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Joy Ride (2001)@cute-cactus526d
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  1. Film Review: Joy Ride (2001)@drax800d

    (source: tmdb.org)

    There are certain films that, despite their merits, are hindered by a detail that renders them dated or less convincing. Joy Ride, 2001 thriller directed by John Dahl, falls into this category, where a specific element holds it back from achieving perfection.

    The plot follows Lewis Thomas (played by Paul Walker), young man who has just bought a car and uses it on a trip to Colorado where he would reunite with an Venna Wilcox (played by Leelee Sobieski), a lifelong friend and girl with whom he always been secretly in love. Along the way he picks up brother Fuller (played by Steve Zahn) from jail. Brothers play around with CB radio and get in start conversation with truck driver named “Rusty Nail” (voiced by Ted Levine). Lewis decides to impersonate female named “Candy Cane” and sets up a fake date in the motel, where Rusty would instead meet obnoxious male guest. Their prank, however, gets sinister turn when the guest is later horrifically injured and brother realise that they deal with murderous psychopath. At first, they simply think that they would get away, but when they pick Venna up, it turns out that Rusty Nail follows their every move.

    Joy Ride was one of the early projects of Bad Robot, the production company founded by renowned producer J. J. Abrams, who co-wrote the script with Clay Tarver. Director John Dahl, known for his stylish neo-noir films, infuses elements of noir into Joy Ride, although its genre leans more towards typical slasher horror, reminiscent of 1980s films where young protagonists face mysterious and unstoppable killers. Drawing on the legacy of road films merged with horror or thriller genres, Joy Ride transforms American highways into a chilling backdrop, echoing classics like Spielberg's Duel (1971) and The Hitcher (1986).

    The production faced challenges, mostly to do with different script version, which reflected in five alternative endings. There were also editing issues, with scenes based on different script versions ending in final film, making character of Venna romantically interested in both brothers. However, Dahl's adept direction nevertheless secured a cohesive and engaging final product. Dahl exceled in character development, suspense-building, and delivred thrilling sequences while maintaining a brisk pace.

    The cast delivers strong performances, with Paul Walker's charm complemented by Steve Zahn's reliable humor and Leelee Sobieski's portrayal of the girlfriend-turned-damsel in distress. However, it is Ted Levine's voice work as Rusty Nail that truly stands out, adding a menacing presence to the unseen antagonist.

    One aspect that makes Joy Ride look dated is its reliance on CB radio as a plot device, a technology that has becoming obscure even in time of production with the rise of cellphones. If made few years or decades earlier, or simply being set in those periods, the film would have worked much better. Despite this, the film remains highly recommended. Its modest box office success and development of small cult status later led to two direct-to-video sequels - Joy Ride 2: Dead Ahead in 2008 and Joy Ride 3: Roadkill in 2014.

    RATING: 7/10 (+++)

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  2. 'Joy Ride' by Adele Lim Review: Genuinely insufferable, an insult to comedy@namiks1041d

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    These days I try to give everything a chance. I try to go into all kinds of new shows and films in hopes that I'll stumble across something I otherwise usually wouldn't. At one point this wasn't the case. I would stick to watching only what I knew I would like, and honestly, it became a horrible chore that made watching things far less enjoyable. The endless scroll and hunting, the endless judging of review scores and pushing aside anything that seemed to just not meet my stupidly high standards. Ignoring all of this and moving on to accept more unique creations, I have had a lot of fun discovering new things even if they aren't that great. And, with this, it's actually quite rare that I stumble across something that I genuinely can't finish or truly find terrible. Interestingly, this prior standard I had would not have worked with this film. Strangely, critics seem to love this film. And I even found that a bit odd given all I could think of was the absolute horror that was Sausage Party. A terrible animated film that ran rent free throughout my mind as I watched Joy Ride. All I knew while watching it, was that this certainly wasn't getting any joy from it, and that if this were a ride, I'd want to get off.

    In fact, I was shocked at Joy Ride. I went into it expecting something completely different. A comedy, for sure, but one that would be about culture and actual self-discovery. The film to begin with certainly implied something as such, but very quickly took a dive. It is rare that I can't finish watching a film, but this reached a point in which I just couldn't take it anymore, and felt that the insufferable attempts at comedy only grew worse by the second. As it only continued to reject its main supposed plot idea in favour of degeneracy that just ramped up. Funnily, I'm convinced I sat through most of Joy Ride half-disgusted, half-confused expression; a near blank stare, semi-frowning and just still. This is the kind of film that stems from the mind of a terminally online Twitter user that throws out the edgiest imaginable jokes to the point where the repetition just gets annoying. Joy Ride is most certainly one of the worst films I have ever seen, and I have seen a lot of bad films. A quick note: the other week I was watching parody films. They were better.

    To give you an idea of how disgusting Joy Ride is: it is a film supposedly set in China. It was filmed entirely in Canada.

    Joy Ride

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    Joy Ride's least offensive element comes from the directing itself. For what the film offers, visually it really isn't that bad. It's clear there's a good budget that went into the cinematography and often creating some well-lit and composed images. To begin with, I actually quite liked how it looked. But I quickly grew to hate what it was showing me. The editing didn't seem so bad, either. For the attempts at comedic moments, it would ramp up and adjust to them while also knowing when to slow down and attempt to introduce some pacing between the attempts at jokes. The main problem with the film? The attempts at jokes. I mentioned before the animated film Sausage Party, if you unfortunately saw that film, this is basically the live action version of that. These Asian women are sent on a business trip to secure a deal with a Chinese company; the main protagonist takes along a friend, who also brings along a friend. We find out our protagonist is adopted and doesn't know her birth mother, and one of the friends hints that it could be a good idea while in China to try to find her. At first the film feels like it'll be some exploration of heritage, a life lesson that is gained by exploring the nation and culture of which she ultimately comes from but didn't grow up with, having been raised by a white American family in the United States.

    I was prepared for a narrative like this, though the film completely throws this idea aside until these disgusting women insist on bringing it up again at various points in the film, again implying that it may be some greater aspect of character development that'll have importance in the story. For the most part, it doesn't. Instead this idea is only ever mentioned for these nasty characters to potentially use to benefit financially. They actually have the idea of only finding her birth mother in hopes that it may increase their chances at increasing ties with the Chinese company due to their cultural similarities. Now, I'm not from an Asian culture, but if I was, this idea would really sicken me. To have a film seemingly be for Asians and spreading the culture and ideology, only to insult it. What's more strange is how the film seems to feel the need to try to spread awareness and connectivity with Asian culture. Lots of kpop references, Chinese drama references, the Chinese culture itself referenced. It plays itself like a comedy film that wants to support Asian culture, but seems almost as if it's completely stereotyping it without any real awareness of what it may be. For example: one scene shows the women on a train in China, a foreign woman is a drug mule and decides she's going to use them to hide the drugs from the searching police on the train, for no real reason, all of the characters abide, stuffing drugs into their orifices in a weird montage that seems like they're actually proud of it all. To which they later brag about it all.

    This isn't even the most vulgar part of the film. It gets worse, even despite every single joke being about vaginas or sex. And these attempts at jokes come almost in every minute of the film, repeated often as if we never heard them the first time. By far, it's the vulgarity that absolutely threw me off with Joy Ride. It feels the need to mention something disgusting far too often and relies on it while having zero awareness. It makes every character seem highly obnoxious, vulgar, and downright annoying. The full extent of their personalities being oriented around sex and their bodies and horribly unappealing histories. I really do not understand how anyone could see these characters and believe they're anything remotely inspiring or something to like. I could understand if the comedy came from them being horrible people and the shock value being the comedy as these individuals fail to learn and improve themselves, but that isn't how they're presented at all, we are in fact supposed to cheer for this behaviour alongside them. This is ultimately where my face began to scrunch up with disgust. Honestly, the funniest thing about the film to me was the assumption that it was about Chinese women going to China and integrating with the culture, to which obviously a film like this would be rejected and banned within China for its themes. I think even Turning Red handled this more Asian cultural narrative oriented around growing up and self-discovery with more thought and respect for it all.

    If you have ever seen a Seth Rogen film, I'd say this is what it feels like. Which is funny to say, because just now I looked up the credits to see Seth Rogen listed as a producer; to which he also worked on the aforementioned Sausage Party title. Well, honestly, I don't think I have anything more I want to say about this film. Its comedy is horrible and relies on the utmost vulgarity thrown into your face every few seconds, with a story that just doesn't really make sense beyond that. Every character is insufferable, with nothing they really explore or learn about despite the film's introduction. Avoid it, watch something better.

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  3. Joy Ride (2023)@andreseloy5811055d

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    A comedy film that marks Adele Lim's directorial debut, this is a Malaysian screenwriter who is best known for writing Crazy Rich Asians, the first film with a mostly Asian-descended cast in a modern setting since The Joy Luck Club in 1993.

    The film's screenplay written by Cherry Chevapravatdumrong and Teresa Hsiao revolves around the journey of four Asian American friends to China in an attempt to secure the signature of an Asian American businessman so that Audrey Sullivan can be accepted as a partner in the law firm where she works.

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    She is adopted and played by Ashley Park, an American actress, dancer and singer, known for her performance as Mindy Chen in Netflix's Emily in Paris, which earned her a Critics' Choice Award nomination.

    Upon arriving in Asia and meeting with the businessman, an unexpected twist occurs that forces the group to look for Audrey's biological mother who lives in another city in the interior of the country and the adventure turns into an odyssey where absurdity, satire and black humor are present causing extreme situations that will lead to an unexpected ending.

    [Image](https://cinescopia.com/joy-ride-la-comedia-veraniega-que-nadie-esperaba/2023/08/)

     

    Joining Park in this work is Sherry Cola as Lolo Chen, an aspiring artist and childhood friend of Park's, who has a short film career and is best known for playing Alice Kwan in Freeform's Good Trouble. Stephanie Hsu as Kat, a famous Chinese actress who was Audrey's college roommate, known for starring in Everything Everywhere All at Once (2022), for which she received critical acclaim and an Oscar nomination and Sabrina Wu as Deadeye.

    It was released at SXSW on March 17, 2023 and in U.S. theaters on July 7, 2023, receiving positive reviews, both for the performances of the leads and for balancing irreverent humor with emotionality.

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    Personally, I enjoyed it and recommend it, but I must clarify that it is a movie for an adult audience.

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  4. Joy Ride (2023) review: The Asian Superbad.@richardalexis1061d

    Joy_Ride-357012488-large.jpg Source

    All the screenshots in this post were taken directly from the movie

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    I have always considered Superbad one of my favorite comedies, and, although much of this is due to the agility that Seth Rogen and Evan Goldberg's script had to elegantly handle an "acid" style of humor, beyond all gags and vulgarity the true heart of the film was found in the fidelity with which they knew how to portray adolescence, without having to pass it through a filter that sweetens it or makes it more serious than necessary.

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    Since its premiere, many other projects have tried to replicate the dynamic with more or less success: Good Boys, Project X, Booksmart, all are examples of the impact that Greg Mottola's film had on the popular culture of millennials and gen Z.

    And although Joy Ride logically does not seek to measure itself with the same yardstick, I consider it right to extract the two elements that confirm its formula: the acidity of its humor and the way in which it represents its protagonists, regardless of their age, gender or race.

    On this occasion we follow a group of Asian women who, due to coincidences in life, end up embarking on a trip in order to meet the biological mother of one of them.

    Joy Ride in essence is about identity, the dualism that exists between our ancestral origin and the place where we grew up, the culture shock that this can generate in us and what is the best way to close this gap.

    Although a good portion of its jokes do not land correctly (somewhat understandable considering how difficult it is to handle these issues), Adele Lim's film acquires more strength when it takes advantage of the dynamics of its four leading women, which, without falling into forced stereotypes, ends representing very well different perspectives of the female experience.

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    I didn't laugh, but I felt very entertained with everything I was seeing, this is a film that seeks to mix grotesque and sexual moments with other emotional and profound ones, a balance that ends up being executed well and that concludes in a surprisingly emotional way.

    IMG_20230802_212351.jpg Score taken from my Letterboxd Account.

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    Joy_Ride-357012488-large.jpg Source

    Todas las imágenes en este post fueron tomadas directamente desde la película

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    Desde siempre he considerado Superbad como una de mis comedias favoritas, y, aunque gran parte de esto se debe a la agilidad que tenia el guión de Seth Rogen y Evan Goldberg para manejar con elegancia un estilo de humor "ácido", más allá de todos los gags y la vulgaridad el verdadero corazón del filme se encontraba en la fidelidad con la que sabían retratar la adolescencia, sin necesidad de pasarla por un filtro que la endulce o la haga más seria de lo necesario.

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    Desde su estreno muchos otros proyectos han intentando replicar la dinámica con más o menos éxito: Good Boys, Project X, Booksmart, todos son ejemplos del impacto que tuvo la cinta de Greg Mottola en la cultura popular de los millennials y los gen Z.

    Y aunque lógicamente Joy Ride no busca medirse con la misma vara, considero acertado extraer los dos elementos que confirman su fórmula: la acidez de su humor y la forma en la que representan a sus protagonistas, independientemente de su edad, género o raza.

    En esta ocasión seguimos a un grupo de mujeres asiáticas que, por coincidencias de la vida terminan embarcadas en un viaje con la finalidad de conocer a la madre biológica de una de ellas.

    Joy Ride en esencia va sobre la identidad, el dualismo que existe entre nuestro origen ancestral y el lugar en dónde crecimos, el choque cultural que esto puede generar en nosotros y cuál es la mejor forma de cerrar esta brecha.

    Si bien una buena porción de sus chistes no aterrizan correctamente (Algo entendible considerando lo difícil que es manejar estos temas), la cinta de Adele Lim adquiere más fuerza cuando aprovecha la dinámica de sus cuatro mujeres protagonistas, que, sin caer en estereotipos forzados termina representando muy bien distintas perspectivas de la experiencia femenina.

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    No me reí, pero me sentía muy entretenido con todo lo que estaba viendo, está es una película que busca mezclar momentos grotescos y sexuales con otros emotivos y profundos, un balance que termina ejecutando bien y que concluye de forma sorprendentemente emotiva.

    IMG_20230802_212351.jpg Puntaje sacado de mi cuenta de Letterboxd

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    Twitter/Instagram/Letterbox: Alxxssss

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  5. Joy Ride (Film): Review.@martinmcfly2777d

    Recently I was watching Joy Ride, a film that does not represent anything outstanding, but that nevertheless, and in a really inexplicable way, I liked it enough to decide to talk about it, of course, to take advantage of the fact that I saw it recently.


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    (https://cdn.steemitimages.com/DQmWqCvYW2tM6495tei2yJvx8u3HBUTgRC87yUyr17B19b8/Image.png)

    Source <<

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    Year: 2001 Category: Thriller. Director: John Dahl Cast: Steve Zahn, Paul Walker, Leelee Sobieski.


    Plot

    A student from New Jersey hopes to have a great vacation, so he decides to look for Venna, the girl of his dreams, who lives and studies in Colorado. But first, he goes to the prison where his brother just left. During the trip, and with the use of a CB radio, they make a joke to a truck driver nicknamed Rusty Nail, who will not like the joke.


    Opinion

    The script of the film is not the best, I think it is wrong several aspects and it does not take into consideration the details, but at least it contains the necessary amount of scenes of tension and intrigue to keep entertained the spectators.

    The characters are very common, none have depth or a personality really own. The performance of Paul Walker is somewhat irregular and at times detached from the situation, he needs more charisma, meanwhile, Leelee Sobieski, a moderately good actress, has a secondary role, which is why she does not have a more important participation in the film and therefore the film loses a little the possibility that she contributes more to the plot with her abilities. Finally, Steve Zahn is the one who makes the best performance of the film, but his character has no ability to generate enough sympathy in the viewer. All this makes the film have that style of films like I Know What You Did Last Summer.

    However, despite its flaws, the suspense and tension generated by the film is quite acceptable, so it does not necessarily become boring at any time, but generates interest in the viewer, making it wait until the end to see the conclusion of the conflict. A positive thing is the absence of blood, since the film does not need to show a large number of victims to show how dangerous the individual the protagonists are facing. On the other hand, the appearance of the landscapes of the motorways caused me a certain sensation of pleasure, I like the feeling of travel and adventure that scenes recorded on motorways transmit, and the film offers something of that. The last minutes of the film are very good, since they manage to introduce interesting turns, nothing original, but moderately unexpected to divert and confuse the expectations of the audience and thus surprise with a good ending.

    The film becomes a very effective entertainment and is a metaphor that shows how dangerous it can be to play with the feelings of strangers, something important nowadays, since we do not know if on the other side of the radio or the screen there is someone really dangerous.

    Sometimes films emerge that manage to transcend despite having an intransigent and careless script, and that is precisely the case of Joy Ride.


    Trailer


    Score

    6/10

    The film is slightly entertaining, the problem is certain moments and circumstances where we ask ourselves what the screenwriters thought when they wrote the movie. As a thriller is quite solid, it would be a classic in its category if it were not for the freedoms that were taken when establishing certain ideas. I recommend it moderately to fans of this category and only as long as they maintain low expectations.


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