It takes some short-cuts, sure. And takes some wild liberties with reality for the sake of the mirage, e.g. all the women at the strip club are approximately 21, which might be 30 years generous, and the gents have pretty sweet abs but don't spend much time on the treadmill and you know, Tampa isn't a blazing hell-hole. But, holy shit. First of all, Matthew McConaughey has pretty much won himself the helping-buddy oscar, finally putting those gleaming abs to some good use. And, fine, I'd fuck Channing Taters. I'm a man; if you cut me, I bleed. And there's a baby mini Gorgonzala walking around! But the mix of the hedonistic with it's shadowy comedown is brilliantly balanced throughout: we're high, we're low, we're young, we drown in our own vomit, what does tomorrow hold? I loved all of it, especially the scene with the fiance exposed and Chanings "Ok. Ok. It is what it is"; the leading lady Cody Horn who through her Feminist Beautiful Eyes showed Magic that Miami is never the answer; and every scene with Gorgonzala! Definitely makes my end of the year top 5 and has given me a good idea about how to handle all those grad-school loans. A-
Slothrop and Koko's Bungalow
We Conquered Thebes...
Sunday, July 15, 2012
Monday, June 4, 2012
Friday Night Lights: Season 4
Seaon 4, in which Tim Riggins becomes a martyr & saint. The sweetness of the thought, and its improbibility says pretty much everything. Side-note: for those who remember Vince's character in The Wire, notice how very different his fate is on network tv. B-
Sunday, May 20, 2012
Untitled
Saturday, May 12, 2012
Human Planet
Sunday, May 6, 2012
The Avengers
The Avengers priviliges the technological over the humane in every single frame of its pornographic existence, and is a mirror of our fascination with power, control and the illusion of technology. It gives us everything we think we want, but with all reflexivity on those wants being reduced to jokey-irony and cute self-reference. I feel comfortable calling this a worse case scenario of movie-going: nothing but explosions and boredom. D
Saturday, April 28, 2012
A Dangerous Method
Not bad in the same way a Wikipedia entry on psychoanalysis is not bad. The subject matter itself––sexual repression, its roots and consequences––however, is fascinating and worth a less reductive look. C+/B-
Sunday, April 15, 2012
Friday Night Lights: Season 3
Thursday, March 29, 2012
Friends With Kids
Wednesday, March 28, 2012
Jiro Dreams of Sushi
Tuesday, March 20, 2012
Young Adult
Young Adult is about a woman who acts selfishily & without even an eyedropper's worth of compassion and fucks up people's lives, which is what tends to happen when ignorant delusion comes to town. That's it. Though it deserves credit for avoiding mawkishness and nostalgia by making nostaliga the troubled heroine's front-and-center escape mechanism (that is obviously like a life-raft made of popsicle sticks on its way toward Niagra Falls), it goes too far the other way with no opening or possibility for awakening or awareness whatsoever and forces the viewer into a cloistered mode of pity and revulsion. Which is not to say there's no room for shitty characters in art (c.f. any story by David Foster Wallace) but there has to be some air in the room to breathe, whether via insight through a narrator, the other characters, or whether through the structure of the work itself. So this then is my obvious question that I ask non-rhetorically: what was the point? If you're the kind of person that acts like the monstrous heroine, could this film shake you out of your self-deceptions? (Odds are low.) And if you're not, then there's not much else here besides the aforementioned unpleasantness. B- because Charlize Theron's performance is the absolute temperature of ice, which is worth something, no?
Friday, March 16, 2012
Descendants
Thursday, March 15, 2012
Cashback
Wednesday, March 14, 2012
Meek's Cutoff
Tuesday, March 6, 2012
Memento
Auden said it best a while back: We would rather be ruined than changed; / We would rather die in our dread / Than climb the cross of the moment / And let our illusions die. A+
Monday, March 5, 2012
Buck
Friday, March 2, 2012
50/50
Sunday, February 19, 2012
Bill Cunningham New York
Fashion and socialites and hats: and yet every moment of this documentary gleamed with a joy that is the joy of living life with passion and ease, as does Bill Cunningham. The man is 80 years old and has been whisking around manhattan on his bicylce, morning, day, night, for decades, taking photographs of skirts and shoes and dresses and colors and the people who coincidentally wear them. Like a Zen Master who knows there's no such thing as enlightenment but only enlightening activity, he lives in a closet because "having a kitchen and dining room would be just two more rooms to clean." Instead of telling us that life is beautiful, Bill shows us, laughs, then gets on his bike to take more photos. A stupidly delightful film. A
All Quiet On the Western Front (1930)
Leave it to Beaver meets sheer terror, of which some scenes are as awfu and numbing l to watch as anything filmed with much fancier Spielbergian gizmos. Guess that's because war is impossible to either describe or understand either in words or in moving pictures or in any way whatsoever. Yet between scenes of carnage the best reason given for war in the first place is "some mountain in France offended some field in Germany." The film won best picture and then nine years later... B
Rise of the Planet of the Apes
Friday, February 10, 2012
Drive
Drive is voilent and rough but in a fetishized way, and, in the end, the violence is besides the point, though I could understand wanting to walk out because of its verging on flagrant gratuitousness. (If you think you want real violence, see Irreversible instead.) Yet it survives its own caricatures because it doesn't blink away the question of manhood. The extra-textual hot-pink lettering and an 80s soundtrack that would simultaneously feel at home in a German nightclub at 4am as it would in Miami, mixed with a smile from The Goz when he's not busy making things bleed reminds us that being a Man is full of all sorts of confused expectations. As an action movie for dudes, it's about a B-, but as a metaphor for living in the metaphor of L.A., it's an A.
Friday, February 3, 2012
Friday Night Lights: Season 2
Season 1 of Friday Night Lights was good television. Realistic. Dramatic. Inspiring. Entertaining. And still "television" because it didn't completely trust its viewership to be smart enough to understand the more poetic elements, of which there were plenty. Tough being smart and entertaining, both, but season 1 did as good a job as possible, given the network framework. Which is why Season 2's shitting itself was so utterly dissappointing. Like breaking up with Tyra only to get stuck with Tyra's mom, who, to extend the metaphor, spends the entire season shitting herself–– as does every character. Every character began to stutter to announce ambivalence. Drama was replaced, in each and every episode, by melodrama, which is like replacing Prince Hal and Falstaff with the cast of Twilight. Complexity was replaced with easy resolution. Tension was replaced with characters slapping, punching, wrestling and running from and into each other. Sometimes they played football.
If someone walked in on me watching Season 2, I would explain, in unmitigated shame, "This isn't what it looks like." Even though it was exactly what it looked like. Were these like even the same writers that did this to me? So after two seasons of FNL, here's my plea to all television shows: if you're gonna be a crazy-melodramatic bitch, do it on the first date and spare us both from hope and the inevitable. D+
Sunday, January 29, 2012
Hugo
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Hugo is sweet and tender and trite and saccharine; its visual exhuberance is beautiful but its sentimental nostalgia overpowered me, like a young man who's spritzed himself a few too many times with his father's cologne. I, too, want to fear for my life druing a movie if a train is coming off the screen frame and right at me, but in Hugo, it only appears to be doing so––maybe I need to see the 3D version. But, regardless, isn't the art of the greatest magicians that which hides the illusion and avoids the temptation of self-referentiallity viz. you don't need a scene on a Parisian bridge where the characters say, earnestly, "Cinema is Special Place." Don't the great magicians know that any mention of their craft as illusion turns wonder into mechanical know-how, a metaphor made too literal throughout Hugo? Most people who didn't like Scorsese's Shutter Island thought it was too messy and weird; I loved that about it and dove right into the indulgences because suspension of disbelief is a viewer's responsibility. Avoiding explicit lectures about the greatness of movies is likewise the director's, and in Hugo, Scorsese too often mistook his director's chair for a podium. B-
Friday, January 20, 2012
L'Age D'Or (1930)
1930 was just about the beginning of the modern era of film, though this one felt more like a silent picture that just happened to have some abstruse and lip-sync-esque dialouge every so often, not that it meant anything whatsoever. But however dated from a technical perspective, its subject matter was much naughtier than whatever came out of Hollywood for decades afterwards. Viz.: Cause and effect are unnecessary. So are the bourgeoisie and their lust for themeselves. Still, I like some things to kinda-sorta maybe not be really fucking weird. B-