There is so much bait in Sam Levinson’s Malcolm & Marie (on Netflix) that every moment is an arch rachis, a streak of fakery on an angler, barely hiding the dull hook. As the film prods its characters to prod its audience, the aggressive and argumentative film continually vies for your attention and interrogation, invites you, and then shies away, resentful, when you’re ready to joust. Its hook is rusty, dull, and so inelegant I’m surprised as many people took the bait as they did. Once one realizes that the characters, and the film, have little to say about anything, much less about art and film critics, it’s easier to recognize the lifelessness of the film.
In Provincetown, MA last Thursday, the street of the quasi-Queer Mecca was lined with many a Madonna, pantless Tom Cruise, and Tina Turner. It was Back to the ’80s for Carnival. But were you to find an Eleven in the parade, donning a hospital gown and little hair, right next to the Gremlin-turned-femme fatale, they would have fit right in with the vibe. Read the rest of this entry »
In a feeble effort to make this the one stop place for my writing, I’ve come here to update you on some of my stuffs.
Firstly, I’ve been writing a lot about my new favorite filmmaker Xavier Dolan of late.
Over at IndieWire’s /Bent Blog, I wrote about the roles of mothers in his films.
The pet preoccupation of young Quebecois filmmaker Xavier Dolan is not, at first glance, particularly interesting. Mothers. Alright, someone says, he has mommy issues. But the issue runs far deeper than writing it off so dismissively. For Dolan, as a queer filmmaker, uses his experience, position, and talent to explore mothers with atypical approaches. The divide between a mother and their queer child is also nothing particularly new, but, for at least I Killed My Mother and Laurence Anyways, his maternal characters transcend the roles given to them to become much more.
Over at Movie Mezzanine, I examine obsessive love in Dolan’s Heartbeats via Dalida’s “Bang Bang” and The Knife’s “Pass This On”.
It’s intoxicating. It has the power to the make someone do things out of the ordinary. It augments and manipulates the experience of living. Deep infatuation. Few films are able to pin that experience so accurately as Xavier Dolan’s Heartbeats, a hyper stylistic, elegant piece of filmmaking about two friends who fall in “love” with the same guy. Dolan is able to articulate the spellbinding effect that infatuation has on the two characters through the use of two songs, “Bang Bang”, describing the competition between Francis and Marie, and “Pass This On”, depicting the obsessive nature of their infatuation. Carefully utilized in the film and played nearly consecutively, Dolan nails what it’s like to be obsessively enamored.
And recently, I just had the fortune to see Dolan’s fourth film, Tom at the Farm. And I’m seeing it again this week, because that’s how I roll. And he’ll be there in person. (Yes, I realize I’m linking to a post that was already on this blog, but, I thought it made sense regardless.)
It’s hard to describe 25 year old Cannes Grand Jury Prize winner Xavier Dolan as anything but a wunderkind, even if you dislike his work. The rate of output, for one, is impressive, but the products themselves are astonishing. But what happens when an art house enfant terrible steps away from his comfort zone to deliver a straight (or, rather, queer) psychological thriller? Certainly one of the most outstanding, heart racing experiences I’ve had at the theater in ages.
I’ve also been doing other work, such as…
At IndieWire’s /Bent Blog, I watched queer romcoms and came up with the best and the worst.
Queer films often get ghettoized to a point where if you aren’t actively looking for them, you probably won’t see them in the spotlight, not unlike looking for an original cast recording of Company. You have your once in a while bursts of recognition, like Brokeback Mountain or Milk, but queer romantic comedies specifically almost never see the light of day outside of either your indie theater, your LGBT film festival, the Gay and Lesbian section on Netflix, or that unfortunate friend who actively decided to buy Were the World Mine on DVD. But why is it that way, beyond the obvious reasons of heteronormativity in mainstream media? So, I took it upon myself to plop onto my bed with my tub of ice cream, my stone cold bitch face, and my Netflix account to explore all that could technically qualify as a queer romantic comedy on Netflix, coming up with a personal 5 best, and a personal five worst.
Will be back later to add more stuff I’ve written lately.
Roger Ebert recently posted an article giving his reasons and theories as to why box office revenue had decreased in the last two years. You can find the article here.
In it he cited 6 basic reasons:
- Lack of event films
- High ticket prices
- “The theater experience”
- Refreshment prices
- Others ways of watching movies
- Lack of choice
Here is my response, vehement, sardonic, snarky, and somewhat snobby.
Agree on all points. Going to the movies isn’t what it used to be. When you went to a film years ago it was something fun to do a mini event. But now, the only reason is for “the event movie”, which honestly are overloaded pieces of crap because the execs put so much effort into making them event films. The individual quality of the film is subjective of course and variable. But you won’t get insight or thought from today’s audience. You’ll only get “that was effing awesome” or “that sucked”. You won’t get why. It’s like if everyone went to a great buffet where they were serving a large turkey that had been carefully cured for hours. The fat content is through the roof. The are other dishes there as well, the supporting players. And the guests gorge on it, regardless of its health content. And what do they say? “Oh that meal was great” blah blah blah. No comment on how it actually tasted, how the ingredients worked together, how each dish was complemented by its respective side dish or drink. That’s why I hate today’s public taste. They don’t care at all about what they’re watching. I would at least respect someone who likes Transformers and understands and articulates why, but that inability to do so pushes me over the edge. It’s just eating or watching without real consideration. Also, fanboys and girls suck. They’re annoying and rude during a film.