Stalker
1979 Tarkovsky movie
Rating: 20/20
Plot: The titular stalker takes two guys--a writer and a scientist--into a forbidden and mysterious zone cleverly called The Zone where there's a room, cleverly called The Room, that may or may not grant a person's innermost desires.
This Russian version of the Three Stooges isn't nearly as funny as the American one, but it's got its moments.
Apocalypse Now
1979 horror movie
Rating: 20/20 (Dylan: 17/20)
Plot: During Vietnam, a guy is sent on a mission to kill a corporal who has apparently gone crazy and engaged in crazy activities. You know, like war. That's a pretty crazy activity.
This crazy movie about crazy people doing crazy things shouldn't exist. It's like a cinematic miracle. Coppola was as bloated as he can be, and we're talking about the guy who made his actors play "sound ball," so we know he can be really bloated. He came in with half-formed ideas, filmed about 20,000 hours of material for this, nearly killed his star, likely nearly blew up a whole bunch of other people, buried Filipino guys up to their necks in sand all day, had to deal with a difficult and even more bloated Marlon Brando who refused to prepare for his fairly-important role at all, and spent a long-ass time editing it into something coherent. There's no way this should have worked. There's no way a lot of these people should have even survived. The result of all this--a masterpiece--is astounding.
Is this a war movie? I don't think it's a war movie, but I think it might be the greatest war movie ever.
I'm just going to ramble. Nobody is reading this anyway, so I can get away with rambling.
"We got a dead one." I believe those are the first spoken words other than our narrator's, and they describe our narrator right after a hotel freak-out with that perfect--if a bit too obvious--song choice. Sheen's a "dead one" and we're off on his own personal journey through the however-many rings of an LSD-fueled hell. This is Coffin Joe making a war movie after somebody thought he was somebody else and gave him a truckload of money.
My favorite character might be Frederic Forrest's Chef even though I'm not sure what "Kiss my ass to the county square" means. I believe that's what he said, post-tiger, and it was likely improvised since by that point in the movie, somebody had already accidentally eaten all the copies of the script.
No! Dennis Fucking Hopper is my favorite! That's despite hooking a 14-year-old "Larry" Fishburne on heroin because that's exactly the kind of thing Dennis Fucking Hopper would do. Every single performance in this isn't just good--it's stellar, perfect. Every single one! And given the circumstances and the way this thing was filmed? Again, it's just astounding.
Maybe Shelley Duvall's dad is my favorite! His Kilgore isn't in much of this movie, but the way he just stands like a statue as things are exploding around him makes this one of the best performances ever. He's electric, seemingly impossible for an actor to pull off with the chaos going on in his scenes. My favorite moment (other than imagining Robert Duvall trying to surf)--when a wounded man reaches for a canteen that a distracted Kilgore has out of his reach. And the way he says "Some day this war's gonna end" gives it more possible meanings than I can even count.
No! I'm changing my mind again! My favorite character in this is the omnipresent setting sun, almost in as many scenes as Sheen and in a lot more than top-billed Brando. The sun is always there, like a demonic presence watching this whole thing unfold.
That Wagner certainly makes that helicopter cavalry scene iconic, doesn't it? I really like all the music in this, the deep synth tones sometimes reminding me of the opening Wendy Carlos number in The Shining.
What about Brando? I'm not even sure he's any good here, but at the same time, he's perfect, a hulk of a man who has somehow gained a hundred pounds of shoulder meat while living in a temple in Cambodia. Do you think he's turned to cannibalism? I'm referring to Brando himself obviously, not the character he's playing. How about that introduction to the character? It's on tape, Brando murmuring about snails on razor blades or something.
So many iconic scenes. The best, I think, is the psychedelic nightmare at that bridge. Demented circus music, complete chaos with apparently nobody in charge though that guy skilled in grenade-launching knows that the devil (or maybe God) is really in charge. The asshole of the world indeed! Toy arrows, a lunge for a puppy, the wreckage of an airplane. How many rings of hell are there again?
I watched the original version of this. I have not seen the "Redux" and really have no plans to watch it. The "Dux" is enough for me. I might watch the documentary about the making of this made by Coppola's wife though.
Cory's Birthday Movie Celebration: King Kong vs. Godzilla
1962 kaiju movie
Rating: 10/20
Plot: It's kind of in the title. Any other plot that didn't just involve the titular pair brawling was beyond my comprehension.
Years ago, I started watching a Godzilla movie every July 16 to commemorate Cory's birthday. Aside from Cory, nobody else not named Nicolas Cage gets the birthday treatment on this blog. Cory likely stopped caring long ago--especially after I ran out of Godzilla movies that he actually likes--but I'm the kind of guy who enjoys nonsensical traditions and can't stop doing this. As I've often said, it's the cheapest kind of birthday present imaginable. Cory's a good guy and a knowledgeable cinephile with somewhat questionable tastes in movies, so he likely deserves better than this.
I'm really running out of Godzilla options here. If I had thought ahead, I could have probably seen the new Godzilla: King of the Monsters in a theater yesterday. However, I like to do these write-ups Movies-a-Go-Go style. Therefore, you're getting my unadulterated thoughts as I watched King Kong vs. Godzilla late last night when I probably should have been sleeping or something. I can't imagine it being worth reading, but here it is anyway.
Before we begin, I should clarify that yes, this movie is not as good as Hale County This Morning, This Evening. Suck it, Cory.
How's that for a birthday present? Within seconds, I've already told the recipient to "suck it."
Oh, thank Godzilla! The credits informed me that they got permission to use the name King Kong. I was worried about that.
Am I hearing a theremin already? Nice! I’m already hooked.
“There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy." Now we're quoting Shakespeare? With how good the dialogue usually is in these movies, I'm not sure juxtaposing it with Shakespeare is a good idea.
Imagine the filthy puns he could have come up with for a kaiju screenplay. . .
Ok, this news man with a tall jar of tomatoes on his desk is a little too American. I can’t do American right now. I’m starting over with the Toho version of this.
No theremin in the opening credits, but this big opening theme is very cool.
I’m not sure if there are going to be subtitles. I might have to start over again. This is going very well so far.
Ok, now I have two sets of subtitles going simultaneously. That might be distracting. [Note: I watched the entire movie with two sets of subtitles--the English was on top of the other one, however, so I could read them fine. There was a later problem where the sound wasn't matching up with anything. King Kong would beat his chest, and then you'd hear it about a second and a half later. That was pretty distracting, so if I start getting surly in this, that might be why.]
Oh, yeah, the news guy is much better, and the theremin was still there. All is good in the hood.
Much needed comic relief with the television boss who doesn’t know how a telephone works.
This man is named Tako.
More comic relief with the English voices of these dudes on the submarine.
Suddenly, this transforms into a Damien Chazelle movie with a close-up of a cymbal.
As always, I don’t care about any of these human characters. Where’s the monkey? I'm sure the American version--since Americans are both stupid and impatient--has already had at least two scenes with the monsters killings stuff by this point. Maybe I should go back to the American version.
Something tells me that next year’s Godzilla vs. King Kong movie is going to be a lot different than this one.
“I know my sister’s lipstick.” I’m getting an incestuous vibe here, and the sexy piano jazz certainly doesn’t help.
Sakurai, a man who knows his sister's lipstick, probably a little too well.
These two have their monster-catchin’ hats on.
Here's Tako. He doesn't get his "monster-catchin'" hat until later though.
This submarine captain’s kind of got a W.C. Fields thing going on. I hope he starts juggling.
“Shut the water tight, fuckheads.” Apparently, I need subtitles for the English parts, too. I rewound, but that's all I can hear.
Oh, shit! That familiar screech! Godzilla’s finally arrived!
Maybe I’m in the minority, but I really appreciate when you can hear a monster in a movie before you ever see it. Stomping, screeching, farting. It's always a cool move.
The natives of this island (not Skull Island, I guess?) don’t get subtitles.
This introduction to the natives feels a little racist. I mean, not Donald Trump tweet racist, but still a little racist.
This man would not like either of the monsters in this movie because they are not white.
The guy translating is the Japanese Don Knotts. He doesn’t quite have the sexual energy of Don Knotts though.
They’re giving the natives cigarettes and access to terrible music. This should work.
I’m not sure I like the message about cigarettes this is giving. One of the native children is now smoking. Of course, this was made in 1962 before cigarettes were capable of harming a human being.
They’re laughing because they think the natives’ “god” is just the rain and thunder. Why would they be in good spirits about that? Wouldn’t that make trip be nothing but a huge waste of time and money?
Transition to a televised lion--I do not approve. They’re making me wait way too long for King Kong. Of course, the original King Kong made you wait, too. But again, I'm an American, and I want my monsters now! Trump would have turned this off a half hour ago and called it "fake news."
The Americans in this all sound like John Wayne after he’s been hit over the head with Jimmy Stewart.
Godzilla! And big music! Go get 'em, big guy!
The models on this military base aren’t not the most effective I’ve ever seen. Still, I’m digging this a lot more than the 2019 Godzilla movie, and I even saw that on an IMAX screen.
Ok, this actually doesn't look too bad.
The native leading the visitors to King Kong looks a little like Buster Keaton.
I swear a character just twirled some sort of lizard over his head for five minutes of screen time.
A lull in the action has caused me to remember that my favorite punchline of any joke I’ve ever heard might be “Ping pong balls? I thought you said King Kong’s balls!”
The little kid who was smoking earlier is apparently named Skeeto.
Oh, boy. A giant land octopus.
Man, I am really digging how this octopus moves. And the slurpy special effects are really great. I believe it’s stop-animated, but it’s hard to tell at times.
Throwing torches at it doesn’t seem to have much effect.
Hey, it’s King Kong! And it sounds like somebody knocking on an old wooden door when he beats his chest, so that’s going to be distracting.
King Kong apparently wanted to wear the giant octopus as a hat.
You can buy a little King Kong vs. octopus statue? This made me laugh.
Ok, the action’s over, so we can talk about how stupid King Kong looks in this movie.
And he’s apparently a lush. This was a missed opportunity for Gatorade product placement, by the way. The American version I bailed on probably had some sort of product placement there actually.
This weird native dance is going on entirely too long. Kong’s passed out and can’t even enjoy this.
I have some questions about what’s going on as King Kong is being pulled on a raft behind a ship. 1) Why would the natives let them take their god without a fight. Who’s going to protect them from the land octopuses? 2) What the heck did he drink that he’s passed out for this long after just two jars of it? I feel like I dozed off and missed 10 minutes of this or something.
“Doesn’t that infringe on King Kong’s rights?” That kind of made me laugh.
In Japan, do they have Godzilla drills like they have fire drills in schools? I bet they do. These people sure hopped off the train as if it’s something they’d practiced before.
Wow! He just knocked that train around like it was some kind of toy.
What’s up with the lady flailing around in the water while Godzilla approaches?
Oh, that’s Fumiko. I forgot all about this character.
Idea one: a “million volt shock.” Seems legitimate.
This television executive guy [Note: We're talking about Tako here.] is the worst. He’s the Jar Jar Binks of King Kong vs. Godzilla. I hope one of these monsters tears him in half.
King Kong just stood up in water that is only waist deep. I believe they're in the middle of the ocean somewhere.
Somebody went a little overboard with the vehicle models at this construction site.
King Kong is a real animal. Godzilla is a monster born from radiation. Ok, got it.
Kong appears to be clumsy. And he walks kind of like Phoebe runs in that Friends episode where he runs. It’s probably called “The One Where Phoebe Runs” actually.
The guy in the King Kong suit clearly doesn’t understand what he’s supposed to do with his arms.
Oh, boy! It’s fight time! Expecting Godzilla to say, “It’s over King Kong. I have the higher ground!” like Obi-Wan in Star Wars 3.
Kong immediately going with his finishing move--hurling large rocks.
Godzilla with the crotch rocket, likely premature.
What? It’s over? Kong had his belly scorched, scratched his head, and wandered off? And Godzilla just let him? I’m confused.
“Release the fuel!”? I thought they were back to Plan A: 1 million volts.
Was Godzilla trapped in an iceberg before this movie, or was he working on his squats? His thighs look great.
I can’t believe how stupid King Kong looks in this movie. He looks silly when he’s just standing around, and he looks even sillier when running.
Ok, here we go. Back to the one million volts.
Now King Kong is flossing with electric wires. This is making Godzilla look like a punk!
Earlier, people had to get off a train because Godzilla was in the area. Now Godzilla is approaching, so they’re all getting on a train?
And getting on the train was apparently a bad idea. Lesson learned.
King Kong has found himself a woman now. Now all he needs to do is climb a phallic symbol, his go-to for a first date.
Oh, that was Fumiko. I forgot about her again.
“You stupid idiot! Let Fumiko go!” Yeah, I’m sure that will work.
The way Kong is looking at Fumiko and rubbing his nipple reminds me of why I can’t go within 100 feet of our local Starbucks anymore.
Now the guy is drumming again--the earlier drumming scene suddenly has meaning. Not a wasted moment in this stupid movie, is there?
Who’s chanting?
“It wasn’t the airplanes. It was this guy’s drumming and the inexplicable chanting that put the beast to sleep.”
“I’ve got it! We’ll raise him with balloons.” I think my subtitles might be a little off because that doesn’t make any fucking sense.
Oh, no. They’re going to “raise him with balloons.” I stand corrected.
This music is a little too big for a scene where they’re filling balloons with helium.
It’s hard to believe that anybody involved with Toho Studios would have thought this balloon thing was a good idea, but here we are.
Holy cow! This is happening!
I may have laughed when the two monsters were tumbling down a mountain.
Now they’re throwing rocks at each other, and this might be the most ridiculous fight I’ve seen in any of these Godzilla movies. I probably said something similar to this last year, the year before that, and the year before that.
Kong just threw a rock and somersaulted down the mountain and hit his head on a rock. You’d think he’d be better and throwing rocks than he showed there.
Repeated body shots with the tail--is that a move Godzilla’s used before?
“Damn...King Kong is getting roasted.” I know, Japanese guy! He was just teabagged.
Ha ha! Kong just shoved a tree down Godzilla’s throat. And he’s got some sort of electricity power now? What’s happening?
“We humans must change the way we think about plants and animals.” The environmental themes seem shoehorned in a little.
Is it bad that I have no idea how this movie ended? King Kong is retreated back to his island, but what the heck happened to Godzilla?
That was a delightfully goofy Godzilla movie Happy Cory’s birthday to all!
Crawl
2019 hurricane and alligator movie
Rating: 11/20
Plot: A daughter tries to save her father and herself from alligators during a hurricane.
As you probably know if you've paid attention to my movie write-ups, I get alligators and crocodiles confused. I'd like to thank the makers of Crawl for making it clear the entire time that these were alligators.
They're the kind of alligators who make a loud noise every time they appear on the screen. About halfway through this, I was pretty sure it was just going to be gator jump scare after gator jump scare. There were some clever camera angles and genuine tension-packed moments in this, but it was really leaning heavily on the "Bam! Gator Popping Out of the Water!" strategy. The cleverest moment involves one of those convex security mirrors at a gas station.
The movie's really about the father/daughter relationship, the pair of characters trying to navigate metaphorical stormy weathers and survive metaphorical alligator chompers.
No, who am I kidding? This movie's just about slamming together two types of survival genres--nasty weather and CGI monsters--and finding out how these fairly flat characters survive the experience. It's not entirely realistic though the special effects make the hurricane look menacing enough and the alligators alligatory enough. I was probably rooting for the alligators, at least to eat some of these characters, because I'm afraid alligators will been unfairly maligned similar to how sharks were considered villainous when Jaws came out. According to Wikipedia, there have only been 8 alligator-related fatalities in the last decade. Dogs, on the other hand, kill 30 to 50 people every year, so maybe the makers of this should have made Sugar, the father's dog, the real monster.
Would you rather be chomped in half by one very large alligator or devoured by fifty very tiny alligators?
My theater experience was uncomfortable, and I'd probably rather be attacked by an alligator than experience that again. I arrived in the middle of the previews, and somebody was in my seat. I sat a couple seats to her left, but then checked the app to see that somebody was supposed to be in that seat. So I moved one to the right and sat next to this girl. It was dark, so I couldn't tell how old she was exactly. To avoid appearing creepy, I explained that she was in my seat. She stirred, but I said it was probably ok because nobody had the seat I was currently in or the seat to her right that was occupied by her friend. I explained that somebody was supposed to sit in the seat I had moved from and then mumbled something about not wanting to be creepy. There's no way of knowing for sure, but I probably came across as really creepy.
There was a radio playing in the crawlspace while the characters were down there. I checked a list of the songs from the movie and don't recognize any of them except for the one that plays over the credits, a dumb joke. They missed an opportunity to play "Crocodile Rock," but that would have really confused me since I can't tell the difference between alligators and crocodiles.
Movie idea: during a Category-5 hurricane, a girl tries to rescue her injured father from the crawlspace of his house while a bunch of Elton Johns try to devour them. It can be a sequel to both this and Rocketman.
I tried to find information about how many people Elton John has killed in the last decade, but Wikipedia is suspiciously silent about that one. I'm guessing it's about the same amount of victims that Sugar the dog has.
Another movie idea: Tornadoes and wolverines.
Teorema
1968 Italian drama
Rating: 18/20
Plot: A visitor bonks every member of a family and the maid. When he leaves, they don't know what to do with themselves.
Hooked from the onset with that great Morricone opening theme and a silent film style opening pre-telegram. And that was all before Terence Stamp brought his eyes into the movie. You could say the allure of Terence Stamp on this family has to do with those eyes, but it's likely got more to do with his oppressive pants bulge. Seriously, in the first half of the movie, it seems like that bulge is always there, like Pasolini is doing everything he force the viewer to focus on that. If Stamp is some sort of Christ figure--and he very well might be!--and that bulge is some sort of immaculate bulge--and it very well might be!--then that explains why I lost sleep after watching this, imaging what the miracle of sex with Terence Stamp must be like and reflecting on what waiting for a second coming (no pun intended--I swear) must be like.
I believe the birds have more dialogue in this movie than the humans. They're omnipresent.
But what about those human characters and their reactions to this visitor's unexpected arrival, his captivating bulge, and his unexpected departure? Each character is shown either seducing or being seduced, and each character but one is given a chance to talk about what meaning the experience had for them. For the dad, it changed his image of himself. The wife was sterile, apathetic, and her relationship with Stamp awakened interests she didn't realize were dormant in her. The son talked about a change, and the daughter talked about womanhood. The maid, subtly shown as religious, might undergo the most change, but she doesn't get a chance to talk about it with Stamp. Instead, she just comically helps him with a suitcase. Following that departure, each character has a kind of post-epiphany denouement.
It's hard to figure out what it's all about, but reading thoughts from others online was fun. Is it just a Brunuelian attack on the bourgeoisie? Is it about religion? Is it about Pasolini's repressed homosexuality? It's it Marxist? The film's a lovely kind of perplexing, the kind of thing that can cause one to yell at a volcano or something.
Happy Death Day 2U
2019 sequel
Rating: 6/20
Plot: No synopsis is available for this one.
Here's how I started my write-up for Happy Death Day: "What the hell am I doing with my life?"
I didn't like the first one and had no interest in the sequel. But here I am writing about how much I hated this second one. And once again, I'm wondering what the hell I am doing with my life.
The first had a semi-interesting time-loop premise. This one incorporates the multiverse and quantum physics, albeit in a half-assed way. It's a long and winding road of stupidity, the biggest downfall of the movie likely being that it doesn't seem to notice how stupid it is. It doesn't take itself 100% seriously. There's a lot of attempted humor, but it doesn't work because the characters are so unlikable. The emotional beats don't work at all. There's a lot of clumsiness with scenes involving the main character's mother, one scene where she pops in unexpectedly and just stands smiling for what seems to be about five minutes. Another scene involving a candle was a real groaner.
I actually still can't past the fact that the main character's name is Tree. What the fuck? I can't tell what's worse--that candle scene, the "You're screwed" line in this, or the woman's name being Tree.
I was really hoping Liquid Python was a real product.
Who came up with the title for this--Prince?
I'd write more about how much I hate this movie, but I need to research the etymology of the term "holy shit balls."
I don't know what the hell I'm doing with my life.
Camera Buff
1979 movie movie
Rating: 16/20
Plot: A guy who works at a factory buys an 8mm camera to record his baby daughter, but filming turns into a hobby and then an obsession.
Second movie from 1979 in a row that is directly about filmmaking. This might be the funniest Kieslowski movie I've seen--though Three Colors: White was also really funny--but there's also a great sense of melancholy hovering over the story of this simple man who gets sucked into this world. This unfolds like a quiet tragedy.
It's unclear to me what Kieslowski is saying about himself personally as a filmmaker. Before this, he was only making documentaries. What's he saying about the "truths" in these documentaries about common people and places? Choices during both the filmmaking and editing process have consequences here, not just in the personal life of our protagonist but in the lives and careers of others as well. Kieslowski's focus isn't just on the sacrifices of an artist, the effects of devoting oneself to a craft, or the negative effects of somebody needing more than tranquility. There are also moments when Kieslowski uses the amateur films of Jerzy Stuhr's characters to show the positive influence film can have in people's lives. A post-funeral revisit of a film was very touching, and the reaction of a short film's subject and his wife were also great.
Tadeusz Rzepka has a shot at winning a Billy Curtis award for those of you who want to go to Vegas and put some money on it.
Arrebato (Rapture)
1979 movie movie
Rating: 17/20
Plot: A slightly disgruntled horror film director receives a film from an old acquaintance. Some other stuff happens.
Yet another film about film, in this case its power to suck out all of your blood until only the bedspread remains. Images will haunt, but there's a repeated musical bit that is just as haunting. This is mopey, mostly dark, but there's some levity when Pedro Almodovar's voices a side character named Gloria. It's likely unintended levity, but that's my favorite kind of levity.
Lots of drugs and lots of film. Writer/director Zulueta's perhaps dipping into film school metaphors, linking drugs to movies or movies to drugs or maybe just drugs to drugs and movies to movies, but it's effective. Zulueta's world has few settings and characters, but it's got this vibe that sucked me in, like a vampiric strip of film.
Richard Pryor: Live in Concert
1979 comedy
Rating: Ehh. I don't feel like rating this one.
Plot: Richard Pryor tells jokes and makes an audience laugh.
My knowledge of Richard Pryor is limited. I pretty much only know him as the black guy in those Gene Wilder movies. This is from 1979, a year I'm currently researching, and I was in the mood for a laugh and decided to give it a go. It's easy to see why Pryor is considered a comedy legend in this, apparently the first feature film consisting only of a stand-up comedy show. Pryor sets the bar pretty fucking high for anybody who follows. Sorry for the f-bomb, but it seems appropriate when writing about this kind of performer and this kind of act.
Those are gold shoes that Pryor is wearing, right? You wear gold shoes and bomb and you deserve the special place in hell you'll likely end up in. Pryor earns the right to those gold shoes. He unleashes a horde of voices or characters in this--police, white people, various black people, more white people, children, old people, dogs. He also brings this tremendous energy, the kind that will have a guy sweating through his shirt by the halfway mark. He bounces around from topic to topic--lots of race stuff, the police, his pet monkey having sex with his ear, his dogs, heart attacks, death and John Wayne, his father and other members of his family, cocaine, snakes, the great outdoors, boxing Ali--and it all seems random or stream-of-conscious until you step back and realize how well it all blends together. It never ever feels like a routine, a bunch of jokes he wrote and rehearsed and delivered the same way at different spots around the country while on tour. I mean, that's probably exactly what happened because that's what professional comedians do, but he's got a presence on stage that makes it seem like this stuff is just pouring out of him.
Radio On
1979 movie
Rating: 15/20
Plot: I'll include a plot synopsis below.
A guy drives from London to Bristol to investigate the death of his brother. Along the way, he listens to David Bowie, Devo, Robert Fripp, and Kraftwerk. That's about it for the plot, but don't think the death of the brother is a major plot point or anything. It's more like a lazy McGuffin in a somnambulant movie. It's a road trip that might remind you of Jarmusch or Wenders, and I don't think that's just the black and white talking. It really does feel like a British attempt at a Wenders road movie, maybe more so because Wenders' assistant cameraman (Max Schafer with two little dots above the "a" in his surname) shot this. It's a great-looking movie, one shot that shows a pair of people from outside the apartment really knocking me out. A lot of the shots of landscape shown from a perspective within the protagonist's car were really great.
Along the way, this guy meets various characters--a guy who's either Scottish or Irish and Sting and a couple of German girls. Oh, and one guy who is sleeping in his car that might be my favorite scene in the movie. He doesn't connect well with them, language sometimes being a barrier (another Jarmuscian touch). He drifts somewhat aimlessly, alienated from an England at the end of the decade that he doesn't seem to fit into very well. The meandering plot, especially with first-time director Christopher Petit's insistence on showcasing the minutia, doesn't do the audience any favors. It's a fascinating kind of boring and difficult to latch onto anything in the narrative. In a way, it makes you feel a little like the protagonist must feel.
The music hit my sweet spot. A little Bowie, a little Kraftwerk, a little Devo even if it's not my favorite Devo track, and even Sting's rendition of that Eddie Cochran song. The main character is a disc jockey, but it really seems like the music is playing him. If that makes sense. I don't think that makes sense.
This unusual film isn't for everybody, but I kind of dug it. If you have tastes nearly identical to mine, you should check it out.
Lupin III: The Castle of Cagliostro
1979 animated action movie
Rating: 15/20
Plot: Lupin tries to steal something from the titular castle.
This Hayao Miyazaki feature-length debut has lots going for it including wildly inventive action sequences, really cool characters, and an intriguing plot created by this mishmash of conflicts involving thieves, spies, criminals, and the law enforcement. I didn't know anything about this character going in, but coming out, Lupin, along with his bearded but no-eyed machine-gunning sidekick and the spy who is apparently an on-again-off-again lover and the guy with the sword, is a character I'd love to investigate further.
Larks on a String
1969 (or 1990) Czech dramedy
Rating: 15/20
Plot: Members of the bourgeoisie are forced to work in a scrapyard by a Communist government in order to become reeducated.
Jiri Menzel directed this just three years after Academy Award winner Closely Watched Trains, but it wasn't released until 1990 because Communists didn't like it. The movie's got more charm than it's got plot. The bourgeois collective mostly consists of likable characters even if the women don't have squat to do (but maybe that's part of a point?) other than exist as sometimes-naked love interests for the men. There's a romantic comedy in here that keeps things lighthearted even when the dark and on-the-nose satire overwhelms.
I really enjoyed the setting for this one. More movies should take place in scrapyards or junkyards.
Memories of Murder
2003 South Korean murder mystery
Rating: 16/20
Plot: Some bumbling detectives try to catch a rapist/murderer.
All other Bong Joon-ho movies I've seen have a level of complexity, and watching Memories of Murder makes me wonder once again if I'm wrong about Okja. I should probably give that one another spin. I just don't know if I want to see that pig-thing's ass again.
This movie's complexity is something I can't fully appreciate. According to the director and others, this movie about bumbling detectives, heinous crimes, and an unsolved mystery has a lot to do with South Korean society and masculinity. I'm about as close as a human can be to being a male, but I'm not South Korean. So while I can understand how these characters and their interactions deal with masculinity, I don't have the context to understand what this has to do with society in South Korea in the early part of this century.
I really enjoyed the movie, one that has that Joon-ho trademark of effortlessly combining tragedy and comedy. There's a lot of dark humor here as these detectives combine their powers of ineptitude and ineffectiveness to accomplish next to nothing.
Whose memories are these anyway? The serial killer's memories? Could be. The main detective's? Well, yeah, it could be his, too.
I can't get Okja's posterior out of my mind.
Homo Sapiens
2016 documentary
Rating: 16/20
Plot: Where did all the people go?
The title of this is a little misleading because there isn't a single gay person in this movie.
I apologize for that. In my head, it seemed a lot funnier.
Haunting and meditative, this is like a record of our world, post our demise. Austrian Nikolaus Geyrhalter presents us with a series of shots that show man-made structures--schools, factories, hospitals, roads, amusement parks, water parks, apartments, etc.--that are all devoid of humans. The camera doesn't move, but there's plenty of movement and life in this seemingly dead world, probably a world that the titular people homo sapiens have somehow destroyed. Birds, water, and wind create this movement, and growth goes on without us, all of our edifices, our tools, and our vehicles existing in dilapidated or withered states like mementos or peculiar trinkets. The imagery is frequently heartbreakingly beautiful and just plain heartbreaking at the same time. There's no score at all, just sounds of nature that exist far beyond our expiration dates. Drips, insects, birds, unidentifiable thumps and thwacks.
"Look on my Works, ye Mighty, and despair!
Nothing beside remains. Round the decay
Of that colossal Wreck, boundless and bare
The lone and level sands stretch far away.”
Percy Bysshe Shelley knew the thwacks would outlive us all.
Scum
1979 drama
Rating: 14/20
Plot: Life for young men at an institution.
This is not a Frederick Wiseman movie.
Appropriately, this narrative doesn't really have a beginning or an end.
Spider-Man: Far from Home
2019 superhero movie
Rating: 11/20
Plot: Spider-Man wants to enjoy a trip to Europe with his classmates, but saving the world and Avenger stuff keeps getting in the way.
This wastes Jake Gyllenhaal and what could have been an intriguing villain in Mysterio.
This movie has several things working against it. It follows that last Avengers extravaganza movie too closely. It came out less than a year after a far superior Spider-Man movie.
I know exactly the kind of movie this wants to be. It's a mashup of teen comedy, superhero action, and international romping. I just don't think it does any of those things effectively. It's not funny, and the characters are only somewhat likable. The superhero stuff is a mess.
I don't have anything else to say about this movie. I hope you enjoyed reading this as much as I enjoyed writing it.
Under the Silver Lake
2019 neo-noir
Rating: 16/20
Plot: Spider-Man tries to unravel a mystery after a girl he wants to have sex with turns up missing.
I don't really know what to say about this movie. I didn't really understand it, but I kind of loved it. I also have come to the realization that I am attracted to Andrew Garfield.
I can't wait to watch this a second time, but my wife is very suspicious and likely tracking my viewing activity.
The Black Stallion
1979 boy and horse movie
Rating: 16/20
Plot: A boy is shipwrecked on an island with the titular horse. They become friends and are rescued, and then people want to see how fast the stallion can run. Pretty fast!
I thought I could have just watched Hoyt Axton playing poker on a boat for two hours, but this movie really only gets better from there. I mean, the scene with Mickey Rooney pantomiming the riding of a horse is probably the sexiest thing I've seen in my entire life, and that took place way after Hoyt Axton fell in the ocean, befriended a delightful band of mer-people, and enjoyed sexual encounters with several of them, both male and female.
None of that is shown, by the way, so don't get your hopes up, you pervs.
I love how much of this story is told visually. Well, it's pretty much all of the story. The way the friendship between this boy and this horse develops is just beautiful. The boy and the horse don't even exchange dialogue during these scenes on the island, but Carroll Ballard knows how to use use pictures to tell the story. The scenes on the island, where Ballard uses God's special effects so effectively, are my favorites, but the chaotic chaos of the boat scene, training sequences, and the editing of the horse race finale are all great, too.
The score is by Carmine Coppola, and it's mostly really good. The music works best, ironically, when it's not even used at all. The climactic race scene, as well as all the pre-race stuff, is storytelling without any music.
Cass Ole gives one of the greatest horse performances I've ever seen.
Vengeance Is Mine
1979 Japanese serial killer drama
Rating: 16/20
Plot: Cops try to apprehend a guy who is running around killing people.
"I will punish those who do wrong. I will repay them. Sometimes their foot will slip. Their day of trouble is near. And their punishment will come quickly." Deuteronomy 32:35
I had to use the International Children's Bible for that verse because the King Jame's Version had too many big words. I spent most of this movie trying to figure out whether "vengeance" is the appropriate word for the title. Ken Ogata, who is terrific in this, plays this main character who has some things from his past he could gripe about--a spineless father, oppressive Catholicism--but there's really nothing here that molds the character into the sociopath he becomes. It seems as if director Shohei Imamura is deliberately keeping motives foggy while telling this guy's story. It's gloopy, but it's gloopy with a purpose.
Maybe there was another period in his life when he had difficulty locating a can opener. Those kinds of things can add up, you know.
With a special effects team, the last shot--one reminding us that we aren't dust in the wind after all but instead bones in the air--could have been an all-time great. In addition to that scene, I loved a shot of hanging galoshes, the clean-up after a 4th murder, a shot of Ogata sinking in his seat in a movie theater, an opening cabinet surprise, the first two rough and sloppy murders which show the audience that this character is no professional, and a great shot where the camera follows Ogata down and alley before he abruptly turns around to look directly at the audience.
The Milpitas Monster
1976 monster movie
Rating: 5/20 (Buster: 4/20)
Plot: Something is stealing garbage cans in Milpitas, and when it's discovered that it's a giant winged monster, it's up to some high school students to find a way to stop him.
With a screech like Rodan and an origin similar to Godzilla's foe, the Smog Monster, this titular monster looks pretty silly. It alternates between a cheaply stop-animated and a guy in a suit. While there are certain shots and camera angles that attempt to make it look iconic, the monster's flimsy wings and overall goofy appearance don't help this film's chances.
Neither does the central conflict. The monster, instead of stomping around and destroying things or hurting people, is really just stealing trash cans. Sure, that's the kind of thing that can get tiresome, but it doesn't make this movie monster seem all that menacing.
This entire production was created by high school students. They wrote it, directed it, and starred in it. It could have ended up a whole lot worse, but these kids do set up some cool-looking shots and have the good sense not to take things too seriously here. Of course, the humor doesn't really work at all. Most of it is provided by either the antics of a jerky trio of high school pranksters or the town's drunkard who is called Old George Keister or Stew George. I think he's called "Stew George" anyway. I had to turn subtitles on for this after a while because I couldn't understand about half of what was being said. The subtitles, by the way, didn't help much. There was a lot of [inaudible] in there. Anyway, George is played by "Crazy George" Henderson. It is not a good performance.
Of course, none of the performances are since the cast is made up almost entirely of inhabits of Milpitas. Call it the Milpitas New Wave if you want. The big exception would be the involvement of Paul Frees as the narrator. How did they get him?
Also notable--Ben Burtt handled the sound effects for this. If you don't know Ben Burtt, you are likely familiar with some of the sounds this Oscar-winner has added to popular culture. R2-D2, lightsaber whirrs. He also might be the guy responsible for us hearing the Wilhelm Scream in everything.
There's probably some sort of environmental message here. Maybe the movie is just anti trash can though.
Buster watched this with me and seemed to be digging it. She left with about a half an hour to go though and told me she was rating it a 4/20.
Serenity
2019 ocean noir
Rating: 9/20
Plot: The less time I waste on this movie, the better. If you want a plot synopsis, go look at IMDb or something.
Jason Clarke is quickly becoming a cinematic pet peeve. Here, somebody decided that he should have an unidentifiable accent. His character is also absurdly unlikable, and I can't remember a character I've wanted to see bitten by a shark more than Clarke's character in this. Or a tuna. Or Matthew McConaughey. I didn't even care what bit Jason Clarke in half as long as it happened.
Matthew McConaughey seems to be doing everything he can to sabotage his own career after the heights he reached just a few years ago with those car commercials. It also seems like he's told his agent that he will only take roles that allow him to be near water and show off his naked posterior. He's not terrible here, especially when he's silently prepping for his fishing trips. The movements look practiced and natural as he's preparing bait or whatever. I wish he would have been given opportunities to play a more crazed version of this character. He's subdued and in a little too much control most of the time, and I would have loved to see what Nicolas Cage could have done in this role. McConaughey does let out a Cage-esque primal scream ("Ee-yah!") at one point though. Mostly, he seems a little bored.
It was nice to see that when he dreams about himself, he dreams about himself naked. It's exactly like my Matthew McConaughey dreams.
What starts as a kind of cross between Moby Dick or The People's Sexiest Man Alive and the Sea and sexy ocean noir grows a little more confusing when metaphysical or telepathic elements are introduced. Threads that don't immediately pull together are comical at first, but when everything does come together, it becomes downright nonsensical. It's the kind of film where you might be intrigued the entire time, but afterward, you'll be completely embarrassed that you were intrigued at all.
Monty Python's Life of Brian
1979 comedy
Rating: 15/20
Plot: Brian, born a stable or two over from a more famous guy, lives in Roman-occupied Judea with his mother, and his life is turned upside-down after he's mistaken for a messiah.
There's a message amidst the crude nonsense and usual Python irreverence with a bit of blasphemy. Early, this is episodic, using these situational snippets to have fun with life in a spiritually-hungry Roman-occupied Judea. By the end, it's settled on a plot when Brian is mistaken for a messiah, and the bits--the crowd shouting things in unison and the speech impediments of Pontius Pilate and Biggus Dickus--are stretched to the point where it feels like they ran out of ideas and had time to fill. The turning point involves a sandal, the Python boys satirizing the way a person's message, or in this case a lack of message, can be corrupted. Cleese, Idle, Gilliam, Chapman, Jones, and Palin each play a variety of characters, and after more than a decade, they still bounce off each other so well and have terrific chemistry and comedic timing. There are lots of really funny moments, climaxing with glorious irony in the fun musical crucifixion number, "Always Look on the Bright Side of Life."
Zombie 2
1979 zombie sequel that isn't a sequel
Rating: 11/20
Plot: When her father's boat is found without any father on it, a woman travels to a Caribbean island to find him. She finds zombies instead!
Called Zombie 2 by those nutty Italians to capitalize on the success of Dawn of the Dead, this movie has nothing in common with Romero's classic with the exception of lots of shambling. Following an intriguing opening shot with a gun pointed directed at the camera, a shot that would have had the effect of making me believe I was watching this while held at gunpoint or something even though I willingly selected it, this shuffles along from plot point to plot point to get to the absurdly over-the-top shots of gore. Zombies, when they don't look like children's papier-mache that were left in the sun too long, gobble up intestines, bite through jugulars, and have balls of worms where their eyeballs should go.
Speaking of eyeballs, there's a very graphic eye injury in this movie. With graphic eyeball wounds in John Wick and Brightburn and now this, this is becoming the summer of the eyeball for me.
The film's best sequence starts with some nearly-nude scuba diving before shifting to a scene where a zombie fights a shark. I don't believe George Romero ever showed us anything like that!
Yesterday
2019 musical fantasy
Rating: 12/20
Plot: Following an accident, a struggling musician realizes that he lives in a world where the Beatles have never existed. He decides to take advantage of this by "writing" their songs.
It's unclear how somebody can get in an accident that causes everybody else in the world to have amnesia. I don't need the fantasy explained to me exactly, but it would have helped if this was a little less mysterious. This is a case where the premise is better than the movie, that premise winding up under-explored.
This leans very heavily on the charm and talents of Himesh Patel who nails every subdued performance (like when he performs "Yesterday" for a small group of friends) and the big concert moments in front of thousands. He also has a good rapport with Lily James.
This movie has a whole lot of Ed Sheeran and Kate McKinnon. Maybe the former is a bigger deal than I'm aware of. This almost seems like an Ed Sheeran vanity project, a movie that lets the world know that if it wasn't for the Beatles, Ed Sheeran would be the greatest songwriter who ever strummed a guitar. I can't name a single Ed Sheeran song, so maybe I'm missing out. McKinnon is a huge distraction, a character who is absurdly comic. She's there to help form a theme about the music industry, but it's heavyhanded and a little too obvious.
This has some fine moments, but is mostly generic when it should be magical. Part of the problem might be that the film's audience doesn't forget the Beatles and their songs existed. Though those songs have had fifty years to become classics, I don't know if they'd have the same impact if they were introduced to the world in 2019. The dramatic irony forces us to think about what we would do if we were in the character's situation, but the movie is a little too fluffy to really give any of it emotional depth. I rarely felt what I think I was supposed to feel. I just thought, "Heh, what a cute premise."
Midsommar
2019 romantic comedy
Rating: 16/20
Plot: A couple tries to save their relationship by traveling to a remote commune in Sweden with some friends. It goes great!
I've never experienced a break-up after a lengthy relationship, mostly because I knocked up the first woman who showed any interest in me and got married to somebody who is also too lazy to ever get a divorce. Therefore, I'm not entirely sure I connect with everything going on in this rom-com. Or maybe, more accurately, it's an unromantic comedy, a brand-new Ari Aster genre. Last year's Hereditary was a straight horror movie mixed in with family drama and all this pagan stuff. I expected this to be more of the same, a horror movie borrowing bits from The Wicker Man and other 70's moody, stylish horror classics.
It's not really a horror movie. It's too bright to be a horror movie, almost all of the scenes taking place under a relentless sun. There are things happening to the characters or things the characters witness that are deeply unsettling, and if you think about the movie from certain characters' perspectives, it definitely seems like they're in the middle of a horror movie. As with his first feature, Aster shows off this gift for creating this almost unbearable tension. He's so patient getting the characters from Point A to Point Crazytown, setting this pace that forces the audience to absorb all these details and develop all these questions. Midsommar burns slowly, a candle that lets out this funky but still beautiful fragrance, but then by the end, you notice that it's caught your face on fire.
Contributing to that pace are all these slowly unfurling extended shots filled with all this complicated choreography, sometimes involving animals. Aster and company built this commune from the ground up, and the odd-angled structures give this an almost expressionistic look. Inside those structures are these gorgeous paintings, and the whole thing just looks like a labor of love, all this mythological detail packed into nearly every square inch of wall in these buildings. The camera moves inside and around these structures in these extended shots, and it's just the kind of thing a guy like me eats up. Breathtaking. Music also contributes, a haunting score by somebody calling himself The Haxan Cloak. It all blends in this quietly psychedelic swirl, the sheer length of the thing (nearly 2 hours and 30 minutes!), the strange visuals, and stranger goings-on disorienting the viewer almost as much as it must have disoriented the unfortunate characters who are really trapped in this place.
Yes, this is a movie about a devastating break-up, the commune and its customs and ceremonies representing the rituals a couple in a collapsing relationship might undergo. However, I want to reiterate that the movie is very funny. It's a sneaky kind of funny, one where an audience in a theater might laugh just because it releases some tension a bit. But a lot of the times, I'm not sure how the actors and actresses playing the members of this community keep a straight face. They're good, but Florence Pugh is terrific. It's one of those performances where you think another actress could have played the part, but nobody could have done it quite like Pugh did. She's great!
Not everything adds up in this, and I'm not sure it would even after a rewatch or two. I'm curious about the following:
1) A female scream heard three times from multiple perspectives--I don't believe it was ever explained.
2) The significance of an early drug trip
3) The symbolism of the oracle's deformity
4) Why one character who winds up spending time with some chickens meets the particular graphic end he meets
5) The significance of grief in this movie
6) A bear--why?
Hair
1979 hippie musical
Rating: 11/20
Plot: A guy's joining the army, but once he reaches New York, some singing hippies get in the way.
Currently, I'm researching the year 1979 in film. I saw this was available to stream; discovered that it was the next movie Milos Forman directed after One Flew Over the Cuckoo's Nest, one of my personal favorites; and remembering seeing it in high school and thinking it was something special.
It's not. It doesn't quite work as a musical, it doesn't work as a narrative, and it doesn't work as any sort of belated counterculture statement. It's a mess of a musical, and there's nothing about the story or the characters that makes them feel authentic or interesting. I'm fairly sure that I'm supposed to side with the hippie characters in this, but I was never given a reason to. Maybe that's just the old-man part of me talking. You know, the only part of me. I didn't buy the fragments of romance this halfheartedly developed, a sketchy love-triangular conflict didn't work, and any internal conflict with the main character is never fully realized. Of course, any problems with the Claude Hooper Bukowski character might be the result of John Savage having only 1 and 1/2 facial expressions.
The songs really aren't that effective. And there's a barrage of songs! They all kind of blend in with one another so that at times, I'm not sure if I'm hearing something that's a throwback to an earlier scene or something that just sounds the same as something I've heard before because writers Galt MacDermot, Gerome Ragni, and James Rado don't have much versatility. I probably shouldn't blame MacDermot because the music isn't the issue. Rado and Ragni were the lyricists, and those just sound like words that have just been thrown together. I can imagine song-writing sessions working like this:
Rado: "Hey, I'm working on that drug song. I'm just going to look in the encyclopedia and write down all the drugs that I find in there."
Ragni: "Good idea! For that song they'll do while on horseback, I'm going to just string together a bunch of words, too."
Rado: "Like sodomy?"
Ragni: "Exactly! I'm going to start with that one! Thanks, Ragni!"
Rado: "You're welcome, buddy. But I'm Rado. You're Ragni."
Here are the lyrics, in case you think I'm exaggerating:
"Sodomy
Fellatio
Cunnilingus
Pederasty
Father, why do these words sound so nasty?
Masturbation
Can be fun
Join the holy orgy
Kama Sutra
Everyone!"
That could have been written by a kid who got his hands on his parents' dirty magnetic poetry kit! And pederasty? Really, Hair?
The performance pieces, largely lip synched, do have an infectious energy, and scenes in Washington D.C. and Central Park have an impressive amount of extras. Also--there's a brief shot during a song about "Electric Blues" with this guy playing a keytar that spits out fire. I needed more of that guy! And that guy should have a guitar-off with that flaming-guitar guy from Fury Road.
I'm curious about what this wants to say about race. There's interracial relationships, and a whole song about black boys and white boys being pretty or something like that. What's the angle there, Hair?
The Man Who Killed Hitler and Then the Bigfoot
2019 old-man action movie
Rating: 10/20
Plot: See the title.
Spoiler alert: Don't read the title of this movie before you see it or you'll know everything that happens. Well, not everything, I guess, because there's a wacky surprise in there somewhere.
Sam Elliott's character tells somebody that his actions in World War II were "Nothing like the comic book you want it to be." When you start a movie called The Man Who Killed Hitler and Then the Bigfoot, you have certain expectations. I expected this to be pretty goofy and at least a little bit of fun, but writer/director Robert D. Krzykowski had other ideas and establishes a very quiet and very serious tone early. Mostly, that's maintained, enhanced by a big, often irritating score. This is a movie that has something to say about heroism and how heroes are often forced to live with a curse. It doesn't establish exactly what that curse is--peaking early, living with regret, realizing that your life's highlight isn't nearly as significant as you were led to believe it would be--but when we meet Elliott's character, he's an old, tired, cursed man just living out the rest of his days with his dog and his memories, the latter which he'd probably rather not get into. It's like he's got an albatross around his neck, but instead of being doomed to relate his story to everybody he meets like Coleridge's mariner, he is just doomed to remember it at all. Slow zooms, static shots where the character isn't doing much of anything or just staring at himself in the mirror, and lots of stops and starts where Elliott's character almost does something and then doesn't do it at all add to this kind of languidity.
This might not match your expectations based on the title, but Elliott's performance is probably exactly what you'd expect it to be. And that saves the movie from being a complete waste. He does spend a lot of time looking in mirrors, even remarking on a "mirror clock" at a barber shop at one point. There's one moment that stylistically doesn't fit in with anything that comes before it, a moment when he gets to choose weapons from an arsenal. He picks a gun, a scope, and a knife, and then there's a quick zoom, the kind of thing that would have fit in with something like those Machete movies and the kind of thing I would have guessed this was going for. He also sniffs Bigfoot's poop and has a conversation with an owl.
Please don't think my disappointment has anything to do with my expectations not being met. In better hands, a movie with this tone and these themes could have been very good. Here, the pacing is just off, the story often moving as slowly as a Texan's drawl. There are moments that drag--Elliott getting a shave that seems to last fifteen minutes or a conversation about hot cocoa and marshmallows that I never thought would end. Flashbacks show a pair of stories from Elliott's character's past--the assassination alluded to in the first half of the title and a love story with a teacher. When the former's big moment finally arrives, there's a cool-looking weapon, but the death itself doesn't have the resonance that it should. I suppose that's part of the point though. The relationship with the teacher is something that could have been dropped entirely without losing any character development or any emotional impact. I looked over a plot synopsis on Wikipedia because I thought I missed something at one point, and that love story isn't even mentioned at all. That's how important that is, I guess.
Once this gets to the big climactic fight with the cryptid, the action is ludicrous enough that Krzykowski probably should have just figured out a way to have it take place off-screen. The tone drastically changes at this point, too. I think the turning point might have been that conversation with the owl. Things get really silly, including some sick-sounding bone cracks and unexpected vomit, but Bigfoot looks very cheap. When Elliott kills him, there's supposed to be an emotional impact there, too, but I definitely wasn't feeling it.
I'd rather not discuss anything that happens after that. I wouldn't want to spoil the stupid surprise, and just thinking about the last ten minutes of this movie irritates me.
This is a movie that lacks personality and is only recommended for fans of Sam Elliott's mustache.
Late Night
2019 comedy
Rating: 10/20
Plot: An out-of-touch late night talk show host is given one final year before she's replaced. A female joining the all-male writing staff just might be the spark needed to save the show!
The movie doesn't earn its emotional payoffs just like the characters don't really earn what ends up happening to them. This feels a little half constructed, and the characters don't feel fully formed. A lot of the peripheral characters seem to have wandered into this one from another comedy about a similar subject matter and spend the entire movie trying to get a feel for what's going on. The acting's fine, but nobody's required to do all that much. I did like John Lithgow in this one, but he was really more of a prop than anything else.
I really wanted to like Emma Thompson's crabby talk show host character, and early on, the misanthropic bite in her lines is amusing. Thompson's hitting all her marks, but again, the character just isn't very good. There's really not enough of an arc. Thompson's performance is good enough to help the audience realize that she's learned from mistakes, but nothing that comes after those revelations really convinces you that she's really changed.
There's also no real evidence that these people are funny. Jokes or gags on the show or ones volleyed about in the writer's room aren't funny at all. Of course, that's part of the point early on because the show is struggling. But when changes are being made and the show is supposedly picking up momentum, the jokes and gags still aren't funny. It's the same when Thompson's character is doing a stand-up comedy routine. She initially bombs, the club's audience almost absurdly silent. Then, she starts getting some hearty chuckles and eventually some guffaws and a standing ovation, but I couldn't see much difference between the quality of the first part of the act and the rest of it.
Late Night really ticked me off in its final moments with a camera sweep through the writer's room and the studio. It had about as much emotional depth as a commercial for lawn furniture, and I was almost more embarrassed for Mindy Kaling here than I was because of her involvement in The Wrinkle in Time.
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