Thursday, November 17, 2016

He’s an idea so powerful

that we can’t destroy him by rationality.

Wednesday, November 16, 2016

Please, lord, let me get one more.

Hacksaw Ridge - 2.5/5
First half sucks, straight cornpone, Andrew Garfield with an accent stupider than his actual speaking voice; but that battlefield's a rager. Mel Gibson's directorial proclivities tend to be less about courage, in particular, but the endurance of courage over time. The difficulty of sustaining faith. Moral torture porn. Spiritual masochism. But he doesn't really talk about belief, to dive in deep; he just wants to show it, and for us to accept it. "Belief'd be a lot easier if, um, nobody'd question it," almost as if to say. There's almost an interesting parallel with the Japanese man's seppuku at the end – a strange belief that we don't relate to, but is true to them – but that just seems odd, other, while Desmond's belief is acceptable, no need to question. Test, yes, but not question. I have a great admiration for the morality at the center of this movie and I think Desmond Doss is an unbelievably heroic human being whom I greatly admire, but I just have this personal thing where I wish a sense of right and wrong didn't come from above.

I've come to bargain.

Dr. Strange - 3/5
That Dark Light Store At The Mall: The Movie. You know how Matrix pulled from obscure sources to make its ideas seem fresh? Dr. Strange feels like it's pulling from obvious sources to make its ideas seem fresh. It's nothing you haven't seen before – but that doesn't mean it's not still fun to watch. A rollercoaster's a rollercoaster, bro-bro. It's the story of most Marvel movies – half good, half 'wish it was better.' More concerned with building a sequel than building a story. But fun to watch.

Tuesday, November 15, 2016

All ratted up like a teenage Jezebel.

Hairspray (Original) - 2.5/5
What it shares with the musical (which I love) is that Tracy Turnblad is so genuinely enthusiastic. She just wants to dance and she ain't got reason to only dance with one type of person. Beyond that, a lot of the movie just felt like a reason for John Waters to pull out his record collection (which is fantastic). He wants to share his taste with you, good and bad.

Monday, November 7, 2016

'Post-war' lasts a long time.

Shin Godzilla - 3.5/5 
A tense political thriller, with some Godzilla. As my first non-Broderick'd, non-Taylor-Johnson'd Godzilla, this one that people claim is close to the originals in its attempt is closest to legitimately placing Godzilla as some impenetrable act of god. Doesn't matter so much how it got made, by human hands or no; it's here, and we've got to stop it. I think it does what a lot of American big-time movies fail to do, which is to infuse the proceedings with a genuine sense of hope (and an environment of desperation that hope needs in order to be effective?). I love that the ending isn't a celebration so much as a whole country going 'I need to take a nap.' And it's funny, being an American, seeing America portrayed as more of a 'bad guy' than Godzilla... not in that traditional American version of a Russian bad guy who's bad 'cuz bad, but through our power and reputation forcing people to make decisions they don't want to have to make. "Either you make the decision or we'll make it for you." We are not hope; we are what comes instead.

Et cetera, et cetera, et cetera.

The King and I – 2/5
I have no idea what this was about. The movie was at its most special when it was at its most Siam (the Uncle Tom's Cabin play was killer, dude), but the movie is about making the place more European? And then they're in love or some shit? Dunno, bro. Otherwise: Yul Brynner was having a lot of fun, but I didn't really care for the songs.

Monday, September 26, 2016

Something that doesn't make any sense

but does.

- and since 'removal from context' (as an unwritten and (eventually) unproven idealogue for this shithole) has removed me from any sense of what I've written and what someone else's written,

- Jesse, from the letters page of Vision #11, followed up by author Tom King with

"Because if it makes sense, if there's a one-to-one correlation between story and a priori or posteriori logic, then story serves no purpose. Logic is better, clearer. Ask any robot. But the problem is we're not robots, so logic doesn't quite fulfill us for some reason. Then this becomes the purpose of story. To get beyond logic, to not make sense. But when you do this, if what you write that doesn't make sense then doesn't make sense in some larger sense, then it's just gibberish or an exercise in self-love. So you have to write stuff that doesn't make sense, yet does. Does that make sense? Probably not. If so, great. But if still so, not so great."

Wednesday, August 24, 2016

You want your cake

because you want to shove it in someone's face. 

Saturday, August 6, 2016

There is only an American problem.

Selma - 4/5
I think it's great strength, and Reason For Existing, is that it gives better context to what MLK did. Not non-violent, but specifically non-violence in the face of violence. He's a match that walks up to a powderkeg, but waits for the keg to light itself.

Wear a necklace of rope, side by side with me.

The Hunger Games Part 3, Parts 1 and 2 – 2.5/5
Finally, this becomes the TV show it was always intended to be. 

Thursday, August 4, 2016

Manny, I think your penis is guiding us home.

Swiss Army Man - 4.5/5
This movie fits my worldview. So I can't help but to love it. I think it is making a great, sincere statement about finding someone to fart in front of, and it disguises its sincerity – or makes it bearable – within the ridiculousness of that selfsame idea. I think the directors, judging from this and their short 'Interesting Ball,' do a great job of asking a very simple 'yeah, but... why?' to long accepted states of being, both I think pointing towards fear of other people's opinions keeping you from finding inner peace, and pushing you deeper inside your own self and away from others. It's telling (and subtle!) that the little girl is the first one to really judge them. Shit starts young, when you're told totally natural things are gross and icky. Self-confidence goes down with the crapper. Jesus, I apparently have a lot to say about farting. Fuck it. They've made a very stupid thing that means a lot to me.

Tuesday, August 2, 2016

What fresh fuckery is this?

Sisters - 2.5/5
Strong middle! Its beginning lays out backstory in straightforward statements. Like it's rushing to get started. I'd rather it just... rushed to get started. I'm confident you could lop off the first 20 minutes and you'd be fine. The characters explain themselves in the doing versus the telling. And the middle lets them be interesting and fun and I think the movie's success is that it goes beyond Sisters and becomes more about Old Fuckers Getting A Chance To Party Like High Schoolers. And that's fun! And then the Sisters stuff comes back and there's an emotional end? and it's pat and resolute and undeserved. Because the movie doesn't care! It just wants to have fun, but it has to pretend to be a movie. In the way movies have beginnings and endings. Fuck it. Would watch again in the background.

Sunday, June 19, 2016

A love song dedicated

to self-hate. 

Tuesday, June 14, 2016

What good's a finger if your arm is falling off?

Maggie – 1.5/5
Here is the story of a man playing with his camera. I wonder if 'Tree of Life' yet has reached the same cultural priesthood as Led Zeppelin: first to market & way too easy to rip off. You've learned how to strike all of the same chords, and yet you've reduced it of all meaning. As the camera glides over the windowsill, a morning's light knocking gently to be let in, a thought enters instead: 'Hey, there's dust on the window. Huh huh. Cool.' Such emotional posturing! My god. Man, this director sucks. I've got a boner for Old Man Arnold, but he's at his best when he's allowed to be some fraction of himself. Sad Unspeaking Arnold shows that there's just some inherent Movie Star God inside him, but any time he's asked to speak, they didn't bother to change the script to match who he inherently is. Man, this director sucks. I guess the story makes for a half-interesting 80's-era parable for AIDS?

I've finally lost track

of whether I've written some of these posts, or if I've stolen them from somewhere else.