. . . upper middle class white family men and want to see them being harassed into paranoid buffoons by mysterious bow-tie-wearing black guys representing some ideal of Malcom X's Nation of Islam correcting their sorry ways (which I've identified and labeled as the "HUMCWFM&W2STBHIPBBMB-T-WBGRSIOMXNOICTSW" sub-sub-genre). I don't waste my time enlightening about films here for which there already are 15 comments posted by the time I watch the movie, because A)someone who thinks like me has always been among the first 15 posters (so far, at least), B)films in this category are usually low-budget direct-to-video genre crap being overly praised by fanboy dittoheads, or C)rarely one of these flicks is an excellent genre-buster being reamed by these same groupthink sheep. For this reason, I did not post for the more-frequently-rented SUBLIME, because it already had 33 posts by this week. Therefore, I will finish with a comparison and contrast of SUBLIME, which some will prefer to INSIDE OUT, others will shun, and a few will incorporate (with my talking points) into their own high school or college English comp A-B-A-B compare\contrast papers.
Like INSIDE OUT, SUBLIME (113-minute 2006 feature directed by Tony Krantz, who packaged TWIN PEAKS as an agent and produced TV's Jack Bauer gore-fest "24") could be an episode of a show called WHITE GUYS GONE WILD. SUBLIME is a sort-of horror movie (somewhat in COMA's medical sub-genre) with a twist ending; INSIDE OUT is a quasi-thriller with a twist ending--but very little action (if the backers paid more than $100,000 in production costs, they got rooked and should call in an accountant). Both movies probably are sleep inducing for the first half, without any features enhanceable by substance abuse, so they must be viewed sober. The second half of each effort goes off the reservation with only-in-the-movies absurdities. In fact, SUBLIME should have a BLACK BOX WARNING against watching within six months of any upcoming elective medical procedure for you or a loved one. In the director's comment extra, Krantz actually boasts that he named his quiet white guy family man "George" as a stand-in for U.S.President George W. Bush--and, by extension, the "American Everyman," to use his term--so he could have George tortured in every imaginable way by Mr. Bow-tie--whom Krantz has named "Mandingo"(!), representing THE WORLD as well (except for Europe, for which George's America-hating brother Billy stands in, according to Krantz). SUBLIME probably has a bigger budget than INSIDE OUT (Krantz says "star" white guy Tom Cavanagh is just as worthy as "Tom Hanks or Jimmy Stewart," and "star" black guy Lawrence Hilton Jacobs is just as adept as "Laurence Fishburne or Samuel L. Jackson," so I assume he paid them a ton!), but I did not underrate it with a 5 out of 10. (In the interest of full disclosure, anybody who makes racial designations based on looks would tag Krantz as a white guy.) On the other hand, INSIDE OUT is more entertaining and less off-putting than that other HUMCWFM&W2STBHIPBBMB-T-WBGRSIOMXNOICTSW sub-sub-genre offering of 2005-2006, and certainly deserves 7 out of 10. To sum up, the loyalty of the main character's wife comes into question during some point in each of these movies. The relationship between father and kid(s) is strained in each movie. SUBLIME features a black male nurse with questionable motives; INSIDE OUT plays off a black male psychiatrist/next-door neighbor with suspect goals. Most any good American of every race will find SUBLIME racially offensive, while most Americans of every race will find INSIDE OUT to be a GRAN TORINO-type film with its heart in the right place.
Like INSIDE OUT, SUBLIME (113-minute 2006 feature directed by Tony Krantz, who packaged TWIN PEAKS as an agent and produced TV's Jack Bauer gore-fest "24") could be an episode of a show called WHITE GUYS GONE WILD. SUBLIME is a sort-of horror movie (somewhat in COMA's medical sub-genre) with a twist ending; INSIDE OUT is a quasi-thriller with a twist ending--but very little action (if the backers paid more than $100,000 in production costs, they got rooked and should call in an accountant). Both movies probably are sleep inducing for the first half, without any features enhanceable by substance abuse, so they must be viewed sober. The second half of each effort goes off the reservation with only-in-the-movies absurdities. In fact, SUBLIME should have a BLACK BOX WARNING against watching within six months of any upcoming elective medical procedure for you or a loved one. In the director's comment extra, Krantz actually boasts that he named his quiet white guy family man "George" as a stand-in for U.S.President George W. Bush--and, by extension, the "American Everyman," to use his term--so he could have George tortured in every imaginable way by Mr. Bow-tie--whom Krantz has named "Mandingo"(!), representing THE WORLD as well (except for Europe, for which George's America-hating brother Billy stands in, according to Krantz). SUBLIME probably has a bigger budget than INSIDE OUT (Krantz says "star" white guy Tom Cavanagh is just as worthy as "Tom Hanks or Jimmy Stewart," and "star" black guy Lawrence Hilton Jacobs is just as adept as "Laurence Fishburne or Samuel L. Jackson," so I assume he paid them a ton!), but I did not underrate it with a 5 out of 10. (In the interest of full disclosure, anybody who makes racial designations based on looks would tag Krantz as a white guy.) On the other hand, INSIDE OUT is more entertaining and less off-putting than that other HUMCWFM&W2STBHIPBBMB-T-WBGRSIOMXNOICTSW sub-sub-genre offering of 2005-2006, and certainly deserves 7 out of 10. To sum up, the loyalty of the main character's wife comes into question during some point in each of these movies. The relationship between father and kid(s) is strained in each movie. SUBLIME features a black male nurse with questionable motives; INSIDE OUT plays off a black male psychiatrist/next-door neighbor with suspect goals. Most any good American of every race will find SUBLIME racially offensive, while most Americans of every race will find INSIDE OUT to be a GRAN TORINO-type film with its heart in the right place.