Blu-ray review ‘between worlds’ is the nicolas cage-iest movie of the year electricity font

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Nicolas Cage may have been one of the key featured players in the $185-million grossing, Academy Award-winning Spider-Man: Into the Spider-Verse, but don’t expect him to stop making “Nic Cage Movies” any time soon. And I think you know what I mean by that: I’m talking video-on-demand, day-and-date releases in which he plays either a cop, a drug addict, or a demon-slayer. Sometimes all three in one. Occasionally just two. He keeps you guessing, that Nic Cage.

Between Worlds, out on Blu-ray this week, promises in its press release “the legendary Nicolas Cage in a role you’ve never seen him play before” which is only sort-of true. It’d be far more accurate to say it’s the legendary Nicolas Cage playing every role you’ve ever seen him play before…at the same time. If Cage had turned down this script, the only other person who could play this part would be Tommy Wiseau. Actually, imagine Wiseau as a guest on the improv comedy-game show Who’s Line Is It Anyway, assigned the task of playing “Every Nic Cage Character All At The Same Time,” and you’re close to what has been achieved herein. And if you’ve read this far, you already probably know electricity and circuits ppt by now if this is a movie that will make you salivate, or regurgitate.

Did I mention you get to see Cage’s “o-face” probably at least four times? And that on at least two of those occasions he is simultaneously reading aloud from an obviously homemade book entitled Memories, by Nicolas Cage gas oil ratio units? Just to clarify: he is not playing a character named Nicolas Cage, but rather Joe. So Joe, though this isn’t specified, is clearly a human who looks exactly like Nicolas Cage the famous celebrity who exists in this universe as such, and has decided to behave like all the star’s characters combined, despite not being smart or sober enough to be aware that’s what he’s doing. Okay, that is a character I’ve never seen before. You got me. The closest thing is maybe when Jerry Springer played “Jerry Farrelly” in Ringmaster, yet his character signed autographs “Jerry Springer” and sang a song about Jerry Springer.

Joe, who looks like the bottom of a dive bar ashtray gained sentience and human form, is a drunk trucker who comes upon a woman being choked in a gas station restroom. He punches out her assailant and then keeps kicking a few more times for good measure, but the woman, whose name is Julie (Franka Potente, who acts like she doesn’t understand the script at all and I don’t blame her), objects. She wanted to be choked, because it would induce a near-death experience that would allow her to leave her body, fly to her comatose daughter, and shove that teenage girl’s spirit right back into her unresponsive corporeal shell where it belongs.

Julie seduces Joe with coffee and Jack Daniels, they have violent sex that breaks a lamp, and then there’s a fadeout to “Three days later” for no particular reason, and Joe is still hanging around when Billie is brought home from hospital, despite the fact that his not ever having left means he loses his last trucking job, and the truck. Never mind: he can fix Billie’s broken bike, get high, get drunk, spray water on himself, and basically be Nic Cage on Julie’s dime for a while. At least until Billie q card gas station/Mary starts putting the moves on him. There is lots of naked sex in this movie.

Cage brings the full mania at all times, while the filmmaking is bit all over the place, from definitely showing its clearly low budget (some bad CG fire and some opening credits which look like they were the default font in a free editing program) to some weirdly beautiful choices (the opening shot of a corpse floating under ice is chilling in every sense). Frequent David Lynch collaborator Angelo Badalamenti was somehow secured to do the score, and the soundtrack co-opts Marilyn Manson’s “I Put A Spell On You” from Lost Highway, in more furtherance of aspirational Lynch-ism. But director Maria Pulera might be better off being the first her than the next Lynch; while she shares his love of crazy and crying, her stories are more straightforward, even when they electricity history united states’re this bizarre.

Nicolas Cage may have been one of the key featured players in the $185-million grossing, Academy Award-winning Spider-Man: Into the Spider-Verse, but don’t expect him to stop making “Nic Cage Movies” any time soon. And I think you know what I mean by that: I’m talking video-on-demand, day-and-date releases in which he plays either a cop, a drug addict, or a demon-slayer. Sometimes all three in one. Occasionally just two. He keeps you guessing, that Nic Cage.

Between Worlds, out on Blu-ray this week, promises in its press release “the legendary Nicolas Cage in a role you’ve never seen him play before” which electricity billy elliot is only sort-of true. It’d be far more accurate to say it’s the legendary Nicolas Cage playing every role you’ve ever seen him play before…at the same time. If Cage had turned down this script, the only other person who could play this part would be Tommy Wiseau. Actually, imagine Wiseau as a guest on the improv comedy-game show Who’s Line Is It Anyway, assigned the task of playing “Every Nic Cage Character All At The Same Time,” and you’re close to what has been achieved herein. And if you’ve read this far, you already probably know by now if this is a movie that will make you salivate, or regurgitate.

Did I mention you get to see Cage’s “o-face” probably at least four times? And that on at least two of those occasions he is simultaneously reading aloud from an obviously homemade book entitled Memories, by Nicolas Cage? Just to clarify: he is not playing a character named Nicolas Cage, but rather Joe. So Joe, though this isn’t specified, is clearly a human who looks exactly like Nicolas Cage the famous celebrity who exists in this universe as such, and has decided to behave like all the star’s characters combined, despite not being smart or sober enough to be aware that’s what he’s doing. Okay, that is a character I’ve never seen before. You got me. The closest thing is maybe when Jerry Springer played “Jerry Farrelly” in Ringmaster, yet his character signed autographs “Jerry Springer” and sang a song about Jerry Springer.

Joe, who looks like the bottom of a dive bar ashtray gained sentience and human form, is a drunk trucker who comes upon a woman being choked in a gas station restroom. He punches out her assailant and then keeps kicking a few more times for good measure, but the woman, whose name is Julie (Franka Potente, who acts like she doesn’t understand the script at all and I don’t blame her), objects. She wanted to be choked, because it would induce a near-death electricity and magnetism physics experience that would allow her to leave her body, fly to her comatose daughter, and shove that teenage girl’s spirit right back into her unresponsive corporeal shell where it belongs.

Julie seduces Joe with coffee and Jack Daniels, they have violent sex that breaks a lamp, and then there’s a fadeout to “Three days later” for no particular reason, and Joe is still hanging around when Billie is brought home from hospital, despite the fact that his not ever having left means he loses his last trucking job, and the truck. Never mind: he can fix Billie’s broken bike, get high, get drunk, spray water on himself, and basically be Nic Cage on Julie’s dime for a while. At least until Billie/Mary starts putting the moves on him. There is lots of naked sex in this movie.

Cage brings the electricity billy elliot broadway full mania at all times, while the filmmaking is bit all over the place, from definitely showing its clearly low budget (some bad CG fire and some opening credits which look like they were the default font in a free editing program) to some weirdly beautiful choices (the opening shot of a corpse floating under ice is chilling in every sense). Frequent David Lynch collaborator Angelo Badalamenti was somehow secured to do the score, and the soundtrack co-opts Marilyn Manson’s “I Put A Spell On You” from Lost Highway, in more furtherance of aspirational Lynch-ism. But director Maria Pulera might be better off being the first her than the next Lynch; while she shares his love of crazy and crying, her stories are more straightforward, even when they’re this bizarre.