fresh movie reviews and human wordsmithing while you wait

dir: M Night Shyamalan

2019

The truth is, we’ve been sucked in for a very long time by this guy. Like a televangelist or a very online Russian model looking for love who’s really a catfishing guy with stuff falling out of his beard who hasn’t seen daylight in weeks, it keeps working over the long run because many of us are just dumb enough to not want to admit that we keep getting fooled, again and again.

That’s a long way of saying that, even as people (with a hint of desperation in their voices) may claim this represents a return to form for someone who’s had bad film after bad film for over a decade, it still betrays an incredible level of dumbness in a way that can only make you laugh at the end product. There are scenes in this flick where you just wonder to yourself whether people tried to point out to the director just how inane some of his ideas are, or whether he just covers his ears and wails “nah nah nah can’t hear you” until they stop trying to point out the horrifically obvious.

Glass is, apparently, the third part of a trilogy to do with people in the ordinary world having superpowers. I didn’t see the second instalment, and never will, let’s be honest, because I cannot for the life of me imagine myself doing so. The first part was called Unbreakable, and was a pretty good flick, I thought, way back in 2000. The second part that I’ll never watch is called Split, and is about a lunatic played by James McAvoy who has the honour of playing host to 23 distinct personalities. Unfortunately, the only way movies like to use such a character conceit is as fodder for a serial killer flick where a jerk kidnaps and murders cheerleaders.

Very important for the character development that they be cheerleaders, for sure. One of those personalities, which the others fearfully call The Beast, is not only some demonic-sounding cretin, but, when the “feeling” comes upon the jerk, he seems to manifest supernatural abilities (like veins all over the place, and being able to dance on the ceiling).

Shyamalan has combined the earlier good flick with the latter tedious flick and brought back the Samuel L. Jackson character from Unbreakable as well, known as Mr Glass, for this third flick, where they are held captive in a psych institution by a psychiatrist (the always luminous Sarah Paulson), who tries to convince them all that what they think of as almost supernatural abilities can easily be explained away by science and the ways the mind deals with trauma, being the creation and adherence to a delusional worldview in order to avoid the sad reality that the rest of us live with.

dir: Grant Sputore

2019

There’s a lot going on in this flick. A lot. Firstly, and this is going to blow your mind because you’ve never heard of such a thing before, it’s set in the future, it has robots, and the robots have turned eeeeeeeeeevil.

I know! Whodda thunkit?

Every day we have news media telling us automation is taking over all our jobs and that robots are now doing heaps of things previously only people could do, from complex tasks to climbing stairs and doing backflips. And every night we have movies telling us that if we make smart robots, they will one day try to kill us all.

People, we’re getting mixed messages. Or maybe they’re just partial messages that we need to combine in order to get the full message: “The Robots Are Coming and they’re Going to Kill Us All!”

It has been science’s job for centuries to tell us how or why things happen, and to explain the progress we’ve made as a species, and science fiction’s job to tell us how and why we should be afraid of that progress. Even as far back as the first famous science fiction novel, which is probably Mary Shelley’s Frankenstein, or the Modern Prometheus, science fiction has been telling us that just because you can miraculously do something that couldn’t be done before doesn’t mean you should. Doing something previously impossible often brings with it unfortunate consequences we have little chance of foreseeing because a lot of the time you can’t predict the possible outcomes of scenarios you’ve never imagined before

In I Am Mother, something terrible has already happened wiping out the humans on this sad planet Earth. In some kind of secure facility, a solicitous and kind robot (voiced by Rose Byrne), raises a child from an embryo, that she calls Daughter (Clara Rugaard, eventually), and who calls her Mother. The robot that is Mother is in no way approximates human features – the robot is sleek like an appliance and very functional. The voice it uses has this lilt of concern or feeling, but is fundamentally cold. Mother uses all sorts of functions and programs to maximise its efforts in child-rearing, probably having read all the What to Expect When You’re Expecting-type books and follows all the advice, even the stuff that contradicts the other stuff.

If it could, Mother would probably breastfeed and give super formula at the same time to maximise the infant’s potential, but the difference is (one of a multitude) that this Mother doesn’t second-guess herself (itself) constantly, doesn’t constantly compare herself to other mums on social media and find herself inadequate; she doesn’t have to try to balance the needs of her relationship with looking after the kids and looking after a house and balance a job and try to have a social life and do find time for self-care and not feel undermined by her mother-in-law / younger Instagram influencer sister.

dirs: Joe and Anthony Russo

2019

It’s finally over. Now we can all stop watching Marvel movies. They’ve got all our money; they’re richer than the gods now, so there’s no need to keep putting out movies. The heroes won, the baddies are gone, and now we can all rest easy in peace or in pieces, as the case may be.

It’s about bloody time. We could all do with a rest, don’t you think? We’ve earned it, they’ve earned it, we’re all good.

But… we can’t. Just can’t let it go. They can’t, we can’t. We knew it was only a matter of time. Marvel, and by Marvel I mean Disney, are addicted to money. It’s sad, but it’s true. They’ve got so much already, you think, they’ve taken so much for so long, but past actions, past performance doesn’t stop them from wanting more in the future. It’s the unfortunate way of the world.

When people talk about the death of cinema, or declining audiences etc, some, usually pretentious wankers, complain that it’s because the amount of decent films being put out is ever decreasing; more flicks are going straight to streaming versus the multiplex, piracy and more people spending time gaming or whatever else we occupy our time with in between tormenting strangers online via social media.

Disney sees this. Disney hears this. Disney’s plan of action is: however many or few eyeballs exist to glare at screens, we will own them all. Marvel’s ascent is just a part of the same rise that sees every massive franchise now under their one banner. Ultimately, they’re not going to care about how many or how few people are still going to the movies, because however many it is, wherever it is being watched, the ‘product’ they’re watching, in most cases, will be Disney product.

That’s the shame about all of this, but there are also benefits in these films now being the biggest movies in the world. One of them, I guess, is that maybe this is the natural peak, the pinnacle, the ne plus ultra, after which maybe, just maybe, we can start focusing on something else other than these monstrosities.

I don’t really think I’m ever going to sit through another 3+ hour film in the cinemas. I just find it increasingly hard to justify the time constraint of being forced to sit in a specific place at a specific time in order to see something soon enough such that we’re not exposed to too many spoilers. That’s the only real driver to seeing it near opening day: a fear both of missing out and of having others lord it over you that they saw it first.

dir: Anna Boden & Ryan Fleck

2019

It was always going to be this great. I don’t know how I knew it, but there was always going to be something glorious about bringing this character to the big screen. She might not be as well-known as many other prominent female superheroes that all seem to be coming to the fore these days, now that Marvel and DC feel like the human cinema-going population of the world is suitably obedient and docile such that female or African-American leads aren’t seen as too much of a financial risk at the box office, but she’s definitely the one that gives the least fucks (being exactly zero, by film’s end), and that’s got to count for something.

Wonder Woman, for all her virtues as a character and as great as the film was, is still a problematic character, to some extent. The truly visionary and strange William Moulton Marston who, along with his wife Elizabeth and their girlfriend (!) Olive created Wonder Woman, very much wanted a character that was immensely strong, immensely powerful, but also an object of masturbatory bondage fetishism at the same time. It’s sort of like the idea that's plagued a lot of movies over the last 100 years that, whether a woman in a role is ‘empowered’ or completely downtrodden, the important thing is whether women wish they looked like her and men jerked off at the Betty Page-like cheesecake imagery.

Well, we’ve come too far for that bullshit now. None of Captain Marvel’s story arc, or representation, or purpose in this film has anything to do with achieving any of her desires while simultaneously conforming to the needs of her passive but needy hierarchy. She doesn’t have anything to prove to us. She is powerful, and she just has to accept it, and do what she needs to do without being hobbled and hampered by the controlling shitbirds in her life.

Like most women. I’m sure many of them can relate, I think, or at least close to 4 billion of them, considering how much this has earned thus far.

In that, this is something unique in terms of these here Marvel flicks, in that while it ties in effectively with the overall superstructure (leading, inevitably, into the position of being an explanation as to how and why she is going to turn up in Avengers: Endgame even though she’s not been mentioned in all of the other 2,021 Marvel movies). I care not about any of that. I love, utterly love Black Panther, and could not care less what eventually comes down the Disney pipe because I really, really enjoyed that film. Captain Marvel, I can honestly say, I loved (despite the 90s setting) regardless of what role she plays in Endgame, because it’s plenty good enough on its own.

dir: Yorgos Lanthimos

2018

Unbelievable. Finally they’ve made a good remake of All About Eve. It’s about bloody time.

The Favourite is one of the most bizarre situations to ever rise to such prominence that it not only earns nominations but actual Academy Awards and such, but, controversially, I’m going to argue the awards went to the wrong persons. Also, that this flick by this lunatic of a director ever could have been nominated for Best Picture (and lose to a manipulative nothing like Green Book) is flat out surreal.

As wonderful as I find Olivia Colman generally and specifically in everything she’s ever done, probably especially Broadchurch and Peep Show, I actually am not sure why you’d give the award to her and not her two co-stars. I can’t see this film working without the strength of the other two performances, being those by Emma Stone and Rachel Weisz.

For this director, in quite a baffling way, this is probably the most conventional flick he’s made so far, the most “normal”. Working backwards, The Killing of a Sacred Deer reformulated ancient Greek tragedy as a bizarre family under threat drama, telling an awful story (‘tis a tragedy after all) with his signature oddness. Before that, known actors in The Lobster delivered the flattest and awkwardest performances of their careers in a movie where single people are transformed into animals if they don’t hook up after a year of singledom. Before that, there was the film about people who, for a fee, pretend to be your recently deceased loves ones to help you through the grieving process, awkwardly and flatly delivered (Alps). And before that (Dogtooth), it was a flick where two parents keep their three adult kids in captivity, spinning a tale about the world outside gone to rack and ruin, even though the world inside is pretty fucking awful and bonkers.

Not a conventional filmmaker. He’s pretty prominent, for a Greek director, but it’s a testament to how successful he is now that he no longer has to or wants to work with Greek actors in the Greek language. I mean, why would you, if you could avoid it?

Lord knows I’m sick of it. Just kidding. Now I’m no scholar of Greek film, but he’s clearly the most prominent director to come out of Greece since maybe Costa-Gavras, whose best work was admittedly decades ago. If that is, in itself, a good thing, then it’s an even better thing that he’s bringing up some other talented Greek actors like Ariane Labed (his wife), directors and film production people, especially Athina Rachel Tsangari (whose films Attenberg and Chevalier were pretty good).

All of that has nothing to do with this. The Favourite is a movie about Queen Anne (Oliva Colman), who reigned between 1702 and 1714. I don’t know anything about what she was actually like as a queen or as a person. The Favourite depicts her as a singularly ineffectual monarch and probably a complete nightmare of a person to hang around. She’s unwell physically, she seems fairly fearful of everything and everyone both inside and outside the palace, and she doesn’t really seem to be relishing the privileges that come with aristocracy.

dir: Peter Farrelly

2018

Yes the fact that this got nominated for things at the thingie ceremony in late Feb / early March is the only reason I saw this. Otherwise I probably would have skipped it, not that I’m against touching stories where a low-rent mob palooka and a prissy African-American pianist reach across the racial divide and make America a better place by doing so.

I would have skipped it because on paper, in ads, conceptually and aesthetically, it did not appeal to me on any level, despite starring two actors that I adore. Viggo Mortensen is a tremendous man and a wonderful actor, and I’ve loved him in almost everything I’ve ever seen him in. And Mahershala Ali has been magnificent on tv, in movies and, like, probably even when he walks down the street or just out the front door to get his newspaper, very convincing, totally believable. Mahershala has charisma and presence to burn 99% of the time, so the stage is set for a feel-good movie you could take your grandmother too, that could just as easily have had Ebony & Ivory playing in it, that would also win heaps of awards from the less than discerning voters of the Academy, thank you, thank you, this is such an honour, I’d like to thank the Academy, and my agent etc etc…

That this is based on a couple of people who existed in human history does not make it a documentary, and a lot of critics point to discrepancies between what Doc Shirley’s surviving family say about their time together, and what Tony Vallelonga’s family say happened, as if either of the two sets of gold-diggers / reality deniers would really know. Even better, several times in the film Tony takes pride in announcing to the world that he’s famous for his well-earned nickname ‘Lip’ because of his propensity and alacrity with bullshitting people at any and all times.

Plus, not to be too rude, but who the fuck is Don Shirley anyway, and why should we care? I mean, he’s no Freddie Mercury / Jackson Maine / Lady Gaga, is he.

So perhaps the most accurate rendering of what this film is about, is that this movie is based on a story Frank ‘Tony Lip’ Vallelonga told anyone who would listen about the time he drove a famous pianist around. Is that so complicated?

Well, it’s complicated by the time in which this happened, and the myriad of levels that people feel the need to argue and discount people’s stories these days (I guess it was always thus and always thus shall be). Some critics have dismissed the film saying a) it’s all bullshit, b), it’s a white saviour narrative, c) the road trip did happen, but not like this, d) bloody Hollywood pushing its agendas on us.

dir: Lynne Ramsay

2017

Such a title sounds like an admonition, a cold observation, a sad reckoning. It sounds like the kind of thing someone would say to an absent parent, especially, but I can imagine a bunch of other situations where someone could say it and mean it, too. You could say to someone “you were never really here”, and it would be an acknowledgement that even if that person was actually, physically there the whole time, their mind, their emotional investment, was somewhere else, focused on something or someone else.

If nothing else it emphasises absence over presence, and we can safely assume it’s not seen as a positive quality.

I cannot say that I entirely know what it means in the mind of the author of the novella that this is based (by Jonathan Ames), or in Lynne Ramsay’s mind, but the main character definitely has a lot on his mind, and if he’s a bit distracted, I can understand why.

Joe, as played by someone who clearly already has mental health issues, being Joaquin Phoenix, has a mass of mental health issues and an array of traumas from which crests a continued existence of remarkable precariousness. That’s a fancy way of saying Joe is so messed up I’m amazed he can get out of bed. Almost every action flick with a jerk at the centre of it has a tragic backstory where someone’s wife died or someone’s kid died, and they have to make up for it by killing a bunch of people in order to save some other woman or child. And then, when that’s done, they can be rewarded either by partnering with the woman, adopting the child, or dying, or all three.

It’s the standard screenwriting playbook, as lazy and as repeated as a Valentine’s Day card’s banal message. Is it really that different in the hands of Joaquin Phoenix and Lynne Ramsay?

Well, do you remember what else Lynne Ramsay’s done? Do you remember watching We Need to Talk About Kevin? If you did watch it, do you remember watching it a second time? Could you ever bring yourself to watch it again?

I think not, but that doesn’t speak as to the quality of the films she makes. They are high quality and like no-one else’s films. Her approach is distinctive and amazing in equal measure (not really, but it seemed like the right thing to say at the time). They are definitely memorable, but the reason you remember them is not because of the dialogue, or the script in general. It’s because of the way she chooses to tell her stories visually, and how unsettling an experience it is to watch them. She finds the most distinctive but sometimes most obtuse ways to get her images and ideas across. And she wants you to remember her images, the same way in which the protagonist here can’t stop thinking about the horror-show going on in his own head.

Joe’s traumas begin early, in childhood, at the hands of an abusive parent, but he has also clearly seen terrible, truly terrible things in a time of war, and as an FBI agent, images that haunt him constantly, and now some of them will probably haunt us too.

dir: Coens

2018

Usually I’d argue that anthology films are kind of a waste of time and resources unless you’re in the mood for the cinematic equivalent of tapas instead of an actual meal, but, hell, it’s the Coens, it’s on Netflix, and I’d be a fool to not see it, considering the, I dunno, 14 or so truly great films they’ve made so far. It’s a reasonable bet to give them the benefit of the doubt, and it pays off most of the time.

Except when it doesn’t. But this is not one of those times. The fact that these stories are told in short story form, is the perfect delivery device for the overall package, because there’s no real connection between any of the stories, other than that people suck. It’s not the first time the Coens have ventured in the realm of the Western, but it’s the most recent, and probably the funniest. There is a certain mordent grimness as well, which befits the frontier setting, one which maybe implies man’s drive to ‘conquer’ the New World was an inherently deadly business.

Almost all the stories trade in death, in that death is either an element of the story, or the punchline to it, but not always. The last story, as far as I could tell, is entirely about death, with a number of people lead unawares to their final reward on a stagecoach, and yet they also argue about the nature of love, tedium, loneliness, the value of speaking the same language as someone you’ve shacked up with. All while the driver drives on.

The stories are bookended with images from a literal book being leafed through, as if these are all stories from the same book, by the same author, but really it’s mostly the Coens putting together some stories they thought up over the years (one of the stories is from Jack London, probably the best one, but who could tell) and making it look like there’s an overarching theme or connection at work.

There isn’t. Their only point is the same one they borrowed when they made No Country for Old Men, which is that there is no mercy, no divine grace, no power of prayer, no divine intercession on our behalf, and evil easily triumphs over good because it is way meaner and wants the prize more.

Again, except when it doesn’t. There is a wry approach at play here, where luck doesn’t really seem to go anyone’s way for too long, and misunderstandings lead to tragedy, or where venality wins out over virtue, but it’s not meant in a mean way, if that makes any sense, and it probably doesn’t.

The first story, which shares the title of the movie, is about a happy-go-lucky singing cowboy (Tim Blake Nelson) who looks like and sounds like the clear embodiment of all that jerks used to love about cowboy movies. Not only that but, like Deadpool, or any number of other characters who talk directly to the audience, this jerk tells us all about how wonderful he is, through his particular song and dance routine. And wouldn’t you know it, he’s quite handy with a gun.

dirs: Bob Persichetti, Peter Ramsey, Rodney Rothman, Phil Lord & Christopher Miller

2018

Arguing about which of the Spider-Man movies are the ‘best’ is pointless, fruitless, demeaning, creepy and needlessly nerdy. After all, everyone knows Spider-Man 2 was the okayest, if not the best.

So it’s a settled argument. Phew. Now we can go back to arguing whether Nazis are really Nazis anymore or whether people need that much oxygen to breathe and whether Australia Day should be celebrated on April Fool’s Day or not.

And after that’s settled, maybe we get back to the new, real argument, which is: Which is the second-best Spider-Man flick?

Well, that argument has now also been settled with the release of this hilarious and utterly transcendent animated Spider-Man movie that artfully combines so many elements from the long and storied Spider-Man backstory, while also looking forward in gleeful and energetic ways.

Yes, okay, everything is superheroes these days and I’ve pretty much given up arguing against it, so now we’re just looking at the nuances and the ebbs and flows within the broader genre to see where the latest entries stack up. That’s all you can do. Twenty years ago the movies were mostly drama, a lot of action, some comedies and the occasional animated movie. Now it’s 90% superheroes, 5% shit blowing up, 4% people screaming at each other in place of drama and 1% whatever the hell is streaming on Netflix, mostly weak stand-up comedy. And most of that is older comics blaming the world for why we don't think they’re that funny anymore.

There’s something undeniably exuberant about this flick, something which this hero and his extended family is best known for, despite the dark turns the story might take. Visually it’s sublime and nuts, and it’s all in service of the story, insane as the story might be. But whoever Spider-Man is, the hero is always more like an actual person outside of the suit, brilliant but working class, highly functioning but ground down by life.

Miles Morales is a young teenager who really isn’t struggling with that much other than feelings of insecurity and imposter syndrome at the elitist school his hardworking parents have squirreled him into. There he is, existing quietly in his own universe, minding his own business, when he gets bitten by a genetically-engineered radioactive magic spider, don't you know.

dir: Bradley Cooper

2018

A Star Is Born is probably the movie I heard random people talk about the most last year, with the possible exception of Bohemian Rhapsody and, in my case, as in, the film I bored people to death talking about, being Black Panther. I know that lots of other films came out, movies even, and a few pictures. But very few of them resonated or seemed to matter that much to the multitudes.

And that’s just, like, my opinion, man. The advantage Rhapsody had was everyone over a certain age at least in the Western world knows all of those songs. Lady Gaga, maybe not as much. But she’s here with her pop vocal stylings and affectless facial expressions, in this most recent telling of the age-old story: previously successful man on the way down boosts the career of an unknown young ingénue, falls in love, is then pushed down the stairs in order to make way for youth. It’s a story as old as time, or at least since 1937, when the first movie version of this came out. There’s also the legendary one from the seventies with Kris Kristofferson and Barbara Streisand. Really, it’s a heart-warming tale because it can be told over and over again.

I don’t know why Bradley Cooper decided he had to direct it, but he did, and he managed to do a bang up job. The film is always in focus, there aren’t too many shots of boom mics and not too many people walk into walls or trip over props. Sam Elliot is also in this along with Bradley Cooper and Lady Gaga, and I am glad to report his mustache is very big. Phew! No one likes seeing Sam Elliot without his mustache, especially Sam Elliot.

Speaking of Sam Elliot, Bradley Cooper adopts a kind of southern drawl that makes me think not of an actual Southerner, but of Jeff Bridges (though not as The Dude from The Big Lebowski, because that would be way too symmetrical). Though even if Bradley Cooper is incomprehensible much of the time (he also pretends to be drunk most of the story, unless he went Method and actually got drunk all the time in order to really capture the essence of the character), his soulful eyes and the beard do a lot of the acting for him.

dir: Bryan Singer

2018

I did not expect to enjoy this film as much as I did, but I certainly did. It could have been because it was my birthday and I was in an emotionally fragile state (what with the feeling of impending doom that accompanies every birthday now that I’ve lived to a ‘ripe’ old age), or it could have been because of the prosecco Aperol cocktail I was drinking in the cinema like I was some kind of royal / celebrity / shameful alcoholic. And let me just point out that the most estimable Westgarth cinema has a bar – this was not something I smuggled in my pocket / a thermos /within the bladder of a wine cask.

No, it was professionally made, and quite delightful, and maybe the perfect drink to get me in the mood for a dramatic retelling of the history, or at least part of the history of Queen, that legendary band from the 1970s / 80s. Finding someone to embody the mercurial and one of a kind Freddie Mercury could not have been easy, but at least they had at least one extremely thin and extremely odd looking person who could fit the bill. The only other thing I’ve seen Rami Malek in is Mr Robot, in which he’s superb, of course, but this could not have been an easy performance for him or for anyone else to do or endure.

It’s the teeth, you see. Forced to wear a set of prosthetic teeth that would put a mule to shame, and trying to act and talk and sing could not have been easy for this good chap, but he gives it his darndest. I thought at some points that the false teeth were distracting for him and for the people around him, but just think how Freddie must have felt for having to deal with all those teeth for reals when he was still alive. That couldn’t have been easy, and, when I recall watching a documentary about him about a year ago, he was constantly adjusting his mouth and compensating for his extra teeth anyway, so the actor doing it as well is just Pure Method acting of the kind and level that probably made Daniel Day Lewis punch someone in the face for not giving him the role.

I don’t need to be told that elements of the film aren’t right. I don’t expect biopics of pop / rock stars to be documentaries. I expect documentaries to be fascinating and accurate, and I expect fictional retellings of people’s lives to be entertaining or at least diverting. What Bohemian Rhapsody gave me is an intense appreciation of a) what a keen actor Rami Malek is to put so much work into this portrayal b) what an amazing talented man Freddie was and c) how amazing it is that in their day Queen were the biggest band in the whole freaking world. It is nothing short of bizarre considering the disparate elements that went together to make this band happen.

And the world that accepted them with open arms and wallets! To this day Queen still remain one of the bestselling bands of all time, and for the life of me I still have no idea how or why, except of course when you see Queen and Freddie perform, and here, where you see Rami Malek and the other actors replicate it with such fervency, with such awe-inspiring passion that it really confuses reality with memory.

(아가씨 Ah-ga-ssi)

dir: Park Chan-wook

2017

Goodness gracious me what nasty heroic stuff is delivered to my disbelieving eyeballs by this amazing film.

I shouldn’t really be surprised, should I? This South Korean director has been making stunning, lurid, incredibly violent films for decades, all of which I think I’ve seen, from Joint Security Area to the Vengeance trilogy to his American forays into creepy family dynamics (the little seen Stoker) and end of the world – late stage capitalism allegories (Snowpiercer).

The Handmaiden is no less perplexing / shocking / surprising, even if it technically qualifies as a period piece, and a very weird period piece at that. Lifted from the pages of a novel set in Victorian times (Fingersmith by Sarah Waters), the plot is very similar, but the outcome is vastly different. The setting in this flick is probably a bit hard to wrap one’s head around if you’re not Korean or don’t know much about World War II, but it’s not like it matters that much. It’s set during the occupation of Korea by the Japanese, which means these Korean characters are acting awfully Japanese a lot of the time.

It being a time of war, naturally the people that get by the ‘best’ are the grifters, the con artists, the black marketeers, thieves and forgers. Among them rises a jerk who styles himself a Count no less (Ha Jung-woo), with plans to make off with a rich Japanese woman’s fortune. To help him out he convinces another con artist, Sook-hee (Kim Tae-ri), to pretend to be a maid, and to wheedle her way into the heiress’s house and heart. Then, once the jerk marries Lady Hideko (Kim Min-hee), it’s off to the insane asylum with her, while he absconds with all the money.

The icy Lady Hideko lives with her uncle, who, this might come as something of a complete shock, is a terrible, terrible person. Just how terrible a person he is unfolds over the course of the movie, but at the very least we get the clear impression that he has creepy designs on his niece, not the least of which is the threat that he intends to marry her at some point.

Sook-hee, despite being a player herself, whose plan it is to get a percentage of that inheritance money, plays the naif fairly well in the domain of her aristocratic betters. She’s all wide-eyed and perplexed by all the mysteries of the stately manor and the enigmatically cool Hideko, but we’re not meant to forget that she’s planning a fate worse than death for the lady.

dir: Armando Iannucci

2018

When someone tells you that times have changed and the world we live in is not like the world depicted in this movie, consider the fact that the Russian government threatened and sued cinemas in Russia for playing this goddamn movie, because the Ministry of Culture (as oxymoronic a phrase as has ever existed) felt it insulted the memory of one of history’s greatest monsters, and it might make Russian peoples feel bad about their appalling history.

Is it really a comedy? There are moments of humour in this flick, and it’s referred to as a comedy in every single review, but there really is very little to laugh about. The world it conjures up, of the Soviet Union in the 1950s, is a totalitarian hellscape where virtually everyone lives in terror of being hauled off and killed at a moment’s notice.

Even those close to the Big Man himself, who you’d think would feel a bit more secure, know that at the slightest inclination, for the most ludicrous reason, they or their families could be hauled off and shot, tortured or sent to Siberia for having incurred the displeasure of Stalin (Adrian McLoughlin). His ‘friends’, the other members of the Select Committee, have to monitor every single thing they say on the off chance that they refer to something or someone out of favour, or that they don’t bray loud enough like the donkeys they are at his jokes, that they could be doomed. It’s a bit of a toxic work environment, to put it in today’s terms.

I have had managers like that in the past. Capricious, aggressive, needy, completely lacking in empathy, willing to destroy everything just to get their way or prove a point. The major difference is, in my case the people in power didn’t condemn literally millions to death and torment just for a laugh or a lack thereof.

The basic premise that the film has to establish is not the period piece specifics, of aesthetics and such; it’s the horrifying and anti-human atmosphere of a hellish totalitarian state. However the flick is described, as satirical, as whatever else, it does not make light of the fact that most of the men shown here were monsters of the highest order, of the greatest magnitude, some of the worst that humanity had ever seen at the time. It’s hard, at many times, to see what humour there is in such horror.

dir: Russo Brothers

2018

What the hell?

Marvel is becoming that particular kind of arrogant boyfriend / girlfriend that takes you for granted so much that they feel like they can basically do anything to you and you’d put up with it forever. Infinitely. So confident are they that we’ll put up with anything, that you’ll eternally keep coming back for more they’re like a character from Jonathan Franzen’s The Corrections, who is so sure of herself and her hold over her partner that she often walks away from the bedroom in the middle of sex after bringing them close to the ‘edge’, so to speak, but deciding to torture them by walking away with the job unfinished.

It’s a strained analogy, I’m the first to admit, but I am not sure this flick exists as a flick that makes any sense on its own, unlike the other 18 Marvel flicks which all have discrete beginnings and ends while teasing what’s going to come next. This just exists as whatever it is, but will completely not make sense BECAUSE of what will come next.

Again that’s not going to make sense. In a lot of ways I wish Marvel was even more arrogant and disinterested in anything other than making a point, and decided that this was going to be the last Marvel movie. It’s an impossibility, really, because the amount of money these movies have made is staggering. Put real simply they’ve spent 3 billion dollars over 10 years to make 15 billion dollars. That’s a ROI (Return on Investment) of 400%. Drug cartels don’t make that kind of money.

So obviously there are going to be an infinite amount of Marvel flicks, but eventually won’t we get sick of being brought to the edge and have it fade out to nothing every fucking time? Isn’t this becoming a masochistic exercise in frustrating futility?

dir: Alex Garland

2018

Damn. Now that was an unsettling experience.

Annihilation was not what I was expecting, and I’d already read a bunch of reviews referencing Andrei Tarkovsky’s films, all of which I’ve seen / endured / survived. Mostly, Solaris, one of the most sleep inducing movies ever made, and Stalker, the other most sleep inducing movie ever made, are referenced. Everything’s always just a collection of references, naturally, but these are two very specific, very necessary ones.

Rest assured, Annihilation is nowhere near as boring as any of those movies mentioned. It has too much forward momentum, too many evil crazy bears and alligators, and people confronting the unknown and being painfully fucked by the unknown to have too much in common with the films of the Russian master.

Annihilation, though, is not a cheap and easy flick cobbled together from the remnants of a thousand other sci-fi flicks. It is, like many of the other flicks Alex Garland has been associated with, a fairly unique experience. Yes, there are antecedents, but it stands alone, and mostly unloved, but it deserves at least a certain amount of respect.

He used to just write the screenplays before, but then he must have thought “fuck it, I can do at least as good a job as the shmucks directing my work” and for once he seems to be right. Virtually everyone who saw Ex Machina thought it was pretty good, if not great, and on the back of that somehow somewhy Netflix coughed up a bunch of money to buy the flick after Paramount lost faith with the end product. Some people saw it in cinemas, but really, Netflix is the perfect venue for this. It’s visually strong but it’s not something that has to be seen on the big screen. Its virtues aren’t purely visual, they’re more conceptual, and that’s fine for the home theatre.

It’s an odd flick, that’s for sure. It doesn’t fit completely in either the science fiction genre or the horror genre, nor is it really an amalgam of the two. It does have a predominately female cast, but that doesn’t really change the nature of the flick even if it changes its tenor, its tone.

dir: Denis Villeneuve

2017

It’s amazing that they tried to do this.

I’m glad that they did it, in some ways. Yes, the original is a bona fide 80s sci-fi classic. On the other hand, there’s not really a sense that some mercenary jerks got together and thought “Hey, we need to make oodles more money from exploiting a franchise famous for being a box office failure but a critical darling, because that’ll definitely work”.

Or maybe they were that delusional. It happens. They made a Baywatch movie, after all.

Instead of going down the commercial route, they seem to have made a very expensive film, and spent a fortune advertising it (I assume it’s a fortune if I see posters advertising it at the tram and bus stops in my neighbourhood), completely at odds with what was likely to happen with audiences.

So, just to leap ahead to the end result: Blade Runner 2049 lost way more money and connected with far fewer people than the original did. Maybe that was all part of the plan?

Which is a shame, because in a lot of ways it’s a better film, and is quite compelling, even if it is the continuation of a story that no-one really asked for. Also, it has as its centre an actor who seems content to be a void more than a presence, which is his prerogative, I guess. Say what you will about Harrison Ford, but whatever role he’s in or however good or back the flick is that he’s in, he is very much present. He very much fills a role with his presence.

Not so much Ryan Gosling, who has raised impassivity to an art form. It might sound like I’m criticising him for his performance here, but I’m really not, because I don’t doubt that he probably did exactly what the director wanted for this role. You needed a blue-eyed robot for a role; you got the most blue-eyed robot of them all.

dir: Duncan Jones

2018

I can’t… It’s not…

I’m trying to find nice things to say about Mute, and I can’t. I really wanted to like it, I was excited when I heard Duncan Jones had a flick coming out, and when I heard the premise for this, but, having endured this weird smorgasbord of shiteness, which just kept going on and on far longer than it deserved to, I actually come away from the experience feeling cheated and disgruntled.

It’s not like I paid to watch it, well, not like I paid extra beyond my monthly Netflix subscription. This falls under the somewhat interesting banner of movies actually “made” by Netflix, not just a movie that Netflix overpaid for first screening rights. Of the three “Netflix Exclusives!!!” that I recall seeing over the last year, this is by far – BY FAR – the worst.

The problem here, just to be a glib smartarse, is that it is terrible, which is a shame, because the central performance, despite being ill-conceived, is actually all right. Good, yet baffling.

Alexander Skarsgaad has nothing to be ashamed about here. He is, in fact, practically the only good thing in the whole grating experience. And that isn’t enough, I’m sad to say, because the other stuff is so fucking awful.

For the longest time it’s been like I’ve been reluctant to ever really give a flick a critical bollocking, or that when I watch something truly terrible I don’t even bother reviewing it because it’s like rubbing salt into my own wounds getting me to waste even more of my precious time. But some movies stand out in their singular awfulness, and need time and attention paid to them in order to try to stop them happening again.

dir: Ryan Coogler

2018

That was incredible.

The Marvel movies have been a long and torturous rollercoaster ride for so long, but finally it’s delivered a strong film that could work almost perfectly fine outside of the Marvel milieu. I almost wish it didn’t have to dovetail into the broader franchise, because it’s something so special on its own.

Another thing – I will not miss Stan Lee’s cameos when he inevitably dies soon. I mean he’s in his 90s already, and that hairpiece seems like it’s starting to take over his entire head, and I don’t wish anyone ill, least of all a carnival barker of his longevity and shamelessness, but, honestly, come on.

There’s something so enjoyable about the creation of Wakanda. It’s not unique or original in the field of science fiction or comic books, but the very idea of a place hidden in plain sight in the middle of Africa that escapes the historical deprivations of slaughter, slavery and resource theft (and their contemporary repercussions) is appealing for a whole number of reasons. The absolute *greatest* thing about it is what they *don’t* do with it.

I am absolutely positive that there would have been some Marvel exec trying to argue that the “best” way to tell this story would “well, actually” be from the perspective of a white guy who stumbles across this technological Shangri-La – Xanadu – Brigadoon – or whatever the hell the magical Kathmandu place was called in Doctor Strange. Then the guy, treated with suspicion at first by the locals, eventually saves them and is treated like a god.

We’ve seen it many times before. Thank Christ – Loki – Satan that they didn’t go down this path. No, Wakanda is the point of the whole movie, both its isolation and the role it could potentially play in the world (like, the whole fictional Marvel world), for good or ill.

With no disrespect at all to Chadwick Boseman, who’s great here just as he was in Captain America: Civil War, it’s almost like this flick called Black Panther doesn’t really need the Black Panther in it that much. There is so much going on, and so many other interesting characters, that the Black Panther itself only becomes a symbol of what Wakanda should do with its place in the world.

dir: Rian Johnson

2017

So, yeah, I didn’t care for it.

Not my cup of tea.

Maybe I’m just burned out on the whole Star Wars saga. It’s possible. I’ve consumed more of it on a daily basis than any doctor outside of George Lucas’s doctor would ever recommend without receiving corrupt money directly from Disney.

But something, or rather many somethings, just didn’t feel right about this movie.

I don’t get where it’s coming from. I don’t really get why the characters do most of the dumb things they do, and where the actions aren’t dumb and maybe seem kinda cool it doesn’t feel like it belongs in a Star Wars flick, or this flick specifically.

It seems more like it belongs in a Rian Johnson flick. Sure, I know he’s the director, and had he not been able to superimpose his stamp over such an entrenched property like Star Wars, it would have just seemed like generic work-for-hire stuff that anyone could have produced (anyone other than Lucas). But there’s a sometimes distracting cleverness to Rian Johnson’s stuff, as seen in his flicks like Brick, The Brothers Bloom, Looper and in several Breaking Bad episodes that he had a hand in.

The best example of what I’m talking about – distracting smartarsedness – is not even from Last Jedi. It’s from Brick. Bear with me, I swear it (might) make sense in the long run.

dir: Edgar Wright

2017

People have, perversely, been waiting for the rest of the world to appreciate how keen and clever a director Edgar Wright truly is, graduating from ‘little’ but adored ‘cult’ type movies to something ‘worthy’ of his talents. Or at least you’d think that’s the case, based on the almost palpable relief critics and reviews expressed at how much they enjoyed Baby Driver and how glad they are that it was as successful as it’s been.

But really, do we want Edgar saddled with multiple hundred million dollar budgets and making pablum for Disney? I mean, I understand that Disney is going to own everything eventually, and what isn’t owned by Disney is going to be owned by Google, Facebook, Apple and Netflix, including our very souls, but isn’t this the unity – hive mind – singularity that science fiction has been warning us against since Invasion of the Body Snatchers?

I’d rather that Edgar, who sounds like a thoroughly wonderful film fanatic and all round wonderful human being on the podcast circuit, was kept to small budgets and relative obscurity, just so he can be kept making small but keen flicks that I adore the heck out of.

Well, I’ll be honest, I don’t love all his flicks with the same intensity. Sometimes, just like with Wes Anderson, who is the reigning king of fussiness and anal retentive composition, that fussiness, that overloading of scenes or soundtracks puts me off horribly. I don’t know if Scott Pilgrim Vs The World is as horrible as I suspect it is, or if it’s only because of Michael Cera being so annoying, or whether it’s Edgar’s fault, but whatever I feel about Shaun of the Dead, Hot Fuzz or The World’s End, I definitely don’t feel the same for that film previously mentioned that I don’t want to mention again.

This, Baby Driver, seems like it’s a departure from all that, but it isn’t, really. It’s the pinnacle, the apotheosis of all the traits that Edgar (yes, I’m going to chat about him like we’re on a first-name basis) has displayed before. If anything, this flick’s success is only going to encourage him because he’s been so roundly rewarded for his two most distinctive traits: cinephilia and over-egging the pudding.

dir: Jordan Peele

2017

This has been a long time coming.

In 1983 (I first watched it in 1984 at age 12, probably way too young) Eddie Murphy was known not as the guy starring in movies as most of the characters wearing fat suits and farting all the time, but as probably the biggest stand up comedian in the world. And, this in itself is pretty amazing, he was 22 at the time when Delirious was recorded.

Some of the material is ageless, some of it has aged horribly (especially to do with LGBTIQ issues and terrible AIDS jokes), but generally it holds up. What is it about African-American comedians and terrible jokes about gay, lesbian and trans people, amiright? Wait, don’t walk away, I’m sorry about the racist generalisations, sorry!

Setting all of that aside, I remember very clearly that towards the end of the concert movie, Murphy points out one of the many differences between “white” people and “black” people, at least as it relates to horror movies. In horror movies, a white family moves into a haunted house ignoring all the obvious signs that something terrible is going to happen, because, I dunno, gentrification or something.

Murphy’s counterpoint was, and the punchline / capper to his whole show, was that a black family that walked into a beautiful house, listed all the great attributes of the place and the neighbourhood, but heard a ghostly voice clearly say “Get Out!” would instantly say “Too bad we can’t stay” and immediately get the fuck out of there.

Thank you and good night! I’m here all week, try the veal etc etc. Look, I can’t argue that it’s still as funny, or that it’s funny out of context, but since it’s stayed with me all these years, it clearly made an impression upon me. The moment I heard there was a film made by African-American comedian and that it was called Get Out, the first thing I thought of was the classic Eddie Murphy joke.

So too, since there was a racial edge to that previous joke, did I assume that it would be a horror flick that had something to say about White America versus Black America, and, good goddamn, was that accurate.

Get Out doesn’t have a set up whereby blacks are forced back into slavery, or are hunted down by the Klan or the Secret Service or anything. It’s at the same time a more insidious and more horrifying / daft proposal. The racism isn’t the worst element, but it’s the enabling element that lets the rest of the story cascade along.

A guy goes to his girlfriend’s parent’s place in order to meet them for the first time. It’s the perfect set up for a Look Who’s Coming to Dinner type of scenario, but the girl reassures her boyfriend that her affluent, professional, liberal parents will love him too. Just like in Look Who’s Coming to Dinner.

He, being Chris (Daniel Kaluuya) thinks this is a disaster in the making. She, being Rose (Allison Williams, playing a slightly less horrible version of her Marnie character on Girls), hasn’t warned her parents that she’s dating an African-American chap. Chris might be expecting some hostility, some tension. This is a nation that elected a white supremacist president just after the first African-American president for revenge, after all.

dir: Bertrand Bonello

2016

Every now and then even people, like me, who’ve seen millions of films, will watch a film and say to themselves, or someone nearby, “I have no fucking idea what that was about.”

Sometimes having an experience like that fills me with great anger, and furious vengeance, like when I watched Upstream Color and hated it so much I recently watched it with my daughter just so she could know just how terrible and pretentious a ‘grown-ups’ film could be. More recently, when a flick garners some critical praise and I endeavour to seek it out, when I have an experience like the one I had last night watching this French flick, I just shrug my shoulders and think, “well, maybe it makes more sense to French people” and then go on with the rest of my life.

I can’t claim to understand what the point of Nocturama is or was, but I’m comfortable with that. It doesn’t really matter in the scheme of things. As long as the director got something out of it, and the kids in the flick are happy with their work, then who the fuck am I to complain about it?

It would seem that this flick is about terrorism, or at least the main characters commit some acts of terrorism in the heart of Paris, but giving it political significance like that might be foolhardy. This flick was apparently made well before the massacre at the Bataclan where Eagles of Death Metal were meant to be playing, or the Bastille Day atrocity in Nice, or the myriad other instances of so many human lives being wasted for the dumbest reasons possible. The kids here don’t seem to be doing it for anything like the same reasons ie. fundamentalist hatred, loneliness, not getting the biggest slice of cake at that 8th birthday party.

If the ‘kids’ here have a leader, he is the straight-laced and dorky looking son of some mainstream French politician. He seems to be inspired by something, by some desire to make a statement, and has recruited a large group of perhaps similarly disaffected kids to his cause, who each might have their own reasons for getting involved. A number of them are perhaps from the kinds of backgrounds that Marine Le Pen and the rest of the National Front would want to boot out of the country or kill or both, but they don’t seem (I have no idea, really), seem to be doing what they’re doing for ideological reasons, or nationalistic reasons.

dir: Chad Stahelski

2017

When you ask yourself, really ask yourself, what is best in life, as in, what are the elements possible in life that give you the most meaning, or pleasure, what do you come up with?

There are the simple and cliché pleasures, of love, of family, of sex, that are no less pleasurable just because they’re universal, but there’s art, there’s exercise, there’s food, there’s booze, there’s a bunch of other stuff, elements as many and varied as there are people in the world.

When you ask yourself about those pleasures, does one of them end up being the distinct and exquisite pleasure of watching Keanu Reeves kill hundreds of people? Does that bring warmth, blood flow or wetness to the various bits of one’s psyche / body like any of those fundamental pleasures discussed earlier?

Because this film, and its predecessor, which wasn’t called Chapter 1 as far as I know, is really only about watching Keanu kill lots and lots and lots of people. If he killed a lot of people in the first one, he kills probably five times as many in this one.

If one isn’t thrilled by the prospect of watching a weirdly bearded Keanu kill boatloads of people, well, you’re not going to get much else out of this flick or this franchise. You’ve entered the wrong cinema / popped on the wrong Blu-Ray, or started streaming the very wrongest of titles. Best be putting on The Best Exotic Marigold Hotel instead.

dir: Ridley Scott

2017

You’ve got to be fucking kidding me. What is Ridley Scott on?

What’s his major malfunction? Why is this the story he needs to tell? He could be doing anything instead of this. Literally anything else. He could be making The Contrabulous Fabtraption of Professor Horatio Hufnagel or an adaptation of Adaptation or a new version of Birth of a Nation, but instead he makes this?

Continuing the pointlessness that started with Prometheus, which I initially thought was pretty shit but now looks better compared to this flick (not by much), Ridley Scott continues in his strange crusade to fill out the gaps no-one knew existed or even cared about regarding the origins of the terrifying creatures usually referred to as xenomorphs, made popular by the creepy HR Giger design.

It started with Alien. Reached its apotheosis with Aliens. Wasted our time with Alien 3. Confused the universe with Alien: Resurrection. Delighted no-one with Alien Vs Predator. Angered everyone who watched Alien vs Predator: Requiem.

Then we got some horribly pointless backstory with Prometheus, that showed some bald species of albinos seeding a planet that was probably Earth with, I dunno, their DNA or something, for the purposes of… something. Humans and an android stumble across something ages later, and it’s meant to mean that an alien species they refer to as the Engineers probably had something to do with life starting on Earth, on other planets, and they probably created the xenomorphs (vicious reptilian acid-blooded chomping legends) too.

Well, whatever it was that happened in that previous flick, and whatever the reason was that Scott demanded that story be told, here he is elaborating upon it, like a drunk sitting next to you on a plane telling you some well-polished anecdote from their past that they’ve forgotten why they started telling you, and you never started caring and just keep hoping that the plane will crash so that you don’t have to listen to it any longer.

dir: Bong Joon-ho

2017

Sublime. Silly. Surreal.

That’s my all encompassing take on Korean cinema in general and the films of Bong Joon-ho in particular. Like all generalisations, it ignores a lot of nuances and detail to say something so simplistic and reductive, but, hey, at least I just made a generalisation about generalisations.

I would not be exaggerating to say that Okja is the strange reason I started subscribing to Netflix. Having had the ‘flix for the last month or so, and this isn’t a thinly veiled ad for the service, I can honestly say, what the fuck was I waiting for? Not to blow too much smoke up their collective arses, but it is incredible how much stuff I’ve gotten to watch through subscribing to this service. How did I live before…?

And why was it Okja that broke the seal on my intransigence? I dunno, but for some reason I was enthralled by its existence, and I couldn’t think of any other way to watch it when I wanted to watch, which was the day of its release, soon after its premiere at the 2017 Cannes Film Festival, where it received… tepid to okay reviews. The main point of contention at the time, if I recall (it’s not like I was there, it’s just what I read), that many of the people at the screenings objected to something being promoted at Cannes that wasn’t really intended for cinemas, despite the much bigger budget that Bong had access to, which was probably bigger than all the other film budgets he’s ever had combined.

I don’t know how to feel about that. It’s seems a bit Luddite, a bit petty, and a bit wilfully ignorant of the changes in the media landscape to boo a film before it’s even screened with a nasally French accent to the booing, no less. I don’t know about you, but I’ve noticed in this life that denying something is happening doesn’t actually make that thing not happen. If it did, I can assure you, a lot of stuff that happened this year never would have troubled us, because they would have been willed out of existence.

dir: Amma Asante

2016

Ah, I love a good pun title. No, actually, I tell a lie. I fucking hate puns.

It’s an amusing perhaps pun, at least, or it’s not even a pun, and is more of an ironic title. The Kingdom referred to in the title isn’t necessarily the United Kingdom as it is known (that dwindling empire of yesteryear, that dwindles ever more with each passing year that the Tories are in charge), but another place divided by strife in Africa that the helpful Brits generously decided to help out of the goodness of their hearts.

That kingdom , that used to be called Bechuanaland, had itself, after World War II, a very merry yet precarious existence. Its status as an independent kingdom was guaranteed by Queen Victoria somehow (meaning it was essentially a vassal state), however changes are afoot, apparently. At least at the time that the flick begins. An uncle, serving as regent ruler, lives in some hut somewhere, and sends the heir to the throne, Seretse (the amazing David Oyelowo), a letter telling him it’s time to come home from Oxford to assume the mantle of kingship, time to rule his people like he was always meant to.

Seretse is, somehow, in 1940s Britain, studying law and getting along just fine down the local pub with his mates. He meets, through a church group, a lovely young Brit called Ruth (Rosamund Pike). They fall in love, have some babies, and lived happily ever after.

dir: Jordan Vogt-Roberts

2017

Good Lord is this a dumb movie. But, in the time-old math of cinema, dumb does not necessarily ≠ fun. Dumb can be way fun, as long as the fun isn’t overwhelmed by the dumb.

You need a decent balance, and I’m really not sure that Kong: Skull Island bothers to get that balance right. Of course, had I watched this drunk, plenty of the dumbest aspects of the story wouldn’t have leapt out at my eyes and brain like one of the Lost World creatures from this flick.

Yes, it’s a King Kong flick about King Kong. But it’s not really. It’s an excuse to make a Viet Nam war movie without having to actually get into the messiness of the Viet Nam war and what both sides of that stupid conflict inflicted onto millions of people.

What you do is get a guy, somehow a senior Army colonel (Samuel L. Jackson) freshly stung from losing the war (he’ll tell you, like he tells a photographer, that they didn’t lose the war; they just abandoned it instead, like they lost interest in it and it wasn’t worth their time anymore) against the North Vietnamese, the Viet Cong, and pit him against an unstoppable force of nature called Kong. Get it? Kong and Cong? It’s the same thing, in case you didn’t notice. Why didn't you notice, huh?

dir: James Gunn

2017

Meh. I’m left feeling pretty meh after watching that. That it was an experience of sorts is undeniable. What I can’t really grasp yet is what kind of experience it was.

It didn’t really feel like a movie, let alone a Marvel movie. In a lot of scenes I felt like I was watching people rehearsing scenes from a bunch of different plays, and really so much of it doesn’t really hang together. Maybe it was like one of those interactive rides at a theme park where it’s really not that interactive and it’s over awfully quickly, and at best you remember that you had an experience without remembering what the experience was.

Unless it happened at Dreamworld, in which case you’re lucky to still be alive after the ride. Damn that place is a Deathtrap on the Gold Coast™.

And while I’m the first to admit that I had, shall we say, ambiguous feelings about the flick up to this specific point, if I thought the flick was lame / unsatisfying before the “father and son bond over playing catch” scene, afterwards, when the cold sweat of embarrassment faded, my feelings about it were no longer ambiguous, I can tell you that much.

No. In fact, I thought for a while that this could be the lamest / dumbest thing I’d seen in a while, but then there were little bits and pieces that made me not loathe it as much.

dir: Jim Jarmusch

2016

A movie from one of my favourite directors. Being a godless heathen, my Christmas happens every time a film from one of my favourite directors comes out. This is the reason; their films are gifts to the world, maybe, but mostly to me. Sometimes, I know how weird this sounds, they even seem specifically made for me.

Of course, sometimes, for Christmas, or Hanukah, or for your birthday, sometimes you get socks, a voucher to a naturopath clinic or a punch in the goolies (depends on the family, naturally).

Paterson is like almost every other Jarmusch film, with his own sense of time, with all his obsessions / interests up on the screen, and yet it also takes the time to (perhaps) advocate for the idea that anyone, including the viewer, can find an outlet for their own creativity, and that regardless of what they do for their daily bread, their efforts are just as worthy as those of any of the artists they might idolise.

dir: Kenneth Lonergan

2016

Well, that was exhausting. Manchester by the Sea is a long arse movie, but even its length doesn’t matter as much as its content. And what miserable content it is.

Casey Affleck, the shorter Affleck, the younger Affleck, won an Academy Award for this role. I’m not going to argue that it is ill-deserved, or should have gone to anyone else, because that’s pointless. It doesn’t matter anyway. But to get this most “highest” of honours for this role seems…surprising.

I think it’s surprising because the character is so much like the walking dead from that show whose title escapes me at the moment, except he doesn’t want fresh brains or anything else to eat. He, being Lee, is dead inside. He goes through the motions of his work, which requires talking to people, but he hates talking to people. It seems to cause him physical discomfort.

This isn’t the latest in a long line of autism-spectrum dramas trying to illuminate aspects of the human experience through portraying the way some people are completely anti-social but good at math or shooting people or something like that. Lee’s not on the spectrum, he’s just dead inside from grief.

It takes a while to find out what happened, but the more pressing factor, at least from Lee’s perspective, is that his older brother Joe (Kyle Chandler) has just died, which forces Lee to drive to a place, the place of the title, that he can’t stand to be in.