tag:blogger.com,1999:blog-325653452024-03-07T01:01:43.029-08:00wants hurricaneswhat the water wants is hurricanes
/
and sailboats to ride on its backMattNathhttp://www.blogger.com/profile/15357088957356108002noreply@blogger.comBlogger70125tag:blogger.com,1999:blog-32565345.post-67249916186314800862020-04-27T15:39:00.002-07:002020-04-27T15:39:40.000-07:00Second Date Amid Pandemic<br />
<div class="MsoNormal">
We are both at the designated meeting spot, but cannot find
each other. Starting off with a
metaphor, I guess. </div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"><br /></span></div>
<div class="MsoNormal">
He texts says < Where r u??> <span style="mso-spacerun: yes;"> </span>with two question marks, which annoys me slightly,
so I say: <o:p></o:p></div>
<div class="MsoNormal">
<i guy="" in="" m="" mask="" the=""><span style="mso-spacerun: yes;"> </span><o:p></o:p></i></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"><br /></span></div>
<div class="MsoNormal">
He finds me at last.<span style="mso-spacerun: yes;">
</span>In the small crowd (very small crowd for Columbus Circle) everyone is
wearing protective facemasks, but as soon as we see each other we both pull them
down; an understood concession to the danger and thrill of meeting right now, at
this time, when it’s either illegal or ill-advised (I’m not sure which).<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"><br /></span></div>
<div class="MsoNormal">
He’s a seven; on our first date, before this all began, I
thought he was an eight.<span style="mso-spacerun: yes;"> </span>No biggie—he’s
successful and kind and has been very attentive during these few very strange
weeks of the COVID-19 quarantine.<span style="mso-spacerun: yes;"> </span>He is
impressed by me, which I always found flabbergastingly attractive.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>He is so nervous and it is cloudy and I can
tell immediately that we only have about 1 hour before rain, and also that I
could never love this person.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Something of the classic second date for me, I guess.<span style="mso-spacerun: yes;"> </span>We walk through Central Park and in the
overcast light I am amazed by how beautiful it is here.<span style="mso-spacerun: yes;"> </span>Slightly thinned of tourists, the lush veins
of its paths are saturated and intricate, and we get lost in them—then found—then
lost again.<span style="mso-spacerun: yes;"> </span>I’m pretty sure that’s
North.<span style="mso-spacerun: yes;"> </span>I’m pretty sure that’s an
azalea.<span style="mso-spacerun: yes;"> </span>I’m pretty sure it’s going to
rain.<span style="mso-spacerun: yes;"> </span>I’m pretty sure we walked through
here.<span style="mso-spacerun: yes;"> </span>I’m pretty sure the quarantine
won’t end in May.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>I’m pretty sure it may never. I’m pretty sure
I don’t want kids, not anymore.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"><br /></span></div>
<div class="MsoNormal">
I’m pretty sure I’m over my ex.<span style="mso-spacerun: yes;"> </span>Is there a more instantly-combusting
sentence I can’t imagine it.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
He tells me he has never really been in love.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"><br /></span></div>
<div class="MsoNormal">
Our coffee gets cold as the conversation reaches that sad and
familiar chasm for us both:<span style="mso-spacerun: yes;"> </span>there is no
a possible way to tell my story to this person.<span style="mso-spacerun: yes;"> </span>This stranger.<span style="mso-spacerun: yes;"> </span>He tells me his love languages (Acts of
Service, and Touch!) and his sun sign (Libra) and we walk in long meandering
orbits around the Bethesda Fountain before the gravity fails us, <span style="mso-spacerun: yes;"> </span>and we spin off into a grove of cypress trees—where
we both take a piss.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"><br /></span></div>
<div class="MsoNormal">
Among ferns, we stop to share a pastry that I brought along.
<span style="mso-spacerun: yes;"> </span>The world is ending, but Paris Baguette is
still serving $5 croissants.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>He takes clandestine beers out of his bag, which
strikes me as the most beautiful gesture in the world.<span style="mso-spacerun: yes;"> </span>We sip them and there are tulips everywhere
and I think, for the first time in weeks, <i style="mso-bidi-font-style: normal;">what
a city</i>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
But it's fleeting. I get antsy: wonder what's for dinner, wonder if I can still get a game of Smash Bros. in at home, wonder what I'll watch tonight, wonder how early I'll wake tomorrow. There's something about the overcast day--this particular percent humidity--that has this thick, lugubrious quality that makes time viscous and clinging; not flowing but alternately clumping & releasing, trickling in fits in starts, not moving at all, then whizzing by. The afternoon quickly becomes interminable. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We choose a direction at random and it turns out, as it
happens, to be the way home.<span style="mso-spacerun: yes;"> </span>He is
thoughtful and bright, and has kind eyes, but I will never see this man again.<o:p></o:p></div>
<br />MattNathhttp://www.blogger.com/profile/15357088957356108002noreply@blogger.com0tag:blogger.com,1999:blog-32565345.post-58568803495672543662018-07-18T12:02:00.002-07:002018-08-06T10:42:33.910-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIkInGWTdxnUQbg0YvuCSzwvCEfUmsNGE7ydQ6HtgNfOBJ7TtZt2fhyphenhyphentoka1Zdfz-kuifTENZ6IrNUjRD39mkxgjWdeOePgQmQjWbA_hCvvM5QPKSELCi3wWggjg9FDffkRqYO/s1600/sorry+to+bother+you.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="444" data-original-width="1200" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIkInGWTdxnUQbg0YvuCSzwvCEfUmsNGE7ydQ6HtgNfOBJ7TtZt2fhyphenhyphentoka1Zdfz-kuifTENZ6IrNUjRD39mkxgjWdeOePgQmQjWbA_hCvvM5QPKSELCi3wWggjg9FDffkRqYO/s640/sorry+to+bother+you.jpg" width="640" /></a></div>
<br />
<br />
<div class="MsoNormal">
SORRY TO BOTHER YOU<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I may not know <i style="mso-bidi-font-style: normal;">shit</i>
from <i style="mso-bidi-font-style: normal;">shinola </i>but it’s pretty clear to
me that Boots Riley’s new film SORRY TO BOTHER YOU is one of the weirdest, most
transgressive broadly-marketed comedies that (some of) you will (maybe?) see
this year (or likely next year, once Boots is given a best director or at least
the compensatory best-screenplay Oscar nod).<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
On the heels of the (womp, womp) shocking critical and
commercial appeal of GET OUT we have what seems like an easily-loglineable
premise: a streetwise Oaklander hustles his way up the corporate ladder in a Telemarketing
firm by turning on his trust-inducing “white voice”.<span style="mso-spacerun: yes;"> </span>Ha ha ha, YT’s be dopey, it’s funny because
it’s true. <span style="mso-spacerun: yes;"> </span>But what seems like an easily
understood joke—the apodictic code-switching that is almost incidental to life
as a minority—quickly becomes something truly, deeply more trenchant and
frightening: it isn’t human behavior but human <i style="mso-bidi-font-style: normal;">systems </i>that perpetuate the socio-economic loops that benefit a
select few.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Yes, ladies and gentlemen: this is a cautionary tale.<span style="mso-spacerun: yes;"> </span>But in true Marxist fashion, we aren’t being
cautioned against what could happen but rather what already is: this is
late-stage capitalism, baby, and y’all is fucked.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
*<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
You’re too deep into the film by the time you realize you
have no idea what you’re in to/in for.<span style="mso-spacerun: yes;">
</span>If you are sitting on the aisle you may consider leaving, not because
the film is bad or not entertaining, but because it feels <i style="mso-bidi-font-style: normal;">wrong</i>—almost like you walked into the wrong theatre and although
all the actors and lensing and setting are what you expected, the <i style="mso-bidi-font-style: normal;">mise en scene</i> is askew.<span style="mso-spacerun: yes;"> </span>I’d like to report that that off-beat
wrongness abates as the film continues for two hours and settles into its
groove; but I can’t, because it doesn’t.<span style="mso-spacerun: yes;">
</span><i style="mso-bidi-font-style: normal;">Wrongness</i> is at the heart of
this film, this story, and the economic system it lacerates.<span style="mso-spacerun: yes;"> </span>But not just any wrongness, wrongness with
just the right number of 0’s on the end of its grubby check.<span style="mso-spacerun: yes;"> </span>For something this periodically-asinine,
surreal, and madcap there is uncanny sense that only something as fucking absurdist
as this can really capture what capitalism is all about.<span style="mso-spacerun: yes;"> </span>It’s frightening because it’s true. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
*<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
SORRY TO BOTHER YOU is sorry to bother us, the casual viewer
expecting a GET OUT, with something as un-filmic as dystopian Marxism.<span style="mso-spacerun: yes;"> </span>That’s the brilliance, it leads with an
apology in its title, but never apologies again. <span style="mso-spacerun: yes;"> </span>The relentless film cashes ever check it
writes.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
But if a film requires the rich and subtle tones of metaphor
or characters with complex emotional motives to be a success—STBY is a failure
even before it begins.<span style="mso-spacerun: yes;"> even so, t</span>his is a capital-A Art because in its crash-and-burn
spectacle it has ideas to spare, and not all of them belong to Karl Marx.<span style="mso-spacerun: yes;"> </span>In fact, I don’t remember a film with a
higher ideas-per-minute ratio.<span style="mso-spacerun: yes;"> </span>Yes, my
friends, debts are indeed owed: and not just from Management to their slavish
employ.<span style="mso-spacerun: yes;"> </span>The smart weirdness about STBY
is that you can’t quit tell what homages are overt.<span style="mso-spacerun: yes;"> </span>Is that Terry Gilliam’s BRAZIL or just general
Monty-Python-ness? And clearly George Orwell owns the anthropomorphic
denouement, right? Yet most of the cinematic and theoretical references are
more obtuse or feel deeper-set in the genotype—somehow they are if not un- than
certainly pre-conscious.<span style="mso-spacerun: yes;"> </span>Friedrich Engles
via Louis CK’s Pootie-Tang; Mike Judge with melanin; a Gondry/Kauffman mindfuck
with Tarrantino gumption…or (deep breath)… UHF, <i style="mso-bidi-font-style: normal;">Requiem for a Dream</i>, <i style="mso-bidi-font-style: normal;">On the
Waterfront,</i> Black Mirror, and a couple of Spikes (Lee and Jonze) added to
the punch (shit this is sort of fun—I could literally keep going forever, which
is the point).<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The pastiche is a purposeful and postmodern inversion on
what is an uber-modernist narrative (the Labor Rises to Overthrow a Monopoly of
Capital, yada yada).<span style="mso-spacerun: yes;"> </span>By mooring us in a
something a bit hackneyed and Orwellian, while unmooring us by denying a simple
and compact stylistic genealogy, Boots Riley pulls a number on all of us. <span style="mso-spacerun: yes;"> </span>We can rejoice at the “left-eye rebellion”
and the triumph of Art, but ultimately are we indicating or being indicted?<span style="mso-spacerun: yes;"> </span>When the smoke clears, is our conscience
clear…but also will our checks clear?<span style="mso-spacerun: yes;"> </span>(Just
checking.)<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Or will our nostrils flare when we discover we’re one of
Them too?<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<br />MattNathhttp://www.blogger.com/profile/15357088957356108002noreply@blogger.com0tag:blogger.com,1999:blog-32565345.post-10349460092154498112017-01-07T07:34:00.000-08:002017-01-07T09:16:28.369-08:00MOONLIGHT: gay, male PRECIOUS?<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
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I feel like this one may land with a thud, considering
everyone and their mother seems obsessively interested in extolling this film,
but I thought MOONLIGHT was massively overrated.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This film, which lightly traces the hard life of a gay black
man beginning life in an impoverished neighborhood in Miami, is certainly beautiful and
poignant.<span style="mso-spacerun: yes;"> </span>The acting is meritorious – I’m
a sucker for good child acting and this film kills it in this regard.<span style="mso-spacerun: yes;"> </span>If a movie’s power derives from hardened silences,
tearful reunions, human tenderness juxtaposed on callous circumstance,
MOONLIGHT is essentially CITIZEN KANE.</div>
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<br /></div>
<div class="MsoNormal">
To the white and privileged (including myself), the
nefarious marketing ploy of MOONLIGHT prays on the same problematic liberal
instinct that the movies PRECIOUS and BEASTS OF THE SOUTHERN WILD exploit.<span style="mso-spacerun: yes;"> </span>These are <i style="mso-bidi-font-style: normal;">impoverished
</i>African-American characters with drug problems, their lives are harder and
more complicated than yours, their neighborhoods more dangerous, their choices
narrower, their poetry starker.<span style="mso-spacerun: yes;"> </span>These
undertold stories from underheard communities must be important (<i style="mso-bidi-font-style: normal;">right</i>?) because they are undertold and
underheard.<span style="mso-spacerun: yes;"> </span>I have to like this
movie—right?—because it’s <i style="mso-bidi-font-style: normal;">important</i>.<span style="mso-spacerun: yes;"> </span>It’s Oscar-worthy.<span style="mso-spacerun: yes;"> </span>It’s…real.</div>
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<br /></div>
<div class="MsoNormal">
But what speciously feels like <i style="mso-bidi-font-style: normal;">I’m racist if I don’t like this</i>, is actually (to employ just a
little hyperbole in the name of syllogism) <i style="mso-bidi-font-style: normal;">I’m
racist if I do.</i><span style="mso-spacerun: yes;"> </span>I’d argue that one aspect
of racism lies in a tendency to under-critique individuals in favor of
socially-bequeathed tropes about what THOSE PEOPLE are like, how THAT GROUP
acts, what PEOPLE LIKE HER know, what GUYS LIKE THEM perpetrate.</div>
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<br /></div>
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But is the movie good?<span style="mso-spacerun: yes;">
</span>Haven’t we seen drug dealers?<span style="mso-spacerun: yes;">
</span>Haven’t we seen Crack Heads?<span style="mso-spacerun: yes;">
</span>Haven’t we seen poverty and tragedy, Bad Mothers and Absent Fathers,
Bullying, Bigotry, Fear?<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Does the story twist us in new ways, test our
limits, make us hate or love better, make us scared for our own lives?<span style="mso-spacerun: yes;"> </span>Do we get wet in the waves of it?<span style="mso-spacerun: yes;"> </span>Do we shiver in its breeze?</div>
<div class="MsoNormal">
<br /></div>
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I’d argue that we don’t.<span style="mso-spacerun: yes;">
</span>MOONLIGHT traces a life, but that life is merely grand gestures of violence
and reconciliation.<span style="mso-spacerun: yes;"> </span>For a more that’s so
god damn boring so god damn frequently, it’s so blithely unsubtle.<span style="mso-spacerun: yes;"> </span>All these important conversations and
silences have a way of rendering none of them important, and it’s exasperating.<span style="mso-spacerun: yes;"> </span>I’m not saying the struggle of the characters
here isn’t interesting, but to call MOONLIGHT the best or even one of the best movies of the year is to ignore
that it is not particularly interesting in its telling.<span style="mso-spacerun: yes;"> </span>It’s overlong and redundant; its perpetual Shallow Depth
of Field and super-saturated Ghetto vistas become beautiful ciphers with little
meaning (probably much like Miami itself). </div>
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<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>But we aren’t allowed
to engage with the text like that, because to do so would be to deny its <i style="mso-bidi-font-style: normal;">power</i>.<span style="mso-spacerun: yes;">
</span>Instead, MOONLIGHT is the gay, male PRECIOUS because if offers reprieve
from the preconscious guilt of white privilege—symbolic catharsis that confuses
FEELING SOMETHING for DOING SOMETHING.<span style="mso-spacerun: yes;">
</span>If we can heap praise and awards on undertold and underheard stories we don’t
have to tell and hear the REAL story, and that’s how racism hides in
egalitarian art.<span style="mso-spacerun: yes;"> </span>There is nothing
malicious in anyone liking this movie, but there is a reason to
disbelieve.<span style="mso-spacerun: yes;"> </span>Because the malicious thing
is the fear of Other imbibed in human nature on all sides, which society
strives valiantly to extirpate.<span style="mso-spacerun: yes;"> </span>We’re
not quite there yet.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
#oscarssowhite, yes, but not because Viola Davis needs Oscars,
like now.<span style="mso-spacerun: yes;"> </span>The problem is that <i style="mso-bidi-font-style: normal;">we</i> need Viola Davis to get Oscars so we
feel less implicated in the infernal machine of racism.<span style="mso-spacerun: yes;"> </span>The Oscars are for us.<span style="mso-spacerun: yes;"> </span></div>
<br />
<br />MattNathhttp://www.blogger.com/profile/15357088957356108002noreply@blogger.com1tag:blogger.com,1999:blog-32565345.post-71910346216816384122015-05-19T10:35:00.000-07:002015-05-19T10:35:26.532-07:00MAD MEN: the real thing?<br />
<div class="separator" style="clear: both; text-align: center;">
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<div class="MsoNormal">
To me the post-SOPRANOS season finale is the ideal modern Rorschach
Test—a projective screen for viewers to throw whatever asinine assumptions, puerile
fantasies, and naïve fears they have on beloved characters about to leave their
lives forever.<span style="mso-spacerun: yes;"> </span>The finality of their
exit allows for genuine emotion—not TV emotion, not “that show was fun but now its
over” emotion—to siphon in.<span style="mso-spacerun: yes;"> </span>Series
endings are some fuckedup postmodern version of a graduation or a wedding.<span style="mso-spacerun: yes;"> </span>They are as real as anything, because they
take something very real away from us.<span style="mso-spacerun: yes;">
</span>It’s pretty brutal, really.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
All that said, I will keep this fast because I think
anything that needs to be said has been said.</div>
<div class="MsoNormal">
I give MAD MEN finale an A-.<span style="mso-spacerun: yes;">
</span>For the record, BREAKING BAD got a B. <span style="mso-spacerun: yes;"> </span>BOARDWALK EMPIRE gets an A. SOPRANOS gets an
A+.<span style="mso-spacerun: yes;"> </span>Sorrynotsorry.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I didn’t particularly like Peggy and Stan’s forced-fed
romance.<span style="mso-spacerun: yes;"> </span>Seems so uncharacteristically happy-ending
hackneyed for a show that so stridently avoided cliché.<span style="mso-spacerun: yes;"> </span>It seems Matt Weiner’s affection for
Elizabeth Moss and her Peggy got the better of his artistic sense.<span style="mso-spacerun: yes;"> </span>Why MAD MEN is great is that every time you
think it should hit the throttle, it steps on the brake.<span style="mso-spacerun: yes;"> </span>It’s been doing it for seven amazing
seasons.<span style="mso-spacerun: yes;"> </span>This withholding, this lack of splashiness, is very much the point, it’s what MAD MEN had to offer us overall: the
idea that life doesn’t need Drama to be dramatic.<span style="mso-spacerun: yes;"> </span>Peggy and Stan—the opposite of that.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Overall I was a little touched by Don and Betty’s phone call
goodbye – it was simple and balanced and reflected the love and resentment they
have for each other pretty remarkably.<span style="mso-spacerun: yes;">
</span>Don and Peggy’s call—less impressed; a mere curtain call for the actors
to have one last moment together. <span style="mso-spacerun: yes;"> </span>Whatever... sentiment, move along.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
All that earns it about a B.<span style="mso-spacerun: yes;">
</span>What kicks it up to A-, classic series ending territory is that
holy-shit-genius ending.<span style="mso-spacerun: yes;"> </span>It’s such an
instant-classic update on The Sopranos final go-dark moment.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
If you are wondering whether or not Don went back to NY to
create that coke ad, or if Don had some sort of “true enlightenment” and stayed
retired <i>ad ifinitum</i>, you are doing exactly what Matt Weiner wanted—and fully
missing the point.<span style="mso-spacerun: yes;"> </span>Like the “Did Tony
Die” preseverating that followed Gandofini’s “series wrap”, it comes from a
place of ego on the audiences’ behalf—we want to feel we own these characters,
have a claim on their future, for christs sake <i style="mso-bidi-font-style: normal;">know</i> if they live or die.<span style="mso-spacerun: yes;">
</span>David Chase denied us that; now Matthew Weiner does too—sort of
brilliantly.<span style="mso-spacerun: yes;"> </span>Don may have created the
ad; sure that makes sense.<span style="mso-spacerun: yes;"> </span>Or maybe it’s
just a final coda of commentary—this saturated dream of Coca-Cola “bringing us
together”—the steamrolling corruption of the corporate agenda.<span style="mso-spacerun: yes;"> </span>But there is no “really happened”, there is
no secret, there is no correct answer.<span style="mso-spacerun: yes;"> </span>Debating
it only shows what you project upon it.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And for my half—I project a lot of bleakness.<span style="mso-spacerun: yes;"> </span>MAD MEN postulates, as the Sopranos did, that
real change is impossible for human beings.<span style="mso-spacerun: yes;">
</span>We love and lose, we remarry, we fight and reconcile and dream and lets
dreams slide away, but we don’t change.<span style="mso-spacerun: yes;"> </span>We
bring home the bacon or venereal disease, but we don’t change.<span style="mso-spacerun: yes;"> </span>We enter into routines and break them and
soul search and bob for apples at the county fair, but we don’t change.<span style="mso-spacerun: yes;"> </span>Don cannot run from the past because it will
never be wholly just his past; it is his present and it is his destiny, and it
is so interwoven into his DNA that there’s simply nothing else to cling to,
even if—even when—he wants to.<span style="mso-spacerun: yes;"> </span>Long after
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is but rather<i style="mso-bidi-font-style: normal;"> what</i> he is that indicts
him: he is a liar, he is a cheater, he is a man who—let’s not moralize here or
opine on whether better men exist—is not a <i style="mso-bidi-font-style: normal;">good
man</i> in the way polite society wants good men to be.<span style="mso-spacerun: yes;"> </span>He is a Tony Soprano who kills softly, differently; who tries
to feel; does feel; has vision; blurs vision; lights a cigarette; snubs one
out; doesn’t change.</div>
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<br /></div>
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And like Tony when all is said and done, Don doesn’t live
and Don doesn’t die.<span style="mso-spacerun: yes;"> </span>He ends.</div>
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<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i></div>
<div class="separator" style="clear: both; text-align: center;">
<i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvZ9-AVMs1iDtUUgElZ6KNKCcwuFO5z-2KO5FUL0reKON5UJQzDBzVj97PatVH4V81IzJJmN3j7a2cejt47pWYHt2Il1XmICB4z5p2IROm7B5WkRaEEBTEgvi0or-Leh4qmOQe/s1600/don+draper+yoga.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvZ9-AVMs1iDtUUgElZ6KNKCcwuFO5z-2KO5FUL0reKON5UJQzDBzVj97PatVH4V81IzJJmN3j7a2cejt47pWYHt2Il1XmICB4z5p2IROm7B5WkRaEEBTEgvi0or-Leh4qmOQe/s320/don+draper+yoga.jpg" width="320" /></a></i></div>
<br />MattNathhttp://www.blogger.com/profile/15357088957356108002noreply@blogger.com0tag:blogger.com,1999:blog-32565345.post-51116178999446213992015-05-14T08:40:00.001-07:002015-05-14T08:40:15.794-07:00EX MACHINA: no gods here
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEtXStpKZAZQ2yyNNJDi59jjt5-9tc1SFYuIUnWBOjZ33JB-qpl4Gz1_Dzel78H3kBouXjg6saOtFxzD49ZrDoI7QlZw34VZX-kKg7Eo7tZZTELvsGR5bCtl7hedI4J-eiuDiS/s1600/Ex_Machina.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEtXStpKZAZQ2yyNNJDi59jjt5-9tc1SFYuIUnWBOjZ33JB-qpl4Gz1_Dzel78H3kBouXjg6saOtFxzD49ZrDoI7QlZw34VZX-kKg7Eo7tZZTELvsGR5bCtl7hedI4J-eiuDiS/s320/Ex_Machina.jpg" width="216" /></a>EX MACHINA is a good film, though it is only about two-thirds as
clever as it thinks it is.<span style="mso-spacerun: yes;"> </span>The
future it imagines is an uncannily plausible cocktail of Google Glass
technology and sublimated narcissism.<span style="mso-spacerun: yes;">
</span>The kind of future that all the money on earth buys the richest boys in
Silicon Valley.</div>
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In short: Nathan, a Mark Zuckerberg-type young rich genius,
invites one of his employees (Caleb) to his secluded complex to test the brain
power of an android—an Artificially Intelligent fembot names Ava—with a “Turing
Test” (not much of a ‘test’ really: does the flesh-and-blood human know this
being is a robot, or not?).<span style="mso-spacerun: yes;"> </span>Obviously
Caleb falls in love with Ava’s perfect mechanical ass and, erhm, wit.<span style="mso-spacerun: yes;"> </span>Obviously complications ensue.</div>
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Seamless (literally without seams—at what point did the
hallmark of futurism become doors that don’t look like doors?) and inhuman, Nathan’s
world is an exquisitely carved bio-dome seemingly plopped on Jurassic Park’s <i style="mso-bidi-font-style: normal;">Isla Nublar</i>.<span style="mso-spacerun: yes;"> </span>Somehow you still need key cards to unlock doors, but
whatever.<span style="mso-spacerun: yes;"> </span>The technical wonder of
EX MACHINA (and it is considerable—Ava is one of if not<span style="mso-spacerun: yes;"> </span>the best-designed synthetic human I’ve
seen in the movies) is a perfect foil for the stunning natural design of
Nathan’s compound.<span style="mso-spacerun: yes;"> </span>It manages to
invoke certain questions of creation, erosion, and possibly limitless
power.<span style="mso-spacerun: yes;"> </span>In short, and very much
on-theme, something godly.</div>
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I like movies with big ideas; especially great looking
movies; especially great looking movies with amazing residential architecture,
like this one.<span style="mso-spacerun: yes;"> </span>I think people should
see this movie—although don’t expect “I See Dead People” twists, much action, or even careful
plotting.<span style="mso-spacerun: yes;"> </span>The only intricacy here
is Ava’s circuitry, considerable as it is.</div>
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But the real problem with the techno-babble and
epistemological navel-gazing of EX MACHINA is that “A.I.” technology has been
so beaten to death in pop-culture Sci-Fi that even dropping an Alan Turing reference
and stirring in some Wittgenstein doesn’t change the fact that this is pretty
thin soup (and metallic tasting, at that).<span style="mso-spacerun: yes;"> </span>Robots, free will, somewhat facile mind games: <i>been there,
done that</i>.</div>
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Ultimately, we expect the Greek-drama trope, the deus ex
machina, from the get go: the craned-in god that will alter the course of the
story, bring about the pat ending, deliver justice.<span style="mso-spacerun: yes;"> </span>But, perhaps obviously in hindsight, this God never
comes.<span style="mso-spacerun: yes;"> </span>EX MACHINA clearly enough
imagines a future without the deus, where sentient machines are their own
gods.<span style="mso-spacerun: yes;"> </span></div>
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Where free will is a programmable, personal protocol.<span style="mso-spacerun: yes;"> </span>God help us.</div>
MattNathhttp://www.blogger.com/profile/15357088957356108002noreply@blogger.com0tag:blogger.com,1999:blog-32565345.post-32395000575066731662015-03-09T07:30:00.001-07:002015-03-09T07:30:19.540-07:00MAPS TO THE STARS<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 9"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index heading"/>
<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
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<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
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<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJCvBgT3j-wv0s8sqFqn9T7lee33l6AarshVIIghJpe3rk8QM16ZwpnRFzxM1HufkpkQ5_az-JjuLkJVibEVW7Oecf8mBCwkmnxvQkqXu0euR2n4MxazOi0C0rnVbTn74B__M0/s1600/maps_to_the_stars_ver3_xlg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJCvBgT3j-wv0s8sqFqn9T7lee33l6AarshVIIghJpe3rk8QM16ZwpnRFzxM1HufkpkQ5_az-JjuLkJVibEVW7Oecf8mBCwkmnxvQkqXu0euR2n4MxazOi0C0rnVbTn74B__M0/s1600/maps_to_the_stars_ver3_xlg.jpg" height="320" width="226" /></a></div>
<div class="MsoNormal">
Cronenberg counts among the sparse filmmakers whose movies I
will see no matter the content: a bland history of lichen, a biopic about Anton
Khrushchev, a psychological drama about twin gynecologists who work on mutant
vaginas, whatever.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Yet even my deference is tempered—in fact,
since and including his “breakthrough” Hollywood drama A HISTORY OF VIOLENCE I
haven’t blindly endorsed his films.<span style="mso-spacerun: yes;"> </span>In
particular I hated A MOST DANGEROUS METHOD, a psychoanalytic film I am very much
the target customer for, because of its chilly mood and cardboard
melodrama.<span style="mso-spacerun: yes;"> </span>On the other hand, I loved
his last movie, COSMOPOLIS, a densely academic takedown of capitalism, starring
of all people (best casting ever) a limo-riding Robert Pattison, which was a
movie it seemed no one else liked.<span style="mso-spacerun: yes;"> </span>So
call me an avid fan, not a rabid one.</div>
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<br /></div>
<div class="MsoNormal">
Anyway here we are again – back in L.A.—with its hot yellow
days and long shadows, its potted palms and sitting rooms, its traffic and
noise and curbside limousines.<span style="mso-spacerun: yes;"> </span>Certainly
Cronenberg’s MULHOLLAND DRIVE, there’s something a bit down the canyon about
this: call it RODEO DRIVE if you want.<span style="mso-spacerun: yes;">
</span>And though it doesn’t quite indulge in that film’s abstraction, there is
a certain Lynchian nightmarishness to what’s going on here.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And it starts with the cast.<span style="mso-spacerun: yes;">
</span>Julianne Moore is heroically ugly, faded in ever<span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="mso-spacerun: yes;">y sense, absolutely
egoless as the not-quite-as-pretty, not-nearly-as-young daughter of a dead and very
soon to be forgotten actress.</span></span><span style="mso-spacerun: yes;"> </span>A talented
newby plays Benjie, a Justin Bieber cypher, rich-before-his-time, Twitter-polluted
and horrible.<span style="mso-spacerun: yes;"> </span>John Cusack is his psychologist-<i style="mso-bidi-font-style: normal;">cum</i>-masseuse father, whose unspecified
and catharsis-forward therapeutic-method is a <span style="mso-spacerun: yes;"> </span>jokey critique of the <i style="mso-bidi-font-style: normal;">me-too </i>feelgoodiness that engine California Health and Wellness—the
sun-soaked sibling of Corporate-America’s Beauty sector.<span style="mso-spacerun: yes;"> </span>Pattison is back, as the limo driver this
time, yet another actor also-ran with little to eat than what other’s put on
his plate.<span style="mso-spacerun: yes;"> </span>He drives around Agatha, a
mysterious and fire-scarred girl with secret ambitions and histories herself.<span style="mso-spacerun: yes;"> </span>It’s a large but strangely (?) incestuous
cast, with lots of cross-relationships, scenes-together, converging fates.<span style="mso-spacerun: yes;"> </span></div>
<br />
<div class="MsoNormal">
The theme of relevance (specifically Julianne Moore’s
perseverance on her own) is entwined with themes of reverence (should we blame
or lionize our parents?) and reference (is it MULHOLLAND DRIVE or DAY OF THE
LOCUSTS or even outside-LA films like THE SHINING that are being invoked?).<span style="mso-spacerun: yes;"> </span>Characters implode in a fairly by-the-numbers,
Hollywood-stupid way. As flaccid revelations are made, drugs are taken, ugliness
continues to fester, we soon realize that this Map doesn’t lead anywhere
terribly new.</div>
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Yet there’s a ghost here that continues to call into the
night; long after the credits roll, long after you leave the theatre.<span style="mso-spacerun: yes;"> </span>The film is so chilly it’s freezer-burnt,
impossible to warm to, carefully crafted to be droll and inhuman.<span style="mso-spacerun: yes;"> </span>Yet there is that ghost.<span style="mso-spacerun: yes;"> </span>That ghost that calls out somewhere in the
Hollywood Hills, that reminds you they once were living, that they once <i style="mso-bidi-font-style: normal;">were </i>Hollywood.<span style="mso-spacerun: yes;"> </span>Though MAPS TO THE STARS is hardly a great
film, if there’s anything perversely beautiful here, it’s that familiar desperation
to in some way matter. It’s something Hollywood certainly bloats, <span style="mso-spacerun: yes;"> </span>but it is—despite our specious Jungian
insights—not unique to the “stars” at all.</div>
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MattNathhttp://www.blogger.com/profile/15357088957356108002noreply@blogger.com0tag:blogger.com,1999:blog-32565345.post-54009819614788293112015-02-08T21:14:00.002-08:002015-02-08T21:18:38.392-08:00INHERENT VICE<br />
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This weekend I saw P.T. Anderson’s INHERENT VICE, and as
usual immediately afterwards dialed some folks I know who saw it to give my two
cents and (kind of) hear theirs. One filmy friend was glad to hear I liked it;
remarking that it was just "so fun and easy to watch, shot so
beautifully..."<br />
<br />
...and I was waiting for him to finish that thought. When he didn't, I offered,
obviously: "and a scathing critique of capitalism." He assented,
though it was clear that he didn’t give two red fucks about the Marxist reading.<br />
<br />
Which is fine. Perhaps the real genius of the film is that it works so well
scene-by-scene; even when you don't know exactly who characters are or why they
are arguing or what exactly they are smoking, you absolutely know enough to stay
engaged.<span style="mso-spacerun: yes;"> </span>But what you should
really feel, and maybe some of you on a gut level did, is en<i>raged</i>. <span style="mso-spacerun: yes;"> </span>Because a textual reading of INHERENT
VICE makes clear that capitalism is a rigged game; the players are corrupt and
the conspiracy is real. But like capitalism itself (symbolized gorgeously here as a
convertible Cadillac) the ride is bumpy: a noir nightmare fantastically drenched
in golden California sunshine. INHERENT VICE is manic and opulent and
compelling enough—just enough—for you not to ask the right questions.
Because asking the right questions gets people killed.<br />
<br />
That's why the real triumph of Joaquin Phoenix’s turn as hero is not finding a
missing real estate mogul (literally sent to the looney bin when he decides to
give away his money), or even in saving his distressed ex girlfriend (who
reappears half way through the film oddly unscathed, the danger she felt in the
opening scene somehow subsided; a red herring).<span style="mso-spacerun: yes;">
</span>His real triumph is in freeing Owen Wilson from the dharma of
capitalism, the indentured servitude he felt as a triple agent, indebted “both”
to the Federal government and to some shifty conspiracy of unseen gangsters
(read, for those keeping score: they are of course the same).<span style="mso-spacerun: yes;"> </span>This may be wishful thinking on
Pynchon’s behalf, as Owen Wilson gets free on the promise that his silence about
“what he knows” stays absolute.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>But as we probably have figured out, the
word of murderous gangsters is worth about as much as that of the FBI, the LAPD, and
almost everyone else in this film: nuttin’.<br />
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I have not read the novel, nor have I looked at reviews or
essays on the film’s discrepancies (though I will certainly do so now).<span style="mso-spacerun: yes;"> </span>My experience with Pynchon is also
admittedly limited—having read just THE CRYING OF LOT 49 and the wikipedia stub
for GRAVITY’S RAINBOW (it’s a good one).<span style="mso-spacerun: yes;"> </span>But just based on the conceit of what’s going on here,
those stories, and my own intuition I have to say this: Pynchon is probably the
biggest Capital G Genius to ever wield a pen.<span style="mso-spacerun: yes;"> </span>This is probably why academics love him so much, and also
why he can be so inaccessible and redoubtable to us lesser minds.<span style="mso-spacerun: yes;"> </span>In crafting a meandering
story of justified paranoia, a peregrination through inherent vice in all its
perverse incarnations, and in doing so in such a hilarious and color-saturated
way, Pynchon shows the true power of subversive art—the last bastion of hope
that may (probably not, but may) save us from the “conspiracy of dentists”
pulling the strings; may save us from ourselves. </div>
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<br />
Great film, and another homerun from PT Anderson, IMO. </div>
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MattNathhttp://www.blogger.com/profile/15357088957356108002noreply@blogger.com0tag:blogger.com,1999:blog-32565345.post-30097801108553671092014-04-07T15:00:00.003-07:002014-04-07T16:40:22.727-07:00Darren Aronofsky's NOAH: Better Than The Bible<!--[if gte mso 9]><xml>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: "Times New Roman";">Darren
Aronofsky’s NOAH may not be great or even a particularly good film, but it is a
wonderful one. Full of wonders--great and subtle--and unexpectedly
wonderful filmmaking. Mark my words, every D-girl in Hollywood right now
is pitching biblical projects.<span style="mso-spacerun: yes;"> </span><br />
<br />
Should we blame Mark Burnett, who financed 2013's stupid and stupidly
popular drama THE BIBLE? Or should we blame Mel Gibson--who proved the audience for scriptural cinema so large that a movie didn't need to be particularly enjoyable or particularly Jew-friendly to make
millions?<br />
<br />
Or do we<i style="mso-bidi-font-style: normal;"> thank</i> them? Do we
thank Mel Gibson for making time to create THE PASSION OF THE CHRIST before its
gloriously underrated sequel THE BEAVER?<br />
<br />
With Noah I found myself surprised to be left in an excited mood for the forty
days of bible stories likely to be flooding the box office for the next 1-3
years. Call this the comic book revolution 2.0, a new era of content
sourcing—raping and pillaging the first and final home of the public domain:
the word of God.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: "Times New Roman";">It seems
so obvious in a way: the Bible is full of such spectacle and stories so
thematically plump that Jesus should sign Spielberg to a development deal.<span style="mso-spacerun: yes;"> </span>Aronofsky pulls a lot out of the ample
content—and his perseverating use of symbol (the Snake, the Apple, the Fall)
reinforces what’s good about the bible-as-source: these are the stories behind
the stories that we all know.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: "Times New Roman";">But there’s
also something awful about the bible (besides, of course, The Crusades and its
attendant mass murder, general intolerance, pedantic moralism, etcetera).<span style="mso-spacerun: yes;"> </span>It’s mostly boring.<span style="mso-spacerun: yes;"> </span>Even the good Bible stories like that of Noah
are marred by long stretches of nothing—for example the 120 years Noah spent on
the massive carpentry project that was building the ark.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: "Times New Roman";">How do you
make 120 years of woodworking filmic? <span style="mso-spacerun: yes;"> </span>ROCK
MONSTERS AS CARPENTERS.</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: "Times New Roman";">Most
people’s biggest problem with NOAH is the huge creative decisions/blasphemies
that Aronofsky employed to advance the story.<span style="mso-spacerun: yes;">
</span>Having friendly Stone Monsters as part of the story isn’t in the Bible <i style="mso-bidi-font-style: normal;">per se</i> but it isn’t particularly NOT in
the Bible either.<span style="mso-spacerun: yes;"> </span>Seems to me like a
credible way to convert so much lumber…but that’s really neither here nor
there.</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: "Times New Roman";">More to
the point is the clever way these huge outside-the-box choices correct the
intrinsic narrative problems of adapting material that is itself oddly
weird/far-fetched/and sprawling.<span style="mso-spacerun: yes;"> </span>After
all, it’s the Bible—there’s a certain amount of cheesiness inherent to the
stories simply because we know them (on a guttural, cultural level—regardless of
your religious literacy) so well.<span style="mso-spacerun: yes;"> </span>I
loved the ludicrous scope of this project—tackling the unfilmable—because it
doesn’t flinch in throwing everything including the kitchen sink into the
story.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: "Times New Roman";"><br />
This is similarly why Aronofsky was a good choice as a director (and I say this
as not a particular fan of his films in general).<span style="mso-spacerun: yes;"> </span>His innovative visual style (and excellent cinematographer
Matthew Libertique) allows the film to speed through time, close up gaps, and ignore
some less cinematic details.<span style="mso-spacerun: yes;"> </span>You need
style to tighten sprawling material, and Aronofsky—if nothing else—has style in
spades.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: "Times New Roman";">Ultimately,
Aronofsky's films are about the various strands and symptoms of madness: in PI,
a certain mathematical precision; in REQUIEM FOR A DREAM, the Madness of
Addiction. In THE FOUNTAIN, he explores the unending madness of love, and
in THE WRESTLER, teases the frightening madness of obsolescence. Then, in
BLACK SWAN, perhaps his most base film, he heavy-handedly explores the insanity
of perfection.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Like all these films, NOAH
unsurprisingly makes similar strives: this time, towards the Madness of
Prophecy.<br style="mso-special-character: line-break;" />
<br style="mso-special-character: line-break;" />
</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">If the film fails in its third act
to make the grip of that particular brand of madness compelling, that's fair
enough. NOAH is quite justifiably called less than a sum of its parts.
The final act, as the rains recede and the ark finds dry land once more,
is capably enough delivered and true to the tone and spirit of the first ninety
minutes. Yet it doesn't quite work--we don't really fear Noah's sons'
rebellion or care about the marital dynamics with a bland-as-always Jennifer Connolly.
Problematically, the inscrutability of everything happening is rightfully
taken for granted, but then periodically invoked for narrative tension or silly
dramatics. After all, in a film this chock full of miracles and—well,
rock monsters—it felt a little absurd every time a character intoned
breathlessly "but that's impossible!"<br style="mso-special-character: line-break;" />
<br style="mso-special-character: line-break;" />
</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">But that’s what good movies can do,
I suppose.<span style="mso-spacerun: yes;"> </span>Make those things we know to
be <i style="mso-bidi-font-style: normal;">possible </i>still fill us with skeptical
wonder. </span></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
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<br />MattNathhttp://www.blogger.com/profile/15357088957356108002noreply@blogger.com0tag:blogger.com,1999:blog-32565345.post-17381066439935458862013-12-14T09:39:00.001-08:002013-12-14T09:58:38.595-08:00DALLAS' HOTTEST CLUB IS... <!--[if gte mso 9]><xml>
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DALLAS BUYERS CLUB</div>
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A film by <a href="http://en.wikipedia.org/wiki/Jean-Marc_Vall%C3%A9e" title="Jean-Marc Vallée">Jean-Marc Vallée</a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
**</div>
<div class="MsoNormal">
For many Thanksgiving Time means possibly-overcooked turkey
and forced small talk with your aunt’s sketchy new “friend” Maurice; for me,
the few days respite the holiday provides allows me to engage in something I
love but have barely had the time for since starting at Stern: going to the
movies.<br />
<br /></div>
<div class="MsoNormal">
Besides a late-night foray to see GRAVITY 3D (which was more
a theme park ride than a film; and a B minus at that), I’ve seen just about
bupkiss since September—so last night, leftovers in my belly, I headed to the
theater to get me some good ‘ol fashioned culture. </div>
<div class="MsoNormal">
<br /></div>
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But the box office was…lackluster.<span style="mso-spacerun: yes;"> </span>I’m trying to go as long as I can in this review without
massive offense to HUNGER GAMES fans.<span style="mso-spacerun: yes;">
</span>Suffice it to say there wasn’t many options, and though I sort of
vaguely wanted to see DALLAS BUYERS CLUB in the way I vaguely want to see
most<span style="mso-spacerun: yes;"> </span>“important” films (read: not
really much at all, because I’m too lazy to feel things), I sort of approached
it as a “this will do” option, a movie for lack of anything less terrible.</div>
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<br /></div>
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I will say that I was pleasantly surprised and entertained
during the next 117 minutes of my life.<span style="mso-spacerun: yes;">
</span>DALLAS BUYERS CLUB follows the life and livelihood of real-life Ron
Woodroof—AIDS-afflicted , heterosexual good ‘ol boy in 1980s Texas.<span style="mso-spacerun: yes;"> </span>Matthew McConaughey portrays Woodroof
as he finds out he has HIV, and then negotiates his transition from cocky rodeo
cowboy to humble freedom-fighter who protests for the human rights of the very
same “fairies” and “fruits” that he had previously scorned.</div>
<div class="MsoNormal">
As far as Hollywood bildungsroman, it’s by-the-numbers
stuff.<span style="mso-spacerun: yes;"> </span>We get it, Matthew
McConaughey. You’re super-homophobic, but you’re also the good guy, and you’re
going to <i style="mso-bidi-font-style: normal;">learn things</i>, and we are
going to tear up when you do.<span style="mso-spacerun: yes;"> </span>What
saves this film from cookie-cutter tropism is the rigorous physical
performances that allow McConaughey to be as physically repulsive as he’s ever
appeared on camera, and puts Jared Leto in drag as a transgendered adult with a
heart of gold (yawn).<span style="mso-spacerun: yes;"> </span>Not entirely
novel stuff, but at least novelistic—the detail and depth of these
characterizations lets you latch on for the ride.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
Maybe I’ve been in Stern mode a bit too long, but the one
strand of the movie I found absolutely fascinating was the portrait it painted
of business opportunities in the early wake of the AIDS crisis.<span style="mso-spacerun: yes;"> </span>Hear me out.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"><br /></span></div>
<div class="MsoNormal">
As society faced this completely bizarre, redoubtable,
horrific disease for the first time, there was a stutter-step in our response
to curing it.<span style="mso-spacerun: yes;"> </span>Early trials of AZT
testing—the greatest hope the FDA saw for treating it—were slow and
cumbersome.<span style="mso-spacerun: yes;"> </span>The “gay” connotations
associated with HIV, coupled with the bigotry and myopic of the 1980s, was a
major hindrance to recognition of the severity of the plague and the suffering
of those afflicted.<span style="mso-spacerun: yes;"> </span>Unable to wait
for the fat-headed bureaucrats of the FDA to get their act together to approve
and produce affordable treatment, many who tested HIV+ had to turn to a
different kind of cowboy to address their health concerns—drug-runners who
scoured the planet for unapproved (but not illegal!) medicines that could
indeed slow the disease’s progress and mute the symptoms that AZT didn’t
address at all.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This is a real thing.<span style="mso-spacerun: yes;">
</span>These “buyers clubs” did pop up worldwide (customers would, for
sometimes quite-lofty membership fees, be given all the supplements they needed
to address their health concerns—but, of course, survival was never
guaranteed).<span style="mso-spacerun: yes;"> </span>The movie only
tangentially considers the intriguing business opportunity component of these
novel business models, which of course some see as predatory, and some see as
salvation.<span style="mso-spacerun: yes;"> </span>Regardless of your take,
it’s clear enough that Woodroof created value for people who needed help, and
did so profitably—he’s able to travel the world and improve his lot by helping
to improve the lot of others.<span style="mso-spacerun: yes;">
</span>While certainly Woodroof’s methods were unconventional and lacked the
scientific rigor that the FDA applies to its approved drugs, the hundreds of
people he helped would never accuse him of being some sort of charlatan.<span style="mso-spacerun: yes;"> </span>For them, it was money well spent.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In the process (and ultimately what DALLAS BUYERS CLUB is
really about) we are given a window into the very-real disconnect between the
molasses-crawl of healthcare reform and the outstripping pace of medical
crisis.<span style="mso-spacerun: yes;"> </span>We see a businessman, an
unlikely one at that, rise in this gap and provide a revolutionary service to
customers in need.<span style="mso-spacerun: yes;"> </span>In a way, it’s
nothing more or less than the great American corporate fairy tale.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I offer these insights not to be flippant but rather the
opposite of that.<span style="mso-spacerun: yes;"> </span>In its best
moments, DALLAS BUYERS CLUB, like the unforgettable recent doc HOW TO SURVIVE A
PLAGUE, offers the true-life, unromanticized realities of the early HIV crisis,
rather than the AIDS-quilt wrapped <i style="mso-bidi-font-style: normal;">feelgooderies</i>
of Hollywood past.<span style="mso-spacerun: yes;"> </span>Only a film as
straight forward and simple as DALLAS BUYERS CLUB, which fetishizes little in
its sturdy narrative path, could achieve so much.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I will say, however, that Jennifer Garner was awful.</div>
<div class="MsoNormal">
<br /></div>
<!--EndFragment-->MattNathhttp://www.blogger.com/profile/15357088957356108002noreply@blogger.com0tag:blogger.com,1999:blog-32565345.post-59138517041543651842013-09-30T13:11:00.001-07:002013-12-14T10:01:47.108-08:00NOT AS BAD AS WE THOUGHT<b><br /></b>
<b><i><br /></i></b>
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table.MsoNormalTable
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mso-tstyle-colband-size:0;
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<![endif]--><b><i>
</i></b><br />
<div class="MsoNormal">
<i>BREAKING BAD FINALE = B+</i></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5URaYf6P6p_QnbSR9LJ9JuUz1pvb500N8Y-KlQkh1LQFDvtudE9HWI-Yr52TDYR1qZEksE0z4KZCZ390b8A-y7_51PSPtyqyaAm7fBDVMhRtvJubX0vrdfP9zpedI8z5MpEi-/s1600/BREAKING+BAD.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5URaYf6P6p_QnbSR9LJ9JuUz1pvb500N8Y-KlQkh1LQFDvtudE9HWI-Yr52TDYR1qZEksE0z4KZCZ390b8A-y7_51PSPtyqyaAm7fBDVMhRtvJubX0vrdfP9zpedI8z5MpEi-/s400/BREAKING+BAD.jpg" width="400" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 12.0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">As I've not-famously argued, the SOPRANOS series ending was
the most gratifying act of withholding in TV history. A mouthpiece for
creator David chase, it wasn’t so much a "thank you for watching" but
a well-meaning "screw you, bitches--I'm out[drops mic]". By denying
us closure on the moral argument that could only be solved by definitive life
or death for Tony (<i style="mso-bidi-font-style: normal;">i.e</i>., is he a
"good guy" or a "bad guy") Chase effectively chastises us
for reducing his character--his art--to such base binaries, and for
pontificating so fervently on how the series 'should' end. It wasn't Tony
who was whacked but us, the hungry audience, who suddenly is plunged into
darkness and informed that that's all the story we get—there aint no more.
It hurt; it was brutal; it was genius.<br />
<br />
BREAKING BAD goes for something different. In a show that leaves little
(and certainly decreasing) doubt that Walter is indeed a "bad guy" by
the end, it's finale spends entirely too long lionizing him in what amounts to
be a distractingly neat conclusion.<br />
<br />
What's neat about a self-firing, oscillating machine gun taking out a room of
neo-Nazis, freeing Jesse and catching Walt with shrapnel which will
finally--finally--end the reign of Heisenberg? It doesn't require CHOICES.<br />
<br />
Choices are the engine of human mess, and BB turned out to have surprisingly
few of them.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 12.0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Skylar was painfully annoying, but her washing up on the
"victim" side of aftermath beach is fascinating. Arguably she's
still perpetuating the deceptions Walt planted, yet we aren't given insight
into her feelings (except, what, she's taken up smoking? I'd probably have
taken up meth). The show seems as uninterested with Skylar as it always
has-- not as a real woman, but as the wife that will or will not catch her
husband in "the act". When she does catch him, Gilligan wisely
makes her complicit, but only so our story can continue. But he never
bothers to explore what that complicity means, how it changes her, or how it
was there all the time. She's a cipher.<br />
<br />
As is poor RJ Mitte who I hope goes on to meatier roles than Walt junior.
Poor little druglord's son. His histrionics on the phone in the
penultimate episode illustrate the problem I had with his character all along
-- his moral puberty never comes; he never gets beyond "my dad’s the
best" until he gets to "my dad’s the worst." This
peculiar Oedipal dialectic may actually be quite interesting psychological
fodder, but BREAKING BAD doesn't give a shit about Walt Jr's psychology.
This is why we don't get scenes with him alone, or with his friends, or really
doing ANYTHING besides reacting to his parents
deceptions/truths/postures. It's actually a patently odd omission in
hindsight -- we don't know jackshit about who Walt Jr really is, and it's a
missed opportunity six seasons later.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">One that BB’s finale eschews in
favor of its perseverant focus on Walt Sr. Sure he's the antihero and
center of this story, and Bryan Cranston does great work here (though he's
always Malcolm in The Middle-dad to me). But we are so aligned with
Walt's POV through BREAKING BAD's endgame that we don't experience the genuine
abjection the other characters have come to know so deeply. And spending
so much time getting Walt's rationale through Walt's eyes (if not literally
than certainly story-wise) we can't quite fully chastise him for his
choices. Sure he's a bit of a dick, but wasn't he doing it for the
family? Why else does his final “confession” somehow SEEM so false--
"I did it for me. I liked it." That fact, which we <i style="mso-bidi-font-style: normal;">know</i>, which we always so strongly known,
suddenly seems like the lie. After all, he’s trying so hard to get that
money to his family.<span style="mso-spacerun: yes;"> </span>For his ego?<span style="mso-spacerun: yes;"> </span>For a judging deity?<span style="mso-spacerun: yes;"> </span>For Skylar?<span style="mso-spacerun: yes;">
</span>That's the power of BREAKING BAD's myopic narration.<span style="mso-spacerun: yes;"> </span>We don’t believe the most obvious thing of
all—Walt’s quite simply, in Jesse’s words, “evil.”</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">I'd usually be the last one to
suggest moralizing as a positive creative force, but in a show called BREAKING
BAD its a bit disingenuous to imply that the particular brand of Bad that Walt
has broken is anything as ambiguous and morally gray and even borderline
meritorious as the finale implied.<span style="mso-spacerun: yes;"> </span>He
doesn’t/shouldn’t get the hero’s ending, even the antihero’s ending, with his final
plan a success, Jesse free, his family guaranteed money, the pieces all just right
before he can look over his meth lab equipment in satisfaction, and die in
peace. <span style="mso-spacerun: yes;"> </span>And as much as I’ve been
horrified by the nihilism and bloodshed of these last six episodes I feel
gipped in a way that it was in service of delivering what is—if surely not a
traditional “happy” ending—as happy as an ending as BREAKING BAD could muster.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">SOPRANOS denied us emotional catharsis
through sleight of hand nonsense (Meadow parallel parking) and a brain-dead,
hackneyed soundtrack (DON’T STOP BELIEVIN) rounding out its precious final
moments.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>BREAKING BAD forces emotional justice, forces
closure, onto a story that demanded chaos.<span style="mso-spacerun: yes;">
</span>With the refrain of the final Badfinger song “Guess I got what I
deserved” over Walt’s death scene, Gilligan is almost embarrassingly juvenile
in his foot-dragging affection for Cranston or for Walter White, or likely some
amalgam of the two.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>If you think DEATH is what Walter White
deserved after these six seasons, you haven’t been watching.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Walter White got off easy, and so
did we.<span style="mso-spacerun: yes;"> </span></span></div>
MattNathhttp://www.blogger.com/profile/15357088957356108002noreply@blogger.com0tag:blogger.com,1999:blog-32565345.post-86438189435983895852012-12-01T07:32:00.005-08:002012-12-01T08:28:12.834-08:00HOLY MOTORS: Who were we when we were who we were?<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixrAiaOKRnJsOtnFZDhd9d7xyRN7a2ndKE3FbHy_bLKXrERvt9vfRQi90yQhNJisxjTjm71JxRjwNbktVPWl03cA3l01G77NmROfCGhskfyyqvuPEf0tc3mSOPDEoPfbs8Wync/s1600/Holy_Motors_poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixrAiaOKRnJsOtnFZDhd9d7xyRN7a2ndKE3FbHy_bLKXrERvt9vfRQi90yQhNJisxjTjm71JxRjwNbktVPWl03cA3l01G77NmROfCGhskfyyqvuPEf0tc3mSOPDEoPfbs8Wync/s640/Holy_Motors_poster.jpg" width="472" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br />
<br />
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<br />
<div class="MsoNormal">
HOLY MOTORS is extraordinary cinema in its rawest form—it
pickles the ordinary universe using something extra: a weirdly instable brine
that suspends the audience too in disbelief, curiosity, and wonder.<span style="mso-spacerun: yes;"> </span>It fucks with you, for real.<span style="mso-spacerun: yes;"> </span>I loved it.<br />
<br /></div>
<div class="MsoNormal">
A plot summary is barely possible and almost superfluous but
since this is a scarcely seen film here goes: a strange man named Mr. Oscar
wakes up in an unknown place, possibly in a dream.<span style="mso-spacerun: yes;"> </span>He unlocks a door in his wall and stumbles upon a theatre,
where the audience sits transfixed by a film.<span style="mso-spacerun: yes;"> </span>Cut to another time—possibly another place: Mr. Oscar leaves
his family, waving to his kids and getting into a white stretched limo piloted
by his loyal blond driver Celine.<span style="mso-spacerun: yes;">
</span>Celine informs him he has nine “appointments” today, it’s going to be a
busy one.<span style="mso-spacerun: yes;"> </span>Mr. Oscar sighs
and straightens his tie, ever the professional.<br />
<br /></div>
<div class="MsoNormal">
Here’s where things get weird.<span style="mso-spacerun: yes;"> </span>Oscar proceeds through his appointments one by one, actions which
constitute the bulk of the film.<span style="mso-spacerun: yes;">
</span>Each appointment demands Oscar take on a new identity—and he literally
transforms himself in the limo with much latex, makeup, and stage effects.<span style="mso-spacerun: yes;"> </span>Each appointment, each little vignette
Oscar participates in, ends as quickly as it begins and he returns to the limo
afterwards, ripping off his costumes.<br />
<br />
<br />
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Here are the nine “appointments” Oscar has:</div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">1-<span style="font: 7.0pt "Times New Roman";">
</span></span></span>As an OLD BEGGAR WOMAN he begs for change under
a Paris bridge</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">2-<span style="font: 7.0pt "Times New Roman";">
</span></span></span>As a motion capture stuntman, he does green
screen work and makes love to another performer</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">3-<span style="font: 7.0pt "Times New Roman";">
</span></span></span>As a strange, spastic demon, or perhaps a
deranged leprechaun, he takes to the sewers and resurfaces during an artsy
American photo shoot.<span style="mso-spacerun: yes;"> </span>He steals
the fashion model (Eva Mendes) after biting off an assistant’s finger,<span style="mso-spacerun: yes;"> </span>and absconds to some trinket-lined
cave, where the pair cuddle together in some sort of silent harmony</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">4-<span style="font: 7.0pt "Times New Roman";">
</span></span></span>He picks up his “daughter” from a party in
Paris, chastises her when she lies about her behavior during the party.<span style="mso-spacerun: yes;"> </span>“Don’t ever lie to me” this
professional “liar” *</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">5-<span style="font: 7.0pt "Times New Roman";">
</span></span></span>He kills a man in a warehouse, and then shaves
the man’s head and alters his body, effectively “becoming” his victim</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">6-<span style="font: 7.0pt "Times New Roman";">
</span></span></span>He performs a random assassination of a “banker”
who is eating in a café</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">7-<span style="font: 7.0pt "Times New Roman";">
</span></span></span>He checks into a hotel, where a niece arrives to
say goodbye to him before he dies of old age.<span style="mso-spacerun: yes;"> </span>They have a lovely bedside goodbye as the man dies, at which
point Oscar excuses himself, as he’s late for his last appointment</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">8-<span style="font: 7.0pt "Times New Roman";">
</span></span></span>His limo crashes into another Limo, which is
driven by a woman who seems to be doing the same job he is—rushing around Paris
performing random actions—and he recognizes her.<span style="mso-spacerun: yes;"> </span>Apparently they had met 20 years before and had some
sort of romance.<span style="mso-spacerun: yes;"> </span>They have a brief
romantic stroll where she suddenly breaks into choreographed song—oh, by the
way she is Kylie Minouge—before he suddenly has to leave because “her partner”
is arriving.<span style="mso-spacerun: yes;"> </span>When he does, the
woman—now in a wig and costume as a flight attendant—leaps from a rooftop in an
apparent double suicide. *</div>
<span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"> 9-<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Finally Oscar returns “home” --<span style="mso-spacerun: yes;"> </span>a new home that’s <span style="mso-spacerun: yes;"> </span>not where he started – and rejoins his
wife and child.<span style="mso-spacerun: yes;"> </span>They are
orangutans.<br />
<br />
<div class="MsoNormal" style="margin-left: .25in;">
Yes, orangutans.<span style="mso-spacerun: yes;"> </span>As you can see—HOLY MOTORS doesn’t
really resemble any film you have ever seen.<span style="mso-spacerun: yes;"> </span>From the above you could reasonably suspect that the movie
is drivel, meaningless “weirdness” meant to confuse and titillate, but not
inspire or create some sort of emotional response.<span style="mso-spacerun: yes;"> </span>You’d be wrong.<span style="mso-spacerun: yes;">
</span>HOLY MOTORS pulls off an amazing trick—holy-moly it may just be one of
the best films of the year.<span style="mso-spacerun: yes;"> </span>There
is meaning here.<br />
<br /></div>
<div class="MsoNormal" style="margin-left: .25in;">
I put two asterisks above on
scenes 4 and 8 because I think the key to understanding the film is in the mathematics.<span style="mso-spacerun: yes;"> </span>We know Oscar has nine tasks to
perform, but the film cleverly obscures what exactly constitutes a task.<span style="mso-spacerun: yes;"> </span>For instance, his “double” murder where
he paints his victim to look like himself, does that count as one or two
performances?<span style="mso-spacerun: yes;"> </span>The banker he
killed, which seemed a spontaneous action that, upon completing, Celine had to
drag him back to the Limo – does that count? What about his “daughter – is that
his real daughter or just his daughter for this scene, because he mentions he
needs to get “back to work”? Most vitally, the romance with Kylie Minouge, they
claim to have 20 minutes to spare before their next appointment so they can
revive an old affair.<span style="mso-spacerun: yes;"> </span>But then
that scene explodes in the same hysterical, overwrought emotionality of the
other vignettes—there is a stirring love song and beautiful rooftop vista.<span style="mso-spacerun: yes;"> </span>Minouge commits suicide and Oscar is
distraught, screaming and he rushes back into the limo.<span style="mso-spacerun: yes;"> </span>Was that a scene, was that an
appointment, or just “genuine” living between appointments?<br />
<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="margin-left: .25in;">
At first you are inclined to think
that that was the “real” Oscar, but later, when my friends with whom I saw this
with it <span style="mso-spacerun: yes;"> </span>tried to work out the
numbers of Oscar’s appointments, it seemed clear that this was just another of
the tasks he was to perform.<span style="mso-spacerun: yes;"> </span>This
isn’t incidental; it speaks to a major thematic point of this heavily
existential film.<span style="mso-spacerun: yes;"> </span>Playing with the
postmodern device of stacked realities, we aren’t sure what behavior is the
“genuine” action, how could we with these oddly-motivated “actors” riding
around in limos doing behaviors just because some file tells them they need
to?<span style="mso-spacerun: yes;"> </span>What does anything in life
mean if it is just a procession of scenes played out by actors, rote
performances they are compelled to do?<span style="mso-spacerun: yes;">
</span>There is no “life outside appointments” for Oscar because that too is an
appointment.<span style="mso-spacerun: yes;"> </span>We cannot escape the
predestination of human interaction – we are, in a way, machines programmed to
simply behave: this way, that way, this way again; stealing a kiss in the
night, shooting a man in cold blood, holding a daughter to your shoulder, dying
in the arms of a loving niece.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="margin-left: .25in;">
<br />
<br />
The mechanical, cold
existentialism the film espouses crystallizes amazingly in the final moment of
the film.<span style="mso-spacerun: yes;"> </span>SPOILER ALERT, if this
film interests you I’d just see it rather than keep reading:</div>
<div class="MsoNormal" style="margin-left: .25in;">
After dropping Oscar off to his
last appointment, Celine says she’ll see him the next morning for another day
of work, and heads off to the depot to drop off her limo.<span style="mso-spacerun: yes;"> </span>There are many other limos pulling into
this station—bright neon signs tells us its called ”Holy Motors”—presumably
driven by people just like Celene, who have also just dropped off ciphers just
like Oscar.<span style="mso-spacerun: yes;"> </span>Celine lets down her
hair, and puts on a mask—says to someone on the phone<span style="mso-spacerun: yes;"> </span>that “she’s coming home.”<span style="mso-spacerun: yes;"> </span>Perhaps she is performing an action too—perhaps she is also
someone controlled by the "Agency"?<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="margin-left: .25in;">
<br />
<br />
The lights go off in the garage
and suddenly—well—suddenly the unmanned parked limousines start talking to each
other, their headlights flaring briefly as each “speaks” (oddly, in
English).<span style="mso-spacerun: yes;"> </span>They talk about their
owners and their place as antiquated “machines” in a world where men no longer
want to use machines they can see—machines with physical engines.<span style="mso-spacerun: yes;"> </span>They refer to one another by their model
numbers and talk of their long days of work.<span style="mso-spacerun: yes;"> </span>A final headlight blinks out as the film ends.</div>
<div class="MsoNormal" style="margin-left: .25in;">
<br />
<br />
Nonsense? Hardly.<span style="mso-spacerun: yes;"> </span>It’s a funny joke surely, as is much of
the film—designed to smack you over the head with its absurdity and visual
clarity.<span style="mso-spacerun: yes;"> </span>But the cars talking are
more than a joke – they emerge as the “real” characters and one further Russian
Stacking Doll in the conundrum postmodern reality of HOLY MOTORS.<span style="mso-spacerun: yes;"> </span>A mind fuck, sure, but also a fucking
mind – that’s what this cars represent.<span style="mso-spacerun: yes;">
</span>A genuine mind functioning outside of the narrative chaos of the
“Actors” outside the parking garage.<span style="mso-spacerun: yes;">
</span>Human society, then, in the final moment, is little more than the daily
work of our cars, the machines that shuttle us around, who bring us to one
appointment or the next.<span style="mso-spacerun: yes;"> </span>They are
doing the true work, and we are are what they use to do it.</div>
<div class="MsoNormal" style="margin-left: .25in;">
<br />
<br />
As Kylie Minogue sings in her
mournful song sequence: <i style="mso-bidi-font-style: normal;">who were we/ who
were we/ when we were/ what we were/ <span style="mso-spacerun: yes;"> </span>back then.</i></div>
<div class="MsoNormal" style="margin-left: .25in;">
<br />
<br />
It’s<span style="mso-spacerun: yes;"> </span>a bleak message in a truly hilarious film: our love scenes,
our deaths, our hard choices and big moments are more or less interchangeable
and forgettable.<span style="mso-spacerun: yes;"> </span>One human life
resembles another.<span style="mso-spacerun: yes;"> </span>We are performing
the necessary scenes, and that’s all, but is it really “us” at all doing these
things?<span style="mso-spacerun: yes;"> </span>Who are we when we are who
we are?<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="margin-left: .25in;">
<br />
<br />
We are living out scenes from so
many generic movies—a romance, a gangster movie, a family drama.<span style="mso-spacerun: yes;"> </span>But we are incapable of discovering anything
original, because everything is programmed. We are machines indeed, celestially
programmed holy motors.<span style="mso-spacerun: yes;"> </span>Us.<br />
<br /></div>
<div class="MsoNormal" style="margin-left: .25in;">
You go to the movies for fun, to
eat twizzlers, laugh cry get scared fall in love remember live die.<span style="mso-spacerun: yes;"> </span>Holy Motors offers all of this and it’s
glorious.<span style="mso-spacerun: yes;"> </span>But it also asks us to
think—to really think—and to engage with the ideas of the movie.<span style="mso-spacerun: yes;"> </span>Why is that so hard somehow?<span style="mso-spacerun: yes;"> </span>It seems against our programming to
think about our programming, an amazing insight this film strips bare.<span style="mso-spacerun: yes;"> </span>If you have the opportunity, and
you can stomach it, get in your car and head to the theater.</div>
<div class="MsoNormal" style="margin-left: .25in;">
<br />
Or maybe walk.</div>
<div class="MsoNormal" style="margin-left: .25in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .25in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .25in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .25in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .25in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .25in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSfF848acM4FhKVOm98YVtCCGY0tOYqtPHgyfnENxkxxOmqC1NWEbx6WejgCP3RJYqfUAB5a5p5WE-nokFrr4ahF-SEdFI5CDgeWbdPg-saTKaqTSQXgSNgzFdSgKEAur_AsLo/s1600/LIMOSKylie-Minogue-in-Holy-Motors.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSfF848acM4FhKVOm98YVtCCGY0tOYqtPHgyfnENxkxxOmqC1NWEbx6WejgCP3RJYqfUAB5a5p5WE-nokFrr4ahF-SEdFI5CDgeWbdPg-saTKaqTSQXgSNgzFdSgKEAur_AsLo/s400/LIMOSKylie-Minogue-in-Holy-Motors.jpg" width="400" /></a> </div>
MattNathhttp://www.blogger.com/profile/15357088957356108002noreply@blogger.com15tag:blogger.com,1999:blog-32565345.post-2986621879147964592012-11-12T12:07:00.002-08:002012-11-13T08:43:44.424-08:00SKYFALL<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPgQWmg-YliQXOojgQKLq0TNsxcPJRvnYbn56zxDI0RsOJmJCqVZvWo2HKbCBx0j4kBkl_gr-wv98h_mxKCp0zOYLaW3IrOFIg9CnYiBjIRvfiMDoXt-Vfv0C6GzH_gkPOoI90/s1600/skyfall+quad.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPgQWmg-YliQXOojgQKLq0TNsxcPJRvnYbn56zxDI0RsOJmJCqVZvWo2HKbCBx0j4kBkl_gr-wv98h_mxKCp0zOYLaW3IrOFIg9CnYiBjIRvfiMDoXt-Vfv0C6GzH_gkPOoI90/s320/skyfall+quad.jpg" width="320" /></a></div>
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<br /></div>
I was really looking forward to seeing SKYFALL, so I gathered a group of James Bond fans and spent my Saturday night in the slightly dingy seats of the Court Street multiplex. And the verdict: like the theatre itself, it’s fine—does what it’s supposed to do—but is truly, if you really get down to it, just a little bit shitty.<br />
<br />
Yes, light your torches and sharpen your sticks to pierce my disaffected, iconoclastic heart: did not like SKYFALL. Or, to be more precise, I liked certain action sequences and moments but did not get into this film the way I got into, say, CASINO ROYALE—probably my favorite in the series. I feel a little better saying it because my fellow movie going group felt similarly – worth the money maybe, but not nearly what we were expecting. But still I’m up against what amounts to an insurmountable firewall of goodwill around the film, which top critics—including persnickety, academic, Hollywood-outsiders like Armond White—are calling the best of the series, or just merely exceptional. That’s probably the only word I would NOT use to describe this film, which has all the hallmarks, all the gadgets, all the cars—yet lacks…what is it exactly…<br />
<br />
For one, I think we are encountering an unexpected and unfortunate fallout from the financial success of these multi-film powerhouse franchises that seem to be bolstering the industry for the last, say, ten years—the LORD OF THE RINGS and HARRY POTTERS—where one film markets the next: they are reliably released, easily categorized, and for the benefit of an under-informed, can’t-be-bothered populace, crystal-clear on what they will deliver. You don’t see ORDER OF THE PHOENIX if you hated GOBLET OF FIRE, although maybe you do, I don’t know. <br />
<br />
This ties into SKYFALL, which is not an outright sequel, because the tendency in Daniel Craig’s stint as Bond is to create what is more of a sequence of essentially unified adventures—an unfurling mythology—than what used to be the Bond series M.O. Before, we had the same guy, same ways, same martini – but each film was stand alone and inconsequential towards the greater universe of the Franchise. We get Halle Berrie or the latest flavor of the week—they live, they die, it doesn’t matter. There’s always next time, and by then the tears will be dried up, the wounds will heal, the faces we know may even change. This is the engine by which runs a franchise that has seen some seven or eight leading men take on the titular role. This is one of the singular joys of James Bond—we know how this guy works: he’s sexy, he’s smooth, he’s a killing machine, and more than anything else—he’s replaceable. <br />
<br />
SKYFALL—and in hindsight the entire Craig trilogy of Bond films--doesn’t trust this formula. Now Bond needs to be vulnerable as well as stoic, loving as well as lustful. He needs to be mortal. Worst of all, he needs a past. SKYFALL offers a glimpse at Bond’s upbringing, the fate of his parents, his recruitment by Judi Dench as ‘M’. Craig’s is a Bond not interchangeable; a covalent bond—bound as much by audience’s shared understanding of what it is to be a person (the lonely, misunderstood spy) as the awe they feel for his awesome, jetsetter lifestyle. For all his chiseled granite features, his dead eyes, he is in many ways the “softest” Bond we’ve seen.<br />
<br />
So I resent in a way New Bond’s tendency to mythologize, which somehow subtracts from the pure jouissance of these loveable tropes. Fine. But even if you disagree with me that this compulsion does some sort of existential damage to the capital-C Character of James Bond, surely you’ll agree to this: the fact that Skyfall, a buzz word teased throughout the film as meaningful to Bond, turns out to be the name of his childhood home—his Xanadu if you will—is just plain silly. Come on. How facile a place for this whirligig plot to land? I was hoping Bond would be somehow tied into Silva’s (Javier Bardem) past, complicating the plot a bit, asking us to keep focused on connecting dots. But it never happened. Towards the end of the second hour of SKYFALL my feelings were uncomplicated: boredom. The bobby-trapping, HOME ALONE antics of the fifth act (Bond at Skyfall) seemed to underline the point: since we’ve thrown just about everything into this film, why not this too? Perhaps it was an overreaction to the last film QUANTUM OF SOLACE, which apparently many people found to be overplotted (I admittedly haven’t seen it). But this film just seemed reductionist in a very bad way. It had no surprises. It had little real thrills. Like every Sam Mendes movie, as my perceptive boss described, it’s little more than a “slow plod towards death.” If you don’t see M dying by act two, you haven’t seen AMERICAN BEAUTY, ROAD TO PERDITION, or REVOLUTIONARY ROAD.<br />
<br />
But what about Javier Bardem? I think he is the most overrated part of this overrated film. And I’m a huge Bardem fan—he’s fucking brilliant time and time again. He’s also “good” in this—creepy, nonchalant, sibilant. But allowed to inhabit the space of his character in any way he wants, Bardem take it to a place so familiar, so cliché, that it occasions a bit of social deconstruction to think about it. He is, the gay bad guy.<br />
<br />
“Another addition to the annals of gay villains” a friend remarked. And it’s true. It’s left me not quite offended, but exasperated. Building on Anthony Perkin’s psycho or THE SILENCE OF THE LAMBS sexual deviant, there is no shortage of characters out there that equate being a little flaming with being a whole lotta evil. I’ve done some research on the matter now, and it’s a well established concept (check out this amazing website, which I can’t believe exists – “TV Tropes”. What PhD student put this together?: http://tvtropes.org/pmwiki/pmwiki.php/Main/SissyVillain)<br />
<br />
The “Sissy Villain” isn’t necessarily homosexual but embodies the degendered confusions of homosexual panic. His potency isn’t the physical prowess of James Bond—who can survive falls, fuck the girl, chase the chase, and keep going with a bullet in his shoulder. Bardem’s is the power of backdoor cyber assault, computer buggery, techno-buttsex. You’re ports aren’t safe from a guy like him.<br />
<br />
Because there’s something fishy about <i>a guy like him</i>, isn’t there? Not gay, but not right. You can’t throw a stone in popular culture without hitting a similar example, from blockbuster cinema, to Professional Wrestling, even cartoons (Adam sent me this truly funny link to a standup that exposes the Care Bears villain as the ultimate homo. It’s true. So is the Strawberry Shortcake villain, Inspector Gadget’s Dr. Claw (fondness for Persian Cats-much), or essentially anyone with a mustache in all of toondom. http://www.youtube.com/watch?v=TamBV00kVLA)<br />
<br />
<br />
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/TamBV00kVLA?feature=player_embedded' frameborder='0'></iframe><br />
<br />
Then again, unlike every example I can think of, Bardem takes it a step further—Silva is actually gay (Right? I’m not 100%. He does pretty much feel Daniel Craig up, but he doesn’t call himself gay and the characters essentially ignore it). If you accept this, then Bardem would be the first openly gay villain – which in itself would be interesting, if his homosexuality didn’t so inartfully resemble so much winkwink-psychosis in so many other films. If Silva could match Bond physically, that would be a more transgressive, progressive, and exciting character.<br />
<br />
But who am I to account for tastes? The critics love it. Audiences love it. It made some 80 million dollars and will be around a while yet. So SKYFALL may be a bit of a Chicken Little scenario—the sky is falling, right? RIGHT? RIGHT? Who is anyone to say no.MattNathhttp://www.blogger.com/profile/15357088957356108002noreply@blogger.com5tag:blogger.com,1999:blog-32565345.post-39498685518338442712012-10-22T08:23:00.000-07:002012-10-22T11:30:52.480-07:00THE MASTER OF NOTHING<br />
<br />
THE MASTER OF NOTHING<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje18c_CLVHPuEReZVoeouIxb35npqbgtf74sZejtnBSBliHFEs25HxGcF-juL9qTNRBeSckzj06sOcBU-NUsDTRB6VN144ozGujQLavmVbcKh2Gjxpu1i2PuD8S2WwJpAH6sKM/s1600/220px-TheMaster2012Poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje18c_CLVHPuEReZVoeouIxb35npqbgtf74sZejtnBSBliHFEs25HxGcF-juL9qTNRBeSckzj06sOcBU-NUsDTRB6VN144ozGujQLavmVbcKh2Gjxpu1i2PuD8S2WwJpAH6sKM/s320/220px-TheMaster2012Poster.jpg" width="215" /></a></div>
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<br />
Heads-up: I liked this film, one that seems to be pretty divisive among critics and audiences, as far as the naval-gazing of ‘serious’ scant-seen cinema can ever be considered divisive. Here P.T. Anderson (BOOGIE NIGHTS, MAGNOLIA, PUNCH DRUNK LOVE, THERE WILL BE BLOOD) adds an odd, lumbering “thinker” to his award-studded oeuvre. And it’s amazingly boring.<br />
<br />
Indeed, Ye Who Tread Here Beware: <u>There Will Be Boredom</u>. There Will Be Overlong Sequences and Empty Conversations. There Will Be Trivial Dialogue that Leads No Where. There Will be Dropped Plotlines. There Will Be Little Evocative Sex. There Will Be Essentially No Blood.<br />
<br />
If you come to the movie to be entertained—which is probably a perfectly sane reason to spend $12 bucks to sit in a dark room for two hours—THE MASTER is probably not the film for you. If being entertained is not a necessity for you when you commit to watching a film, there’s a shot you’ll mine something worthwhile here, which is where I finally landed. But this one should be firmly and without judgment stamped: NOT FOR EVERYONE. <br />
<br />
Why’s it so difficult? THE MASTER works very hard to go no where. It is a work of studious and meticulous anti-entertainment, which has more in common with a film like INLAND EMPIRE than THERE WILL BE BLOOD. It’s almost three hours, and yet barely anything happens that is recognizable as plot. I mean characters meet and fight and reconcile and fight again and are arrested and are freed and eat dinner and then breakfast and then dinner again – but as far as the Aristotelian hallmarks of “drama”: no where, no how. Conversations are repetitive and fatuous. A lot of bombast is drummed up around ideas, but at a certain point you stop and think—<i>what does any of this MEAN? Isn’t this all a load of bullshit?</i> And the answer is Yes.<br />
<br />
Anderson has pulled off a trick here, whether you (or, I think some may argue, he) knows it or not. For THE MASTER is a movie that parallels the rise of Scientology as envisioned by one cryptic yet gregarious charlatan. THE MASTER’s own filmic rhetoric matches that of the discourse it thematically apes: <b>a whole lot of nothing, artfully sold</b>. Phillip Seymour Hoffman as the E.L Hubbard substitute provides everything you need for a “Religion” except that pesky detail of content: big promises, vague concepts, dynamic personae, and—as it is slowly and ‘masterfully’ revealed—rooted instability. Who is the more dangerous man? Joaquin Phoenix’s drifter, prone to drunken paroxysms of violence and anger? Or PSH’s learned guru, so "sure" of his beliefs that he cannot even engage with dissenters? I’d argue the latter.<br />
<br />
The seminal image of the film comes in something of a montage, as Phoenix’s character Freddie Quell is instructed by Hoffman to undergo a series of exercises designed to achieve…something. Like everything else in this film you are never sure what these are supposed to lead to, when any sort of psychological revelation is expected, and—most importantly—what that revelation will even look like when it arrives. One of the exercises is for Freddie to walk back and forth between a window and a wall, putting his hand on each surface when he arrives. He is to describe the feel of each surface—the warm, glossy window; the cold hard wood—and then walk back to the other side of the room and do it again. Freddie is frustrated when he just feels a wall—“it’s just a fucking wall!”—time and time again. It’s a version of the “Wax on-Wax off” Karate Kid trope: a repetitive tasks that will giveway to insight. It’s coming right? Yet, in THE MASTER our Danny-san never learns the fabled <i>Crane Kick</i>: insight is not coming because the philosophy behind it is so thoroughly specious.<br />
<br />
And so that is the experience of watching THE MASTER in sum and substance: walking between a plate glass window and a hardwood wall and waiting for some sort of revelation that will not come. You may not need to sit through all three hours of this film to realize that. But P.T. Anderson hasn’t failed in this film to give us something. It may not be the grandiose set-pieces of THERE WILL BE BLOOD’s oil rigs or the hipster realism of PUNCH DRUNK LOVE's earnest-Sandler. It doesn’t have the cacophonous poetics of MAGNOLIA, nor the giant Wahlbergian schlong of BOOGIE NIGHTS. With THE MASTER, P.T. Anderson has given us something bigger than any of them: nothing at all.MattNathhttp://www.blogger.com/profile/15357088957356108002noreply@blogger.com0tag:blogger.com,1999:blog-32565345.post-28905021827507646212012-08-20T12:36:00.003-07:002012-08-20T15:17:19.166-07:00David Cronenberg's COSMOPOLIS<br />
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<b><br />COSMOPOLIS = Death. </b> But in a good way.<br />
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COSMOPOLIS may be something of a masterpiece – but it is also a frustratingly hard to recommend, abstruse fucknugget of a film. I’m not sure who I confidently tell to go see this film—and I can’t begrudge the opinion of someone who sees it and thinks its essentially the worst piece of trash they’ve ever encountered. But I mean it when I say<u> I loved it</u>, and think it’s the most important Cronenberg piece since DEAD RINGERS.<br />
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This isn’t the commercial Cronenberg who served up Viggo Mortenson first as a small town angry-dad in A HISTORY OF VIOLENCE and then as a naked, showering Russian gangster in EASTERN PROMISES. This isn’t even the body horror David Cronenberg who obsessively traced the intersection between the human body and technology in genre defining cult-classics like THE FLY, eXistenZ, and VIDEODORME. This is closer to something David Lynch would create, although COSMOPOLIS’ brand of perversity is more the societal and less the individual and psychoanalytic. But I mean that in so far as the stilted, stuffy, uncanny atmosphere that permeates the film – <i>something’s rotten</i> indeed in a very Lynchian kind of way. <br />
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And more to the point—it’s pure Delillo. The match here between source material and director is—simply put—crazy good. I’ve now read a lot of Delillo and COSMOPOLIS is pretty much like the rest; it’s your thing or it’s not. If you like postmodern malaise and evocative acausality you’ve come to the right place. <u>If you like realism, explosions, or pat character arches you have not</u>.<br />
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Very quickly – the plot of COSMOPOLIS is this (no real spoilers) – a rich young guy (Robert Pattinson) takes a cross town limo trip in New York City in order to get a haircut. He’s waylaid on this journey several times—chance meetings with his new wife, rendezvous with various fuckbuddies, meetings with business associates, angry mobs of proletariat storming the streets, and finally the advances of two stalkers, seemingly out to take his life. He finally makes it across town to get the haircut—well half the haircut. That is, with some limited other surprises I won’t get into here, essentially it. It’s not A TALE OF TWO CITIES. It is, in fact, a tale of <b>just one</b> – not New York, per se, but the Global Cosmopolis that has risen with increasingly-convoluted tenets of international commerce. Banking on iPhones is only the beginning.<br />
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Ahh yes, so that’s the other thing COSMOPOLIS is about – finance. I am hardly a finance geek and honestly neither is Cronenberg, you aren’t going to learn anything about the buying and selling of money. See MARGIN CALL if you want a sharper indictment and/or critique of pecuniary matters. MONEY here is a metaphor – COSMOPOLIS is more precisely about the depersonalization of wealth, the chasm between possession and satisfaction, and the problems that come out of satisfaction not met. It’s also about DEATH—even with some intense sex scenes this is far more THANATOS than EROS—and that’s where Cronenberg beautifully comes into his own.<br />
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“Money has lost it’s narrative” is a comment made by Pattinson’s character’s “chief of theory” during a business meeting in his limo (80% of the film takes place in the limo in fact, a directorial challenge that Cronenberg quite frankly knocks out of the park. He puts on a clinic for interior work that maybe all filmmaking students should bear witness to). It’s a deceptively simple statement. And, as others have pointed out, it maybe even a little of a banal one. But insofar that COSMOPOLIS is about this evolution of wealth it is also about losing one’s narrative in all ways, and the inchoate, spastic, violent atmosphere that results when we are left narrative-less (which is, in a purely theoretical mode, the very essence of the postmodern). VIOLENCE NEEDS A MOTIVE, Pattinson reminds when confronting his would-be assassin—egging him on while intimating he won’t kill him because he doesn’t have “reason.” <br />
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Cronenberg has already explored the history of violence, but here we get something infinitely more interesting—violence without history. In fact, we get History without history. The world and the city of Cosmopolis, are places where meaning and narrative have completely evaporated. The edicts of some ominous central organization (“The Complex”) tell our protagonist what to do, or warn him when he’s in danger (and the danger is vague -- is it a pie in the face, a rat thrown in protest, a bullet in the brain?). He stumbles between encounters, acausally. Sex is pleasureless, and money—whether he’s making or losing it—seems to matter little. In a world where anything can happen, nothing really does – for although there are guns brandished and shots fired and affairs arranged and haircuts (half) received, little of it can be called story. There is no history here, a state akin to death. Watching COSMOPOLIS is experiencing death. <br />
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It’s exciting, weird, challenging, and—yes, indeed, highly academic. COSMOPOLIS is certainly <i>anti-entertainment</i>—so meticulously unwatchable that it somehow goes back around to be highly engrossing. If you’re looking for summer pop entertainment, see TOTAL RECALL. This isn’t to say—<i>you’re not smart enough for this shit</i>—it is to suggest that you’re probably a much saner and happier person than I for wanting to be entertained at the movies. No promises for that here.<br />
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But challenged, <i>definitely</i>. Delillo by way of Cronenberg asks you to look into the monolith of global finance and experience the human alienation that the digitization and commoditization of wealth entails. It can be seen as a psychological portrait of Occupy Wallstreet dissent. It is my favorite movie of 2012 (so far).MattNathhttp://www.blogger.com/profile/15357088957356108002noreply@blogger.com6tag:blogger.com,1999:blog-32565345.post-28514453325118859322012-08-01T11:00:00.000-07:002012-08-02T12:11:45.989-07:00POWER FAILURE: The Dark Knight Rises, Beats of the Southern Wild, The Newsroom<br />
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So, for the last month I’ve been in a hole studying and, occasionally, masturbating, so I apologize if I’m late to the party on some of these diatribes. But honestly I’m just about done with Hollywood after three recent huge colossal disappointments—in my view anyway. What’s worse—and alas, this is my destiny—I can’t find many people who agree with me. Maybe Hollywood is just done with me.<br />
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So in no particular order, I want to discuss THE ABUSE OF POWER in Hollywood, through three particular endeavors. (and note, I mean Hollywood in terms of movie making in general, and how films are distributed to an audience)<br />
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BEASTS OF THE SOUTHERN WILD<br />
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I'm still waiting for that explicative conversation with one of the many people I know who loved BEASTS that will elucidate what I am missing on this one This movie is everything bad about Terrence Malik without the saving grace of say a Emmanuel Lubezk or a Hans Zimmer. It’s so utterly dripping with pretention that it’s even more waterlogged than the world that first time, overhyped director Benh Zeitlin envisions “The Bathtub” to be. It’s mind blowing that such uncouth poetics are here considered genius just because someone at Cannes decided that they are. The homespun wisdom that young Quvenzhané Wallis offers in cloying voiceover is so ridiculously banal, familiar, and unstimulating. Come on people, don’t fall for it!<br />
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Ahh, Quvenzhané Wallis. Here is my gripe. She is a fine young actress, I really look forward to her next role. I love when nonprofessionals are given a role like that, it’s like when someone comes up from the minor leagues and hits a home run—you can’t help but rooting for them. But let’s call a spade a spade, gents – she was just fine. She’s not the second coming of Christ-cum-Haley Joel Osment. I think there is a major problem in American cinema with people grasping the quality of CHILD ACTING. A child is either totally incapable of mature performance—in which case, they are given a pass as “just kids, doing their best”—or they are heralded as some sort of prodigy. When was the last child actor who was just, you know, okay? The Gary Sinise of child acting? You know, it may have been Gary Sinise. Quvenzhané Wallis has gravity beyond her years, sure, and she was probably the best part of the movie for me, but that doesn’t mean the film wasn’t a stinker. It was essentially stunt casting, the Gaboray Sibide of 2012, and precious in another sense too. How can a thinking movie-goer fall in love with a character so utterly adorable, so morally upright, so tough? What is complicated about Hushpuppy’s portrayal besides the fact that she stares deeply into the camera and she has possibly-gray eyes? She shouldn’t have been called Hushpuppy, she should have been named UNDERDOG, because that is the only quality the filmmakers care about. <br />
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Speaking of PRECIOUS, I also found this movie extremely racist. What the fuck? Just because there was white trash in the bayou as well doesn’t mean the whole thing wasn’t some post-Katrina guilt trip from a Wesleyan Educated child of academic “folklorists.” Suck a dick, folklorists! Your central metaphor—the BEASTS themselves who are periodically cut to and shown traipsing through the wilderness—are they after Hushpuppy? Are they the Storm or the Saviors?—does not play out because they have nothing, nothing, nothing to do with the plot. It’s such a facile, unfulfilling metaphor that the movie would be 10 times better without It’s another stunt. The Warthogs—let’s call them what they are—are unsatisfying in every way. The scenes of them interacting with the environment look like the culled Japanese Zord sequences from old School Mighty Morphin’ Power Rangers episodes – slightly off kilter and somehow, even wordlessly, mistranslated. I was so excited about this film going in because I knew about the Beasts sequences and was thrilled that there was gonna be some WEIRD in this movie. I love weird. But the reason for the beasts never reconciles in any even quasi-intelligible way. And even if it does—Fine the Beasts are Katrina. Fine the beasts are the ever present threat of catastrophe. Fine the beasts are what’s going to destroy us or save us or make us see or blah blah blah---even it does mean something it’s so hackneyed that again, I am floored by the positive response that so many critics have towards this film.<br />
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I just don’t get it, and I swear I’m not being iconoclastic…or not purposefully so. I really want to like this film but I find it snobby, unsubtle, manipulative, and mediocre. I don't know how this director accumulated the clout, and money, to make this film -- and I don't begrudge him that he has talent. I just hope the next movie he makes doesn't suck. Like Lena Dunham, it makes you wonder how certain people get so much power in Hollywood, when great scripts by great writers sit unproduced for years. While filmmakers with real vision and talent--we all know them--never "make it" at all. It's upsetting.<br />
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THE NEWS ROOM<br />
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This is more uniformly loathed, so it’s a bit like shooting a fish in a barrel, but there is no worse show on television—and yes I’m including 2 Broke Girls—then Aaron Sorkin’s hilarious abortion THE NEWSROOM. <br />
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It moves the target off Lena Dunham anyway because, turns out GIRLS is the best new series on HBO this year. Damn. THE NEWSROOM is so utterly misconceived I can’t stop watching it, if just to see the lengths—or shall I say depths—to which it will go to be blithely unentertaining. It is totemic of Aaron Sorkin’s tremendously unchecked ego; it’s a Nicki Minaj album of a television series. Did no one, HBO executives with whom I interact with sometimes, think to put even a modicum of check on this guy? Why does he have such unlimited clout? Did someone lose a bet? <br />
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Oh that’s right, NBC did - -when it aired STUDIO 60 ON THE SUNSET STRIP to disastrous results. Did nobody learn a lesson? Here’s an unfunny joke—STUDIO 60 was fucking amazing compared to THE NEWSROOM. Aaron Sorkin’s fever dream of liberal truth-telling is like a bad one act story, dragged out over several hours of TV. It’s a newsroom the way he wishes a newsroom was. It’s the early 2000’s the way he wishes the early 2000’s went. It’s the CNN he seems to think he’s better equipped to envision. It’s the America Aaron Sorkin has made a brand out of, and it’s tired and crabby and dated. <br />
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Jeff Daniels is annoying but he is ironically the best cast member of this motley crew of losers – I’m sorry but Alison Pill, who is a cutie, absolutely blows. She’s a 26 year old intern in the pilot and then breaking high level stories in episode two—WHAT? Dev Patel—our slumdog millionaire himself--surely they won’t make him just another Indian IT nerd…oh wait…<i>Merde</i>. And the mechanics of the workplace sex comedy, while the cheerful engine of NEWSRADIO (one of my favorite shows) is just embarrassing here. Nobody gets any work done they just argue silently behind glass walls, lace on-air speech with double-meaning innuendo, pine over a missed chance for an embrace, fight when they should kiss, kiss when they should fight. It’s absurd to believe these people are producing the news every night, and insulting to the men and women who actually do. <br />
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Make no mistake I am grossed out by Fox News and even so called “liberal news” who readily jumps on whatever hyperbolic bandwagon is crossing the plains of American consciousness at any particular moment. But I do not need Aaron Sorkin to tell me what a great newsman he can be. In the latest episode a black republican gay staffer for Rick Santorum lashes out at Jeff Daniels for trying to presume that he shouldn’t be in Santorum’s camp because he is gay. He claims: I do not need your help, sir!” When, Mr. Sorkin, <u>I do not need your help, sir</u>, in defining my liberal values. Your power in Hollywood has become unchecked, and your work is suffering for that.<br />
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THE DARK NIGHT RISES<br />
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Leaps and bounds better in every conceivable way then the last things things I’ve discussed, I still have to say I’m pretty disappointed with the latest from Christopher Nolan. THE DARK NIGHT RISES doesn’t quite rise to THE DARK KNIGHT, a superb film and probably the director’s best. And while it’s hard to expect Nolan to coax out another enthralling performance like Heath Ledger’s Joker, you do wish he did a bit more with what he had to work with. <br />
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I like Anne Hathaway and I’m glad they made her good at karate—yay karate. But I prefer my catwomen a bit more unhinged. Michelle Pfeiffer nailed it way back when—catwomen should be BAD. Nolan’s catwoman is some misunderstood pick-pocketer—lame. The character is underwritten and despite Hathaway’s gameness their isn’t much for her to do. Tom Hardy also brings his A-game for Bane. While I never loved Bane in the comics, I do love Tom Hardy – and I liked the vocal effects employed here very much. Problem is, as has been pointed out to be by a number of people, obscuring a great actor’s face with a breathing apparatus does not a great performance make. Also, without getting too much into plot here, I resented how they undermined Bane’s importance in the end by making him NOT the son of Qui Gon Jin (or whatever his name is). It took sort of the center of everything and cast him aside for some meaningless twist. That was ridiculous, you have to admit—even if you loved the film.<br />
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As was the scene in the prison Bane was born in, where he traps Christian Bale. This prison is supposed to be utter hell on earth, a cesspool of scum and depravity, but in reality it’s sort of nice, isn’t it? The lighting is great; it’s spacious. The other inmates, all clean, cheer you on when you try to escape. It’s a Rube Goldberg device to allow Christian Bale to summon the confidence to rise “psychologically” and then defeat Bane. Why the hell didn’t they just kill him? Or at least break his back (to appease fanboys). Instead, he gets put in a nice jail which he can escape form if he wants it enough. Sharks with friggen lazerbeams attached to their heads. Well, guess what—eventually he wants it enough; eventually he escapes. It’s a waste of our time as an audience; and uncharacteristic for Nolan a total failure of mis-en-scene. The jail could have been an amazing part of the story if it seemed sketchier and more horrible. <br />
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I think it’s hilarious that Rush Limbough points to the “liberal” attack on ‘Bane’ Capital in the movie—clearly he hadn’t watched it. It’s actually hilarious, as THE DARK KNIGHT RISES is one of the most conservative moves I’ve seen in a long time. It’s as conservative as BEASTS OF THE SOUTHERN WILD is liberal. If this is our first OCCUPY WALL STREET cautionary fable it is clearly on the side of Wall Street….as Bane’s mob of lawless outsiders are flatly called evil and soulless. The need for Law and Order isn’t tempered by some modern idea of ethical moderateness or egalitarianism; in the end, the police need to regain control and then, what, everyone is happy? Do all of Bane’s men just call it a day? Do the rich ladies that were hoisted out of their upper east side townhouses, stripped of their mink shawls (another hilarious, overstated inclusion), just go back to their apartments?<br />
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The answer is yes; as does Christopher Nolan, who establishes himself with the Batman trilogy as the director Hollywood will give any amount of money to he wants, because he proves he can make more. Hence INCEPTION, a passion project that was so meticulous about making the implausible plausible that it failed to be entertaining. While Nolan is certainly one of the best action directors out there, I’ll take a David Fincher film any day. Budgets are a GOOD THING for films, especially in an age where the expense of filmmaking is already embarrassingly high. BEASTS OF THE SOUTHERN WILD, for all its inanity, at least shows you when pluckiness and vision can accomplish if you pack up and move to New Orleans and go get ‘er done. THE DARK NIGHT RISES illustrates that all the money in the western world can’t by itself replace a good script, a good design, and a good director in telling a good story.<br />
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Power corrupts and absolute power makes some shitty
television and movies.</div>MattNathhttp://www.blogger.com/profile/15357088957356108002noreply@blogger.com4tag:blogger.com,1999:blog-32565345.post-77838161746202541522012-03-22T09:52:00.005-07:002012-03-22T09:58:36.784-07:0021 JUMP STREET: STUPID SMART<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoXMtyYX3IIeQcl-fikdLk6kWLrVqcsKKQfCxdi1lJiJeaSR369u98DWDqWnfjiiG0h2zPHKhVJXBkoTCQ95SKwF70vKTq2oCFFCEQRvIRSu31lzNv7z5JtmYR4LKPMN-tNCDI/s1600/twenty_one_jumpPOSTER_street_ver325.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 275px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoXMtyYX3IIeQcl-fikdLk6kWLrVqcsKKQfCxdi1lJiJeaSR369u98DWDqWnfjiiG0h2zPHKhVJXBkoTCQ95SKwF70vKTq2oCFFCEQRvIRSu31lzNv7z5JtmYR4LKPMN-tNCDI/s400/twenty_one_jumpPOSTER_street_ver325.jpg" alt="" id="BLOGGER_PHOTO_ID_5722766508798387506" border="0" /></a><br />I just finished reading yet another blithely laudatory review of this “new” DEATH OF A SALESMAN that everyone is creaming their pants over—in the most respectful, urbane way possible, I mean—but I find myself compelled to write not about this play—which quite frankly I don’t really want to see ever again—but about another bastion of contemporary high culture, a little film based on a scarcely-remembered TV show called 21 JUMP STREET. It’s a movie about two cops who try to blend in as high school students in order to stop…drugs? Something like that.<br /><br />I loved this movie and suddenly—because I have paranoid schizophrenia?—feel the need to defend it.<br /><br />Or perhaps not so paranoid, although that is precisely what a paranoid schizophrenic would say (this ouroboros only leads to madness, I assure you). Yesterday in discussing the movie with one friend who actually saw it and eloquently-enough “thought it fucking blew” I started to question exactly why I, actually, didn’t think it blew. But really, how can I not respond to the following:<br /><br /><span style="font-style: italic;">“I didn't know you liked cheap, middle America humor”</span><br /><br />and<br /><br /><span style="font-style: italic;">“I am so shocked that a film snob like you liked this”</span><br /><br /><br />First of all, I’m a movie snob not a ‘film snob.’ A film snob has wet dreams about like—I dunno-- Kurosawa, and I just think I’m right all the time. Secondly, I LOVE cheap middle American Humor -- that’s what our country was built on, Lewis and Clark giving each other dead-arms n shit. <span style="font-weight: bold;"> (Disclaimer: Sorry Brett don’t mean to pick on you—you were just in the wrong place at the wrong time with this one)</span><br /><br />I pride myself in my movie snobbery—tautology, ahoy!—but specifically because it is so boundary-less. I love a horror movie that is a right horror movie; I love a soporific Estonian melodrama if it is a correctly soporific Estonian melodrama; and I love a high school teen comedy when it gets the genre right, or turns the genre on its head smartly. 21 JUMP ST, a teen comedy or something in the way of a buddy-cop movie, does both those things—it gives you the very-real pleasures of “those kinds of movies” but also gives a smart-but-not-too-clever wink-wink in the direction of “this is parody, bitches, come along for the ride!” So MIDDLE AMERICAN HUMOR doesn’t, on the outset, turn me off – in fact it thrills me if I feel it’s being wielded by filmmakers not as a parochial limitation, but rather a tool in their arsenal for telling stories.<br /><br /><br />So that’s the first reason I like this movie. Subtle genre nods – such as a fast cut to a “chase sequence”—only to reveal Channing Tatum is on a bicycle and is trying to awkwardly pedal across a lawn—isn’t ground breaking comedy, but it is perfectly acceptable physical humor. Or ICE CUBE as the stereotypically angry black sergeant—he goes balls-to-the-wall with it instead of trying to round out the character (Tangent: I wonder how Samuel L Jackson will handle his role as Nick Fury in THE AVENGERS; he’s too “good” an actor to embrace such arch-‘blackness’, but I feel like the role really could use that). Surely there are earlier movies that have, to varying success, utilized this approach to parody. But it’s a good framework for a film, which, yes comes down to a matter of tone—and that really is something you either see or don’t see. I don’t feel like anything in 21 JUMP ST was done “just because” – and purposefulness is really one of the best criterion in judging any directorial endeavor.<br /><br />Second, and when the movie really broke out as excellent for me, was in its depiction of modern high school. As they prepare for their first day as ‘fake’ high school students, Channing Tatum chastises Jonah Hill for “two strapping” (wearing your backpack how it’s supposed to be worn, instead of the cool, hanging-off-one-shoulder, I-don’t-give-a-crap look). Surely this is signifier for “cool” in some cheap but categorical way. When they get to school, however, they find that everyone is “two-strapping” now – lame is cool again, in the forever repeating circle of trends. All you have to do is wait long enough (so save those hammer Pants).<br /><br />It seems simple enough, but I think ever since AMERICAN PIE we’ve had some sort of filmic arrested development in the depiction of high school – it’s always jocks v. nerds, football players and cheerleaders, “mean girls” and geeks. It’s a ridiculous economy that isn’t based on untruths, but doesn’t reflect the weird, postmodern milieu of the suburbs of 2012. As the surely-insipid AMERICAN REUNION looms ahead, I think it’s good to reflect on the lazy way we’ve defined this setting, and the damage it does to story telling. This isn’t about trope, or filmic posturing—which is of course the very brand of movies like SCARY MOVIE or NOT ANOTHER TEEN MOVIE. It’s about something infinitely more and also less subtle—tone. We don’t dismiss the scenarios in 21 JUMP ST entirely, this isn’t some cartoon where one frame informs the next not at all, but we also allow for a comic elasticity. We let it get away with its clichés, and it rewards us by bringing us into the joke.<br /><br />High school, 2012: Everyone is two strapping; caring about the environment is cool now(???), a gay black kid is one of the popular guys. I cannot overstate how splendidly transgressive a throwaway line is like this one: this cool kid, not feeling the vibe at the house party going down, comments “<span style="font-style: italic;">let’s get out of here, there’s not even any hot guys</span>.” That is a hilarious, carefully observed line. I also happen to think it’s progressive, not because “gay” can be cool, but because it is both aware of and doesn’t take for granted the assumptions an AMERICAN PIE would come out of the gate holding on to. There are some other “gay jokes” here that I feel are less successful, but mostly because they are bad jokes, not because they are mean spirited. There’s no denying the homosocial aspect of the buddy cop movie in general, indeed aren’t Channing Tatum and Jonah Hill a little “gay for each other” – indeed, isn’t the movie as a whole a little “gay for” Channing Tatum, whose godly physically appearance is just this running gag among all the characters, male and female. It’s okay to be gay for your buddy; gay for an actor; gay. But it’s okay only because WE DON’T NEED TO SAY THAT. (Glee does, by the way, which is why it is infinitely less evolved).<br /><br />High School is different now, sure. And the cool kids are different too – Dave Franco (James’ equally offbeat brother) and Jonah hill’s love interest Brie Larson are these oddball hipsters, and I think it’s so smart not to just cast pretty people in these roles. You cared about them in a way that is actually quite surprising, I found. They are funny and odd and stupid in a great—realistic way. So this is the third reason I like the movie—I feel like it encourages some fun performances. No MONEYBALL turn, but Jonah Hill delivers the skinny version of SUPERBAD, and Channing Tatum—who I already admit I have a thing for—rises to the occasion with some really excellent comedic work. I have never seen him so suited for a role, and so funny. Partially it’s because the role is really just him – a hunky, dumb guy who just sort of fakes his way through doing his job – but it’s to the credit of the actor and the director that this is the route they go with it.<br /><br />Ultimately this movie pulls off a great trick – it straddles the gray area between parody (a ‘farce’ of the buddy-cop movie) and pastiche (mélange of influences, bequeathed ideas, hackneyed images, idiosyncratic diversions) in a funny, interesting, and in my opinion ORIGINAL way. An original remake of an 80s television show that wasn’t very good in the first place? Starring actors de jour who can get laughably hit in the nuts but don’t exactly offer anything in the way of comedic grace? I wouldn’t have thought it, I didn’t think it; I do now.<br /><br />It’s not a perfect movie, but it takes the risk that smart people can have fun at stupid movies, and doesn’t need unrelenting silliness (Will Farrell/Jim Carey) or heart-on-its-sleeve-amidst-the-dick jokes bathos to know it’s worth our time. <span style="font-weight: bold;">Run, don’t walk.<br /><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDe25G28uD9IlZ5mCrHiAPHu3XALS1O0HQgM5fRMAf6n7HDtt3mOjw69PyiOuvE5KoghFtsj_57jKyex7E4TVrR78nrBRfRT_OpqwoiGH7BYsM1MFmFUYKAGUkWdZbcfMaQWHu/s1600/channingtatum-foxcatcher.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 217px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDe25G28uD9IlZ5mCrHiAPHu3XALS1O0HQgM5fRMAf6n7HDtt3mOjw69PyiOuvE5KoghFtsj_57jKyex7E4TVrR78nrBRfRT_OpqwoiGH7BYsM1MFmFUYKAGUkWdZbcfMaQWHu/s320/channingtatum-foxcatcher.jpg" alt="" id="BLOGGER_PHOTO_ID_5722766732158912738" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh_te1SI0Q2yirjReKUcBE8-qbdwqdLF_78r2MXoS5tETpZyE4BhsYOQcvbTDkghOAIHrbB531rZ8saDEORvnp96s55DYqTlN_srt0YgaE8Gy7p9mp82IS4qtRA5FlgrIaiQOg/s1600/21jumpstguns.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 260px; height: 193px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh_te1SI0Q2yirjReKUcBE8-qbdwqdLF_78r2MXoS5tETpZyE4BhsYOQcvbTDkghOAIHrbB531rZ8saDEORvnp96s55DYqTlN_srt0YgaE8Gy7p9mp82IS4qtRA5FlgrIaiQOg/s320/21jumpstguns.jpg" alt="" id="BLOGGER_PHOTO_ID_5722766648604083570" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr2T5-hOHxo2lLeeoxCpx1bqv3qYpHPY_CVZnlFrWRBdo4UdT0wHrLPoVEdwGCt2D50qMOOOt_V3ZQQktXUAvPJdn-Zwt4HMmw1qwW1mKxRQTDN-YnQZTceMQSqRQxvIR1XO6B/s1600/21-jump-street-channing-tatum-5403b.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 287px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr2T5-hOHxo2lLeeoxCpx1bqv3qYpHPY_CVZnlFrWRBdo4UdT0wHrLPoVEdwGCt2D50qMOOOt_V3ZQQktXUAvPJdn-Zwt4HMmw1qwW1mKxRQTDN-YnQZTceMQSqRQxvIR1XO6B/s320/21-jump-street-channing-tatum-5403b.jpg" alt="" id="BLOGGER_PHOTO_ID_5722766589023994098" border="0" /></a><br /><br />Holy hell.MattNathhttp://www.blogger.com/profile/15357088957356108002noreply@blogger.com0tag:blogger.com,1999:blog-32565345.post-69852337063534776062012-01-27T08:31:00.000-08:002012-01-27T08:37:42.243-08:00KILL BILL with Spies!!: HAYWIRE<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDrctyIncateZNc4IbCMBMGuh7ugA1zlm958t3XdnoGE8I8pkgnnV3OHtdFnjfSGUdeynyGvyNQBYoFcNMjfznHPAorjGGhBg4o5FUARBkbHc0aZTcYPwmfN42Mvm7EX30qFYm/s1600/Haywire+Banner.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDrctyIncateZNc4IbCMBMGuh7ugA1zlm958t3XdnoGE8I8pkgnnV3OHtdFnjfSGUdeynyGvyNQBYoFcNMjfznHPAorjGGhBg4o5FUARBkbHc0aZTcYPwmfN42Mvm7EX30qFYm/s400/Haywire+Banner.jpg" alt="" id="BLOGGER_PHOTO_ID_5702351301199901618" border="0" /></a><br /><br />In all seriousness it is my contention that Steven Soderbergh's current film HAYWIRE is better than any of the 2011 Academy Award Best Picture nominees. It is pure genre excess. KILL BILL with spies! This is what HANNA could have been if it wasn't so goddamn boring!<br /><br />In short what do you get when you take MMA legends Gina Carano, put her in a little black number, and let her destroy furniture in expensive looking hotel rooms while doing AWEOSME KARATE to beat up generically evil men? Fun. This shit is a ton of fun. Granted I am somewhat of a sucker for AWESOME KARATE, but I don’t think I am alone here. HAYWIRE is decidedly a movie for fans of KILL BILL 1 who thought KILL BILL 2 was garbage pastiche; I don’t need the goddamn cinephilic pandering, just give me fight scenes! KILL BILL part 1 is one of my all time favorites, just pure visceral action, with only the most basic gestures towards plot. A seminal work in a subgenre I call ‘creative violence.’<br /><br />HAYWIRE is of this ilk. Carano jumps between walls, flips, uses props, mercilessly kicks more than one testicle. Soderbergh realizes the best technique at his employ is to put us in there with Carano, let us see what she sees. There is a awkwardly long chase sequence through Barcelona, but instead of getting the god’s eye view (a la Bourne) of where the good guys and bad guys are, the chessboard view, we are right there in it with Carano. Will she/will we catch the bad guy? Can she/we run that fast? Make that leap across rooftops? Can she/can we anticipate who will double-cross, who will deceive, who will break the tenuous quiet and throw that first punch?<br /><br />Look I’m not saying movies should be all explosions and no emotional substance. The gestures towards plot and character here are purposeful softball tosses. It’s Soderbergh having a good time—which is the greatest tool in his arsenal (and the single engine that propelled a less-face-it pretty damn slight movie like OCEAN’S 11 through two sequels—<span style="font-style: italic;">this shit looks like a ton of fun</span>.) This is the antidote to a movie like TINKER TAILOR SOLDIER SPY, which is so wrapped up in its clever intricacy that it forgets to be entertaining. This is also a great example of the kind of movie I like, which is <span style="font-weight: bold;">any kind that is exactly and 100% what it purports to be</span>. I liked MELANCHOLIA because it was so persistently unlikeable, Lars von Trier’s bizarre <span style="font-style: italic;">modus operandi</span>. I like HAYWIRE because it so effortlessly runs on adrenaline, and doesn’t pretend otherwise. Opposite movies but equally yielding to their disparate set of rules.<br /><br />The cast is…well, let’s just say “acting” has not much of a place here. I mean he cast an experienceless MMA fighter as his lead, and then had her re-dub all her lines in the studio (you can’t really notice, most of the time). She is tough and aloof, which honestly makes sense for her character, though I wouldn’t say she has a long and storied acting career ahead of her. Ewan McGregor and Michael Douglas are comparative clowns, on such a different comfort level acting that their performances seem somehow over the top (they aren’t, really). Then there’s Channing Tatum (or is is Tatum Channing—I never remember, for real. Either way it’s stupid).<br /><br />Channing Tatum is very very very very very very very very good-looking. Crazy good looking. Channing Tatum can't act his way out of a paper bag. I mean literally, if some evil multimillionaire genius commissioned greedy scientists to create some sort of hyperbolic, human-sized containment vessel-cum-paper bag (bear with me), and hired some drugged up thug to kidnap Mr. Tatum using a formaldehyde-soaked cloth on his way out of the Starbucks on Melrose and Vine, and then in some weird Saw-inspired contrivance threatened to slowly and brutally dismember the actor, UNLESS he performed Sir Lawrence Olivier's Hamlet or at the very least Robin Williams Mrs. Doubtfire--that scene in the beginning where he does all those nutty voices--Mr. Channing could not act his way out of that fucking bag. He is almost the paradigmatic example of a meathead-he doesn't have eyes, rather just lumps of muscle and a cute smile. Catch him in about five upcoming movies this Spring.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhufE_ocHlJapes3eEipgis0Y78OTaXrux15ibzh1UQmhz3RktfMuL8Ui45KG4F-2zQrNE6QTwpJ3Oyc51WSBidXaUgxo-IFNhlic3ce2C5nAixYJUsflITmG20uJ9Tdb8k4jcY/s1600/caranokicking.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 183px; height: 275px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhufE_ocHlJapes3eEipgis0Y78OTaXrux15ibzh1UQmhz3RktfMuL8Ui45KG4F-2zQrNE6QTwpJ3Oyc51WSBidXaUgxo-IFNhlic3ce2C5nAixYJUsflITmG20uJ9Tdb8k4jcY/s320/caranokicking.jpg" alt="" id="BLOGGER_PHOTO_ID_5702351073354452178" border="0" /></a><br />But Hollywood loves that shit, and he’s almost the definition of ‘fine’ in his limited role. Michael Fassbender also makes a stylish cameo, another actor who is popping up everywhere after his intense leading performance in SHAME. Fassbender is similarly piercing here (although in HAYWIRE the part of Fassbender’s dick is played by Channing Tatum), but it’s a joke. It’s no spoiler to say he is but a straw man for Carano’s weapons-grade thunder thighs. It’s a great fight.<br /><br />All in all, it’s not changing any rules or crowning any stars, but HAYWIRE is another great Soderbergh piss in the snow. It doesn’t belittle anyone nor hang the ornaments of meaningless explosions on a Christmas tree of weaponry—it just does its thing and ends. God bless the finite.MattNathhttp://www.blogger.com/profile/15357088957356108002noreply@blogger.com0tag:blogger.com,1999:blog-32565345.post-88303997499880372732011-12-05T08:34:00.000-08:002011-12-06T11:55:07.768-08:00When Sex is all There Is<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1f874epfja571Ajfl3Pm7wB3LjZnnDs0CXBbTf7UZyA7SIFnGrEG4sP0Ty7Hs0YzEv0uS-QSTSzxM8DZcMnRTNmDHSEu48BPgyjXWD8BBMs9PBXowcAC32Cxa4bH9jdVY4OzV/s1600/fassbender_.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 210px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1f874epfja571Ajfl3Pm7wB3LjZnnDs0CXBbTf7UZyA7SIFnGrEG4sP0Ty7Hs0YzEv0uS-QSTSzxM8DZcMnRTNmDHSEu48BPgyjXWD8BBMs9PBXowcAC32Cxa4bH9jdVY4OzV/s320/fassbender_.jpg" alt="" id="BLOGGER_PHOTO_ID_5682685372289134802" border="0" /></a><br />SHAME, directed by the other famous British McQueen (Steve, the not dead one), is an NC-17 rated indie-drama released this weekend in theaters after doing the festival rounds this year, during which it was honored with the various awards and recognitions that are customarily bequeathed onto the latest critical darlings; awards doled out at times indiscriminately, like a West Virginian trailer park mom going at her daughters' school cloths with the brand spanking new Bedazzler she requested, and received, for Christmas. But unlike a movie such as PRECIOUS, which perniciously gathers and maintains it's award momentum through sheer white/liberal guilt, SHAME deserves at least some of its recognition.<br /><br />Coyly framing the life of a man who can't stop jerking off at work, and banging women after work, McQueen beguiles us to consider our own transgressions--perhaps not as numerous or flagrant as the film's Brandon (a role performed by two stars, both up-and-cummin, Michael Fassbender and his wang), but transgressions still. As they say, let he who is without sin throw the first Palm d'Or. SHAME is uncomfortable in a good way, because while we can surely censure Brandon for his actions, and while we recognize the pain and alienation that underlie his behavior, we can't quite outwardly castigate his entire existence. We feel sorry for him, yes, but in the process envy him -- he is, surely, the playboy many of us wish we could be, even briefly at night, tucked into bed with a box of Kleenex safely on our nightstand. And isn't is a bit sweet when he offers his sister juice or makes small talk with a colleague on their first date? Is there a normal guy somewhere underneath all this?<br /><br />Granted, there is an inclination to fault SHAME for it’s meandering brand of plotting, distinct lack of focused energy, and something of a narrative fizzle -- the movie just sort of happens, you aren't delivered anywhere, and we end pretty much where we began. And while it could be said that this is a bit underplotted or simplistic, I'd counter that any slightness within SHAME’s storyline fits well the striations of the film’s overall theme – for truly, and importantly, there <span style="font-weight: bold;">really is no story to tell</span>. Brandon’s addiction chains him to circles and circles of pleasureless pleasure, but doesn’t leave room for the very stuff of high drama – the emergence of a True Love, the Heartbreak of Losing Her, the Glory of Her Return. There is no magic in sex, when sex is all there is. Similarly, the little we know about Brandon (born in Ireland, “from” New Jersey, successful, wealthy, neat) is all we really need to know—he is merely a cipher for his addiction, which is clearly the star of the show. Without a doubt SHAME's greatest strength is McQueen's tremendous restraint as a filmmaker and screenwriter, providing only the specific bleeps of information we need to hang on but allowing the muddiness of this Rorschach to retain its projective attributes. Scenes are long and laborious, meticulous unhurried, probably to the point of annoyance for the casual film-goer (and to at least one of the people I attended the film with). When a long tracking shot follows Brandon on a midnight jog through midtown Manhattan, the scene ends without consequence--no furtive sexual encounters, no mugging, no suicidal running-into traffic (to just imagine a few of the more bathetic Hollywood scenarios we may expect to transpire during something like this). You may wonder "what's the point" but a scene like that turns out to be my favorite in the film. In exposing the tiredness and lulls in Brandon's life as flagrantly as it exposes his sexual energy and dick, I realize how little sex means when that is all there is. He's not running-from or running-towards anything in a half-baked psychoanalytically emotional sense, because there is nothing else at all. At least that's how it worked for me.<br /><br />Despite this meritorious restraint, the shame of SHAME is that its faux-enlightened disengagement from morality, its refusal to judge, comes off as more of a trick of the indie-film-as-essay and less a stance of the filmmaker. Not that films need to be political, but this film takes pains to be almost caustically neutral. Where is the titular shame anyway?--is it Brandon's when he's crying in the rain? Is it ours when we see him debase himself to--God Lord!--is that a gay club he is going to?? Is that anal sex they are having?? Are those...Lesbians?!?!?! Or is the shame his sister, intoning the "bad place" she and Brandon come from while the movie intimates, just barely, that maybe their sibling relationship isn't quite "right"? Donde estas, Shame?<br /><br />It would be quite a trick if McQueen had the shamelessness to pull it off. Instead even in such an ethical vacuum, story creeps in to restrain such unwieldy emotional intangible into the digestive biscuit of filmic trope. First married woman, then his friend's women, then gays, then threesomes...it surely will go on and on. But by mounting his 'crimes' in such an arch and fabricated way, McQueen creates a pat narrative bridge even in a film where he shuns such easy connections. We don't need to see Brandon crying or his sister with slashed wrists, because if the film does anything it provides us with enough information about how these characters feel "deep down"--the suicidal bits and all the crying seem both redundant and overstated, ironically cheapening the depth of the characters' despair. Maybe it's a good act break, but why does SHAME need acts at all?<br /><br />I suppose that's sort of an anti-film conclusion--film as entertainment, film as art. But SHAME for me was <span style="font-weight: bold;">a human study that is refreshingly antihuman</span>, we are a tangle of insecurities after all, and probably not much more than that. David Cronenberg reaches for the same straws with his psychobabble (and by my estimation, horrible) film A DANGEROUS METHOD, also out now. But, as always, SHAME proves actions speak louder than words (Sorry, Sigmund). It would be a real shame, but maybe there just is no escape from our addictions--maybe it's just who we are? If so, that would be the scariest thing of all.MattNathhttp://www.blogger.com/profile/15357088957356108002noreply@blogger.com0tag:blogger.com,1999:blog-32565345.post-46001991602909587292011-08-17T09:14:00.001-07:002011-08-17T09:22:33.712-07:00The Best Album I Own<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7Dh-y8_ZFF4zJbe44UW7rwFJWAAEmktRiqjIvUiuNki_4LRTlHNnTVZK6Uv_AYvqCrxe7SA8a5oViTBIlzfYKb46AVVi67v4kxWlTgXCZ2tH38ZwSM2OLglVeos1mhRB6MjTR/s1600/phantommoon"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 354px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7Dh-y8_ZFF4zJbe44UW7rwFJWAAEmktRiqjIvUiuNki_4LRTlHNnTVZK6Uv_AYvqCrxe7SA8a5oViTBIlzfYKb46AVVi67v4kxWlTgXCZ2tH38ZwSM2OLglVeos1mhRB6MjTR/s400/phantommoon" alt="" id="BLOGGER_PHOTO_ID_5641859147207277730" border="0" /></a>
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<br />Duncan Sheik’s PHANTOM MOON is the best album I own.
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<br />I’m someone who loves the absolutism of rankings and “best of” designations. As anyone who has asked me what the best pizza in New York or game in the Mario Brothers franchise knows, my opinions tend to skew towards the draconian and pedantic. But I’m not apologizing.
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<br />But even with my opinionated mindset I have a hard time pinning down one music album as THE BEST I OWN. Music is so mood-dependant, and my own tastes are so varied, that it’s counterintuitive that one thirteen-song collection could be like qualitatively head-and-shoulders above the rest. But here I am saying that the third studio album by that guy from New Jersey who wrote the radio tune “Barely Breathing” is more important to me personally then, I dunno, Pink Floyd’s ANIMALS or ABBY ROAD or GRACE.
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<br />Released in 2001, it got proportionally the amount of attention that a third studio album from a sometimes-touring singer-songwriter got in the pre-John Mayer age (the B.M. epoch, which is an apt designation because <a href="http://www.google.com/imgres?q=john+mayer&um=1&hl=en&client=firefox-a&sa=N&rls=org.mozilla:en-US:official&biw=1024&bih=586&tbm=isch&tbnid=y_1wkqt7v8Ku1M:&imgrefurl=http://www.sweetslyrics.com/John%252520Mayer.html&docid=y9sC-z1jEHvlOM&w=800&h=600&ei=L-lLTuS0HcbZgAfq7IFz&zoom=1&iact=hc&vpx=490&vpy=124&dur=5906&hovh=194&hovw=259&tx=81&ty=105&page=1&tbnh=127&tbnw=181&start=0&ndsp=20&ved=1t:429,r:3,s:0">that guy is literally made of feces</a>). This is to say—very little. No one has heard this. Adam turned me on to it years and years ago, and I have no idea how he heard it, though I chock it up to him being from New Jersey and just being awesome about knowing things.
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<br />It is painfully beautiful. It is tristful and susurrus, and other words I like that asymptotically approach a description of the mood it evokes. <span style="font-weight: bold;">Evocative</span> is only the beginning. It almost has a message to deliver, but seems uninterested in whether or not you receive it. Even further, PHANTOM MOON, more so then most albums, feels like it lives. Like it is something that exists and goes on and on looping its tracks <span style="font-style: italic;">ad infinitum</span>, and occasionally you tune in to an old friend saying wise things who may not sound quite new or exciting but, god damn it, they get you and they’ve seen you grow up and they know you’re gonna be okay if you just keep on being the good person you are, you know? Maybe I’m projecting. This album is breathing alright, and not barely, it’s so vital and rich and—here is the kicker—MELANCHOLY rather than sad.
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<br />I guess that’s what made me sort of pine on it this morning, the dictional difference between these two words, and the mastery at which Sheik and co-writer Stephan Sater walk this line (correct, ten years later the pair would reunite to score the Broadway hit, and only fitfully good SRING AWAKENING….but this is so much better). Though the entire album is contemplative and raw; though many songs are richly minor in key; though it has slow, nagging moments that seem to be trying through sheer force of will to materialize in the physical universe as poetry or I dunno a fucking transcendent vista, it isn’t sad. Some tracks are upbeat and peppy. Some aren’t. But all of them make you feel like you are listening to honest-to-god music, something that doesn’t come around that often these days.
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<br />Track by track, it doesn’t miss a beat. Bookended by a prelude and full version of the enigmatic and sparse THE WILDERNESS, we understand Sheik and Sater are interested from beginning to end with those areas outside the bounds of the city and its neuroses, no love stories here, no terrestrial woe. It is larger than that. THE WINDS THAT BLOW and TIME AND GOOD FORTUNE seem almost a biblical in their importance, parables that have truth to offer if you’ll listen. MOUTH OF FIRE is the oddest track, with a palpable yearning, an almost sexual energy that the pair again would re-visit (with much more populist, broad strokes) in SPRING AWAKENING. LO AND BEHOLD is also something of a vague religious story, but doesn’t feel nearly as flimsy as a Sufjan Stevens joint. SAD STEPHEN’S SONG is not sad, but rather bubbling and surreal. It feels like a musical version of “The Love Song of J Alfred Prufrock.” They have always existed in the same room in my mind and both claw at the same dream-logic and sensibility. (maybe it’s all the “Mermaids” imagery, but it has got to be more than that). It’s the best track on the album.
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<br />I could go on. And you’re probably not reading this because there’s nothing worse than an album review for an album you haven’t heard. Or you think I’m lame that such a crooning, serious work is “my favorite.” I could protest that I like all sorts of music and that I love the energy of dance or hip-hop, but I feel like that’s the equivalent of <a href="http://gothamist.com/2011/06/16/video_very_well_educated_person_mak.php">that white woman yelling ”I’m educated!”</a> to the conductor who tried to quiet her down on a Metro North train. So I’ll stop there. But if you want a meaningful CD for an afternoon at home, or busywork in the office, or really anything less energetic than running at the gym, you can’t beat this one.
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<br />By the way, the best pizza is Di Fara and the best Mario game is Mario 3. Definitely.
<br />MattNathhttp://www.blogger.com/profile/15357088957356108002noreply@blogger.com0tag:blogger.com,1999:blog-32565345.post-84780356228232513592011-07-11T08:35:00.000-07:002011-07-11T10:51:24.706-07:00GOOD KID<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhahsoigkDIeqvW6bnCk7JoWnFrSdQw0TrzYRZvtNsC4twNvSqV0PaIyzJ23gzH-h29QyfYPW34rYLRwYWEgVM4a-W_4o7SR0GcxWxGctY4y2i61_mkjOnqnU4_0EDxA9ns6V8o/s1600/terri-movie-poster.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 267px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhahsoigkDIeqvW6bnCk7JoWnFrSdQw0TrzYRZvtNsC4twNvSqV0PaIyzJ23gzH-h29QyfYPW34rYLRwYWEgVM4a-W_4o7SR0GcxWxGctY4y2i61_mkjOnqnU4_0EDxA9ns6V8o/s400/terri-movie-poster.jpg" alt="" id="BLOGGER_PHOTO_ID_5628119191699617442" border="0" /></a><br /><br />In the interest of full disclosure I saw TERRI mostly because my roommate works for ATO pictures, the company that distributed this small indie feature and Sundance hit. And, to continue with the honesty, I was expecting the film to be worse than bad—a lugubrious fat-kid-coming-of-age story <span style="font-style: italic;">a la</span> PRECIOUS, with a white obese protagonist and John C. Reilly in the Mariah Carrey role. Leaving the theatre, I was delighted to find TERRI was something wholly other than what I expected, that despite its setup and (sorry, Jesse) pretty bad trailer it is something PRECIOUS was not even for one moment: <span style="font-weight: bold;">good</span>. This is a <span style="font-style: italic;">good movie</span>, a very good movie in moments, and one I wish more people would huff off to see.<br /><br />And why is it good? Well it’s related to the very fact that is it so stridently un-PRECIOUS, in all senses. The simple storyline, a taunted fat kid plods through a grab-bag of high school moments with the help of some misfit friends and a good-natured principal who sees his potential, betrays the film’s complexity and the skill of its creators. There’s more honesty in Terri’s fat little finger than in the rotund entirety of PRECIOUS, and this honesty comes out in perhaps by favorite filmic way: lack of causation. The script is so loosely-plotted and dreamily-directed that you never quite know what’s going to happen, what people are going to say, what tone is going to be struck, what shots are going to hold, what cuts are going to pull us away from such gossamer emotional tableaus. The events of one scene certainly inform the next, or a scene five or six down the road, but there isn’t an urgency to the proceedings here. Terri just exists and wanders through these scenes, hobbling in his way, and this allows us to accept him as a real character rather than simple a conceit (Precious existed only to eat fried chicken and get punched round by Mo’Nique, Terri lives and breathes on camera <span style="font-style: italic;">and</span> off). In another film maybe such a peregrinating pace and lack of cohesion would be a flaw, here it saves the film entirely.<br /><br />That is, coupled with another element of TERRI which I love, and also saw recently in the simply-playing (and similarly-distributed) WIN WIN. This element is that Terri (like the blond-haired wrestler in WIN WIN) is something we see shocking infrequently in the movies these days: <span style="color: rgb(255, 0, 0);">a GOOD KID</span>. The movie prefers a more evocative term—“a good hearted kid”—but we know Terri because we know people, and we know he’s just kind of a good kid, just as we know others are just kind of bad kids. The more facile and surely-easier-to-write version of TERRI or WIN WIN is to show the kid as a guarded asshole, angry at the world for its juvenile injustices, on the verge of ‘pulling a Columbine’ or trying to off himself at least, pulled back from the brinks of despair by the one person who will look at, AND REALLY SEE, the person they are inside. Terri doesn’t belabor us with such a hoary cinematic calculation; we get something so much less certain that the only other thing it can be is true. Instead of watching the familiar character change and be reborn as someone who doesn’t reject adult authority (<span style="color: rgb(0, 0, 153);">FREE WILLY, I’m talking to you</span>...), we see a kid that just starts out good, that we can root for because they are so good-natured in the first place and we want them to stay that way.<br /><br />And, despite the trailer suggesting otherwise (it presents the film as something of a two-hander, John C. Reilly’s character helps Terri negotiate high school but TERRI teaches his principal something about dealing with his own problems, in the form of his contentious wife), the film doesn’t pander to us with the egregious suggestion that this is <span style="font-style: italic;">really</span> John C. Reilly’s story. We don’t meet his wife or ever see him break down and “confide” in Terri beyond a very casual, natural, relationship-appropriate way. When Terri stumbles upon John C. Reilly sleeping in his car in the school parking lot one sunny Saturday morning, we can piece together he’s been there all night after fighting with his wife. The film doesn’t need to belabor or even MENTION this, it respects our intelligence enough to allow the pieces to be the pieces and for the filmmakers to just play with them without unnecessary explanation. This is Terri’s film, and John C. Reilly is an incredibly empathetic principal, wise in such a brilliant and almost suburban way, a goofball but meticulously not weird. But it’s a triumph and even a central pillar of the film that it doesn’t delve into the principal’s personal life much, that his wife never appears, that Terri doesn’t ask him TOO many questions or offer TOO many canned pieces of folk wisdom (those all come, appropriately enough, from the principal himself...to help Terri with his own doubts and problems). This may be, deep down, a symbiotic relationship but it is never CALLED THAT, and that's why it is therapeutic or transformative for the young man.<br /><br />So no matter what, don’t accuse it of being PRECIOUS: despite its indie themes, bemused tone, soft lighting, piano score. TERRI is everything it is because of the things that it so stridently is not: it refuses to yield to such “classic” indie tropes that have no truth to them, that may tie up the script but leave us stranded emotionally. Terri’s absent parents don’t reemerge and cause crisis (and that’s where WIN WIN buckled under cliché); Terri’s sickly uncle doesn’t die and cause him to reevaluate life. Terri’s weird rat-catching fascination or pajama-wearing isn’t riddled with specious psychoanalytic content (thank god he doesn’t slip on jeans in that final scene). The inevitable drug binge doesn’t lead to dramatic stakes and maudlin consequences (Terri’s friend pisses his pants, but nobody overdoses, nobody seizes the moment to steal a kiss). Terri never snaps and shoots the school bully. He doesn’t begin to diet. The film doesn’t demand narrative justice because it knows the universe doesn’t either, and it is infinitely wiser because it doesn’t have to be wise.MattNathhttp://www.blogger.com/profile/15357088957356108002noreply@blogger.com10tag:blogger.com,1999:blog-32565345.post-64193443407135868152011-06-16T10:43:00.000-07:002011-06-16T11:13:42.874-07:00SUPER 8 MY HOMEWORK<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizbmiHaEcTSxr7E4Mk74kUZDqYscnsHv9B_EtsJWmGLQpuZQpMLkAYHgAEjFHWJ9kNZ9kB6j_l7fEzH4uambgwVc7PHi7DxO-oT7TSlG7X81RQf4lbo8_J_xfhLVO1ILo1w5LJ/s1600/super8.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 492px; height: 223px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizbmiHaEcTSxr7E4Mk74kUZDqYscnsHv9B_EtsJWmGLQpuZQpMLkAYHgAEjFHWJ9kNZ9kB6j_l7fEzH4uambgwVc7PHi7DxO-oT7TSlG7X81RQf4lbo8_J_xfhLVO1ILo1w5LJ/s400/super8.jpg" alt="" id="BLOGGER_PHOTO_ID_5618876098516628882" border="0" /></a><br /><br />For months I had looked forward to JJ Abrams (LOST, ALIAS, the latest STAR TREK film) secrecy-shrouded feature SUPER 8, his homage to his once-hero and now-mentor Steven Spielberg and his awesome grab-bag of iconic ‘family-adventure films.’ Some Spielberg directed (E.T., RAIDERS OF THE LOST ARK, CLOSE ENCOUNTERS OF THE THIRD KIND) and some he just produced (GREMLIN, THE GOONIES), but his trademark stamp is impossible to ignore. Usually it takes kids and sends them on big adventures, pits them against big enemies, stacks against them what seem impossible odds and, experiencing these adventures and enemies and odds alongside them, <span style="font-weight: bold;">we remember what it feels like to believe in magic</span>.<br /><br />SUPER 8 is also a lot like CLOVERFIELD, the monster-attacks-city movie from a few years ago that JJ Abrams produced and I loved as an allegory to 9/11 anxiety that there is nothing scarier than something loud and destructive slamming against buildings in New York. In SUPER 8 the fear is decidedly more post-9/11: there’s a monster out there that the government knew about but had covered up. It’s <span style="font-weight: bold;">Patriot Act horror</span>: what happens when the lies we aren’t told “in order to protect us” get out? What will we do if we aren’t prepared with the truth?<br /><br />Unlike the claustrophobia of CLOVERFIELD (which forced us to recognize the “big city” was just a series of small spaces in which we could get trapped) SUPER 8 sets are sprawling, airy, idyllic expanses. The monster destroys plenty because he has plenty of room to destroy – but it’s a different kind of threat than that of his counterpart loose in the narrow, skyscrapered lanes of NYC. Somehow, because it has more room to run amuck, the creature feels more like an angry puppy than some unholy beast from beyond. It isn’t as real of a threat; the materials it demolishes aren’t hard steel and concrete but trees and houses, like a child destroying a Lego set after having too many grape <span style="color: rgb(102, 0, 204);">Kool-Aid Kool Bursts</span>. In fact, while CLOVERFIELD felt like it had a setting (however glossy or embellished), SUPER 8 feels more like it’s simply on a set – production values may be high (the call for “production values” is the mantra of the child-director making the zombie movie in the film) but this isn’t quite <span style="font-style: italic;">cinema verite</span>.<br /><br />And that’s the general vibe of SUPER 8 and one that works for it fairly successfully. It is also in line with J.J. Abrams postmodern tendencies to care more about storytelling than (and this is certainly the case here) the story. SUPER 8 is a monster movie about kids making a monster movie, and so throughout it all are touches of the wide-eyed DIY qualities that any kid fucking around with his friends and a camcorder know so very well. I look back on my own experiences being a film geek alongside childhood friends with nostalgia and, yes, some embarrassment (side note: I’m still upset I was never part of Josh’s original home video ATTACK OF THE AMISH, which somehow, despite my having nothing to do with it, stands like an obelisk in my memory: <span style="font-style: italic; color: rgb(255, 153, 0);">“when you’re buttons are all gone, and your VCR ain’t there, and you can’t find your blow-dryer so you can’t dry your hair…Attack of the Amish!</span>”). SUPER 8 aspires to and tributes a prepubescent feeling of almost pre-embarrassment: when everything was possible, nothing is shameful; when the world was full of stories and ambitions and nights to almost-<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo6Q3bfPL_2RdL9fhBhZswLtkV8qE1vKTQi-V2_MUk6uMW5nUQOBquV1hx6NHOPdIkbmklpJFtWh15v-IKTfoQ9yDUKoXZseOXSNikJ8N266FVSg8AZMOgMEm5HQSiPIKSGWQn/s1600/elle-fanning-super-8.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 320px; height: 213px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo6Q3bfPL_2RdL9fhBhZswLtkV8qE1vKTQi-V2_MUk6uMW5nUQOBquV1hx6NHOPdIkbmklpJFtWh15v-IKTfoQ9yDUKoXZseOXSNikJ8N266FVSg8AZMOgMEm5HQSiPIKSGWQn/s400/elle-fanning-super-8.jpg" alt="" id="BLOGGER_PHOTO_ID_5618876885773820706" border="0" /></a>kiss the girl of your dreams. This is surely Spielberg’s <span style="font-style: italic;">modus operandi</span> and maybe such puerile goodwill has no place in the cynical world of government-sanctioned lies and outsized threats from outer space….but for a moment, before the train crashes, before shit hits the fan, when the kids are filming and the night is warm and Elle Fannings’ sort of outrageously good performance hits just right, there is a bit of magic. It is ephemeral and slippery, and Abrams loses it surely, but it was there. You know it when you feel it.<br /><br />I wish there were more attention paid to SUPER 8 clever Brechtian alienation and less to its undeniable faults. When the child director rewrites scenes to illicit an emotional response from the audience in order to “to make them care” it’s more than a tongue-in-cheek Ha-Ha aimed at the “real” audience; whether or not you know what your laughing at it’s actually the postmodern attribution of “standards” to a genre. Just as SCREAM taught us a lesson we didn’t-know-we-already-knew (never say: ‘I’ll be right back…”), so does SUPER 8 concern itself with concepts one Russian-Stacking-Doll further out from what’s physically going on on screen. But maybe SUPER 8's problem is that of the SCREAM sequels (2 and 3 anyway…I can’t bring myself to see 4): it’s a clever way to speak but there just may not be that much to say. Abrams has almost nothing to add to Spielberg’s family-friendly wonderment/awe/catharsis formula, so the best he can do is try to replicate it, and quite frankly, he can’t. He did his homework on Spielberg, fine, but he didn't CREATE anything that's his own. It's a mathematical problem that doesn't seem to occur to Abrams: no matter how perfectly you solve an equation, it isn't the same as designing a theorem. It isn't as <span style="font-style: italic;">elegant.</span><br /><br />Further, in caring more about storytelling than story, Abrams overestimates his storytelling, because the story blows. Full of holes and inconsistencies, falling on trope and convention in an almost lazy way, populated by adult characters whose hokey motivations are straight from 1993, what actually happens in SUPER 8 doesn’t matter at all. We know where this train is heading and we know that, even if it is detailed along the w<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjagMG_2BeZTtNXIrhWc3WxkfKwTJweVg9gmrB3KLdecp-Us2buCqvSg6-hLcFSuWP8LmKZSs4E7r21rcpwRGGemXgDxMDMv4xLP-jbwEslhSWtwPEZ3WG7eGkOvcMBUwD97I6F/s1600/Cloverfield3.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 398px; height: 216px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjagMG_2BeZTtNXIrhWc3WxkfKwTJweVg9gmrB3KLdecp-Us2buCqvSg6-hLcFSuWP8LmKZSs4E7r21rcpwRGGemXgDxMDMv4xLP-jbwEslhSWtwPEZ3WG7eGkOvcMBUwD97I6F/s400/Cloverfield3.jpg" alt="" id="BLOGGER_PHOTO_ID_5618875945455840722" border="0" /></a>ay, it’ll get there somehow. The children are the bright spot here (‘manipulative!’ cry haters) and a reason to see the film; ironic since it’s famously-coy marketing campaign teased the monster itself as the carrot on the stick. The monster, sadly, disappoints—sort of Clifford the Big Red Dog meets the CLOVERFIELD Monster, with of course the motivations (and table manners) of E.T. Its design is far too similar to the CLOVERFIELD monster—which is inexcusable really because the thing could have looks like ANYTHING to tell the story Abrams was telling. It’s nothing but a creative failure, any way you splice it.<br /><br />I don’t begrudge Abrams the intellectual preoccupation with Spielbergian convention, hell anything that successful and populist should be carefully considered, but SUPER 8 would have been better if Abrams had the creativity or gumption to give us some major BREAK from this convention, not only to surprise and entertain us but also to further educate about what it means to be a Spielberg movie in the first place. Instead of something original, we get an ending right out of E.T., made even further flaccid of course because we’ve seen it so many times since. The misunderstood alien goes home, the kid’s are vindicated as more than mischief-makers, life returns to normal. SUPER 8 fails to distinguish itself in the end, a common failing for so many action movies I see, but here it’s somehow even more toxic to the overall film: what’s the POINT of seeing SUPER 8 when E.T. in streaming on Hulu? What’s the POINT of caring when it all ends the same way?<br /><br />And so, yes, not exactly the ground breaking film I was hoping for nor the latest monster to haunt my geeky monster-movie dreams. Still, I defend SUPER 8 as a well-made film. And it’s innocuous, hardly a compliment usually but here it almost (almost!) is. SUPER 8 trades in its innocuousness, its ability to neuter the monster movie and make it a family film – an idea that may be clever, that may be postmodern, that may operate successful – but that doesn’t necessarily mean it’s a good idea.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEigMlTRMv5tgf7d1eq3XfnnsxihaWLzMVHGdJ5J1MZETtLTmZhNTIiDtMWdp_KrB6OhrMsXDIY60-CzfwxirF5-aZBfdy5hVAxvoia3OilKwlYD8jC7WjmNyvuMpIE2eJ9q3_/s1600/motel.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 180px; height: 279px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEigMlTRMv5tgf7d1eq3XfnnsxihaWLzMVHGdJ5J1MZETtLTmZhNTIiDtMWdp_KrB6OhrMsXDIY60-CzfwxirF5-aZBfdy5hVAxvoia3OilKwlYD8jC7WjmNyvuMpIE2eJ9q3_/s400/motel.jpg" alt="" id="BLOGGER_PHOTO_ID_5618875751107746914" border="0" /></a><br />The cross-branding writes itself. Till next time, you monsters.MattNathhttp://www.blogger.com/profile/15357088957356108002noreply@blogger.com1tag:blogger.com,1999:blog-32565345.post-36023816679883755532011-06-07T10:28:00.001-07:002011-06-07T14:56:57.852-07:00CHILD LEASHES: A Defense<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZpn2D7YutUTqePmD3FmrZHeHjcpqp0i_KZCO4icklmPA_LYeH5yR6BIz15tmQ2myQuT5d_GmnaT31wJfj14am9pKboCgJuERcJJBP7Se-kiWUWS-v9Y9xDHQ_EoVUaiFhoxHH/s1600/ChildLeashWoman.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 292px; height: 292px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZpn2D7YutUTqePmD3FmrZHeHjcpqp0i_KZCO4icklmPA_LYeH5yR6BIz15tmQ2myQuT5d_GmnaT31wJfj14am9pKboCgJuERcJJBP7Se-kiWUWS-v9Y9xDHQ_EoVUaiFhoxHH/s400/ChildLeashWoman.jpg" alt="" id="BLOGGER_PHOTO_ID_5615531197153226914" border="0" /></a><br /><br /><br />Yes, I hate GLEE. But I wanted to take a few minutes to un-‘leash’ another diatribe, or at least a sort of aimless philosophical exercise, if you’ll grant me the utter nonsequitor.<br /><br />At Starbucks yesterday evening (the one near my work; where I’m mayor; where I enjoy a level of popularity among the sassy baristas unparalleled in any social arena at any point throughout my life so far. Free coffee is only the beginning—Tricia told me she wanted to “feel me up” yesterday when she gave me my latte) two women were waiting for their Frappacinos when one of them saw something outside that made her cry: “OH GIRL…HELL YES. I NEED ME ONE OF THOSE.”<br /><br />“What now?” her friend said, looking. Awaiting my own coffee, it was either eavesdropping or reading the track listing for the 300th time on the Deathcab CD that Starbucks is now selling. Haven’t heard it, but great track titles.<br /><br /><br />I assumed, both because these women were quite fat and because I am an asshole, that she had seen some sort of food product, perhaps a churro. But then I saw what captivated this woman so: outside there was another large woman wearing a Mickey Mouse shirt with two red-headed children attached to…could it be…CHILD LEASHES?? This was seriously something out of the classist third act of MILLON DOLLAR BABY. Utterly splendid.<br /><br /><br />The Starbucks woman was impressed—could those really be the first kid leashes she has ever seen?—but her other friend, obviously a more dogged defender of personal liberty and individual freedom of locomotion—told her she was crazy, “LEASHES ARE FOR YOUR CAT” she reasoned.<br /><br /><br />Okay, so she didn’t have the particulars right—I mean a cat leash is just insane—but generally I agree with her. And we all do, right? It just feels wrong, leashes are for pets, tying up children is cruel and neglectful (as far as TYING ANYTHING TO YOUR PERSON can be considered ‘neglectful’). It’s just plain old wrong.<br /><br /><br />But sitting on the subway home, I kept musing on this incident and my visceral reaction to it. What’s so wrong about a parent choosing to tether their child, so they don’t run off and get hit by a car, or kidnapped by Tricia the barista, or eat that weird feathery thing lodged in the crack of the sidewalk. I’m not talking about like elaborate and painful harnesses and cat-o-nail-tails cracking their flanks if they get distracted by the ice cream man and break stride, I’m just saying – is it really so different than strapping a child into a car or bike seat? Or going with them on a two-man float on a waterslide?<br /><br />This is one of the many examples in my life where my initial, egalitarian, liberal, “enlightened” reaction sort of chaffed against a more slowly-determined and reasoned analysis. I’m not sure I think all kids should be manacled to their mothers—some are better off getting as far away from mom as they can, hell this particular one was wearing a MICKY MOUSE SHIRT. It’s when leashes replace responsible parenting that I think we have a larger problem, but I’m not sure why we can’t have both.<br /><br />In a vacuum, kids should be able to roam free and sprinkle their joy and puerile wonderment on all things they touch. In reality, they break shit. What it comes down to is if we live in a world where parents take personal and financial responsibility for their child’s safety and liability for the damage they cause, throwing a rope around their neck and commanding—patiently yet firm—WHOOOO DOGGY may not be the worst thing in the world.<br /><br />And he never babysat again.MattNathhttp://www.blogger.com/profile/15357088957356108002noreply@blogger.com2tag:blogger.com,1999:blog-32565345.post-25319809091031244902011-05-20T10:34:00.000-07:002011-05-20T10:45:39.221-07:00GLEE-FUL DISDAIN<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcB15aYn3Tz-qSpBzbcB_g1yIK6UAAhtKIluC5NPoO-DMq4x5b0Z-v1yK5rjPSsIUBlARKCq0DzRAlfrU90b7o7fgyAkHEQMny4rYWPn4zV-pN75aTZtJ0oiNaeV6BErM9NG6a/s1600/glee.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 311px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcB15aYn3Tz-qSpBzbcB_g1yIK6UAAhtKIluC5NPoO-DMq4x5b0Z-v1yK5rjPSsIUBlARKCq0DzRAlfrU90b7o7fgyAkHEQMny4rYWPn4zV-pN75aTZtJ0oiNaeV6BErM9NG6a/s400/glee.jpg" alt="" id="BLOGGER_PHOTO_ID_5608854296822543826" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuAE3ONfepbtO-B85G70yIZrUV925Tjbl6iNYUmOxcHDTOBWJgUEot8UE0JbwTxLeRMUIgOX00-phCsP0GJLy9WQP6jfJ7n4ieTLdDdIgU1VRbc1WgaP1sQsNhKxzAj4qrqAed/s1600/wheels.gif"><br /></a><br /><br />As we’re only two days from the <a href="http://www.nytimes.com/2011/05/20/us/20rapture.html?pagewanted=2&_r=1&smid=fb-nytimes"><span style="font-size:180%;"><span style="font-weight: bold;">RAPTURE</span></span> </a>there’s something I have to get off my chest. Seriously…<br /><br />…okay here goes…<br /><br />I hate GLEE.<br /><br />There, I said it… I feel better now. There probably isn’t another more incendiary three-word comment I could make to The Facebook Community. Maybe “Yoga is Retarded” (ohhh, that’s a good one). It’s my own private version of wearing a ‘Jeter Sucks Arod t-shirt on a lazy Sunday at the Bronx zoo.<br /><br />Why? Because I’m supposed to like GLEE. Glee is doing great things, right? It’s getting people to watch a new scripted show. It’s a least periodically funny with its biting jokes and greased-lightnin’ pace. Most of all, it is THE undisputed champion of egalitarian discipline, the bastion of tolerance we need in a world where gays are bullied, fat people are ignored, and cheerleader/jock romances go too often unrequited.<br /><br />But I hate it. I hate its stupid face and its stupid songs. Here are three reasons, two of them frivolous:<br /><br />1) CHARACTERS:<br />The characters on GLEE are some of the weakest-drawn I have ever seen on network television. I look back at the show like FRIENDS and I think, wow those characters were so shallow and predictable, the eccentric Phoebe or simple-minded Joey never breaking stride in ten seasons of stock-scenarios. But if the cast of friends existed in the world of GLEE they would be Supreme fucking Court Justices. GLEE has not one character with an iota of the believability of Matthew Perry’s Chandler, and that is a major problem, because Chandler and the rest never seemed like real people to me. Maybe that’s where I depart from many of my peers, who watch shows like FRIENDS or SEX & THE CITY and are quick to identify, quick to delineate character-types (“I’m a Miranda with a bit of Carrie when I’m drunk on bellinis”). I don’t have that tendancy, although to be honest I’m like mostly a Jack with some Sawyer thrown in for good measure.<br /><br />2) SONGS:<br />Dreadful. Not even a little bit good. Some of them are catchy but that’s because the original songs were good. I can play a couple of bars of moonlight sonata, I can even jazz it up with a left hand riff anachronistic to Mozart, but it doesn’t mean I’ve reinvented the wheel. Watch MOULIN ROUGE and you get the idea – oh yeah, I sort of like Elton John’s YOUR SONG. So go buy an Elton John CD. Baz Luhrman at least stylizes his work, the frenetically mashed-up visual style matches the musical schizophrenia. GLEE’s plundering and reorganization is more insidious -- in a show with no style whatsoever, it makes music worse by adding nothing. It’s a creative asymptote, no matter what they do there’s nothing they can add; it’s never the original, and it will never be better.<br /><br />3) THE NEUTERING, FACILE, MIND-NUMBING POLITICS (AKA the Characters)<br /><br />Yes, to return to the characters for a second, we don’t just have flat characters, we have characters that I feel actual negate some of the good GLEE purports to do. The not-actually motley crew of Glee club members include the following well warn tropes: the Dumb-but-Dimpled Football Quarterback; the Histrionic Go-getter; the Punky Asian; the Fat Black Girl with Pipes ya’ll; the Lipstick Lesbian; the Dumb Blonde Cheerleader; the Inoffensive-but-Bland cheerleader (also blonde); and, of course, the Gay. This veritable Burger King Kids Club of a crew even has its own Wheels.<br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhavplZWO4pyAvostN5sK9Deb8gbp50hMmapV4PXpbvR4uo_jTUSzjf3PkcTvWYvYkrhGmTOdyJN4Nu-bYtUmwpN6a2cLxbgMIVQRDWwBKlnX-ENOkAE9ldIQ7H8ASwu0AQH3r_/s1600/wheels.gif"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 170px; height: 252px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhavplZWO4pyAvostN5sK9Deb8gbp50hMmapV4PXpbvR4uo_jTUSzjf3PkcTvWYvYkrhGmTOdyJN4Nu-bYtUmwpN6a2cLxbgMIVQRDWwBKlnX-ENOkAE9ldIQ7H8ASwu0AQH3r_/s400/wheels.gif" alt="" id="BLOGGER_PHOTO_ID_5608854847794693426" border="0" /></a><br /><div style="text-align: right;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigpC_s7lA37fERoDlUgD2swOSRN0e6sEh2GnvV7pyB2OYNWq97ZNBhhVxe_tlwBAYhtDdBtR_hUjwQInPSDkf29N0Sau-zHZJ5GNdLuAkYS5KBi4V4KkZVKA2pyRX-_C4XaYmx/s1600/jack_GleeArtie.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 177px; height: 235px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigpC_s7lA37fERoDlUgD2swOSRN0e6sEh2GnvV7pyB2OYNWq97ZNBhhVxe_tlwBAYhtDdBtR_hUjwQInPSDkf29N0Sau-zHZJ5GNdLuAkYS5KBi4V4KkZVKA2pyRX-_C4XaYmx/s320/jack_GleeArtie.jpg" alt="" id="BLOGGER_PHOTO_ID_5608854445362990258" border="0" /></a></div><br /><br /><br />The point of every episode and every second of GLEE is that NO MATTER WHAT CLIQUE YOU FALL INTO, YOU’RE WORTHWHILE. That the long-sought great equalizer of high school politicking is here a glee club choir is mostly besides the point, rather that there is SOMETHING that makes everyone valuable and worthwhile, no matter who they are fucking, praying to, or modeling themselves after. Fine, great. But something about GLEE seems to betray its message, for in its cookie-cutter approach to the various archetypes of a middle American high school, we ignore how vastly different people can be, even gay people (some play sports!), even jocks (some are smart!), even cheerleaders (some are brunette!). Having a gay character, even a likeable gay character like Chris Colfer who stands by his friends and sticks up for his principles, isn’t half as brave or philosophically important as having a character who happens to be gay, but whose entire character isn’t defined by this trait. Whose sexuality is, finally, besides the point.<br /><br />By wearing each characters’ dominate trait on their sleeve, GLEE positions these traits as ‘handicaps’ – handicaps that don’t matter, they argue, but handicaps indeed. We got a Jew, an idiot, and a red-head gay—but that’s okay because we’re ALL IN IT TOGETHER. WE ARE THE LITTLE RASCALS. WE ARE THE OUTCASTS. GLEE is a show for the outcasts, which revels in the fact that there are more of us out there than anyone thinks.<br /><br />But by asserting its own anthemic qualities, GLEE reminds me of the latest commotion around Lady Gaga – a self-proclaimed messianic juggernaut that we’re supposed to like because they claim to speak for us at last. Casting aside Gaga, or GLEE, is then equated with casting aside parts of yourself: self-hatred, the arch-nemesis of the enlightened soul.<br /><br />Look, there are worse things on Fox and in the world. Of course its message of love and acceptance is meritorious and I don’t begrudge GLEE for being at least on the right side of the political fence. Creator Ryan Murphy isn’t the devil, and for all his travail to bring the world GLEE’s important message I’m sure he’ll be raptured in a couple of days (oh wait, he’s gay…maybe not). I just hope that, in Heaven or wherever, he makes better TV than GLEE, because its creative and philosophical sins are numerous. And because commanding the National Ear is a hard trick to pull of, once you do, it becomes a responsibility to shout, a capella, a message more all-encompassing than “I’m Okay, You’re Okay.” When the conversation isn’t about acceptance but rather acknowledging the insufficiency of stereotypes, we’ll be a lot closer to where GLEE—in its good-natured attempts—wants us to be.<br /><br /><br />Oh and it’s so god-damn boring.<br /><br /><br />*<br /><br /><br /><br /><br /><br />THANKS FOR READING MY BLOG, <a href="http://eternal-earthbound-pets.com/Home_Page.html">SEE YOU IN HEAVEN</a>, I’M OUT PEACEMattNathhttp://www.blogger.com/profile/15357088957356108002noreply@blogger.com4tag:blogger.com,1999:blog-32565345.post-21683120586820701962011-05-03T13:08:00.000-07:002011-05-03T13:47:08.313-07:00HATE-RIOTISM: THE WAY WE WIN<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir1jagkR76VBfawKsBwbxGorophphQGTnWgKi260d-fFVKUlBhFJaqNbV-FIFkQ-Ysix4ymtTd34MpY-Pd7ZSdR8UB41_CDyRkoVYzvxydfbHe-RYqXfI-3_MWgbvEUpEkSv81/s1600/american-flag.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 202px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir1jagkR76VBfawKsBwbxGorophphQGTnWgKi260d-fFVKUlBhFJaqNbV-FIFkQ-Ysix4ymtTd34MpY-Pd7ZSdR8UB41_CDyRkoVYzvxydfbHe-RYqXfI-3_MWgbvEUpEkSv81/s400/american-flag.jpg" alt="" id="BLOGGER_PHOTO_ID_5602584922556701426" border="0" /></a><br /><br /><div style="text-align: center;"><span style="font-style: italic;font-size:85%;" > Oh beautiful for spacious skies</span><br /></div><div style="text-align: center;"><span style="font-style: italic;font-size:85%;" >For amber waves of grain</span><br /></div><div style="text-align: center;"><span style="font-style: italic;font-size:85%;" >For Purple Mountain’s majesties</span><br /></div><div style="text-align: center;"><span style="font-style: italic;font-size:85%;" >SHOOT THAT MOTHERFUCKER IN HIS EYE!!!</span><br /></div><br /><br />***<br /><br />The rockets’ red glare kept America up Sunday night, as soon-to-be-second-term President Barack Obama took to the podium at nearly 11:30 PM in the White House’s east room to make the announcement George W. Bush made hundreds of time, but only in his (probably wet) dreams: <span style="font-weight: bold;">Osama is dead. Freedom wins. Count it.</span><br /><br />Well, frankly, I’d count that a three-pointer, because there is no greater coup, no single symbolic thing, no more important victory for America’s military policy than the tracking down and killing of this wicked, wicked man. Rarely has a forty-minute military raid have had such metaphorical significance for the country that undertakes it. Whether or not Osama’s death translates to actual physical consequences for international relations or domestic policy is anyone’s guess (I’m leaning towards no), but the thing itself—as a pure symbol, as a signifier—it is as big as it gets.<br /><br />AS BIG AS IT GETS.<br /><br />Faced at last with a shared joy proportional to that shared loss we all experienced on in 2001, I reflect on that precious egalitarian and communal spirit that we see among Americans in the worst of times – those Blackouts real and figurative, those grossly-outsized wars that threaten more than our lives and livelihoods but our ideals and values, those darkest hours of our darkest days. We band together; we persevere. So how does America celebrate such an immense joy, such beautiful and dramatic closure to the nightmare of 9/11 and the decade-long war that followed?<br /><br />Shots! Jose Cuervo. Those mini kegs of Heineken, never cold enough. Lemon Drops. Sex-of-The-Beach shooters. The Flaming Moe.<br /><br /><span style="font-weight: bold;"> Lo, we’ve seen the Promised Land and it reeks of Milwaukee’s Best! </span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkqkZPq9Pb46TPaTF1N6CD_3Uym2oupFrsCeu7p5K0ewghzLc7srxQl6Dm1q55X4AKJYpxztHdHs0UtkZtafBozUlfM-NEwNXa2N1WyhdPwiWZhc482ayrtwZD04H2JeEai76Y/s1600/milwaukeesBestBig.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 169px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkqkZPq9Pb46TPaTF1N6CD_3Uym2oupFrsCeu7p5K0ewghzLc7srxQl6Dm1q55X4AKJYpxztHdHs0UtkZtafBozUlfM-NEwNXa2N1WyhdPwiWZhc482ayrtwZD04H2JeEai76Y/s320/milwaukeesBestBig.jpg" alt="" id="BLOGGER_PHOTO_ID_5602585006808882690" border="0" /></a>I do not deny that this is a time, and a cause, for celebration. But the tenor of the downright partying that has characterized both the world trade center site and midtown at large makes me, at best, uncomfortable…and, at its worst, a little ashamed. The language of this revelry is overbroad, and the posture of the revelers is, in some ways, threatening. DON’T FUCK WITH US, BECAUSE THIS IS WHAT HAPPENS is what this says to me. That general tone much more closely resembles in some ways the jingoism of Bush than the measured but committed tactical pressure of Obama’s military command. What’s the problem with jingoism? I guess nothing, on a theoretical level, as jingoism is just extreme patriotism with a military panache. But as wielded by Bush and his generals, jingoism was a form of <span style="font-style: italic;">jingleism</span> – a procession of meaningless sayings: “mission accomplished,” “smoke em out,” etc. – that distracted from what was really going on: horrific acts of cowardice, staggering acts of bravery. War, very real war, with loss of limb! And life! Broken homes. The lasting effects of tedium and demoralization on young soldiers. Friends who never come home. Stories cut short.<br /><br />It’s sad to me that the relief and closure Americans feel at this moment can’t be expressed more articulately than a drunken shanty delivered on the backs of off-tune bagpipes. The DAILY SHOW’s “moment of Zen” had it best: a fresh-faced twenty year old college kid at Ground Zero at 1 AM on Monday morning bellowing: “I have two finals tomorrow…but I’m not going to study because WE JUST KILLED OSAMA!!!” This kid was maybe ten when the twin towers fell; likely he doesn’t even remember a skyline that included their iconic silhouette. Yet the rage bequeathed to him by a generation flabbergasted by the events of 9/11 is certainly in tact. And, now that Osama is dead too, the jouissance of victory is his to claim as well. He's earned that.<br /><br />I know I’m not alone in my dismay here. Some have pointed to Proverbs 24:17, which reads, "<span style="font-style: italic;">Do not gloat when your enemy falls; when he stumbles, do not let your heart rejoice.</span>" Some have invoked Gandhi in suggesting that utter scorn for ones enemy only creates further conflict. Yet, while it may eventually make the world blind, sometimes an eye does deserve an eye (could there have been a more perfect place for the fatal shot to have hit?). Osama deserved to die, there is no doubt, and no amount of liberal pussy-footing is going to change that fact. But just because someone deserves to die, and just because they are killed, and just because killing is – in this limited and unfortunately circumstance – justified, doesn’t mean it’s something to celebrate. At least not in that way. Instead maybe we should hold our family and friends near, recognize those that didn’t live to see the day in which, as Obama put it, “justice has been done.” Don’t cry about it, for God’s sake, but take it easy. Reflect joyfully, and be optimistic for a future where retribution isn’t the reason to cheer. Where we don't have to murder murderers, because murders aren't so.<br /><br />Like probably every one of you, I’ve sat through enough enervating sermons to have wandered to the “Psalms” section of GATES OF PRAYER and noticed—with some sort of misplaced, puerile glee – all FOUR verses of “America the Beautiful” written out. And to think, our Elementary Schools teach us but one—and definitely the weakest—of these noble stanzas. The one I turn to now seems particularly apt for this moment of national celebration and memory:<br /><br /><span style="font-style: italic;font-size:85%;" >O beautiful for heroes proved<br /> In liberating strife.<br />Who more than self their country loved <br />And mercy more than life! <br />America! America! <br />May God thy gold refine<br /> Till all success be nobleness<br /> And every gain divine!<br /></span><br />Nifty little verse, which stirs a prayer in my heart:<br /><br />It is beautiful that our heroes—our servicemen, our municipal workers, our parents, children and friends—after nearly a decade of travail and sustained effort to fight for the cause of liberty, have proved their cause to be just. America! It is incredible to reflect on the country that is ours. May God continue to grant us pure wealth, the wealth of a life of freedom, and let our heroes’ successes be the hallmark of our unique and amazing country. But only when our success is NOBLENESS, when we are proud of both our wins and of <span style="font-weight: bold;">the way we win</span>, will we have truly—and indelibly—won.MattNathhttp://www.blogger.com/profile/15357088957356108002noreply@blogger.com0tag:blogger.com,1999:blog-32565345.post-24440333794498008642011-01-25T11:45:00.000-08:002011-01-25T11:51:52.214-08:00IN/CIVILITY...<br /><br />Following my post on Commodore Palin, and after reading Brian Lowry’s column last week (<span style="font-style: italic;">Variety, January 19, 2011</span>), as well as much commentary on Armond White being literally the devil (http://www.nypress.com/blog-8067-connect-the-dots-how-to-criticize-a-critic-when-he-doesnt-play-the-game.html; thanks Joe), I thought I should opine—because my self-aggrandizing, flabbergasted self thinks such things—on the idea of ‘incivility’ in film reviews. I’m talking about the bitchy, caustic climate of online reviewing, altered indelibly as “amateur” film buffs worldwide have access to (however poorly-read) platforms for their ideas.<br /><br />Twitter gives Joe the Plumber a voice after he belched his way through FURRY VENGENCE (‘genius!’), and lo if I had a blog back when I realized BOYS AND GIRLS: SEX CHANGES EVERYTHING (starring Freddie Prinze Jr, 2000) was the first portend of the prophesized end of human society. Friends have recently given me shit for switching to the Jets (<span style="font-weight: bold;">a decision three years in the making, assholes</span>), but I’ve long received guff for a perceived negativity in my movie reviews. When I admitted to someone I hated BLACK SWAN, another friend issued the caveat: “but that’s okay, because you hate every movie you see.” Aside from its outright inaccuracy (don’t make me enumerate, again, the list of movies I ‘liked’ over those I did not like from last year --the ‘likes’ far outnumbering), I always fail to understand these sorts of comments: there is just simply a lot of shit out there and I know what I like and what I don’t.<br /><br />I guess, though, I do understand a perceived negativity but I think it comes not only out of rhetorical style but also a particular psychological bias on the part of many moviegoers. Starting with rhetoric, yes, I’ll be the first to admit: there’s a certain annihilating flamboyance to my writing: at it’s lightest, a penchant for hyperbole; at it’s most hyperbolic, a douchebaggy cockiness that thinks it knows better than everyone else. After all, it’s not like I directed TITANIC, who am I to say AVATAR is a partial birth abortion of a sapphire fetus? Filmmakers, even bad ones, contribute SOMETHING – a ‘work of art’ or at least a reel of moving images – that didn’t exist before. Criticism, at least chronologically, comes after the abiogenesis of the “something” -- and so, because it doesn’t stand on it’s own, it is more reflexive to societal trends, individual tastes, and general <span style="font-style: italic;">a priori </span>deductions than filmmaking is itself.<br /><br />As an example: as my friend Adam pointed out to me yesterday, a few early reviewers called TRUE GRIT “good but not one the Coen’s best” and this stance has been subsequently bequeathed onto the critical community, and its readers, at large (until, perhaps, today -- with the Oscar nominations giving credit indeed where it is due. Winning’s a different story.) Maybe, and this is certainly up for debate, this is true -- but the truth is wholly besides the point. To repackage all this: critics comment not only on a particular piece, but the entire EXISTENCE of that thing, its coming-into-being, its “hype,” its historical significance, its ‘worth,’ its flashes of nudity. This isn’t the crucible of art, but of journalism, and thus there is a level of discourse that can definitely seem hostile, inhospitable, even ‘bitchy.’ It’s true, as Lowry points out, “On the internet, it’s often difficult to get noticed without raising one’s voice” and while that is a timely and dulcet lament, I’d counter with what I tell my parents when they can’t work the ionic breeze we bought at Brookstone – deal with it. This is the way of things, this is how communication sounds right now, so we either whine about how great the record player picked up those deep tones or we talk about how to maximize and learn to operate under the latest dispensation. I’m not dogmatically for “Out with The Old,” I’m just pointing out that a LOUD VOICE doesn’t necessarily mean one without points to make. It may be a bit grating, or self-congratulating, but being ebullient or dismissive doesn’t necessarily mean being uncivil. It CAN mean this, for sure, but doesn’t have to. And even if it’s a bit uncivil, in the sense of being a bit brasher than ‘polite society’ generally permits, so what? Even though I think BLACK SWAN is the most egregiously overrated, actually-shitty movie of the year, I don’t think all the people who liked it are moronic assholes. I’d never say this. Loudly saying my opinion on the film, even obstinately in an aghast state, isn’t an attack on you. Feel confident enough in your own tastes to not let the taste of some douche on Facebook offend you so personally.<br /><br />So we are dealing rhetorically with a problem of “mood” – modern English, lacking a working subjunctive, doesn’t suitably moderate “I believe this movie sucks!” in the way that, say, Spanish would. But we are also dealing with (I mean ‘I believe we are dealing w-- – oh fuck it) a psychological bias, whereby people seem to LIKE more than they DISLIKE things they spend time and money on. I know that’s offensive and ego-dystonic, but I happen to think it’s true. It’s a bad habit – and one I’m often guilty of myself – but (relax) it’s also understandable. Being of limited resources, and desiring generally a state of happiness, I want to feel my purchases are wise and time well-spent. But often I go to the movies and only eat half the large popcorn I paid for; often I have high hopes that are dashed by a mediocre film. This doesn’t make me a fool for having high hopes, and it doesn’t make me a snob for not “just going with it” because (‘after all’) it’s “only a popcorn movie” or it “was just supposed to be fun”. Popcorn movies are fine, fun is fine, not everything needs an elaborate and cerebral metaphor, in fact I wish LESS movies had central metaphors, but there is nothing to be ashamed of to acknowledge that BLADE TRINITY was BAD. X3 was BAD. MARIE ANTOINETTE was BAD. BLACK SWAN was BAD. I don’t regret seeing any of these in the theatres, because I try to only regret things that affect other humans, but I still think they blew major dick. Sue me.<br /><br />Lastly, turning back towards Armond White (NY Press’s infamously contrarian, but also ruthlessly intelligent film critic), there is the idea that amateur film criticisms somehow harms Criticism with a capital C because it lowers the discourse to that of a unmannerly fracas -- necessitating LOUDER VOICES, as we discussed, to rise above the fray. Granted, I speak from a defense position – and thank you for reading my blog by the way – but I think of it more as an affirmative defense. I think there’s something inexact with the pro-professional viewpoint: Tom Shales, Pulitzer Prize winning former Washington Post critic, points out amateurs lack of “training” and “standards” in Lowry’s piece – though I remember taking more than one film course in my fancy-person college and turning down more than a few sketchy Thai hookers in my travels (no standards-hah!). The question of course is WHAT IS AN AMATEUR (I do not get paid <span style="font-style: italic;">per se</span> for my criticism, but I do get paid by the greater film industry, and writing opinion is part of my job), but this is only half of it. I also think there is something more sinister with the argument that Joe the Plumber should stop tweeting and I should stop wanting hurricanes. It’s something even a bit totalitarian that limits speech because of what it does to other speech. If my thoughts are worthless, don’t read. Armond White is a big fucking asshole, but he’s smart, and even though I only agree with him 50% of the time, I read his column whenever I can. Mr. Shales, delightful for you and your four decade career as a professional critic, but I think the “great equalizing” effects of the internet/Facebook era should be regarded as a good thing, not just for finding an audience, but for advancing THOUGHT. More voices is never bad, until one of them forces you to listen. Be discerning with the opinions you read, not simply because you agree with them, but because you RESPECT them. Sure, this puts the responsibility on the individual consumer, and maybe that’s a lot for many of us to handle, but I’m not sure responsibility is a bad thing either. Think, act, vote, don’t complain.<br /><br />The word civility, commonly understood today as ‘politeness’ comes from the Latin <span style="font-style: italic;">civilis</span>, which means ‘relating to citizens’. Relating, exchanging ideas, building thought from the ground up. Why would we ever denote which of our civilians should be the ones to speak? Thus, it is in the name of civility itself that incivility has its place – being a bit rude but not purposelessly rude, confident enough to shout, wise enough to listen.MattNathhttp://www.blogger.com/profile/15357088957356108002noreply@blogger.com0