Category Archives: Movies

Mundus vult decipit: the world loves to be deceived

Mundus vult decipit was the motto of Manuel of Poictesme in James Branch Cabell’s Figures of Earth. It reflects that Cabell’s heroes are frequently liars and con artists, and Cabell’s general cynicism about everything. But it’s also got an element of truth to it.

In its ugliest form, we have people embracing patriarchy and racism. As I’ve written before, patriarchy makes people stupid. It’s a lie that tells men they’re entitled to have a woman provide them with sex and clean up after them. The same appealing (to some people) lie ripples through society in other ways. Shitbag misogynists such as preacher John Piper insist women’s submission is justified because her man will protect her; even if she can protect herself, he should do it. And if the moment he need to protect her never comes? Well, he was willing to do it, so her life of submission and housekeeping, day in and day out, is completely justified. And if the husband, instead of protecting her, is abusive, Piper is very concerned … that she not defy her husband by calling the cops unless the church gives her permission.

Then there’s Joel Webbon, hatemongering misogynist racist preacher who claimed once that MLK and the major anti-slavery abolitionists are burning in hell. He offers no evidence for this — there is none — but for people who want to believe in white supremacy, that might be comforting. More generally we have the idea there is a divinely ordained hierarchy and God has assigned us our place in it . Regardless of whether you earn a place on merit, “He made them high and lowly” tells you you still deserve it. That’s very comforting to people with privilege or unearned advantages: questioning them is questioning God!

Then there’s the ongoing anti-vax movement. I’ve seen occasional interviews where the parent of an autistic kid says they support the Toddler and RKF Jr. because the medical establishment refused to accept the kid’s mental state was caused by vaccines. Well, that’s because it wasn’t. There’s no link, no connection. But the parent wants to believe there’s a simple explanation and so they swallow the first one offered. And as I noted a week ago, so has the Toddler.

Or consider the endless claims that forcing women into tradwife homes isn’t sexist: It’s what women secretly crave. Which is the tip of a whole iceberg of lies: “We’re supposed to buy that the woman who makes chewing gum from scratch while her husband cosplays as James Dean wasn’t trying to capitalize on the tradwife trend? That Miller throwing hot water on his wife was just “horseplay”? That a desperate mother who called ER after ER and saw doctor after doctor was planning on killing her children? Really?

For decades, American mothers have been expected to eat lies with a smile—swallowing any anger and disappointment, and surviving on platitudes about our job being the most important in the world. (So important that we don’t need pesky paid parental leave, affordable child care, or the equitable division of domestic labor.) Still, for a minute there, it seemed like conservatives might just get the cultural shift they wanted: between the backlash to “girlboss feminism,” the rise of MAHA moms, and the Covid-era exodus of women from the workforce—the tradwife movement was being carefully positioned as something American moms might just want.”

Then you have Katie Souza, ex-con and former meth distributor, who’s reinvented herself as a preacher exposing the covert alien conspiracy to harvest women’s eggs and make alien hybrids. Plus “she said that she had to break a family curse connected to Adolf Hitler’s attempt to harness the power of a Satanic altar.” As Fred Clark says at the link there’s not an atom of evidence for any of this but plenty of people are apparently willing to believe her — after all, it’s such a cool story. The same, I think is true of fake Satanist Mike Warnke. It’s not just that much of his life story was obvious bullshit (the Freedom Riders were a Kennedy administration thing so he couldn’t have been one when at college in the late 1960s) but if, as he claimed, he’d participated in Satanic human sacrifices, he’s an accessory to murder. I’m pretty sure if his conservative Christian audiences believed him they’d have called the cops — but they told themselves they did.

Which shows why this stuff isn’t merely laughable: during the 1980s Satanic panic, prosecutors cited Warnke’s stories as proof that Satanic cults could indeed be sacrificing children. They weren’t. A number of people went to jail based on the lie, though. The Qanon nonsense follows the same path. Only it’s not just about the cool story, it’s about the fantasy that if Democrats are pedophiles, Republicans are heroes for fighting them.

There are multiple reasons people fall for nonsense. There are multiple reasons people spread them: fame, political advantage, money (and in the current political environment add one more: to keep President Crybaby happy). Underpinning much of this is one fundamental defense against reality: “We just have different facts” or the like. We do not, however, have different facts. While there are many cases where we might debate over the facts or how to interpret them, the examples I’m listing here are not among them. There is no vast network of Satanic ritual abuse, there are no aliens creating hybrids, vaccines work, and nothing justifies a hierarchy that ranks members of one race or gender or ethnicity above others.

In the words of George Orwell, “”The point is that we are all capable of believing things which we know to be untrue, and then, when we are finally proved wrong, impudently twisting the facts so as to show that we were right. Intellectually, it is possible to carry on this process for an indefinite time: the only check on it is that sooner or later a false belief bumps up against solid reality, usually on a battlefield.” And for some people, not even that will work.

Leave a comment

Filed under Movies

The men of New York: movies

Michael Cera is a Big Apple journalist in PERSON TO PERSON (2017) though it’s the kind of quirky indie where his plotline — working with a cute colleague on a story in hopes he can get her into bed — is only one strand of the story, alongside a record collector hunting a rare Charlie Parker disc and a teenage girl trying to figure out her sexuality (“I’m a lesbian … mostly … I think.”). This is nominally tied together by taking place on a single day in New York but more connection between the plot threads would really have helped. Or maybe having one upbeat protagonist instead of everyone being glum or nervous. The end result is competent but listless. “It’s not a good-looking penis because a good-looking penis does not exist.”


BOYS NIGHT OUT (1962) has married Howard Duff and Tony Randall nag divorced buddy James Garner into a plan to rent a swinging bachelor pad (it’s interesting to see how Hollywood imagined a swanky apartment back then) and then install a mistress they can each visit one night a week. By sheer luck, Kim Novak stumbles into this set-up and decides to let them think she’s a sex worker as it will provide invaluable research for her thesis on “Adolescent Sex Fantasies of the Suburban Male” (“This isn’t what they want, it’s what they’ve been told they’re supposed to want.”). Garner is horrified by all this, yet at the same time, Novak’s character is so cute … can he save her from this life of sin?

This worked better when I didn’t know all the twists and Novak’s too stiff to be funny; nevertheless, I enjoyed rewatching this one. It’s fluff, but it’s entertaining fluff. The cast includes Jessie Royce Landis as Garner’s disapproving mom, Oscar Homolka as Novak’s thesis adviser, William Bendix as a barkeep and Fred Allen as a gumshoe. “When it comes to sex, men can’t keep from lying. Women can’t keep from telling the truth.”


I’ve never liked Marvel’s decision to retcon out the Peter/MJ marriage in the One More Day/Brand New Day story arcs and had similar feelings about the MCU’s Peter Parker (Tom Holland) having to erase his relationship to MJ (Zendaya) in Spider-Man: No Way Home. Nevertheless SPIDER-MAN: Brand New Day (2026) makes excellent entertainment.

It’s been five years since the previous movie and the same amount of time has elapsed in the MCU. Spidey has become a Big Apple legend, taking down Scorpion, Tombstone and the Hand and forming alliances with the Punisher (Frank Bernthal) and Inspector Jean DeWolff (Liza Colon Zayas). As Peter Parker he’s alone, unable to rebuild his life after losing MJ and Aunt May. DeWolff warns him he needs to get a life instead of fighting crime 24/7 but what else does he have to do? Then a mysterious body-jumping adversary begins using random people to coordinate an attack on Damage Control, here something equivalent to DC Comics’ DEO. How does he stop someone who can be anyone, or distract him by making their victims jump off a ledge? And what about his own powers, which are spiraling out of control as he stresses out (I half-wondered if he’d briefly become the eight-limbed figure seen on Gil Kane’s cover here, but no)? Can Bruce Banner (Mark Ruffalo) give Peter the advice he needs on controlling a dangerous alter ego?

The movie isn’t perfect. There’s one twist that’s not even slightly shocking and the mind-controller gets too big a pass on some of her actions. Peter has an apartment, food and a state of the art computer system but we never learn where he gets the money. Overall, though, an impressive job that does as good a job as possible not burdening new viewers with too much continuity. “Mind-control? Yeah, governments do that a lot — particularly the French.”

Once again TYG and I caught the annual CAT VIDEO FEST (2026) at the local Carolina Theatre and enjoyed shots of cats climbing and failing, wriggling through holes, stubbornly making things more complicated or a quartet of stray kittens getting caught by a rescuer. As usual nothing that we couldn’t find on the Internet and a few too many animated shorts this time around. Still, the second most fun film of the week.

All rights to images remain with current holders. The one Spider-Man panel is by John Romita.

Leave a comment

Filed under Movies

Fallen women on screen

While at ConGregate last month, I had a quiet stretch in my room in the early morning and wound up watching GABY (1956), which though I didn’t know it was a remake of Waterloo Bridge.

Leslie Caron plays the eponymous protagonist, a French dancer who fled the Nazi occupation to London after the death of her parents. John Kerr is Greg, an American GI who’s never met anyone so elegant and sophisticated and falls for her like a ton of bricks. Before long, vows are exchanged; I assumed that having married in haste, the drama would come when they repented at leisure (Gaby’s parents are alive and Vichy or something equally shocking). Wrong. After Greg apparently dies on D-Day Gaby, currently unemployed, turns to sex work to support herself. When Greg returns, injured but alive, Gaby is to guilty to live and walks out into a German V-2 rocket bombardment.

Admittedly I wasn’t paying close attention to the film — it’s not that gripping and I was doing other stuff during parts of it — but I was surprised to realize Gaby was selling her body rather than just sleeping around. Maybe it was me not paying attention but it’s possible the Production Code forced the filmmakers to keep things much less obvious than in Waterloo Bridge, especially as Gaby doesn’t pay for her life for her sins. Instead Greg tells her that war is hell, people do terrible things — but it’s over now, let’s put it behind us. “I thought all Americans were divorced?”

My serial watching of Stephen Soderbergh came to a halt when I couldn’t find 2009’s THE GIRLFRIEND EXPERIENCE anywhere streaming. Finally, though, I ordered the DVD. This is one of Soderbergh’s art films (as opposed to crowd-pleasers like Ocean’s Eleven), with porn star Sasha Grey playing a sex worker dealing with men ranging from her slightly jealous live-in boyfriend to a client who might be more to various clients who want to give her advise on investing or better design for her website. As Roger Ebert says, most of them are buying sex but what they really want is to be told how smart they are.

The book Marked Women has a whole chapter on “prostitute as businesswoman” films. These include left-wing critiques showing how capitalism corrupts even sexual relations and those that show sex work is simply work, a job like any other. This film definitely fits the second category: Grey’s character is a businesswoman and her business is considerably safer because she runs it through the Internet (something Samantha Cole brings up in How Sex Changed the Internet and the Internet Changed Sex). Overall, I liked the film, though while I agree with Soderbergh not diving deep into her motives (as he says on the commentary track, it’s too easy to go cliched), the result is that it never gets below the surface of her life. “I’ve told them I can’t make the junket to Vegas.”

All rights to images remain with current holders.

Leave a comment

Filed under Movies

Mass murder and an odyssey: movies viewed

GENOCIDE (1968) is the last of that Shochiku boxed set from Japan, and it’s another strange mash-up. An American military plane crashes with a nuke aboard. A search leads to the crew’s bodies but what are the strange marks on their body? The result, it turns out, of a mad scientist (driven insane from her time in a Nazi death camp) scheming to breed a race of deadly venomous insects — not, as her employer assumes, to target Americans but to destroy all of humanity. As if that’s not bad enough, the insects are sentient and want to kill us to save their own kind from nuclear holocaust.

I wouldn’t say the results are good but they are interesting. The end is strikingly anti-American: to destroy the mad doctor’s lab and the insects, the military nukes her island lab without giving the Japanese residents a chance to evacuate. “I just love insects because they never lie.”

I wasn’t particularly excited at the thought of seeing THE ODYSSEY (2026) but TYG liked the idea so I said sure. It turned out much better than I expected.

Based on Homer’s poem (which I’d think obvious, but some of the discussion here indicates not everyone knows it), this tells the story of how Odysseus (a surprisingly effective Matt Damon) won the Trojan War by conceiving the Trojan Horse ruse. The journey home has proven far longer than planned, ending up with him amnesiac on the island of the nymph Calypso (Charlize Theron). The loss of memory is a change from the source as an alternative to him simply spending several years banging Calypso while Penelope (Anne Hathaway) is grieving at home.

Speaking of Penelope, she and Odysseus’ son Telemachus (Tom Holland) have spent the years fending off suitors, most notably the slimy Antinous (Robert Pattinson) from seizing both the throne and the queen of Ithaca. Telemachus heads off for proof of Odysseus’ survival; Antinous decides it would be better if he doesn’t return home. In Odysseus’ flashbacks and the stories Telemachus hears we get the encounters with Polyphemous the Cyclops, the sirens, Scylla and Charybdis and more. Also in the cast: Zendaya as Athena, Elliott Page as a doomed soldier and Lupita N’yongo as both Helen of Troy and her sister Clytemnestra (she’s good-looking enough for Helen and effective as an actor in both).

Overall we really liked this though TYG was put off by the loud soundtrack (it didn’t bother me at all). I was disappointed they didn’t use more of Odysseus’ trickster skills, such as the story of how he tried to avoid going to Troy by pretending to be insane (I’m fond of tricksters — they seemed much more someone I could aspire to be than musclemen like Hector and Achilles). The effort to make the destruction of Troy (this goes with the theory it was all about control of trade routes) a symbol of civilization falling apart didn’t quite work, though it didn’t wreck the movie. If you have three hours to spare, this is worth catching in the theater. “It was the song of all the promises I’d failed to keep.

All rights to images remain with current holders.

Leave a comment

Filed under Movies

From Japan, a horror and a haunting

It took a few months but I finally watched the second and third movies in that set of horror films from Shochiku Studios

GOKE, BODYSNATCHER FROM HELL (1968) is one I’ve seen before but it rewatches well. A Japanese passenger jet crashes down in the wilderness with the typical mix of Airplane Drama characters on board: a corrupt politician and the man who bribed him, a bitter wife caught between both men, an American widow PTSDed about her husband’s death in ‘nam and both a professional assassin and a mad bomber.

As if that wasn’t enough, the eponymous alien oozes out of its flying saucer and takes over one of the group. He’s the advance guard for an invasion though killing them seems to be purely for kicks — it’s not like they represent a vital front in the struggle. The best of this set so far. “Ever since the atomic bomb was dropped on Hiroshima, flying saucer sightings have increased dramatically.”


THE LIVING SKELETON (1968) is a less successful mashup of revenge thriller and ghost story, probably the weakest of the set (we’ll see after I get to movie #4). In the opening, a ruthless gang of pirates gun down the passengers and crew of a cruise boat. In the present, the traumatized twin sister of one of the victims tells her priest that she’s seen her sister’s ghost — and soon that spirit seems to be hunting and haunting her killers. But is that what’s really going on? This took way too long to engage me and some of the key plot points made no sense once I knew what was going on. “I remember you loved to quote Proverbs 1.”

Returning to America, I, MADMAN (1989) has a sexy bookstore clerk and horror buff become convinced the deranged scarface from the 1950s novel she’s currently engrossed in is hacking up everyone around her. That’s bad enough, but the culmination of his literary rampage will be cutting out her heart to wear around his neck … There’s potential in the idea but the execution is lacking — and, again, I don’t think the explanation for what’s going on holds together. “I’m more likely to find a gorgeous guy in a bookstore than a smart man in a singles bar.”

All rights to images remain with current holders.

1 Comment

Filed under Movies

Spiders, sheep and young lovers solving mysteries: TV and Movies

SPIDER-NOIR (2026) stars Nicholas Cage as Ben Reilly, a 1930s PI who once fought crime and injustice as the Spider, with powers acquired from Great War mad science experiments (he played an animated version of the same character in Into the Spider-Verse). After he failed to save his great love, Ben gave up superheroics for the life of a down-at-heels PI. Now, though things are changing as more superhumans show up.

First we have Flint Marko (Jack Huston) whose body can turn into sand. Then comes Lonnie Lincoln (Abraham Popoola), whose body seems stone hard and incredibly strong. Crimelord Silvermane (Brendan Gleeson) is watching these new players with interest, while also hiring Reilly to find the traitor in his organization. Further complications include shady singer Cat Hardy (Li Jun Li), and that both Ben’s secretary Janet (Karen Rodriguez) and reporter Robbie Robertson (Lamorne Morris) think Ben needs to suit up and take Silvermane down.

This is available in black and white and color both, though I couldn’t figure out the B&W option (I’d have preferred it). It was fun, with a solid cast and an interesting alt.version of the Spider-mythos. I was surprised that it actually shows people smoking as most period pieces these days skip that detail. “You told me yourself, Silvermane — never settle for what someone hands you.”

THE SHEEP DETECTIVES (2026) is a very oddball mystery film in which, as the title suggests, the detectives are sheep. George Hardy (Hugh Jackman) is a sunny, sheep-loving shepherd — he only takes their wool instead of killing them for mutton — in the kind of small, cozy English village where murders happen frequently. Every evening he reads to his sheep from a mystery novel; Lily (Julia Louise-Dreyfuss) is invariably able to figure them out.

Then one evening, George winds up dead outside his small trailer, and wouldn’t you know there’s no shortage of suspects? The local butcher. George’s young heir. Doesn’t his lawyer (Emma Thompson) seem a little suspicious? And there’s a few other people George feuded with … When it appears the nitwit village constable is way out of his depth, Lily and the sheep decide to investigate. After all, how much harder can mysteries be in real life? While I spotted the murderer early on, this mix of cozy-mystery parody and funny-animal story works really well. With Patrick Stewart as an old ram. “Is there anyone in the world who hasn’t seen Return to Oz?”

I watched Alfred Hitchcock’s YOUNG AND INNOCENT (1937) about six years ago as part of my Hitchcock (re)watch. When the Carolina Theatre announced it as part of their own Hitchcock film festival, TYG and caught it on the big screen. She liked it too, though she was thrown by the blackface musical number at the climax.

After weirdly melodramatic marital spat (as Hitchcock Romance says, it’s a surprise it’s not part of a stage show or a film within the film), the wife turns up strangled. When young Tisdale (Derrick de Marnay) finds the body, he realizes his raincoat belt was the murder weapon he panics and runs, get caught and charged. Realizing his bumbling attorney will be no use, Tisdale goes on the run with the help of Erica (Nova Pilbeam), daughter of the local chief constable. Can they find out who stole his raincoat before the law catches up with them?

The plot doesn’t make much sense. Is any belt going to be that identifiable? Did the cops even try to locate the husband? But of course such considerations are secondary in a Hitchcock film. What works is the romance and the troubles the duo get into finding the truth. Unlike many of Hitch’s lovers-on-the-run films, such as The 39 Steps, where the hero has to drag the female lead along until she falls in love, Erica takes Tisdale’s side from the get-go. That makes for a lighter film but it works. “Haven’t you seen anyone with a twitch yet?”

All rights to images remain with current holders.

Leave a comment

Filed under Movies, TV

Bad guys, glaciers and Fritz Lang: movies viewed

Despite their redemption arc in The Bad Guys, the eponymous gang discover in THE BAD GUYS 2 (2025) that like so many real-world ex-cons, their felonious past makes them unemployable, which is leaving them broke. What’s the solution? Hey, if they capture the Phantom Badnit stealing items made of McGuffinite (“That name sounds made-up.”) that would prove they’re legit, right?

Of course it doesn’t work out like that. Wolf, Snake, Webs, Piranha and Shark end up blackmailed by the Bad Girls (though the movie doesn’t give the gang that name) into pulling one last job with them, stealing a space shuttle as the ultimate heist. Would it surprise you to know both sides are planning a double cross?

This works better as a sequel than I’d heard, though the continuity doesn’t quite sync with the Bad Guys Netflix series (the series shows Webs working with them in their pre-fame days; the movie has her signing on after they’re already big time). Clearly the producers are now in franchise mode so this ends with seeding for Bad Guys 3. I hope they can keep up the quality. “They’re escaping west in a hot-dog truck — probably all beef, possibly chorizo.”

I also caught the team’s Halloween special, Haunted Heist, in which they rob the haunted mansion of a legendary thief, never mind the supposed curse on his loot. This was stock holiday stuff, less effective than A Very Bad Christmas. “I’d never pose in chiaroscuro — it’s so tacky.”

TIME AND WATER (2026) is an Icelandic author’s documentary on his family life and how the glaciers his grandparents once scaled are now dying in the age of global warming, the small Ok Glacier already having Gone to Dust. Poetic, though the appeal, like many other documentaries, is primarily the Pretty Pictures. “The glacier is no longer in geologic time.”

FOUR AROUND THE WOMAN (1921) is the final film in that Early Years Fritz Lang set TYG got me for Christmas. As shady businessman Rudolfe Klein-Rogge works on some scheme, he also worries about his wife cheating on him. The woman’s former sweetheart would love it if that were true, but he too is entangled in the criminal skullduggery. At least I think that’s the case: I had trouble following the crime plot, possibly because Plushie was in loud barking mode (even with a silent film, that’s distracting). Still the mix of crime schemes and social decadence, with looks at high society and low, make this feel more like Lang’s later films than The Wandering Shadow or Harakiri did.“In this fateful hour, I have come to set you straight.”

All rights to image remain with current holders.

Leave a comment

Filed under Movies

Fake dating and some ferry(wo)men: movies viewed

During an online discussion of Tropes We Hate — not problematic stuff like Stalking Is Love but just tropes the various participants dislike — several people cited Fake Dating as one they can’t stand. That led me to rewatch IT STARTED WITH EVE (1941), an early example of the trope. And a funny one, so obviously I can stand it when it’s done well.

Legendary millionaire lover-of-life Jonathan Reynolds (Charles Coburn) is dying as the movie opens. His son Jonathan Junior (Robert Cummings) rushes to his side and learns all Dad wants is to meet Junior’s fiancee. Trouble was, she’s been delayed and probably won’t arrive in time; a desperate Junior hat-check girl Anne Terry (Deanna Durbin) and begs her to pose as his fiancee so the old man can die in peace. Except Reynolds finds Anne so charming, he starts to recover. Now what are they going to do? Of course you can all figure that out but the fun is watching them get there. It’s an enjoyable journey but Durbin has so much more chemistry with Coburn than Cummings it undercuts the perfunctory romance. Still a thumbs up for me. “What’s a town in Ohio?”

FERRYMAN MARIA (1936) is a German fantasy in which the ferryman who links a small village with the rest of the world meets Death – literally — leaving them stranded (though it looks like the ferry would be simple enough for passengers to work for themselves). Fortunately the vagabond Maria (Sybille Schmitz) shows up, takes the job and soon falls in love with an injured revolutionary hiding nearby. That creates a problem when Death returns, looking for the man … This has a certain charm, but nowhere near enough. “Tonight, no bell rings in the village.”

That film’s director, Frank Wisbar, subsequently remade it in America for PRC, one of the bottom-of-the-barrel studios of the Golden Age of Hollywood that churned out nothing but low-budget crap. THE STRANGLER OF THE SWAMP (1946), however, was an exception, one of the best things the studio put out — and while that’s faint praise, it’s a decent low budget movie.

In this version the strangler of the title is Charles Middleton, the ghost of a man framed for murder, then lynched by the angry villagers. Just as he hung, so will everyone he blames for his death, including the ferryman. His daughter Maria (Rosemary La Planche) arrives too late to see him but agrees to take over the ferryman duties. Too bad the strangling ghost includes the children of his enemies on the list of those marked to die … Fun, and Middleton is always a memorable, malevolent villain. “I don’t care what you say, I am afraid — but so are all the others!”

All rights to images remain with current holders.

Leave a comment

Filed under Movies

It’s a quirky indie film shot in Durham. I wish I liked it more.

The only reason I know the 2025 movie EVERYTHING & THE UNIVERSE (2025) exists is because our local newsmagazine, The Indy, wrote an article about it last month. It’s an indie film shot in Durham, NC but even the businesses that appear in the film didn’t know it’s now streaming.

Before you go any further, be warned, spoilers follow.

Naturally I caught it once I found the time. The Durham skyline is visible in several shots and I know at least one location, the Arcana Bar, though not well enough to recognize it. The film has the “quirky indie” vibe down (though unlike the Indy, I wouldn’t call it a rom-com). Despite being enthused to see it, Everything & the Universe didn’t work for me.

The plot: Henry (E.J. Bonilla) and Jane (Nicolette Pearse) meet as they get on a plane to Durham. When it makes an unplanned emergency landing, Jane can’t find transportation and accepts a ride with Henry. It turns out they’re both headed to a wedding — Sam (Chelsea Gilligan) is Henry’s ex, Jane’s BFF and also Jane’s secret love fantasy (Jane’s lesbian), but Sam’s marrying Brian (Luke Roberts). Henry thinks he and Jane have been brought together to derail the wedding and leave Sam up for grabs. Hilarity, character interactions, personal crises and the wedding ensue.

The movie started to go wrong in the opening scene, in which Henry is getting manic about bringing a carved log with him on his flight (it’s a memento of a sexy afternoon with Sam). He proceeds to disregard boundaries, pushing for Jane’s last name when she doesn’t want to tell him, talking to her when she’s on headphones, asking why she can’t smile more. It’s obviously a conscious choice by writer/director Sarah Scarlett Downing and it’s consistent with Henry’s personality throughout the movie — a pushy jerk who keeps heading for what he wants regardless of what anyone else wants or needs.

Possibly Downing thought this was realistic (it is); possibly she was trying to create, as the old phrase goes, a character you love to hate. Trouble is, I didn’t love to hate him, I just hate him. As I’ve said before, sexist jerks do not make good protagonists. When he offers her a ride — I get it, she’s desperate, but I can’t help thinking a guy like Henry would make her choose the bear. Instead they bond, becoming squabbling best friends.

The other problem is that the indie drama aspect — everyone getting together and interacting, like John Sayles’ Return of the Secaucus Seven, working out personal problems (or not) — fits oddly with the nominal plots of a)Jane wanting this to be a friends-to-lovers romance and b)Jane and Henry trying to break up the wedding. Brian turns out to be a jerk … or is that just jerky behavior as most of us engage in? Sam reciprocates Jane’s feelings after all … or does she? There’s an odd moment at the wedding where one of Brian’s male students declares his love for the professor; it comes so out of the blue, I assume it’s some trick by Henry. Then again maybe it wasn’t. Random moments work fine in a character study. Not so well in a rom-com plot.

In the end, the cast and crew execute the film well … but it still doesn’t work. “There is no use running from the moon — even when you can’t see her, she’s there.”

Leave a comment

Filed under Movies

Musicals and a sequel: two plays, one movie

MERRILY WE ROLL ALONG (2025) is a film of the recent revival of Stephen Sondheim’s “cult flop,” currently streaming on Netflix. It stars Jonathan Groff as Franklin (lead character) with Daniel Radcliffe and Lindsay Mendez as Charlie and Mary, the Second and Third of Franklin’s Three Musketeers (Iit’s not the production below but I like the image better).

When the film starts in 1976, Franklin is a successful Hollywood producer. Mary’s still his friend, a once successful writer drowning her writer’s block in booze. Charlie no longer talks to Franklin. Neither does Franklin’s ex-wife. Or his mentor. Or his son (it appears he doesn’t do much to fix any of this). How did he wind up alone in a room full of shallow Hollywood types, cheating on his wife with his latest star. To find out we bounce back in time, then further, then further still to see how Franklin — once an idealist and a gifted writer — kept succumbing to temptation (sex, money, fame) and selling out both his principles and the people in his orbit. It’s based on a George Kaufman/Moss Hart play which from synopses I’ve read sounds even darker. This production is well done; Radcliffe isn’t a great singer but he’s a good enough actor to make up for it. “I think Charlie and I will handle success very well — look how well we’ve handled failure!”

THANKS FOR THE MEMORIES was a local production performing Oscar-winning songs from movie musicals, plus several from the 1230s before Best Song was a hit. Shows my taste that the only one I haven’t heard was “Toot Toot Tootsie!” about a young romeo bidding his girlfriend(s) goodbye, though I’ve heard the opening lines often enough. A lot of fun with the cast putting their heart and soul into the numbers.

I wouldn’t have gone to THE DEVIL WEARS PRADA 2 (2026) except LeAnn was a big fan of the original (we were both startled to realize it’s now 20 years old) — as it turned out, despite “meh” critical reviews, we both enjoyed it.

In the opening scene, Andy (Anne Hathaway) is now a superstar journalist; no sooner does she win a prestigious award than her company downsizes her and her coworkers as part of a cost-cutting move. By a happy coincidence, Runway, the magazine she briefly worked at under tyrannical Miranda Priestley (Meryl Streep) is in deep shit due to running an article on a fashion brand that turns out to be made with child labor. Will putting a respected journalist in as editor turn things around? Will it help Andy’s career revive? Are the trends in legacy media — everything digital, serious news in decline — too deep to overcome? Or is it possible office backstabbing is the real threats?

This has a good feel for the plight of modern journalism and it’s also fun — in some ways more than the first one, as Andy’s better equipped to hold her own with Miranda. Solidly cast with Stanley Tucci, Emily Blunt, Kenneth Branagh and Lucy Liu in supporting roles. No regrets about seeing this in the theater. “Stockholm called and they want their syndrome back.”

All rights to images remain with current holders.

Leave a comment

Filed under Movies