I need to stop getting suckered by movie marketing. This film isn’t the comedy I thought it would be.
In fact, it is nearly as frustrating a thing to watch as is the time of life it portrays. I believe that is on purpose. This film features a low hum of constant conflict, sometimes punctuated by moments of acute conflict that actually move the plot forward. Most of the time, you will be watching close-ups of Natalia Dyer’s face, screwed up in inner conflict, while the people around her drag her and her reputation through the mud, and while it is very effective, I just think it could have used a few more jokes.
I am glad that American popular media is beginning to shrug off the ancient taboo about women’s sexuality. That is an act of growing up we and our movies have needed to make for a long time. Spiritually, I’m 100% on board with this film. I do not regret watching it. But I have no interest in a repeat viewing. It doesn’t have enough moments of impact, the ending doesn’t feel especially victorious. Perhaps it would resonate more with me, and get by on that fact alone, if I were a woman, or a Catholic, who had lived through something like this, but I am just viewing it as something of an outsider, and I found myself disappointed.
It is also frustrating that they cast a man to play the priest who looks so much like Dillon Francis, instead of casting Dillon Francis. You expect me to believe Dillon Francis was too busy? Because I don’t.
Really wonderful acting from everyone involved here, and that is the highlight of the film for me. That said, for a film about the greatest school theft in American history, it never feels particularly explosive or exciting. The fact that the bad actors will be caught is a foregone conclusion and there is never a sense that the school reporters will be in any danger for their meddling. While this isn’t exactly a knock against the movie, it does combine with the drab, “inside of schools” look of the whole film to make the entire thing feel a little flat. That is, it feels like less than the sum of its parts.
Here we are again. And by we, I mean me, because I’m the only one who ever comes to this site, and I’m really fine with that.
It’s ironic that I’ve never had more free time, and not only have we only managed to churn out one episode of the podcast since the Beginning of the End began, but it wasn’t even about movies. You have my sincerest apologies for that, by the way.
I have very loose plans to do an episode on Blade Runner and Blade Runner 2049, and Dustin has supplied me with a long list of potential films which could serve as his inaugural episode. In the meantime, however, the thought only just occurred to me that I can still write reviews of movies I watch. That’s just something I forgot about.
I like writing film reviews because even though I know no one is reading them, it is still an exercise in creative writing, as well as trying to cobble together something that resembles, if only loosely, professional writing.
Anyhow, none of them are fresh in my mind anymore, but I have watched a few films, so maybe I’ll put some write-ups on here soon.
Or maybe I’ll forget and I won’t put any content up for the rest of the year.
This week we look at Masaaki Yuasa’s Ride Your Wave, and touch on his Night is Short, Walk On Girl, and Sonic the Hedgehog, starring James Marsden and Jim Carrey.
That is all.
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Hello, there. The charge on my credit card for the continued ownership of this domain tells me that we’re still in business here at the Dayton Upstairs Recording Studio, although things have been quiet lately.
Over my Winter Break I spent the first half doing family stuff and the second half working on my house, including reworking my bedroom. Since then I’ve started another term of college, and it’s one which is very reading-intensive, so it has been difficult to find time to record. Besides that, the groups with which I’ve seen movies these past months have been all over the place, and I have wanted to do group shows rather than just sitting down with one other person. I don’t know why, Adam and I used to record two-man shows all the time. I guess it’s because most of these movies are seen, sooner or later, or expected to be seen, by more than just one of my potential co-hosts, and so I’m always holding out for someone else to see it and make the potential recording pool bigger.
At any rate, I will try to have something recorded soon, and in the meantime, after the break are are some scattered thoughts about the following movies:
In this, which I consider to be an absolutely delightful bonus episode, I agreed to share this awful picture from my high school art class portfolio, where we were asked to draw self-portraits and to have them introduce us. So. Here it fucking is.
And here’s the photo I was alluding to, which was taken around the same year or perhaps the year after, when I was on an Art Club field trip out of state. I hope you’re happy, you bastards.
Finally! A proper unmitigated disaster of a recording! Finally! Something to struggle against! Something to win! This was the episode…that almost wasn’t!
I went to see Taika Waititi’sJojo Rabbit with Jon and Brooke, and a couple of Brooke’s friends, and we were all excited to record, but couldn’t get it done that evening. We converged in the Dayton Upstairs Recording Studio a few days later and set up to record with a template that I’d made so I wouldn’t have to set the project up fresh every time. And I firmly believe that’s where things went to shit.