- Walk Hard: The Dewey Cox Story (2007): This was fine! I laughed most at the running drug gag. Casting Tim Meadows is always going to endear your movie to me, as recently evidenced by Popstar: Never Stop Never Stopping (2016), that other music biopic spoof that had way more attention paid to its songs than its composition or editing. I think maybe there’s a sense that when people make a movie along these lines, they feel they have something to prove with the soundtrack but not about the form of the film itself? Or maybe they just realize that people are more likely to get up and walk out during a mediocre song than they are during an indifferent sequence of identically lit shots.
- Parasite (2019): Hbbgngbghghnnhhhhh. Beautiful and intense. I was less scared to watch this (emotionally) than I was of the two Jordan Peele movies I saw this year, and I think I was wrong.
- Charlie’s Angels (2019): The thing about the Fast and Furious movies, which are accreting their own genre as such things do, is that their original unsteady weaving across tone and essence for four films wasn’t a bug, it was a feature. You can’t redeem the ludicrous if you don’t have something to redeem. I can’t blame Elizabeth Banks for wanting to make a Fast and Furious movie, because making a Fast and Furious movie looks fun as hell! And making women the stars rather than the costars is an improvement the FF series would be well served to try out. But even though Kristen Stewart tries her best, this movie doesn’t sell its own stakes, doesn’t engage with its own queer potential, and doesn’t make any sense. It’s hard to win me over without doing at least one.
- Crouching Tiger, Hidden Dragon (2000): Rewatch, for about the forty-first time, because Kat had never seen it. I’d never quite realized what she pointed out afterward: the Young Woman Adventurer genre of late-twentieth-century YA lit, with its cool swords and self-actualization, is what primed me to fall so hard for this movie in the first place. It falls right into place with Tamora Pierce, Robin McKinley, and Cynthia Voigt.
- That Thing You Do! (1996): When I confessed that I was watching this for the first time, the entire population of Peach yelled my name followed by several exclamation marks, in unison. I liked it very much, but I can’t possibly offer a better review than my friend Elisabeth did nine years ago.
- 17 Again (2009): The first of two movies I watched in the span of two weeks in which Zac Efron, at a solid three inches shorter than me, plays a high school basketball star. Considering that there is a concrete number in the title of this film, it really can’t seem to handle the arithmetic of its own plot. Even the film’s own Wikipedia entry can’t consistently decide if Matthew Perry is supposed to be 35 or 37!
Knives Out (2019): Well obviously this was going to be my movie of the year. I’ve been on the RJ train for a few stops now. The thread I’m starting to see through most of Johnson’s movies is a desire to challenge his audience within the bounds of genre, because he likes surprises and he likes genre. Given the opportunity, he’ll subvert your expectations about plot rather than transgressing or calling out the bounds of the category; he challenges himself to offer perspective on the rules of the story without breaking them. “No deconstruction” is maybe his core constraint. Knives Out, even though it switches genres each time there’s an act break, is still very much an Agatha Christie-style mystery made by someone who loves Agatha Christie and wants to do right by her memory.
The other thing Johnson has to do every time is include one thing just to fuck with me. Here I am in an April flashback, grumbling tipsily into my telephone…
… about exactly the accent Daniel Craig sports for the entirety of this film. The thing is, I know Daniel Craig can do a believable American regional accent, because his West Virginia twang in Logan Lucky (2017) was solid! That makes the grievous offense of Benoit Blanc even more baffling.
I have only one operating theory about what led to this dialectic horror, and it’s not a strong one, but I like it anyway. If Blanc has a manner of speaking that… mostly… equates to a Louisiana drawl, and has a French name, it hints that his ancestors were Acadian: descendants of European colonists and indigenous people who were deported from their homes in a cruel forced migration, but into the United States, rather than out. I don’t think it’s a spoiler to say that this would draw a subtle line between Craig’s Blanc and Ana de Armas’s Marta Cabrera.
No Retreat, No Surrender (1986): An awful movie and the centerpiece of one of my favorite nights this year. I’ve had a fondness for Mystery Science Theater 3000 since I first became aware of it, back in the Comedy Channel days, but I was never a dedicated fan until late 2018. That’s when I started relying on marijuana and puppet wisecracks to deal with the loneliness and insomnia that came with the fourth year of my long-distance relationship.
There is a younger version of Brendan—one to whom this very blog regrettably attests—who would have some choice words for a self who turned to substances for emotional problems. Present Brendan has more than a few choice words for that guy in return. But there’s no need to start 2020 by airing our dirty laundry. The point is, I had a temporary problem with making the time when I felt down pass in a more pleasant way, and I am glad the law and some remarkably cheerful sales experts allowed me to solve it. It worked! And now I live in Chicago and I get to sleep safe-and-soundly next to my fiancée every night.
The hitch was that my very first experience with THC, years ago, had put me off it for most of the intervening period, because it made time pass much more slowly. I had never experienced chemically induced time dilation—except anesthesia, I guess—and even now that I’m more seasoned it can still wig me out.
And then I discovered the solution to my solution’s problem: the steady schedule of the Satellite of Love is the gentlest way to reassure oneself that time continues to pass, at both the hourly and the yearly scale. I watched a lot of MST3K while hovering gently above my couch, and it helped relieve my brain of the duty of relitigating the 2016 election when I woke up to pee at 3 am. It doesn’t hurt that I can now relate to the idea of making bots as an isolation coping mechanism.
All of which is to say that I count myself a devoted if not expert fan of the series these days and it was a happy coincidence that their live show came through Milwaukee the week after I arrived in Chicago.
It was pretty perfect. The only TV diasporant aboard was Joel, and this was purportedly his last live tour, but there was some good video action from Mary Jo Pehl and Rebecca Hanson, and I liked the rest of the cast very much. There were welcome surprises in the fictional basis of the show, too, like (spoilers!) GPC succeeding Gypsy so nobody has to say a word that hurts people anymore, and the hint that Emily Marsh (as Emily Crenshaw) might succeed Jonah Ray as host.
If I counted all the episodes of MST3K as “movies” in my list this year, it would be a lot longer, but also inaccurate because I invariably drift off before it ends. But this one got my full attention—and sobriety, as I had to drive to Milwaukee and back that night—and I was rewarded for it. It’s a different, effervescent, and engaging experience to be present in the room where it happens. I say that like I’m surprised about it even though I got a degree in live theater.
All right, sorry for being a pothead who talks about his cult basic cable entertainment for like eight paragraphs. One thing that dovetails with this entry is that I’ve noticed my favorite jokes in MST3K aren’t of the “insert a line” or “compare unexpected reference” variety—they’re the wry or exasperated bits pointing out fundamental filmmaking mistakes. Bonus points if Crow name-checks Roger Corman in a way that almost sounds fond.
Okay! It’s 2020 now and the world is frightening but it’s not allowed to go anywhere until I finish writing up my December post! Tune in very soon to find out the truth: did Brendan complete his goal of watching a hundred movies this year? A sentence in your near future will reveal the answer! Yes! Was that extra emphasis or a spoiler? Tune in very soon to find out the truth: wait I already said that!
I worked for the Centre College IT department during my senior year. It was 2002. BitTorrent hadn’t reached critical mass yet, and the filescape was fragmented: finding music or software cracks meant risking your boot sector on Kazaa or Limewire or eMule, and I spent weeks cleaning malware off the computers of those who tried. Even so, I knew I had it easy. Just a couple years beforehand, IT had been dealing with Napster.
I had been part of the problem myself, then. Music is so ubiquitous now, from so many services, that it’s hard to remember when it only came in physical form. I only brought a couple dozen CDs with me to college; they, and what my friends would loan me, were all the music I could listen to. Then I downloaded this piece of software, and—while the network creaked and shuddered—my Dell became a boundless playground.
There was so much weird stuff out there, and so many obscene delights: old TV themes, rap skits, Prince B-sides, that wildly misattributed cover of “Gin and Juice.” Oh, also every song I’d ever wanted. Before the advent of decent portable MP3 players, we burned teetering stacks of sharpied CDs, or stuffed them into fat binders; we blew out car stereos and hijacked theater sound boards. Most people go through some kind of music epiphany in college, but I’ll never be able to separate my own from the opening floodgates of P2P distribution. It couldn’t last.
The courts didn’t really kill Napster: money did. I’m afraid for Twitter.
Twitter has to start making money. They’ve decided to make money via advertising. Faruk Ateş can explain why that’s a bad idea, both in selling one’s users and in stifling innovation. I wish I could just pay Twitter to let me keep posting from my third-party client and stop serving ads.
Yet I regret intensely paying to join app.net. Everything I love about Twitter comes from the fact that it’s free, anonymous, open and inclusive: my broke friends won’t be on app.net, nor will the horse books or identity thieves or psychotropic stumble-spelling genius joke poets. But will they be on Twitter? Or will Twitter fuck this up and immolate itself by cash?
It’s mindlessly easy to get music now: free if you want it, fast if you pay. But there’s no playground. The weird is dead. I have no doubt that we will retain the ability to type out 140-character sentences in any number of places for some time to come, and I know that the (vast, vast) bulk of those sentences are throwaways. But some of them are the best sentences we have yet made in English, and they can only exist in the atmosphere of Twitter, the alacrity and transience and irony and fierce, fleeting joy.
Right now, I can carry 281 people I love in my pocket, and pull them up whenever I need to learn something new. Twitter is how I talk to the world. I know this isn’t entirely healthy, but intoxication rarely is. For the second time in my life, I’m high on sharing, and I don’t want it to end.
Today’s DAR is sort of about our cocktail party!
I now know empirically what I’ve long suspected: the Infield is a vast and sickening waste of flesh, all of which would serve the world better as low-grade taco meat. I hate Derby.
Want to see me having a field day? This is me having a field day. I am having a field day, right now, with the correlated results of Doonesbury’s poll regarding Hunter S. Thompson.
A friend of mine has been questioning me with regard to the inner struggle in which I am pretty consistently engaged. I said I think it’s the way I’m trying to train myself into maturity. She asked why. This is my answer.
Katie’s passed out on our futon in the front room; I put out a trash can and a bottle of water even though I don’t think she’ll need them. Her friends say she’s been like this since around 6 pm. It’s pretty clear none of them made an effort to stop her.
I don’t mind that Kim and Danielle and Will left her here. I’d rather she be passed out in our apartment, which is at least a safe environment, than at fucking McNally’s house. I don’t mind taking on the responsibility of taking care of her tonight. It’s something for which I’ve made myself available, and something I’m willing to accept.
I will defend the letter of the law in that it allows adults to ingest drugs like alcohol if they want to abuse themselves. It’s a right. We have rights for a reason. I’ll defend that, but that doesn’t mean I don’t hate it.
People think alcohol makes them more interesting because it is essentially a self-centering device. All drugs are. And all drugs make you less interesting to everyone but yourself.
I will not deny that fucking yourself up is a valid choice to make with your life. I will not agree that it’s ever a good choice. There’s a difference. I want to scream this at people, but I’m incapable of that even if I thought it would do any good.
The things I actually hate in life are deliberate blindness and stupidity. They never accomplish anything worthwhile. They never make anyone happy in the long run. And living in Kentucky (or college, or America, or the world), I’ve seen so much of it that sometimes it makes me want to throw up.
I never want any part of that to be a part of me. My definition of maturity is not complete open- and empty-mindedness, but the unflinching refusal to be blind or stupid. It’s considering the needs of others before your own, and choosing to act in a way that takes into account the consequences of your actions.
I’m not there yet: thus the struggle. It’s me finding the parts of myself that won’t listen and trying to dig them out with whatever tools I have, and it’s my choice to never turn to chemicals to let me out of the job.
I feel like I lived two lives tonight: one where I went with excited people to see a really entertaining movie and stayed happy about it for an hour afterwards, and another where I sat in here being bitter and hating alcohol while a helpless, silly person sleeps on my roommate’s couch.
I keep believing that if I can find the anger and precision to hammer out every word of what I feel correctly, it’ll have to reach someone who’ll listen. That’s why I choose to articulate instead of screaming. Then again, of course, we all know that nothing ever changes.