Ted 2 is exactly what you think it is. Seth MacFarlane is an entertainer who infuses all of his work with the same pop-culture heavy and juvenile abundant humour, from his roots in Family Guy to this, his third cinematic effort. The first Ted was a cinematic surprise, over-performing at the box office to become (at the time) the highest grossing R-Rated comedy of all time.
Having recovered from the shock upon discovering that summer 1990 was a quarter of a century ago, I recently reacquainted myself with one or two of the cinematic treats that I first enjoyed at the tender age of 15. Darkman got a repeat viewing, as did the sorely underappreciated Quick Change with Bill Murray. I was especially pleased to find that my personal favourite alumni from the class of ’90 had aged so well:
45 Years is unquestionably well-written and well-acted, to such a high degree that is literally impossible to argue otherwise. To say that Charlotte Rampling and Tom Courtenay give two of the most emotionally effective performances of their long and illustrious careers is equivalent to saying that the sky is blue and the world is round; it is so plainly obvious, arguing in its favour seems like a waste of time, as the greatness is clearly there for all to see. Emotionally engaging from the opening minutes On paper, the film feels like the opposite of director Andrew Haigh’s previous film Weekend; that film was about two men who meet and fall in love over the course of (you guessed it) a weekend, after a one night stand turns into something deeper.
Although not without empathy, it is hard to argue against the statement that teenagers are some of the most self-centred people alive. I know this from being a particularly self-centred teenager, who at thirteen regularly made statements of self-loathing in order to gouge sympathy and attention from my peers. It was an attention seeking phase that I mercifully grew out of very quickly, but I can at least be forgiven for it for being young and stupid.
One problem with modern society at the moment seems to be an obsession with nostalgia, which is being milked by marketing companies. This has bled into the hipster movement and has lead to the larger debate of analogue vs digital as digital technologies develop. It is now bleeding into every aspect of pop culture, and it is one which can be seen in film.









