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Recent Articles
Recent Articles by Jim Ridley
Call hell-raiser Hunter S. Thompson's style what you will, a new doc succeeds when saluting his substance.
Dario Argento caps off his horror trilogy with horrific parody.
With its secret boys' club and bloody good fun, Wanted has all of the fight with none of the guilt.
Harmony Korine creates a Neverland for celeb impersonators in the singular and sincere Mister Lonely.
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National Features >
Houston Press
A flight attendant's smackdown with the wife of mega-preacher Joel Osteen inspires a whole new set of commandments.
By Rich Connelly
City Pages
Today Denver, tomorrow the Twin Cities.
By Matt Snyders and Bradley Campbell
The Pitch
A country musician rescues Waylon Jennings' tour bus from the scrap heap.
By C.J. Janovy
Village Voice
The provocateur who brought you "Piss Christ" pinches off a new concept.
By Lynn Yaeger
The Signal
Continued from page 1
Published on February 21, 2008
Employing its interlocked multi-part narrative more convincingly than anything Alejandro González Iñárritu has done since Amores Perros — the appearance and recurrence of characters in each other's stories seems organic and unforced — The Signal borrows the most potent trope from the late-'90s Japanese horror craze: the transmission of unspecified evil along the electronic teats plugged into every surge protector and car jack (TVs, radios, cell phones). Amusingly, The Signal — a radar blip at South by Southwest 2007 and a fanboy word-of-mouth sensation ever since — is busy insinuating itself into households using the same methods: MySpace, Facebook and YouTube. If the filmmakers' viral marketing strategy succeeds, pretty soon we'll all have the crazy. As if we didn't already.