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  • A Wedding

    A Wedding

    There's moments in Altman movies where broad swaths of people(including the audience) are united in culturally niche music.

    King Sunny Ade and His African Beats in OC and Stiggs
    My Idaho Home at the end of Nashville
    Heavenly Sunshine in A Wedding

    My experience of watching Nashville: during the opening song, "200 Years," I am an onlooker to this cultural niche. "Well we(America) must be doin' somethin right to last 200 years!" There's enjoyment of the song, but it's also…

  • Downton Abbey

    Downton Abbey

    ★★★½

    On the one hand, this is just pleasant.

    On the other hand... this movie is now in an odd context coming out smack dab in the middle of Brexit stuff. All of it's pleasant, PBSish, comforting innocence, now has all kinds of Brexit stank all over it, whether it wants it or not (it probably doesn't)
    Nostalgia through and through for the old ways... STICKING with the old ways even in the face of a changing world...Sense of comfort in…

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  • Labyrinth

    Labyrinth

    ★★★★

    When people talk about symbols and the unconscious in relation to movies, my brain usually automatically files these under "not intended by the director/creators." But it's not always so black and white, and I want to unlearn this gut reaction.

    Example: Author Amy Gentry talked before this particular screening about how the "helping hands" scene reflects the coming-of-age of a young girl and those real life characters around her, groping and manipulating her like a puppet. (Amy Gentry also acknowledged…

  • Furious 7

    Furious 7

    ★★★

    Fun, but gets a little Robert Rodriguez-ish, especially in the final action scene. And a depressing increase in CGI, especially in the final action scene. Compare to Justin Lin's Fast and Furious 6, which was over the top but you never got the sense it was winking at you. Again, it was fun, but it never reaches the exitement and audaciousness (and restrained CGI) of that plane scene at the end of Fast and Furious 6.