• Napoleon Of The Living Drunk

    The further I got into that plot summary, the more ???????? I got.

  • Napoleon Of The Living Drunk

    What did we watch?

    • Napoleon Of The Living Drunk

      On The Waterfront, Elia Kazan
      This movie is famous for being pro-Commie snitching (also because Brando coulda been a Nintendo); the broad applicability of the idea of saying the right thing in the face of overwhelming apathy and danger, the casual naturalism in both Brando’s acting and the style, and the basic dramatic power of the story all very nearly overcome the preachiness of that. The visuals are often deceptively complex, filling a shot with as many faces as possible so that our eye jumps from one to another.

      (This ties into something small you don’t really see anymore, where the extras feel as real as the main people. Extras often feel as if they exist on a completely different plane of reality to the heroes in modern movies)

      Brando is fascinating as Terry; he’s clearly someone who is thoughtful but not smart, which is what makes him such an attractive figure; Brando sells that he’s prideful, cynical, and ultimately morally decent – it’s as much a point of pride for terry that he speak up as it is the right thing to do.

      I recall, for my first watch, keeping an eye out for that iconic “coulda been a contender” speech, only to be so wrapped up in the story I nearly missed it when it happened, which happens to me a lot with iconic lines from classic movies- I also recall watching Apocalypse Now for the first time and being shocked to discover that Robert Duvall delivers “I love the smell of napalm in the morning” almost offhand, rather than the hammy camp everyone quotes it as. It just shows how much harder modern movies try to be iconic.

      Ownage: Most of it is offscreen, but the climax involves Terry getting the piss beaten out of him, then standing anyway.

      LOST, Season One, Episode Eighteen, “Deus Ex Machina”
      “This island changed me. It made me whole. Now it’s trying to take it back, and I don’t know why.”

      “Dude. Looks like someone steamrolled Harry Potter.”

      Locke’s dream is the exact sort of shit I come to this show for, balls-out weirdness with a fucked up refrain, “Theresa falls up the stairs, Theresa falls down the stairs”. It amuses me that dream!Boone was outwardly cynical and belittling, while real!Boone seemed more accepting of Locke’s ideas. I find myself wondering how much of the story came from the way it was written – did the writers get frustrated trying to figure out what to do next, and allow this to be projected onto John and the way he gets new information? If they didn’t get the idea of the dream from a dream, did they get it from dreams they’d had in general? The light in the hatch, however, is a pretty straightforward “most intrigue from the smallest amount of creativity”, no negative connotations intended.

      The flashbacks are our first introduction to Anthony Cooper, Locke’s father, and once again the daddy issues form an acceptable basis for a story; it’s a small part of Locke’s overall neediness, and it’s sympathetic while still allowing Locke to be pretty pathetic.

      I really appreciate the acting on this show – I think especially of Ian Somerhalder’s sudden reaction to Locke knowing who Theresa is, and the fact that in scenes like any Sawyer/Kate/Jack scene, you can see characters reacting to and building up ownage. Matthew Fox makes the interesting choice of not spelling out that Jack is busting Sawyer’s balls, even after he’s caught out – it feels like this is something that doesn’t come naturally to Jack, and he’s really just lost all patience with Sawyer and trying out something new to deal with him.

      Sayid forging Sawyer’s reading glasses makes a cool moment of community for the survivors.

      Ownage: Jack owns Sawyer with jokes, Hurley gets in that great line.

      My writing
      Started tooling about with Myers-Briggs shit again, and it seems like a useful jumping-off point for coming up with characters – generally speaking, it’s an easy way to come up with a diverse set of moralities by connecting a personality type to a specific role (e.g. cop), and in this specific sense, I like the idea of using it to generate action for my three protagonists, the same way the protagonists of Zodiac all have the same morality expressed in different ways (and this is all such an INFJ way of looking at it).

      • Cennywise The Ploughn

        On the Waterfront is my go-to example for art being able to overcome its intentions. Kazan could have publicly told HUAC to take a flying fuck at a donut, made the exact same movie, and it would be praised as a justification of that stance. I went on a big Kazan kick some years ago and the more I learned about him, the less I was enamored by him, but I still like the movies.

        • Conor Malcolm Crockford

          Kazan was, uh, kind of a dick.

          • Cennywise The Ploughn

            I read one of his thinly-disguised autobiographical novels and even his fictional version of himself was kind of a dick.

          • Son of Griff

            His straight up autobiography is an out and out confession to every extramarital affair he ever had, in surprisingly explicit detail in some cases. All of this seems calculated to convince the reader that he is being open and sincere, and, by extension, his testimony and subsequent defense of the HUAC was genuine. What a schmuck!

          • Cennywise The Ploughn

            In Jeff Young’s Kazan on Kazan he physically passed out when confronted with a pointed question about his dealings with HUAC (why, if he believed in the cause, he didn’t give them names they didn’t already have). Whether this is an indication of a tortured conscious or an extension of a body conditioned to reject any questioning of himself as moral authority, I have no idea. Young has an amazing amount of sympathy for the guy (especially considering his own uncle was blacklisted) but Kazan couldn’t help but come across as a schmuck, as you say.

          • Son of Griff

            The question Young asked him lies at the heart of determining Kazan’s sincerity, and man, did Gidge fail it when confronted with it.

        • John Bruni

          Barbara Loden, Kazan’s wife, made a film, Wanda, that’s as good as, if not better than, any of Kazan’s films.

      • Conor Malcolm Crockford

        Have you seen Kazan’s other movies? He’s probably my inherent favorite of the directors of the 40’s/50’s along with Ray as his naturalism balanced with melodrama feels like it creates the studio dramas of the next 30 years. Amazing filmography.

        • Napoleon Of The Living Drunk

          I haven’t! Which would you recommend?

    • hellgauge

      Leningrad Cowboys Go America (re-watch): Actually surprisingly similar to Kaurismäki’s usual MO, just with a very different setting and with music. Obviously the tone is a bit lighter than usual, but all the stoicness in the face of hardship that one comes to expect is there. Ditto the coping. What impressed me the most is what Kaurismäki does with the American road trip format. More specifically, what his eye (the camera) sees compared to many other filmmakers. Perhaps not so surprising given his more recent work, but when leaving the more ethnically homogeneous Finland behind his usual class sympathies extends also to considerations of race and culture. This is still a bunch of white guys traveling around the US, but the kind of people they encounter (for the most part) is a lot more true to life and especially more true to the specific places they go, compared to what what you might expect to see in a film like this. The unglamorous portrayal of the band then also avoids most accusations of appropriation and saviordom. However, most importantly (and ironically given the response of the various audiences) the music kicks ass.

      [I’m fairly certain I saw this before, but it’s been more than 10 years and the only thing I remembered was the hairstyles.]

      Vanishing Point (Ruiz): Curious fragments. I’m not sure it added up to anything, but I mostly really liked watching it. The multiple languages spoken and the weird grandiosity of some of the conversations suggest an otherwordlyness and an almost godlike quality to the characters. Sold as a kind of B-side to City of Pirates the two films have almost nothing in common except for being shot in some of the same locations and a general penchant for the obtuse. At 78 minutes, there’s not too much time to get bored even if you don’t like it. Which I anyway did.

      American Vandal: Pretty entertaining as a spoof and has some decently insightful things to say about the silly aspects of High School, but I found myself most impressed by the way this uses Instagram and Snapchat videos as a tool to depict the various events where the supposed documentary crew would not have been to film. It just feels so naturally embedded in the narrative and gives this a life that it could easily have lacked.

      Graduate First: French Graffiti (kind of). Too often there seems to be a certain hesitation when depicting youth in films. An unwillingness to let loose and just depict teens “going wild” without then aestheticizing it in a sheen of excess. As if to say, if we show something that we on some unconscious level feel is bad, then we have to also put in some device that allow us to distance ourselves from it. In this film, Pialat just lets these kids loose. Again, his observational style leaves it to the audience to make any kind of judgement. The teenagers are just living their lives and we’re just witnessing it. Based on the two films I had seen before this one, I wouldn’t have expected Pialat to be a good fit for a story about young people, but it’s really very effortless. The style is mostly the same, but it’s a bit more dynamic than before (using freeform handheld several times). This aspect, and some of the shots on the beach, actually reminded me of Out 1 and it turned out that the cinematographer is the same.

      In any case, this is just a terrifically made and acted depiction of young people struggling with the transition to adulthood, but from a more working class perspective than usual. It’s the same questions posed, but with way less options for the future. Pialat is as cynical as ever in this depiction and there’s some real heartbreak contained within tiny moments (a true gut punch is delivered by one phrase and a quick pull back reveal towards the end of the film, lasting only a couple of seconds before cutting away), but it’s a really emotionally respectful portrayal as well.

      There’s not too much to say really, but I just keep liking each Pialat film more than the next. Without drawing much attention to the particulars of what he’s doing, he clearly carved himself out a niche as a filmmaker dealing in a particular kind of realism soaked in brutal honesty, with sparse stylistic touches. Though the comparison falls through in several ways, and I anyway need to watch more films by all four before making any definite claim, Pialat strikes me as the Naruse to Rohmer’s Ozu. I’m not sure I can think of a better compliment other than to say that I really loved this film and am increasingly excited about the continued exploration of Pialat’s filmography.

      • I keep coming back to the cinematography in Out 1 as something really key to its success. For a film whose shots are often ostensibly improvised and handheld in a way that doesn’t often yield compelling imagery when deployed in, say, American indie films, there are a ton of shots that have stuck with me in the weeks since I watched the movie. There are some really striking images in the film, and a lot of what’s staying with me from the movie is on a purely visual level.

    • Stage Fright (2014) – I was really looking forward to a fun slasher-musical but while this has plenty of good individual elements, it feels like a mess overall – and a slightly irritating mess at that. I enjoyed seeing Meat Loaf in a fairly sizeable role for the first time in a while though (the first live concert I ever went to was Meat Loaf!)
      Hellraiser III: Hell on Earth – I love the engagingly horrible vibe of this series, and as of part 3 I am still fully on board with it. This one moves from England to the US, turns up the action content (so many explosions!), gives Pinhead a LOT of dialogue and backstory and throws in a Motorhead theme tune, but it still feels like a decent expansion of the same world, and I had a blast with it.
      Over the Garden Wall – this has become an annual rewatch in my house around this time of year, and this year I upgraded to the blu-ray which let us see the excellent pilot for the first time, and a cute making-of featurette too. I really think this has some of the best design, music and voice acting in any animation.

      Plus:
      Rick and Morty, season 3 finale – a solid end to a slightly underwhelming season. I really liked the vibe of this episode, the all-out action worked for me and the evolution of the family chemistry continues to be interesting.
      Bojack Horseman, season 4 episode 3 – I watched this after Rick & Morty and as much as I enjoy that show, it’s no Bojack. This wasn’t even a top-level episode but I enjoyed it so, so much. Todd is great.

      • I think Rick and Morty now has the worst fanbase of any show (& I say this as a fan).

        • Yeah, I’m realizing this more and more. There are some unimaginably shitty sections of the R&M fanbase, and they’re increasingly taking up a lot of the conversation around the show. I kind of worry that the show is inviting this sort of thing, too… I keep returning to the “You’re not evil, you’re just smart” line as the typical kind of indulgence of that angry, self-congratulatory internet culture.

          • And they miss that, as genius and carefree as Rick is, he’s still often miserable and destructive to people around him, and he actively avoids self-improvement. Hell, in one ep, he’s so much happier with his toxic self removed. But why in the hell would fans storm McD over the szechuan sauce? The whole point was that otherwise smart people waste their time obsessing over stupid stuff.

          • Napoleon Of The Living Drunk

            People fall in love with a guy for his ruthless individualism, and celebrate it by doing exactly the thing he did. Go figure.

          • His name is Robert Paulson.
            His name is Robert Paulson.
            His name is Robert Paulson.

          • You’d think after almost two decades of antiheroes on TV, people would have learned their lesson. But again, as I said, I think R&M is sometimes a little irresponsible with how it treats its antihero.

            Then again, maybe I shouldn’t be surprised. Look who’s president.

          • Napoleon Of The Living Drunk

            If there’s any lesson I’ve learned from TV, it’s that nobody learns lessons from TV.

          • That almost sounds like a R&M moral, and I approve.

          • “Nobody exists on purpose, nobody belongs anywhere, everybody’s gonna die. Come watch TV.”

          • Never underestimate the ingenuity of stupid people. Put another way, we don’t seem to be able to idiot-proof bottles of medicine, so I don’t think we can do it to our culture either.

          • Ugh, yes. What the fuck is up with that? It was a silly, funny bit from an episode; why would people ruin that by being actual dicks about a fun tie-in?

          • hellgauge

            Yeah, that line is one of the few times where it really felt like the show was aligning itself with Rick’s point of view, to its detriment.

          • It’s also kind of a stupid line. Like, evil and smart are not mutually exclusive.

          • ALSO, can we talk about the show’s evolving depiction of Jerry? At first, Jerry was the worst because he used his timidity as a way to mask/justify his really shitty actions, but more and more, I’m feeling like we’re supposed to think he’s the worst just because he’s weak and dumb, which sounds like a kind of ugly way to take that (and feeds the whole “beta male”/”cuck” thing that stupid corners of the internet are obsessed with). I mean, Jerry still does shitty things, too, so I dunno. Maybe I’m just being sensitive here. But I’m starting to be apprehensive about a lot of the directions this show is going.

          • hellgauge

            I don’t like Jerry as a written character most of the time. If there’s one thing I have no patience for, it’s characters who seem to function as nothing other than punching bags for the rest of the characters. Whether there are reasons for it (like with Jerry most of the time) or not (like Jerry on Parks and Rec). It just seems so lazy and mean-spirited to me.

          • I like what they did with Gerry on Parks and Rec because they made him such a winner in everything but his work life.

          • Cennywise The Ploughn

            He’s also a reminder to people (…like me…) that being good (or even competent at your job) is a positive but shouldn’t have to be the end-all be-all. You can be a nice guy and then be a nice who’s good/bad at their job.

          • hellgauge

            That helped, but it came pretty late in the game and felt like the writers realizing what they had done.

          • It wasn’t so late in the game–I think they started pushing back in maybe the 3rd season.

            But I see what you mean. It’s still pretty mean.

          • hellgauge

            It’s been a few years, but what I remember is that it started out around then mostly as “Jerry/Gerry has an unexpectedly attractive wife… huh?!” and then it took a while more before they started showing him as a genuinely happy person with a great family and home life, no matter what the situation at work was.

          • Hm. You may be right. I kind of remember the hot wife and the characterization of him as a happy person with a warm family came together, but maybe there was a delay.

          • Miller

            I remain an unabashed fan of crapping on Jerry (which only works because of Jim O’Hehir’s perfectly pitched dorky avuncularity), the show was full of nice people being nice and it needed this outlet of meanness. And Jerry can take it! The episode where Tom becomes Jerry and is nearly broken until Jerry resumes his role is a fun commentary on this. Jerry is great and crapping on Jerry is great. And anyway, the true loser of the show (who got crapped on less frequently but with more cruelty, and therefore hilarity) was Kyle, I think even Jerry treats him with disdain at one point.

          • Cennywise The Ploughn

            The early-ish episode where everybody decides they’re going to be nice to Jerry – followed by a sequence of physical comedy by Jim O’Heir where every move is something worthy of mockery or frustration – is one of my favorites of the series.

          • Rucker and Cohlchez vs. Evil 🌹

            “Can you imagine what Tom would say?”

            CUT TO: TALKING HEAD

            LESLIE (as TOM): Damn, Jerry, you fell in the creek for a burrito?! What would you do for a Klondike bar, kill your wife? *shit-eating Tom grin*

          • Miller

            Hee hee, this is what makes Jerry so indispensable, he is That Guy to the point where not just his actions are knowably dopey but the reactions are immediately predictable as well. And that is necessary! Mocking Jerry is a lodestar in an unstable world. I’ve been rereading old Fire Joe Morgan blogs from Mike Schur and Alan Yang and the concept of dumbass setup/withering mockery is intrinsic to the form, it is a comfortable thing that produces its own humor. Parks and Rec eventually moved away from certain workplace comedy conventions but that kind of stability is how people at work with each other survive.

          • Napoleon Of The Living Drunk

            I come down on liking Jerry as a character, but now you’ve said that I can’t unsee it.

          • Conor Malcolm Crockford

            Well…yeah, he’s the worst because he’s weak and dumb. I don’t really like dumb, weak people, especially the ones who fuck everything up for other people.

          • Rucker and Cohlchez vs. Evil 🌹

            Yeah, it’s not just that Jerry is dumb and weak, it’s that he often still tries to be self-serving and manipulative of the other family members. If he was dumb and weak but still devoted and strove to do the right thing, I would hate him less.

            I did get a little more of a sense of appreciation of him after the last episode, where I recognized that he has value to Beth and the kids not despite his limitations but through them. If you’ll allow me some leeway here, since people often talk about how drug-inspired many of the R&M adventures seem to be… Rick’s adventures are the drug trips, and life with Jerry is the baseline, what you have to return to in order to keep a sense of perspective and not risk losing one’s mind. He keeps the family anchored in mundane reality. (Whether or not that is a good thing is up to each viewer to decide.)

          • I’m fine with the show if it’s tearing him apart for being self-serving and manipulative in his dumb weakness, as @ruckcohlchez:disqus talking about. I’m just getting apprehensive that the show is starting to despise him because he’s inherently dumb and weak–again, maybe I’m just letting my own speculation make me gun shy, but there’s this undercurrent in the show that casts people in hierarchies, where the “smart” people are on the top and somehow better than the rest, and I have deep issues with that (if, in fact, that is actually an undercurrent in the show, which I’ll allow it may not be).

          • Rucker and Cohlchez vs. Evil 🌹

            I’ve never felt like it was just that Jerry was dumb and weak; it was the ways he manipulated people or allowed himself to be manipulated through that (going along with the plot to have Rick killed, for example) that made him someone worthy of derision and not to be admired.

            Ironically, I feel like there’s a corollary to what you’re talking about that’s happening in the fan base: The idea is spreading that since Rick is obviously an asshole and bad, that since Jerry is opposed to him, he must be good. And I think the idea that being passive = being virtuous is both untrue and dangerous.

          • Wow, I haven’t heard people in favor of Jerry–that’s nuts. Straight nuts.

            Anyway, like I said, I could just be projecting my apprehensions about the show’s handling of Rick onto Jerry here.

          • Rucker and Cohlchez vs. Evil 🌹

            I have seen the pro-Jerry position increasingly on both the AV Club and the Avocado. They’re like “He’s just a normal guy who wants to live a normal life,” which makes me wonder if they can’t see how his passiveness and manipulativeness are negatives, or if that’s just sort of the baseline of how they see humans existing, or what.

          • Yikes. I guess he’s a normal guy, in the sense that he’s a piece of shit.

          • Rucker and Cohlchez vs. Evil 🌹

            I think the problems with the Rick and Morty fanbase are wildly overstated by people who seek out the worst elements of it, and it’s as much their fault that those fans are “taking up a lot of the conversation around the show” as it is the fans themselves.

          • I don’t think the characterizations of the worst parts of the fan base are “overstated,” but it’s possible that my feeling that they’re “taking up a lot of the conversation” is a consequence of selection bias, since I’m a high school teacher and have to listen to teenaged boys talk about this show.

          • Rucker and Cohlchez vs. Evil 🌹

            Oof. That would color my perceptions too.

            I don’t mean that the behavior is overstated in its shittiness (I get wanting souvenirs from your favorite TV show, but chasing a flavor of corn syrup you didn’t know existed until a TV show told you about it is dumb, and being violent towards and harassing people over it is much worse), I mean that I think their numbers as a percentage of the fanbase are smaller than people think.

            At least online, a lot of what I’ve seen amounts to people looking at whatever subreddit hosts the worst part of the fandom, declaring that the show sucks because of those fans, and declaring how much cooler and more mature they are because they never liked the show in the first place. It strikes me as a combination of multiple things I hate: painting a group of people with a broad brush, judging a TV show by things beside “What appears on that TV show,” and performative wokeness.

          • Well, I haven’t ventured onto Reddit–my opinions on the fanbase are mostly based on FB friends and FB friends of friends, in addition to what I see in my students. But I get what you mean about characterizing the whole show based on its fanbase, which I agree is unfair.

          • Miller

            This is not charitable, but if I hear about a fan base being dicks, I don’t care about the show. I don’t have time to care about the show (and for fairness, I have seen maybe three episodes of Rick and Morty, all first season, and liked them a lot). A person being a dick about TV in real space and real time forfeits arguments about that TV. Fuck them. And, while I draw a hard line between shows and fandoms, I have limited space and time myself and on general principle of avoiding assholes, will stay away from their rallying point.

          • Napoleon Of The Living Drunk

            It’s annoying, but you’re right – the first time I tried Steven Universe, I was neckdeep in the worst parts of the fandom, and every frame of it I could hear them screaming their vile bullshit in the back of my head and I couldn’t see the show. When I tried it again this year, away from the fandom, I could see the show and not hear them.

          • Rucker and Cohlchez vs. Evil 🌹

            I have the same problems with some shows. (I don’t think I ever would’ve checked out Steven Universe*, because it’s a children’s show, and because Drunk Napoleon’s reviews made it sound like a show that was free of conflict to the point of being irritating, but the insane fan reactions when they didn’t get the ships they preferred was a huge turnoff, too.)

            That said… Since you’ve already seen a few episodes and you really liked them, why not watch for that reason?

          • Miller

            Laziness! I have Netflix and that’s it for TV-watching purposes. Maybe I’ll go back to Hulu at some point but they pissed me off before.

          • Fandoms in general weird me out. Liking stuff is awesome. Finding a community that likes the same stuff is even awesomer. But there’s a line where people obsess over it and organize around it that creeps me out. But we’re reached a point where some little girl can’t google My Little Pony without her parents having to worry about some fucked-up cartoon porn of her favorite horse. Even the single-mindedness of Harry Potter fans (for a franchise I enjoy) is unsettling to me. It rubs up against (& probably confirms) my innate skepticism of mass movements

            Shows are not required to give you anything; fans are not entitled to the show they want.

          • Miller

            I believe your last point entirely. I’m a generally passive consumer of entertainment, I’ll bitch about something going in a direction I don’t like, late-period Parks and Rec comes to mind, but I wasn’t firing off angry e-mails to Mike Schur. But this seems to be slipping from the default position on consuming entertainment. And it’s not like it was always the case, I would guess that increased distance between storyteller and audience allowed people to create “disappointing” art with fewer repercussions, while the caveman telling tales around the campfire absolutely needed to play to the audience lest he find himself on the wrong end of a club or sabre-toothed tiger (and hell, look at Conan Doyle having to bring back Sherlock not so long ago). But those boundaries are collapsing again.

            I don’t trust mass movements either and I don’t trust mass-directed art (mass-collaborated art can be another matter). Watching something made by a person or group of people with a shared vision is unique and Not Me, that’s why I like it. And someone who disagrees and makes their own version via fan fiction or whatever is also making something unique. But the directed mass entitlement changes entertainment from something created by people under constraints into something shaped by whoever is yelling the loudest. I don’t need any more shitty improv nights in my life.

        • PCguy

          I didn’t know anything about Rick and Morty until yesterday. What I’ve seen since is highly disturbing. Look at this. There’s no other explanation for this other than that it’s hysterical behavior combined with a desperate need for instant gratification through consumerism.

          http://www.youtube.com/embed/fF0ReXhNzbc

          • I think R&M is brilliant, and this stripe of fandom might be very small. But it’s the worst of the GamerGate behavior all over again. Self-entitled nerds, demanding to be catered to, bringing internet trolling to real life by being “ironic”. First they attacked the show over hiring female writers, now harassing McD’s employees over a corn syrup concoction? Not screaming super-genius to me. https://www.youtube.com/watch?v=-GC5rAX0xHg

    • Star Trek: Discovery – The Vulcan Hello, or Sales Pitch for CBS All Access. Because it’s only half an episode and the other half didn’t air on CBS proper. That does not affect the quality of the show, but it does make me want to slap someone at CBS. It does, however, stop at a very awkward moment for a first episode of a show that has a lot of heavy lifting to do. It wasn’t bad, and had two standout performances from Doug Jones and Michelle Yeoh (why isn’t she going to be on this series every week), a good performance by Sonequa Martin-Green, strong FX, and some interesting ideas. But even putting aside my Trekkie tendency to nitpick about costumes, timelines, and Klingons, it was a bit slow at points, somewhat clumsy, had a lot of underwritten supporting characters, and one really unsuccessful performance by James Frain (who I love on Orphan Black but who really didn’t bring the gravitas we saw from both Mark Lenard and Ben Cross).

      In short, there is enough hear to make me keep watching, but it hasn’t really impressed me yet as either standalone space opera or as Trek prequel.

      Star Trek – Mirror, Mirror – Meanwhile, 50 years ago Friday the mirror universe was born, an idea not original to Trek but one that has long since entered the lexicon of SF fans because of this. Trek alone has revisited its dark mirror several times on successor shows and in far too many book and comics, occasionally to great success (Diane Duane’s Next Gen version stands out). But the original is still the best. Occasionally clunky, far too frequently sexist, but otherwise a deserving classic with one of Nimoy’s best performances.

      The Good Place, Chapter 17 – The status quo for the season is finally in place. After three frantic chapters, this one slows down a lot and that works. Now the question is, will the new status quo work? So far, so good, even if once again I question how much Ted Danson (fine actor he might be) is taking over the spotlight from Kristen Bell.

      • Cennywise The Ploughn

        I read that Diane Duane version! Since TNG never had a “Mirror, Mirror” episode (strangely, you’d think it would be one of the first ideas to cannibalize after “The Naked Now”) the book filled that niche nicely.

        • I had the feeling that the producers of Next Gen just never had a good idea for what to do. Judging by the DS9 stories set in the mirror universe – a friend called it “the timeline were everyone is into BDSM” – , I think not doing it on Next Gen was not a bad idea. Though yes, Duane covered the ground very well (and went in a direction DS9 never considered).

    • Babalu-ghost

      Society (1989) – This movie gets it.

      This is one of those movies that exists for one reason, and puts all its resources into doing that one thing really well. Which leaves most of the movie as a bit of chore, with poor acting, dull locations, and an inconsistent tone. But my god, does it do that one thing well. The incredible goopy climax is equal parts disgusting, disturbing, hilarious, and just a fascinating piece of craftsmanship. There’s times when you’re pulled entirely out of the movie wondering how they pulled off some of these effects.

      • Miller

        Arrgh I keep being reminded I need to see this and then forgetting. Maybe this will stick!

        • Babalu-ghost

          It’s on Amazon!

      • PCguy

        See, I love the pacing in this movie. It’s the boredom combined with these odd little moments (the uber-creepy shower scene [seriously what are you doing in there] and the Japanese gardener putting the slugs on the topiary with chopsticks) that punctuate the film and tilt the stage to the wacko finale. Like many of the films of Miike this one has truly internalized the rule that if you can shock the audience with the beginning or the ending they aren’t going to care about what’s in the body of the film.

        • Conor Malcolm Crockford

          Same here. I quite liked all these reminders that something is very wrong here and it puts you right in Billy’s mindset.

      • It’s a brutal sport, one of the things I don’t like about it.

        But some injuries just happen because humans are brittle. Humans like Watt and OBJ. It’s a real bummer that both keep getting hurt.

        • Agreed. Yesterday just seemed like one of those moments where probability lined up and dumped a whole load of shit on everyone.

          • Probability and Mike Pence.

          • Good point. I see no reason not to blame him for everything.

          • Cennywise The Ploughn

            Amazing how fast he went from “This is what freedom sounds like” to “My notion of freedom is so fragile it can’t withstand being questioned for 120 seconds during a compulsory reinforcement exercise.”

          • Also, for someone who doesn’t like protesting during the anthem, he sure was willing to protest during the anthem.

        • PCguy

          Football is in a strange place right now. The game is more violent and injurious than ever and yet players have been offered more and more on field protections. This weekend in my college game our #1 defensive back was ejected from the game for essentially delivering too hard of a hit. You can see from the players reactions to that sort of situation that there is an existential crisis over how the game is supposed to be played.

          While I wouldn’t go as far as to say that it was OBJ’s fault he was injured his style of play leads him into situations where he risks getting hurt. As a fan I think every young receiver should watch tape of Jerry Rice and try to emulate his ninja like ability to avoid contact after the catch.

          • The game is inherently violent and brutal, and I think you can’t play it without that element. (Personally, as I have gotten older and more of a pacifist, I have tried hard to stopping caring. It doesn’t work.)

            I think eventually someone will work out a new status quo. Sports evolve. It will just take time because football – like most things – resists change.

          • The constant lying about CTE by the NFL doesn’t help. Boxing is clearly more violent than football, but there’s no hiding its brutality. NFL hid it under pads & helmets. I think football should embrace its violent side, personally. Just be honest about it. Everyone gets amped over big hits. I’m not saying make it NFL Blitz, but just accept the fact that big men crashing into each other will hurt them, and they’re doing it for our entertainment.

          • Miller

            Whoa whoa whoa, let’s not turn away from making everything NFL Blitz so readily, NFL Blitz rules.

            In seriousness, I am extremely sympathetic to the idea of rugby rules football — take away the padding that doubles as assault and see how tackling plays out — while still being skeptical that humans can still play this sport. We eventually stopped bare-knuckle boxing, I feel the era of the 240-pound 6-2 linebacker will make football obsolete.

          • The move away from bare-knuckle boxing wasn’t because it made getting punched in the head more dangerous – it was to protect fighters’ hands. Hands are full of tiny, fragile bones, and sustained trauma to them can and will shatter them. You can see a change in punching technique with the advent of gloves – without, punches used to be in volume, overwhelming you opponent. Power punching really came into its own with gloves because you could hit harder with less risk to yourself. More detail here:

            https://www.bloodyelbow.com/2015/1/30/7885703/pugilistica-the-diaz-brothers-the-sweet-science-of-bruising

          • Miller

            Ok why do we not have a Daniel Mendoza movie.

      • Miller

        Where did you get that footage of Bills fans?

    • The Wailing–This was magnificent. Darkly hilarious, deeply unsettling, and surprisingly dense in the end, I enjoyed the hell out of it. I was wary about the runtime (over 2.5 hours), but I was riveted the entire time. And the religious overtones were rich and completely unexpected. Highly recommended.

      The Leopard Man–After Cat People, I guess the Lewton/Tourneur feline horror brand was bound to have diminishing returns. This is fine, but it’s nothing all that exciting.

      The Boss Baby–So… the animation in this is, like, really good? DreamWorks animation has always looked kind of shitty to me, but this has this amazing cartoon sensibility that’s like Tex Avery filtered through CG by way of ’90s Cartoon Network, and it’s awesome. The story is kind of meh (even if I admire the weirdness), but the presentation is top-notch.

    • BoJack Horseman – Catching up on it – about halfway through season 3. For some reason, it’s finally clicking with me. I was tepid on the first 2 seasons, and I’m still not in love with it as so many are, but 3 is great for me. The satire of Hollywood is still my least favorite part, and I continue to love Todd’s offbeat adventures (as someone who didn’t like Jesse on BB, Aaron Paul cracks me up here).

      Japanese Grand Prix – A faulty spark plug may have ended Vettel’s title dreams. Ouch.

    • Defender Of The Dark Arts

      Alligator (That title really needs an exclamation point) and The Blob (1988) (Also missing an exclamation point). While one is about a giant alligator terrorizing the streets of Chicago? L.A.? New York? (it’s never quite clear where it’s set) and the other is about an alien slime digesting the members of a small Colorado town, I was surprised by the similarities between these two movies.

      Both share extended sequences in the sewer and both totally kill a little kid for no apparent reason other than it was the 80’s and times were different. I liked them both. ‘gator had a more pronounced sense of humor, Blob was more graphic and went for the shocks.

      Stray Observations:

      1) Giant alligators hate limousines and will stop at nothing to destroy them!

      2) I liked how the clean-cut football star looked like he was going to be the hero until he wasn’t. That was a nice twist.

      3) Robert Forester was a real sport about his thinning hair line.

      4) Candy Clark and Jeffrey DeMunn would have made a nice couple, but they did get together eventually…in blob form.

      • Napoleon Of The Living Drunk

        Forster also has a line about his thinning hair in Jackie Brown. Dude apparently accepted it.

      • Miller

        Football dude buying it in The Blob is awesome, the downside is greaser dude is a pretty lame actor to stick with. But otherwise it’s a damn good and gory creature flick.

        • Cennywise The Ploughn

          Must attempt to break axiom… CELINE AND JULIE GO BOATING! THAT THING YOU DO!! THE ZAPRUDER FILM!

          • Miller

            If…!

          • Cennywise The Ploughn

            It!

        • A Talking Cat!?!!

          Hrm…

    • jroberts548

      Steamboat Bill Jr.. This is great. It maybe isn’t quite as funny as Sherlock Jr or Seven Chances, but in terms of spectacle-driven stunt work, it’s the biggest Keaton gets. He basically destroys an entire town. It’s worth watching solely for the sheer amount of chaos on screen. With all the chaos, two things especially stand out compared to films of today: the town more or less contains geographical coherence, and the actors have a real spatial relationship to the chaos on screen.

      Two other things stood out:
      – 90 years later, the generational dynamics are basically the same. The parents are worried that the kids are too soft to work in industries that are rapidly becoming obsolete.
      – His boat is named after Stonewall Jackson. This would be hard to disentangle, but I wonder how much early 20th century confederate romanticism is about the romance of the losing side and how much is about the Klan and white supremacy.

      Tv:
      The Gifted. This looks promising. Also, Amy Acker playing the mom makes me feel old.

      Film adjacent:
      Listened to the epic of Gilgamesh audiobook while commuting. It’s not actually as long as I thought. It’s pretty cool that the oldest written poem already contains meta commentary on how writing is like immortality. Take that, post moderns! Also the first “fridging” was a bromance.

      • Gilgamesh is my favorite ancient epic. I find it tremendously moving.

        Also, re: Keaton and race, there are a few pretty racist gags in some of his movies–not any of the famous ones, I don’t think, but it’s there. I know that sort of thing was just in the air in the early 20th century, so it’s hard to tell how seriously he meant it, but combined with some of the Confederate sympathies, it doesn’t look great.

        • jroberts548

          I’m not super worried about Keaton’s politics per se, unless MAGA fuckwits start getting really into him.

          But confederate romanticism shows up in a lot of places. So some things, like confederate memorials put up on public grounds are pretty easy to attribute to white supremacy, but I think there really was a romanticism that can be at least conceptually distinguished from actually being part of the kkk.

          So I don’t know how to deal with that in old works of art, where there’s something that’s possibly political in the background but the movie isn’t really about that.

          • For sure. It’s really tough because while a political message is almost certainly not intended to be the focus, it’s playing off a particular political viewpoint that’s troubling.

          • John Bruni

            Many Westerns feature current or former Confederate soldiers, some who wax romantically about the “lost cause.”

          • jroberts548

            Yeah, and I’m never totally sure if it’s “lost” or “cause” that’s more salient there.

            I mean, we know that “states rights” is mostly an ex post justification, when it isn’t just a dog whistle, and the romantic appeal to the lost cause is also mostly a dog whistle. But to what extent did actors between about 1920 and 1950 believe the myths, and to what extent were the myths always just dog whistles?

        • Crimson Pico

          Hey, never expected there to be a nascent Gilgamesh fan club here, but sign me up. I was assigned it back and college and loved it so much I bought more than one translation and read it regularly. Can’t say that for a lot of books.

          • Sex, violence, empires, ownage, nature, riches, and lots of all of it. Really set the tone for all great storytelling.

    • Conor Malcolm Crockford

      The Pit and the Pendulum, which is some glorious Corman Poe camp horror, as creepy and goofy as star Vincent Price. Not as good as Masque of the Red Death but still boasting a hallucinatory climax (it’s bravura filmmaking), the great Barbara Steele, and solid script from Richard Matheson(!) that is pretty much an original story yet retains Poe’s usual obsessions with beautiful, likely dead women, madness, and family tragedy.

    • Cennywise The Ploughn

      More original Twin Peaks. I’m largely watching to be able to watch The Return at some point, since a shorter season directed entirely by Lynch sounds great.

      • To be fair, Twin Peaks the Return is about as long as Season 2 because each of the 18 episodes runs an extra 13-15 minutes. S2, at 40 minutes an episode for 21 episodes (plus 60 for the finale and 90 for the premiere) is 16.5 hours. The Return at 18 episodes of 55 minutes each is also 16.5 hours. Times probably vary enough that one might be a little longer than the other, but they’re fairly close considering one is 5 episodes longer).

        • Cennywise The Ploughn

          Well… fewer commercial breaks then.

        • Cennywise The Ploughn

          btw – I think you’d mentioned needing some morning content for a couple days this week or next? I’ve got a Halloween month friendly shorty I can drop in if that’s still the case. Can’t remember now what day we’d talked about.

          • I think Wallflower has Monday the 16th, I have Wednesday the 18th because Carnosaur needs to be up that morning before Jurassic Park, I think The Ploughman has the 20th. You can take the 23rd (since I’ll still be busy all the previous week), unless it’s a taco break shorty in which case the 19th is open.

          • Cennywise The Ploughn

            [Peeks out from behind Halloween name] I am the Ploughman.

            20th works for me! With some notice can cover others if necessary, but will have one ready for sure.

          • Yay! Sorry, I was totally in a rush when I was thinking about who offerred last week. 🙂

    • Salyut-7, a Russian space blockbuster dramatizing the real-life desperate mission to save the eponymous space station that went dead in 1985. It does so by essentially cherry-picking and fusing together the various elements of Apollo 13, Gravity and The Martian, and on the whole borrows its visual language and character beats damn near entirely from those and other old-fashioned inspirational American blockbusters, seemingly having admitted to itself that if you can’t beat Hollywood at this game, might as well just try and follow every footstep. The heroes are respectively a daredevil, risk-taking best-there-is and his more concerned and grounded partner, the mission control people are there to stare intensely at screens and argue with the cosmonauts and each other, the wives are there to be some combination of nagging, pregnant, worried and crying, there are montages and showy camera moves galore, and iconic Soviet songs serve as needle drops.

      It does all result in a surprisingly smooth and watchable (by modern Russian blockbuster standards) ride, with agreeable acting, a process-oriented story (shit happens, needs to be dealt with, go) and solid visual effects; my patience with it didn’t really start running out until the climax that goes way overboard on emotional manipulation – chairs get thrown into windows, little girls beg Daddy to come home, our heroes exchange a salute with the impressed Americans who just happen to fly by on a Challenger, you get the picture. Still, there’s the fact that there’s little to no distinctly Russian sensibility to be found (unless you count some obligatory cold locations and vodka, and, I suppose, a visible anti-bureaucratic streak), which in turn leads to a bigger question of what that sensibility even is nowadays, and how it would successfully apply to a crowd-pleasing, special effects-heavy action drama. Maybe for now it is better to do it safely this way, I don’t know. For anyone curious, this movie also got some major Dissolver attention recently with Tasha’s expansive review from Fantastic Fest, in which her perspective differs a little from mine.

      The Twilight Zone, season 1, episodes 27-31:

      “The Big Tall Wish”, in which a little boy’s wishes can actually come true. What this leads to is a story driven not by plot, but by character, a lovely melancholy tale about a child’s idealism and desire to right the wrongs via magic vs an adult’s acceptance of the world. Great acting all-around, by one of the very first predominantly black casts on American TV.

      “A Nice Place to Visit”, in which a thief and murderer is killed and finds himself in the afterlife, where he repeatedly gets absolutely everything he wants. People seem a little divided about this one, but I loved it as a dark comedy; yeah, you can quickly guess what the twist is, and soon after the premise is established you’re basically waiting for the other shoe to drop the entire time, but the character work is good enough that both the wait and the climactic moment are supremely, even sadistically satisfying. Donald Trump has called this his favorite episode of the show and said it inspired his approach to life; this one belongs in the Missing The Point hall of fame as much as when he said Citizen Kane was his favorite movie because Kane was #winning in life so much or something.

      “Nightmare as a Child” – solid acting, strange all-knowing children being creepy (until they’re not), a villain plan that makes no sense whatsoever.

      “A Stop at Willoughby” – the entire time I was thinking that Serling, who called this his favorite half-hour of the first season, was just doing this to indulge his sentimental side, but I underestimated him. The ending knocked me down hard, and retroactively made the episode smarter about our nostalgia for “simpler” times and our desire to escape there.

      “The Chaser”, in which a love potion works all too well. I enjoyed this as a darkly comedic indictment of its protagonist without really diving into the #problematic side of all that was going on. The girl he makes fall in love with him is objectified at every turn, true, but then it’s him doing the objectifying, and he gets what he wished for and more. Plus, Patricia Barry gets some great laughs out of her transformation (“Did I disturb you, honey? Did I disturb you when I asked if I disturbed you?”), though the MVP of the episode is John McIntire as the grizzled old potion salesman who’s seen all too many of the pathetic sleazy worms like the main character, but hey, it’s a business.

      • Cennywise The Ploughn

        “A Nice Place to Visit” is one of my favorites, even if it is on the obvious side. I’ve always delighted in Sebastian Cabot’s genial host-gone-bad and it’s an easy moral to find oneself thinking about long after seeing it. Might have had a little stronger impact if CBS had let them say “Hell” at the end.

      • Conor Malcolm Crockford

        The last shot of “Nice Place To Visit” cements it as at least super, super memorable. His laughing face scares the shit out of me.

      • Crimson Pico

        That visual punchline to “Willoughby” is maybe my favorite final beat of the show (well, either that or Serling’s closing line of “Stopover in a Quiet Town”). You’re right, it turns what seems like one of the show’s more gently nostalgic pieces into something much richer (and bleaker).

    • PCguy

      MOTHER RILEY MEETS THE VAMPIRE aka. MY SON THE VAMPIRE (1952)

      The final film in a popular franchise starring some British actor who plays a cantankerous old lady. His character is defined by that broad low-brow comedy that the Brits have specialized in since the beginning of the talkies. Luckily there’s more to this film than just the comedy aspects as we are blessed with the presence of Dracula himself, Bela Lugosi. Poor down on his luck Bela is stuck wading through this piece of garbage but he would rebound later in ‘52 with the cult classic BELA LUGOSI MEETS A BROOKLYN GORILLA.

      Lugosi really plays more of a mad scientist than a vampire. At least the viewer is lead to believe that after he runs around in numerous daylight exterior shots. There’s also a distinct lack of bloodsucking. This film was obviously written with the kiddies (or at least the censors) in mind. Mother Riley gets mixed up in the plot when she accidentally receives Lugosi’s robot in the post. They then decamp back to a generic vampire castle for another couple reels of generic hijinks including the revolving secret wall gag that has been lifted directly from ABBOT AND COSTELLO MEET FRANKENSTEIN. The robot makes Robby from Lost in Space look like a CGI effect. In the bottom of several shots you can see the face of the guy who is operating the tin man. Lugosi does his best—he could probably play this role in his sleep by this point—but like so many other talented actors his career suffered a truly ignominious end.

    • Spooky Narrator Man

      Blade Runner: I first saw this a number of years ago, and I don’t remember being bowled over by it, but goddamnit if I wasn’t just that this time. This movie fucking rules.

      Blade Runner 2049: This movie also rules, if less than the original (the people calling it better than the original are out of their damn minds). This is a very worthy follow-up and also one that’s thankfully not afraid to set its own path in a lot of ways, including visuals, which are often more Deakins/Villeneuve than they are Blade Runner copies (still, the hype about this being Deakins’ masterpiece is overblown, that’s still Assassination of Jesse James, but this is definitely in his top tier; The Beguiled‘s still the best-shot film of the year, tho). And there’s also a sex (or maybe just foreplay) scene that shoots up the rankings of “emotionally rich sci-fi sex scenes featuring Mackenzie Davis”.

      The Dish & the Spoon: In which a woman (Greta Gerwig) bottomed-out after finding out her husband cheated on her meets a nice British boy who helps her through her pain. That sounds like the worst Sundance bullshit you ever saw, and if this does too often lapse into standard indie-movie quirkiness, it’s grounded by an astonishingly raw, volatile performance by Gerwig, whose crying jags and fits of rage are so startling and real as to take a pin to any preciousness as it comes up. And she still gets to dance a lot in it too, which is very much a plus.

      Saturday Night Live: The SNL writers clearly had little to no faith in Gal Gadot’s comedic abilities, so they wrote an entire episode without her really getting to tell a single joke. But even beyond that, this episode was completely middle-of-the-road, with no terrible sketches but also none that inspire any kind of thought during or after. And Sam Smith still sings like he’s got peanut butter in his mouth (I expected one of his songs to just be him incoherently screaming “AARON BURR!”) and looks like a store-brand James McAvoy.

      Blank Check with Griffin and David: Point Break: For an episode that’s more than halfway over by the time they get to the plot, this was a really tight discussion on the movie, its stars (I had no idea Swayze’s post-Point Break career was that dire, and so full of movies I’ve actually never heard of), its incredible action, and its thematic underpinnings (they interestingly argue that it’s not as about homoeroticism as it is about father-son relationships). And any episode with not one, but two Box Office Games is one I’m really gonna love.

      • Oh man. That sex scene. I was so uncomfortable with it but also so visually engaged.

        • Departed Hunchback (errrr…)

          For me, the sex scene was more like a crystal: Beautiful and refined, if lacking in the pathos category. Which may sound like a knock against this scene, but actually felt right for me. I wouldn’t be teary-eyed watching that scene again, but instead, fascinated, watching something that isn’t even there physically attempt to be more present for their master/lover. Dovetails with the overall theme of both films in what makes a human.

      • Conor Malcolm Crockford

        That’s already in my favorite sex scenes ever list. Any scene with Joi and K and highlighting this sad, heartbreaking tension between the genuine emotions there and the programming of the product was riveting. I almost cried when he took her up to the roof and you see all these emotions play out on Gosling’s face of wanting to believe her because he’s terribly lonely, loving her, knowing she’s not real, buying into it, then being reminded in the worst possible way that she is a simulation (or does that matter?)

        • There’s such a great ambiguity even when she risks her safety to accompany K in that memory stick he puts her in, does she do it because she goes beyond her programming, or because it is in her programming to serve all his needs – including supporting him in his desire to believe he is special – even when it could result in her destruction? It’s such a fascinating relationship, and the most interesting thing to dissect in the entire film. Joi is my favorite character in a strong ensemble, and Ana de Armas killed it.

          • I was very frustrated with how she was handled. I agree that her character presents all sorts of fascinating questions, but she’s basically killed without consequence in the end, and I found that it made her character a dead end.

      • clytie

        I saw a lot of Patrick Swayze movies, and yeah, they got pretty bad.

    • Crimson Pico

      The Florida Project – honestly, folks, the reviews have been understating how good the first half of this movie is. Best movie of the year in a walk, and the 7-yr-old at the center gives maybe the best child performance I’ve ever seen. Seriously. Unfortunately the second half is a little shakier, but I think I need a rewatch (there’s a shift in tone and focus that might be less jarring the second time around). Still, this ends my “underwhelmed by 2017” streak: there’s finally one (Get Out excepted) that made me goddamn glad to be alive and watching movies.

      • Miller

        Awesome, everything I have heard about this is has me hyped. Also, no love for Logan and or Logan Lucky on the yay 2017 front?

        • Crimson Pico

          Somehow I missed both of them. A lot of the other likely best-ofs this year have fallen flat for me, though. Not on purpose: I want to like more things than I sometimes do!

          • Spooky Narrator Man

            That’s because they’ve collectively decided to be worse in order to make Lady Bird look even better by comparison.

          • Crimson Pico

            I look forward to it!

  • I was really impressed by Pin. It really does maintain an unsettling mood, and the ridiculous premise always stays on the right side of laughable, somehow. Really strong performances from the cast too, which obviously helps.

    • It’s really a lot of fun. I grabbed it on a lark based on the title.

  • I have no problem with remakes or reboots. My childhood is intact.

    What I have a problem with is not ruining my childhood, it’s with ruining the film, or the premise, and just wasting my time.

    • Miller

      Bingo. I have lots of love for Robocop and Total Recall from me watching them as an adult, and as an adult I can be interested in other versions of stories, but if you’re not going to bring something on par with Verhoeven’s sensibility or Ronny Cox’s sliminess, you’re just jerking me off and doing a poor job at that. It’s insulting.

      • Remaking Robocop just seems so pointless. I have said this many, many times: the film has aged remarkably well, and when I rewatched a few years back, I declared it to be the best action film of 2012.

        • Miller

          The absolute worst you can say about the movie is the ED-209’s performance on the stairs. Which is supposed to be bad! I wonder sometimes, are 80s effects going to become Harryhausened? Something that people lose the magic of and can only appreciate as history? Because one, fuck that, Harryhausen rules, and two, it can’t be that lame to see this stuff, can it?

          • Even if you do say that old school stop motion looks old fashioned, or worse, it’s aged a lot better than CGI from the 90s has.

  • Conor Malcolm Crockford

    This streaming anywhere? I’d love to see it.

    • Apparently it is on YouTube because now it’s currently so completely out of print in North America that Amazon makes it easier to find the vhs than a non-PAL dvd.

      • Arrow released it in the UK, so I guess there’s a chance they’ll expand it into their US range at some point.

      • PCguy

        I guess I should either watch my copy or sell it then. I’ve had it forever but it came highly recommended to me and thus resides in my “serious” pile, i.e. the pile of movies that I rarely ever watch.

        • Cennywise The Ploughn

          I’ve got a pile like that. Why would I watch a movie I know I’m going to like rather than reach into a big pile of unknown? Because I secretly think I’m immortal, I guess.

        • It shouldn’t be in your “serious” pile. It’s far more junky than that. It should be in your “kinda grungy and definitely isn’t vegetables” pile that you’ll probably have fun with.

  • BurgundySuit

    Year of the Month update!

    Here’s your potential movies: https://letterboxd.com/films/year/1993/
    Books: I https://en.wikipedia.org/wiki/1993_in_literature
    And music: https://en.wikipedia.org/wiki/1993_in_music

    October 10th: wallflower: 32 Short Films About Glenn Gould
    October 11th: Carrie Nelson: Yes I Am
    October 12th: Pico79: Arcadia
    October 13th: Balthazar Bee: Jason Goes to Hell
    October 15th: Joseph J. Finn: Dave
    October 16th: Sean Hanan: Searching For Bobby Fischer
    October 17th: wallflower: Kristallnacht
    October 18th: Drunk Napoleon: Jurassic Park/Julius Kassendorf: Carnosaur
    October 19th: John Bruni: Carlito’s Way
    October 20th: BurgundySuit: Chartbusting!
    October 23rd: The Ploughman: Rookie of the Year/The Sandlot
    October 24th: wallflower: Pleading Guilty
    October 25th: Seth Carlson: Super Mario Bros
    October 26th: Wallflower: Fearless
    October 27th: Bhammer100: Homicide: Life on the Street/NYPD Blue
    October 29th: Conor Malcolm Crockford: The Fugitive
    October 30th: Miller: Matinee/The Last Action Hero
    October 31st: Anyone can have it really, I just want to make sure we save this date for: The Nightmare Before Christmas
    NO DATE: Jake Gittes: Dazed and Confused
    NO DATE: Wallflower: Fearless
    NO DATE: Wallflower: Pleading Guilty
    NO DATE: scb2012: Mrs. Doubtfire
    NO DATE: silverwheel: World Gone Wrong
    NO DATE: Son of Griff: The Wonderful, Horrible Life of Leni Riefenstahl
    NO DATE: Mr. Apollo: The Baby of Macon