Van Wilder The Rise Of Taj Full Movie Download
Kathrine Selvage
I went to the screening of National Lampoon's Van Wilder 2: The Rise of Taj to see if it lived up to the hype of being the worst comedy of the year. MGM surprised many by releasing this film in the first place, but they must have seen something in it that I didn't. As I expected, it was a cheesy, predictable, already-seen-before and quite boring Indian-spiced comedy that doesn't appeal to any audience. I only have one question for MGM: why isn't this a straight-to-DVD release?
Van Wilder 2: The Rise of Taj follows Taj Mahal Badalandabad (Kal Penn) as he continues his higher education and work as teaching assistant at the fictional Camford University somewhere in England. Taj tries to join the Fox and Hounds society to follow in his father's "legendary" footsteps. Upon arriving he is told by the pompous head of the house Pipp Everett (Daniel Percival), the Earl of Grey, that there was a mistake: he was instead accepted to the Cocks and Bulls society that is housed in "The Barn." Taj meets four other socially-challenged students and decides to lead them as his mentor Van Wilder (the first film's Ryan Reynolds, who does not appear in the sequel) would have.
Although you could draw parallels between The Rise of Taj and every us-versus-them college comedy ever, The Rise of Taj is a nearly complete copy of the otherwise superior comedy Old School from 2003. In Old School, Luke Wilson and friends form a new fraternity, and before long are fighting in a school competition to keep it alive and win the trophy. In The Rise of Taj, Taj takes a rundown house and gives it a new life, competing in the school competition to win a trophy and prove that it, and its members, are worthy. There is even a paintball scene strongly reminiscent of the mediocre School for Scoundrels from earlier this year.
Nearly every scene has a gratuitous cleavage shot or is graced by a piece of female eye candy, a desperate hope to draw an audience. If you can struggle through the lame comedy and cookie-cutter characters, you'll get a few chuckles at Penn's expense and many opportunities to admire Holly Davidson's breasts. This film is meant only to pander to the lowest common denominator of young movie-goers who enjoyed the sex comedy in the first Van Wilder. With much less tact and considerably less nudity and sexuality than one would expect, even those seeking a mindless experience will walk out disappointed.
Last Word:
Van Wilder 2: The Rise of Taj doesn't even compare three cup sizes to the half-assed original from 2002. It moves through its bland comedy much too quickly, yet I'm confused as to how this actually filled up 95 minutes, as it felt like an hour long comedy special found on television. I'll ask it again: why isn't this straight to DVD? There are plenty of other disgraceful films that get a quiet straight-to-DVD release, and this is one that should have been on the very top of that list.
The buildings are located in neighborhoods throughout St. Paul. While each building is unique in its design and community character, you'll find some features and benefits common to all of the hi-rises. These include:
The Pop Song Professor project is all about helping music lovers like you to better understand the deeper meanings of popular song lyrics so that you know what your artist is saying and can enjoy your music more.
The drum beat at the beginning of "Wilder Mind" from the new Mumford & Sons album Wilder Mind had me confused. It's upbeat and happy-sounding and fairly fast. The previous songs released had been moody and heavy, but this song was so much lighter, suggesting far lighter tone and subject matter. However, the difference didn't last; the music thickened quickly and the lyrics in "Wilder Mind" are still intense and near-brooding.
The lyrics in "Wilder Mind" are almost mournful, but there's energy behind them, derived from Mumford's voice and the drum beat. The song is a bemoaning of a relationship that failed Mumford because the woman in it tried too hard to control him. She had a vision for how their relationship should look and knew what she wanted but didn't consider what Mumford wanted or who he was. She tried to artificially create a relationship that she thought would be perfect but failed both herself and Mumford.
Mumford begins by singing, "It's in my blood, it's in my water," showing this wildness to be vital to his own personality. One cannot function without blood and water, and Mumford's wildness is inseparable from him because it's in those two things. He sings that she tried "to tame [him] from the start." She is controlling and wants to remove his wildness-the existence of which is reinforced by the powerful, and quick rhythm of the song that contrasts with the intense, moody lyrics.
This woman seems to have tried to use sex to control Mumford: "With that deadness in your eye, flash your flesh / Desperate for a need to rise." Her advances on him are tactical and unenthusiastic; she has no real passion for him. She merely uses her own flesh as a way to ensnare him, hoping that sex will enthuse her and give her "a need to rise." (Of course, this could also refer to the woman wanting her body to be a "need to rise" for Mumford.)
However, as sung in the hook, this woman's promises of sex and "flesh" aren't enough to make Mumford stay; he "had been blessed with a wilder mind." And her "proper" and formalized nature keeps her from understanding him. Mumford describes her as having "silver crystal on," and he sings, "How well you used to know how to shine," both lines suggesting that she is good at performing a highly polished and successful version of herself for others.
In the next stanza of the hook, Mumford sings, "You can be every little thing you want nobody to know / And you can try to drown out the street below." The first line suggests that her usual persona is fake, that she is someone else, and that she wants to be that person with Mumford. When she is with him, she loses her "shine," "polish," and perhaps her good nature, revealing a controlling manipulator underneath. The second line shows that her attempts are not sustainable; she can try to be this person she wants to be, but just as she can't drown out the noise of traffic, she will never make her actions right. (In addition, perhaps this is also an implied reference to the noise of sex, the action of which she hopes will help her to forget and ignore the outside world.)
Whatever the reasons for her actions, this woman is desperate and trapped, and she is trying to bring Mumford into this trap with her. Mumford sings, "And you can call it love / If you want." This form of control and manipulation may seem right to her, but Mumford will have none of it. He doesn't buy in; his mind is wilder.
Verse 2 shows Mumford's restless spirit in action. He thinks that he is "[b]eholden" perhaps because he feels he owes the woman something for her sex. And while she sleeps "so sound with [her] mind made up," he "find[s] [himself] awake / Waiting on the edge again." This could be a subtle reference to the edge of a bed or the edge of a decision as he must choose whether to stay with her or not. While he feels tense and restive, she sleeps "sound," her spirit satisfied by "[d]rinking from [her] cup of broken ends." These "broken ends" are a reference to the false world she's built up around herself-a world that Mumford will be leaving even more broken.
Mumford ends the song with the echo of a pitiful, "But I thought we believed in an endless love." He seems bewildered. The results of this relationship leave him unsure of the existence of "endless love." He seems to be asking, "What happened to endless love? Did we ever actually believe in it? If so, where did it go?" His relationship with this woman has left him wandering and wondering.
Hi! I'm a university writing center director who teaches literature classes and loves helping others to understand the deeper meanings of their favorite songs. I'm married to my beautiful wife April and love Twenty One Pilots, Mumford & Sons, Kishi Bashi, and so many others!
If anyone was labouring under the misapprehension that Chris Wilder and his Sheffield United team are just happy to be in the Premier League, the manager has done plenty to dispel that notion in the opening months of the campaign. It is not just the victories over Crystal Palace and Everton that have done that but the reaction to the defeats too.
It was reported that during half-time of the home loss against Leicester in August, Sheffield United's first of the season, Wilder tore into his team in the dressing room. What did not make the newspapers is that he also tore off his own top in the process. It is a tale that hints at the old-school motivational techniques of a man who has had to fight his way to the top.
"When he goes he goes," his old pal John Beresford tells Sky Sports. "He just does not stand for any nonsense. I was chuckling when I heard that rant of his when he was asked about his players working hard. I have heard that one before. That's your remit. It's non-negotiable. He expects you to give everything. He is looking for the quality that goes with it."
Beresford, the former Newcastle United left-back in Kevin Keegan's famous team of entertainers, knows Wilder's managerial methods better than most. He was there at the very start of the journey. A fellow Sheffield lad, their paths diverged as youngsters before becoming drinking buddies again in their retirement. Not that Beresford's lasted very long.
c80f0f1006