane). Later she tries to put the “squeeze” on her editor Vicky (Christine Adams) for another advance (we’re not sure if this is for the online site of a print or broadcast news outlet). Ah, but the budget is tight, so Amy puts the “bite” on her rich, flighty pal Kathy (Emma Carer) in order to pay the rent. All this is happening as Amy creates a new online identity for herself: an aimless, lonely 20-year-old named Melody. First, she needs a “catfish” Facebook profile, with lots of links to stories and videos about the conflict in the world’s “hotspot”. And it’s not too long before she gets a “bite”, from the source of several of those borrowed posts, an Isis soldier in Syria named Bilel (Shazad Latif). Lots of “instant message” flirtations are followed up by requests for a “Skype” chat. Amy/Melody gets ready for their long-distance “hook-up” by cruising the search engines for tips on everything from how to properly wear the hijab to using makeup to take off “years” (Amy’s closer to 30 than 20). Finally, with Vicky’s IT guy Lou (Amir Rahimzadeh) listening in, the two meet “screen to screen”. Amy is at first amused by the affable charismatic Bilel (“He’s just a silly boy”) as he lays on the charm while questioning her commitment to “the cause”. But as the home side pressures mount, with Matt finding a home they can share to Vicky’s strict deadline (“You’ve got to get him to tell you how he transports the girls”), the unthinkable seems to occur: Amy, along with Melody, is falling for the dark-eyed “devil”. Could she turn her back on her beau and career in order to bask in Bilel’s smile and promises of love and wealth?

The whole story hinges on the actor “behind the keyboard”, so the producers wisely chose the compelling, and talented Kane to be our “cyber-guide”. Her Amy seems more than a little aimless, drinking and toking as Matt pleads with her to join him in domestic bliss. Luckily this assignment gives her a purpose, and through her eyes on that monitor, we see her rush of excitement as she walks the twisty online tightrope. She’s a bit of a danger “junkie”, though she still gets into a panic trying to quickly grasp the tech tidbits as Bilel keeps up his pursuit. And it’s in those eyes where we see her teeter, then plummet down the “rabbit hole”. But waiting to catch her is the exotic Bilel, reminding us a bit of the allure of Valentino’s sheik for the 21st century. He promises romance, often appearing to be a smitten schoolboy, while proudly displaying his tools of death and bragging of his killing skills, even while feeding a kitten. He’s the “dream lover” counterpart to the grounded Watkins, whose Matt tries to understand his fiance’s indifference as he dutifully maps out a budget (sensible but so dull). Adams, perhaps best known as the matriarch of the powerful Pierce family on TV’s “Black Lightning”, is a terrific tough boss, putting a modern “spin’ on the “Perry White” persona. There’s also great support from Rahimzadeh as the rattled and worried tech wizard and Cater as the ditzy BFF who loves to live dangerously, though vicariously through Amy.


This intimate tale seems quite a change of pace for director Timur Bekmambetov, who is perhaps best known for fast-paced explosive fantasy flicks (ABRAHAM LINCOLN: VAMPIRE HUNTER is on his resume’). And somehow he retains much of that frenetic energy, as the multiple “tabs” all seem to pop in to nearly drawn Amy in distraction. It helps that the script provides an easily accessible roadmap (Timur along with Britt Poulton and Olga Kharina adapted the novel by Anna Erelle “In the Skin of a Jihadist”). And though several other films have used the computer screen as a movie screen idea (thrillers including SEARCHING with John Cho), this somehow feels fresh, perhaps due to the strong “inspired by true events” story. The suspense is carried along by the complex central character. Amy is no “one-note” noble hero, but rather a conflicted seeker of truth whose “real life’ helps makes her a “ripe” target for silky, cyber-seduction. While many other “potboilers” run out of steam by the third act, this one delivers a real surprising and shocking finale. To be honest, I was dreading this once I knew of its “desktop” format, but somehow I was drawn as the tumbling tabs ratcheted the tension. Utilizing (fairly) modern tech to tell a very human story, PROFILE is a powerhouse.


3.5 out of 4


PROFILE opens in select theatres on Friday, May 14, 2021

CHEF (2014) – The Blu Review

chef_image

The Movie on its own merit…

There are some experiences that, while not life changing, are life reaffirming and leave an impression not easily forgotten. Arguably, the best kinds of these experiences are the ones that are fully unexpected. Being caught off guard, leaving the unmistakable mark of joy stretched across one’s face. Moments that make us smile, spontaneously. I am reminded of the very first time I had an authentic Cuban sandwich, which happened to be off a food truck in Austin, Texas. Watching Jon Favreau’s newest film, CHEF, is the cinematic equivalent.

From the filmmaker who MADE (2001) an independent first impression, immortalized Will Ferrell as a holiday staple in ELF (2003) and realized the IRON MAN trilogy on the big screen, its refreshing to see writer and director Jon Favreau returning to his smaller, indie roots with CHEF. Favreau also stars as the film’s central character, Carl Casper, a Los Angeles based chef of notoriety struggling with finding his culinary identity under the oppressive control of restauranteur Riva, playfully illustrated by Dustin Hoffman. Affectionately referred to by those dear to him as “El Jefe,” Carl has a falling out with Riva after a devastating review by acclaimed food blogger Ramsey Michel, played with restrained confidence by Oliver Platt. Carl now reflects on his life and career, while stumbling through attempts to reconnect with his son Percy, played by Emjay Anthony.

At a loss for direction or opportunity after his very public celebrity outburst, captured and made viral by social media, Carl takes the advice of his ex-wife Inez (played by Sofia Vergara) and builds a business from the ground up. Carl reluctantly accepts the help of Inez’s other ex-husband Marvin (played by Robert Downey, Jr.) who sets him up with a fixer-upper food truck, which he quickly converts into an authentic taste of Little Havana on wheels. With the help of his former protege Martin (played by John Leguizamo), and his son Percy, Carl dubs the food truck El Jefe and the three out on a cross country road trip from Miami to Los Angeles, stopping in city after city making simple, quality Cuban food as Percy secretly used the very social media outlets that burned his father to raise him up from the ashes and become the underdog phoenix of the food world once again.

Favreau allows himself to break out of his mold a bit in this role, clearly showing a touch of personal sentimentality. Between his performance and his uncharacteristically full quaff, viewers may not recognize him at first, but will be pleasantly surprised. Favreau evokes a level and range of emotion that is believable and down to earth. His chemistry with his supporting cast is equally compelling as the cast lineup itself. From the scenes in the kitchen of Riva’s restaurant along side sous-chef Tony (played by Bobby Cannavale) to his casual friend with benefits relationship with hostess Molly (played by Scarlett Johansson) the interaction of characters is witty and fresh. The cameo roles in the film, which also includes Amy Sedaris and Russell Peters, are all played with a bit more of their tongues in cheek, adding a welcome and easily palatable flavor of fun to the film.

CHEF presents a topic of growing interest with food trucks, through the perspective of a culture often absent or misrepresented in film, adding humor and tastefully developed family drama without getting cheesy or overwrought. Favreau has made a film that honors the working class, promotes a realistic interpretation of modern family dynamics with a strong moral underpinning without getting preachy, while also commenting quite cleverly on the state of interpersonal communication through social media. Its as if Favreau himself decided to take a step back from all the big budget, high technology stress of Hollywood blockbuster filmmaking to decompress and reconnect with life by way of making a small, independent film with a solid story of human connection absent of gadgets and the Internet.

In addition to the well-written script and the array of familiar faces, CHEF also showcases some pretty spectacular snippets of music that add even more to that cultural flair that lives within the underlying theme of reconnecting to one’s family and roots. From the expected ode to Cuban music, both overlaid and on screen, to familiar favorites and live indie performances including Gary Clark, Jr. in Austin, CHEF is as much a music lover’s film as it is a film for foodies.

Technicalities & Extra Stuff

With all good things comes a catch, or so they say, and the one singular complaint about this home media release of CHEF is that the audio appeared to be poorly mastered. I found myself repeatedly adjusting the volume between dialogue scenes and the louder, more vibrant musically endowed scenes. This is rare, for someone like myself who watches as many films as I do and puts my surround sound through such rigorous routines, I ruled out the issue being my home theater technology. With that said, getting past this technological fault is easy to do given the pleasure of watching the film.

CHEF is presented in a Blu-ray/DVD/Digital HD with Ultraviolet combo on a single disc with a slip cover. Bonus features are limited, including the always candid feature commentary of writer/director Jon Favreau along side chef/co-producer Roy Choi, and the ever present and simply stated “deleted scenes” that serves a mostly questionable purpose and interest — most of the time — in my personal opinion.

Overall Rating: 4 out of 5 stars

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Tribeca 2011 Interview: Rider & Shiloh Strong


My favorite short film of the 2011 Tribeca Film Festival was a dark comedy called THE DUNGEON MASTER. Apparently it was your favorite as well because it won Best Short from the Tribeca (Online) Film Festival. Earlier this week I had the opportunity to sit down with Rider & Shiloh Strong to talk about the film, which they wrote and directed. I want to thank them for taking the time to speak with me and also for signing some Tribeca program guides, which we are giving away right HERE.

Below is a video of our full interview, in which we talk about making the film, Dungeons & Dragons, social media, embarrassing childhood magic shows and more. Enjoy!

BONUS VIDEO

Before the interview, I talked with Rider & Shiloh about a short film I made a few years ago that was also D & D inspired. It shares a similar theme with DUNGEON MASTER but their film is far better in every possible way. It was filmed in one afternoon for a contest so please forgive the terrible acting and low production values. Enjoy!

Jerry Cavallaro  – www.StuckLikeChuck.com

Review: CATFISH

CATFISH is a challenging film to review. Not because of it’s quality, because the movie is excellent. It’s a challenge because so much of the film’s success relies on not knowing anything, going into the experience with a clean slate. The audience will benefit the most from this movies by simply going for the ride, devoid of any and all expectations, thrilled by where the story leads.

Nev Schulman is a photographer from New York. His brother Ariel Schulman is a filmmaker, so in 2007 he and fellow director Henry Joost decided to shoot a documentary about Nev and his online friendship with a talented 8-year old artist named Abby. The project seemed innocent enough at the time, but what the three would gradually discover is what makes this documentary so compelling.

Abby is a huge fan of Nev’s photography, so she paints pictures from his photographs. The two communicate via Facebook, Nev sends Abby photographs and Abby in turn sends Nev paintings of those photographs. The essence of the relationship is charming. Perhaps even too charming. Nev finds himself fascinated by Abby, her mother Angela and her big sister Megan.

Encouraged by his brother, Nev reluctantly agrees to continue being the subject of Ariel and Henry’s documentary, despite his growing discomfort with putting his life on display. The three ultimately set out on a road trip to meet this curious family, which is where the “truth is often stranger than fiction” element begins to run it’s course in CATFISH with shocking straight-forwardness.

Watching CATFISH is an experience unlike anything I can think of – certainly, many will draw comparisons to THE BLAIR WITCH PROJECT or BORAT, although undeservedly so – this film is much more than any mockumentary you’ve seen before. CATFISH, intentionally or not, draws upon the viewer’s morbid curiosity, dwelling within that same region of the human mind responsible for rubbernecking as we pass by an accident. For all intents and purposes, I am 99.9% positive CATFISH is an honest-to-God “real” documentary, but I still found myself pondering its realism.

Easily, the most extraordinary revelation I had in viewing CATFISH is — regardless of whether its “real” or “fake” — the movie still falls somewhere between inspired creativity and brilliant commentary. Either way I interpret the film, I still return to this overwhelming sense of having witnessed a moving, somewhat shocking and all-too-honest and contemporary social self-portrait of an era of human relationships unique to our Internet generation of the virtually connected.

For the skeptics – and I’m sure there will be plenty – CATFISH may present itself as being too unbelievable to be true, but I return to my earlier reference of the “truth is stranger than fiction” phrase. Nothing about the “performances” feel fake, forced or fabricated. The honesty and authenticity of the characters’ emotions, reactions and interactions with each other is strikingly sincere. More over, to have pulled this film off as it stands — and if it would turn out to be fabricated — is as much a commendable feat as it would be for this three-person crew to have so brilliantly captured the potentially darker, yet innocently non-malicious nature of Nev’s discovery… of living in a society more comfortable in the cyber-surrogate world of online contact than the tangible, flesh and blood world.

CATFISH presents us with a carnival fun house mirror. On one side we see ourselves for who we are, unable to pretend without revealing that we’re pretending. On the other side, the mirror allows us to reinvent ourselves into what we want ourselves to be, even what others want to interpret us as, hiding the reality from each other. I recommend this film to everyone, especially anyone with a Facebook profile. CATFISH is entertaining, yes… but, it’s also quite possibly one of the most culturally significant documentaries this year, if not of the decade.

Overall rating: 4.5 out of 5 stars