Search results
Apr 25, 2018 · Courtesy of Tribeca Film Festival. Though it was made before the election, John Maringouin’s shoestring huckster fable Ghostbox Cowboy can claim to capture the confusion, resentment and sheer ...
Jan 18, 2019 · 9 out of 10 Stars. John Maringouin’s latest film, Ghostbox Cowboy is a surreal, sarcastic pitch-black comedy about the Chinese tech boom and the misfortune of one “Ugly American” who tries to make it big in the East. David Zellner stars as Jimmy Van Horn, a would-be American entrepreneur, and creator of GHOSTR, which is the “Ghost Box ...
Definitely a film taking the road less traveled in terms of narrative. At every turn I was surprised and pleased to find that the filmmakers had the confidence to fully embrace the absurdity of the world they were creating. The film is unique and the ever-increasing dry humour and absurdity is a joy.
Original title: Ghostbox Cowboy. Synopsis: A dullard Texas entrepreneur reinvents himself as a cowboy in China's tech wild west, but finds himself at the mercy of corrupt American expats looking to reinvent him once more.You can watch Ghostbox Cowboy through Rent,buy,ads,free on the platforms: Google Play Movies,Amazon Video,Apple TV,YouTube,Vudu,Tubi TV,VUDU Free,Freevee,Kanopy
The film is the first fiction feature from John Maringouin, known as a formally and sonically experimental documentarian. Ghostbox Cowboy is a montage film, a film very much created in the edit, but that’s not to say that Maringouin isn’t a good hunter or on-the-fly composer of material, because there are parts of it that are as elemental ...
GHOSTBOX COWBOY feels like a hard drive packed with ideas, stolen locations, and a willingness to remain unconcerned with audience expectations. In an art house landscape where small films jostle to be noticed, smoothing out edges until they resemble polished demo reels more than anything memorable, this kind of unmoved defiance feels more like a heartbeat than an algorithm.
GHOSTBOX COWBOY feels like a hard drive packed with ideas, stolen locations, and a willingness to remain unconcerned with audience expectations. In an art house landscape where small films jostle to be noticed, smoothing out edges until they resemble polished demo reels more than anything memorable, this kind of unmoved defiance feels more like a heartbeat than an algorithm.
