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• director Jack Henry Robbins
• 2019
• Genre Comedy
• Jack Henry Robbins
• actors Thomas Lennon
• 

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Ah, the glory days of VHS; a time of pre-internet analog pirating, kids who put absolutely everything on tape, and the constant threat of losing precious memories forever if you hit that red record button on the wrong video. Such is the era being celebrated in VHYes, a charming and breezy throwback comedy about a boy in 1987 who gets a new VHS recorder for Christmas and accidentally tapes over his parents’ wedding video. That’s already a good hook, but the structural brilliance is in the edit — In something of a found-footage format, VHSYes was shot entirely on VHS and Beta, and the film plays out las if you dusted off an old, well-loved home videotape and watched it from start to finish, with all the random scene cuts and interjections that come with it. Mason McNulty stars as Ralph, the young man in question, and after getting his hands on the recorder, he proceeds to put everything on tape in the following days. Fully embracing the fun potential of his concept, director Jack Henry Robbins weaves a tapestry of overlapping narratives — both those from the family’s daily life, and those they record from their favorite TV shows. In doing so, he mostly side-steps tradition narrative in favor of an interwoven series of funny, occasionally emotional vignettes. Image via Fantastic Fest The TV segments take up most of the film’s runtime, and they’re varying levels of funny featuring comedy regulars like Thomas Lennon, Courtney Pauroso, Kerri Kenney, Mark Proksch, Charlene Yi, along with a couple of starrier cameos from Tim Robbins and Susan Sarandon. There’s the home shopping hosts with an awkward romantic history (Lennon and Pauroso), some old-school late-night cable softcore with sexy space aliens, and a bizarre Bob Ross-esque soft-spoken artist (Kenney) who pretty much steals the movie. As VHYes skips back and forth between snippets of Ralph’s favorite TV shows, we keep track of the countless storylines, all of which lead to a pretty satisfying payoff in their own right. But VHYes is more than a clever parlor trick of editing and interwoven narratives. The film gets its heart through Ralph’s day-to-day story, glimpsed between the comedy characters, during which he accidentally captures what is likely the beginning of his parents’ divorce. That throughline weaves through the antics like an undercurrent of heartache in the humor, revealing the cracks in their relationship from the day of their wedding to the week of Ralph’s post-Christmas camcorder adventures. VHYes also makes some unexpected choices as it comes to a close that strive for new levels of genre and ambition, taking things in surprising directions. Some of those choices play better than others, but overall the film’s final bold swings cement VHYes as an ambitious and clever piece of indie filmmaking that embraces its concept for all it has to offer. We see VHYes entirely through Ralph’s 12-year-old eyes; through the hyper channel-changing of a bored tween, who captures his parents’ crumbling relationship without quite knowing what he’s seeing, and flips through the horrors of daily news in the late 80s on the hunt for his favorite shows. Robbins is completely convincing in his efforts to transport us into the mind’s eye of an 80s kid, who’s just trying to make sense of a demented world. There’s no shortage of hit series and films out there that traffic in commoditized nostalgia, VHYes feels like the real deal, bittersweet as the real thing. Better yet, as the chaos of the independent segments starts to click into focus, the fragmented characters from both the TV segments and Ralph’s real-world come to life, while the film’s deeper themes start to click into focus. Robbins ties those themes up with a delightful thread of meta-comedy, hinged on a behavioral scientist who fears for the future of the human race if we continue to pivot culture towards video content, and well, it sounds a whole lot like social media and smartphone culture as we know it today. VHYes shares some DNA with the type of oddball sketches you’d find on Adult Swim, but Robbins has something to say beneath his chaos, and most importantly, a whole lot of heart. Always entertaining and surprising, VHYes gives you a chaotic trip back to the 80s that’s emotionally complex, structurally brilliant, and often, laugh-out-loud funny. Rating: B VHYes had its world premiere at Fantastic Fest 2019. For more from fest, check out the links below. ‘Fractured’ Review: Brad Anderson’s Netflix Puzzle-Box Is Striking But Too Easy to Solve ‘In the Shadow of the Moon’ Review: An Ambitious Genre-Bender with Too Much Netflix Polish ‘Saint Maud’ Review: A24’s New Horror Movie Is a Carnal Crisis of Faith | Fantastic Fest ‘Sweetheart’ Review: J. D. Dillard’s Ferocious Creature-Feature Is Not to Be Missed | Fantastic Fest ‘In the Tall Grass’ Review: Netflix Delivers Another Solid Stephen King Adaptation | Fantastic Fest.

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Download vystar app. Without having seen it, I think it would have been better off as a series. I swear ive seen a fair chunk of the helmet cam etc on like funkers etc. Download chessmaster xi. I feel like I already saw the full movie. Lol. I m first. | Nick Allen January 17, 2020 A sense of humor is a funny thing, especially for those of us who treasure the weird stuff. When something that's "out there" works, it’s true love. When it doesn’t, it’s like a bad date that had huge promise until it got underway. Jack Henry Robbins' “VHYes, ” with all of its nostalgia for late ‘80s TV and its endemic cheesiness, follows after the likes of Weird Al Yankovic's masterpiece " UHF, " Casper Kelly's endlessly loopable opening credits hellscape "Too Many Cooks, " and even the Kyle Mooney skits that are "cut for time" on "Saturday Night Live. " And while I adore all of those polarizing works, I didn't see what was funny about the shallow wackiness of "VHYes. " Advertisement Shot entirely on VHS and Betamax, the whole of "VHYes" is presented as the contents of a video tape, which was initially used to film the wedding for the parents of a young boy named Ralph ( Mason McNulty). When Ralph gets a camera for Christmas in 1987, and learns that he can record from the TV, it opens a world of possibilities. Namely, whatever he can find on the TV that is weird to him at the time. In one of its many abrupt, fuzzy cuts, an excited young Ralph jumps on his bed and says that he wants to create the ultimate video playlist, and soon into watching “VHYes” you accept that that’s all you’re going to get. Instead of feeling like the chaos of a found tape, “VHYes” assembles itself like a series of sketches that it can bounce between, with random peeks back at the original wedding video contents; it struggles to have a heart by intermittently making it a story about Ralph realizing the truth behind his parents' marriage. Some sketch set-ups are directly, lazily recognizable to TV history: one cop parody steals the red and blue text from “Law and Order” because you wouldn’t get that it’s meant to parody if it didn’t have that logo. As if a tell on its weak absurdity, "VHYes" has yet another parody on TV painting instructor Bob Ross (even after Deadpool did it), with a segment starring Kerri Kenney, who turns the zen of such a host into the mindset of a creepy person who believes in aliens. The very nostalgia within the concept becomes a pit, even when “VHYes” threatens to get truly weird. It’s not until the final minutes that the movie taps into the reality-bending that had been hinted at earlier, when Ralph started to see himself in the stuff he was watching, after one segment involved a VHS expert talking about the soul-suck that will be handheld recording in the future. Many parody sketches don’t have a discernible reference to build on (the recognition is what makes it initially funny), and instead rely on a shallow cheesiness. Even though "VHYes" features many dynamic funny people like Kenney, Thomas Lennon, Mark Prosch, Charlyne Yi, and Robbins' parents ( Tim Robbins and Susan Sarandon), many of the characters in these sketches are so broad they aren't particularly clever. “VHYes” breaks the biggest rule of parody, over and over again: it simply tries way too hard with material that’s far too easy. That’s the case with an adult film bit that goes for low-hanging fruit of bad acting, as one guy is poorly reading cue cards in a late night movie about three alien women. Or there's an ongoing true-crime show about how a sorority thought one of their sisters was a witch because she did magic, which is a funny premise given a flat execution. The commercials that are thrown in the mix, like about a violent security company, or pads to sound-proof your bathroom, are like random splatters of paint whose only intention is to fulfill the project's obvious self-amusement. While “VHYes” is very much inspired by the media experience of 1987, it’s actually about a very modern hell: Your friend sits you down to show you something really funny on YouTube, but oh, no—they’ve misjudged your sense of humor. Now you’re stuck, watching all of it, trying to find something funny to offer a polite relief. I started to feel trapped by my obligation to watch something that could very well have been my type, but now I’m just grateful the filmmakers of “VHYes” didn’t watch me watch it in laughless silence. Reveal Comments comments powered by.

MOVIES 5:38 PM PST 1/15/2020 by Nate Gold/Oscilloscope Laboratories A hipster-retro 'Kentucky Fried Movie' with a phantasmagoric twist. 1/17/2020 Jack Henry Robbins, son of Susan Sarandon and Tim Robbins, looks at the world through a short-attention-span montage of faux '80s television clips. Is it just an Eighties-drunk exercise in pastiche, or perhaps an experiment in slow-burn psychological horror for the Adult Swim crowd? Could it even be a disguised indictment of a generation that sat watching infomercials and dopey porn while its democracy passed the point of no return? Jack Henry Robbins' VHYes is a bit of all that, poured into a form that begs for midnight-movie consumption. The son of Tim Robbins and Susan Sarandon, Robbins briefly enlists both parents onscreen here, while relying more heavily on a small array of comic performers familiar from TV. Though hardly groundbreaking in either its content or its aesthetics, the film is more serious than it initially lets on, and can only benefit from the VHS nostalgia that has, often irrationally, taken root in some quarters. Shot entirely on VHS and Betamax, the pic's conceit is that it is the result of a Christmas gift whose recipient should have been more careful: When pre-teen Ralph (Mason McNulty) starts experimenting with his family's new video camera in December 1987, he unwittingly uses the tape of his parents' wedding as he runs around filming everything from fights between his dinosaur toys to his attempts to shoot off fireworks with best pal Josh (Rahm Braslaw). (Those who've actually used a camcorder may wonder how he managed to leave big swaths of wedding footage intact while recording stuff before and after; the not terribly-offensive cheat is necessary to support a theme the film will eventually get around to. ) Very quickly, Ralph realizes he can use a cable to record what's on TV; he plugs in and records a spree of channel-surfing that is hardly dictated by the merits of whatever happens to be onscreen. The clunky programs we witness sprinkle familiar faces among actors who look like they were plucked from the actual period. Thomas Lennon plays the co-host of a TV shopping network, currently hawking a Confederate Army memorial pen; the inimitably nerdy Mark Proksch plays an expert on an Antiques Roadshow -like program who explains the suspiciously bizarre origins of ordinary-looking artifacts. We see aerobics classes, nightly news and cop shows. We sit in on a Bob Ross-style painting tutorial that gets less Bob Ross-like with each passing minute. Its host Joan (Kerri Kenney) doesn't only host Painting With Joan, but stranger programs, like the unsettling Sleeping With Joan, which is pretty much the opposite of the gently wholesome Joe Pera Talks You to Sleep. While Joan and others give things an air of drug-addled discomfort, some program snippets contain hints of a more clear-eyed world view. The perfunctory scripts of porn films we see are built not around hunky cable-repair guys or pizza-delivery dudes, but scientists researching global warming, or blonde lesbian aliens who are forced to navigate American attitudes toward illegal immigration. Stranger and more on-target is a current-events talk show whose guest starts expounding on "Tape Narcissism": a phenomenon of indiscriminate self-documentation she feels will lead its victims to psychosis. To the show's host, her predictions sound so hyperbolic as to be insane; to us, she's describing the age of social media. So it goes, with occasional clips in which Ralph documents bits of domestic discomfort he doesn't quite understand. Viewers who stick with the ADHD skit-like material will be divided about whether this familial theme ties things together satisfactorily — and about whether sticking to a single target, a la Between Two Ferns, makes more sense for those who would mine clunky idioms for laugh. For those on the fence, a detour into found-footage horror will only complicate the question. Production company: Hot Winter Films Distributor: Oscilloscope Cast: Mason McNulty, Rahm Braslaw, Kerri Kenney, Thomas Lennon, Mark Proksch Director: Jack Henry Robbins Screenwriters: Nunzio Randazzo, Jack Henry Robbins Producer: Delaney Schenker Director of photography: Nate Gold Production designer: Tyler Jensen Editor: Avner Shiloah 72 minutes.

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Where can I watch this. Download wanted by hunter hayes. Download vhs template. Whenever a South African based story releases part of the fun is just watching the actors get the accent so wrong XD The default is always Australian which sounds nothing like an Afrikaans or White South African accent XD. 47:46 - Anekdote zu Richard Dreyfuss & Ken Russel. Homepage - VHYes A film by Jack Henry Robbins VHYES A bizarre retro comedy shot entirely on VHS, VHYes takes us back to a simpler time, when twelve-year-old Ralph mistakenly records home videos and his favorite late night shows over his parents’ wedding tape. The result is a nostalgic wave of home shopping clips, censored pornography, and nefarious true-crime tales that threaten to unkindly rewind Ralph’s reality. CRITICS SAY... “The comedy here is high enough that simply being funny would have been enough, but VHYES strives for meaning as well, which is what makes the film such a special delight. ” “Bounces along with the exuberance of its young hero and will remind you of the experience of trying to make sense of the world as a child. ” — Jennie Kermode, EYE FOR FILM “VHYES is filled with heartfelt hilarity. ” — Evan Saathoff, BIRTH. MOVIES. DEATH. “The sort of film that will seep into your consciousness and find its way into your dreams. Perhaps it will alter your perception of reality. Perhaps reality is less than this. ” CONTACT US BOOKING: Andrew Carlin 630-445-1215 PRESS: Sydney Tanigawa 212-219-4029 ext. 41 GENERAL INQUIRIES:.

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