Continuing a series started by John D’Amico.
Shattered Glass is a wonderful movie that doesn’t get enough credit. It’s that case where an indie movie is good enough to be a real movie, so nobody notices it. People do like it, but their eyes don’t light up the way they do when they talk about some shit that sucks like Wendy and Lucy. It’s hip to like crappy shit, whereas, it’s square to like good movies.
Continue reading Proposed Double Feature: ‘Shattered Glass’ & ’30 for 30: Big Shot’
I’ve tried to write this essay a million times. In fact, I was trying to write this essay since before Cody and I even started this site. I’m still not exactly sure why it’s been so hard, but I think it has something to do with the inherent difficulty in explaining paradoxes—in this case, the paradox of knowing a movie is gonna bad before you’ve even seen it, but also knowing that it could, technically, be good, but also knowing that it will be bad.
Every movie is a product on a shelf. And the job of the people selling the movie is to try to convince you that it’ll be good. But they almost always do a terrible job. It’s not their fault, really. I mean, how can one capture the depth and complexity of Big in three minutes? The social security number joke just wouldn’t play in the context of a trailer. So the powers that be are forced to not only tell you the premise, but also give you some universally funny moments that entice you to see it. This is why the least funny scenes are in the trailer, and why stupid people laugh at these scenes like Pavlov’s dogs.
Continue reading The 50/50 Rule: How To Watch Movies
Future generations won’t know the joy of driving to a Blockbuster and picking out a rental (or rentals) for the weekend. It was an inconvenient life, but nostalgia erases that. Waxing romantic on it now makes me exhale in deep wistful wonder, my heart full of bliss. Video stores fostered my burgeoning cinephilia in the late nineties, and provided some of the best memories of my life.
But Netflix has changed all that, and I say good riddance. All Netflix really does is add convenience to the already established video store mechanism. Now you don’t even have to leave the house. You can snuggle on the couch with your lover and your Roku box and browse what’s currently streaming (and I suspect, in a decade or so, everything will be).
Continue reading Nights On Netflix: A Journey Through The Aisles Of Our Friendly Neighborhood Internet Video Store
Troy Duffy, director of a ‘cool’, albeit awful, movie.
‘Coolness’ is hard to define, as it should be. I suspect it’s difficult because coolness is an X factor. It’s the swagger generated by the totality of a bunch of compartmentalized variants or something. It’s also because coolness is not a science, it’s a feeling. However, like most things, although it can’t be defined, it can be explained. And, contrary to popular belief, explaining it is fun. It doesn’t ‘kill it’ as so many pseudo-smart, sanctimonious anti-thought peddlers would have you believe.
Continue reading 10 Awful Movies People Think Are Cool
The second most interesting thing that happens in Meek’s Cutoff.
Meek’s Cutoff (2010)
Directed by Kelly Reichardt
Written by Jonathan Raymond
Warning: Mild spoilers ahead.
One review I read of Meek’s Cutoff called it an “anti-Western”, and that title is apt. Director Kelly Reichardt does approach the genre from a unique perspective. She shows the earliest journeys made by settlers to the American far West as they really were: really fucking tedious most of the time.
There’s a wagon train of eight people lost and thirsty in the Oregon desert. They think their guide—the asshole racist Stephen Meek—is responsible, either from negligence or malice. A lone Native American shows up and Meek captures him. They think the Native American might know how to find water, so they take him along. They get into an argument when one of their wagons crashes. Then they see a living tree. I guess that means they find water, but I don’t know because the movie ends before anything else happens. That’s not a synopsis, that’s literally every significant plot point in the whole thing.
Continue reading Meek’s Cutoff is a Tedious Nightmare