Recently I watched The Prom and Happiest Season, and I don’t have a third example, so this isn’t useful as a trend piece to be featured in your favorite publication. These are different movies that effectively have similar genre topes, similar politics, similar conceptions of the closet, similar ideas of, as Erik Hinton puts it, “the rosy-cheeked triumphalism that the truth will set you free, the belief that someone can shape the world merely by shaping their picture of it.” Hinton notes that the convergence of personal identity revelation movies and coming out movies highlight the more aggravating parts of the respective types and augment them beyond tolerability.
My sense is that the two films have become foils against one another, depending on whom you ask, either representative of either the failure of grasping a contemporary vocabulary of relational dynamics or the success of a reformed genre that has been stuck in the mud of creakier perspectives that reveal the worst of a society audiences know can be better.Read the rest of this entry »
(Author’s Note: This was original published on Fandor on February 14th, 2016, but they’ve deleted their archives.)
Is there anything more romantic than watching the face of your date as the image of Rosamund Pike slitting Neil Patrick Harris’s throat is projected up on the big screen—on your first outing, no less? Now that’s an ice breaker. My date was seated to my right as I scribbled down notes for the first fifteen minutes, unaware of the context of our meeting until a good fifteen minutes into the film. The ambiguity with which our outing was initially imbued may or may not speak to a larger idea of the cultural shifts in courting, but to watch Gone Girl on a first date is really, contrary to public perception, a romantic thing. The jittery ebullience of the evening doesn’t really change, since the context is the same, and though we didn’t go out again, not because of the film (our post screening discussion was lively and impassioned), there’s a hurdle one overcomes when watching Gone Girl—or even other works like Antichrist, Scenes from a Marriage, etc.—it’s a weird, inexplicable sense of intimacy and understanding one has when watching a film like this, let’s call them Anti-Romantic films. Read the rest of this entry »
As Nick Pinkerton’s review notes, the musicals that have come and gone in the last couple of decades have – through form and, to some degree, theme – noted, “They don’t make them like they used to.” But La La Land does try earnestly and effortfully to make them like the used to, “they” being the likes of Jacques Demy or Vincente Minelli or Stanley Donen. I can’t help but wonder why Damien Chazelle, an incredibly proficient director, wanted to “make them like they used to”. Is he just a caustic nostalgist? Read the rest of this entry »
It’s hard to think of the last time one thing, one cultural event that wasn’t something really terrible or sad, simultaneously brought Film Twitter together and tore it apart. (Just kidding, Brandon Nowalk named at least five things that had a similar effect.) I’ve gotten pretty good at either being completely apathetic/indifferent to some, if not most of these debates, or at least keeping my opinion to myself. But this one, concerning the latest Pixar short film, seemed too amusing to not joke about having an opinion in the first place. It managed to engender some very, very vehement feelings, mostly vitriolic. There are certainly a bunch of people who, and I saw this with love and respect for these people, were incredibly smarmy and self-righteous in their defense of this short, but having not yet seen it, I couldn’t properly weigh in on the great Film Twitter debate that was on Lava. Read the rest of this entry »