This very first rewatch played like I had seen this a dozen times before, and I can't decide if that means it's just that memorable or just that cliched.
Giving it the benefit of the doubt.
Relevant beyond its obvious aspirations. I mean it should be obvious, however seeing this immediately post-Weinstein amplifies some moments that might slip by for some even a few weeks ago. Things like Howard Cosell's posture end up more haunting than the exploitative hucksterism of Riggs or the directly misogynist antagonist. Got a lump in my throat more than once.
Feel like this has gone overlooked.
Baumbach's writing benefits from a theatrical watch even when the visuals aren't really theater-worthy. Meyerowitz thus feels hobbled a bit by a Netflix tie-in. Might improve on rewatch though. As many have mentioned, Adam Sander in drama mode is a highlight that we keep getting surprised by. This turn though, is not really just a matter of casting. He actually elevates what would already be a good role.
I get why people don't like the ending (both the book and here, which they chose to maintain) but I think on the whole while not perfect I like it better with it there than what it would be without.
Anyhow, this is a pretty electric little thriller, Gugino is perfectly cast, and the singular big gross-out moment is scarier than anything in IT.
The first GOON is one of my favorite sports movies, and for my money the best and funniest hockey movie. The new one is a step down, not because Baruchel is that much lesser over a director than Michael Dowse (which he is: Dowse is the man), but because the story has so much less natural momentum. Quite frankly, it's a mess. But the characters are still great, as is the chemistry amongst them. There's still a good share of laughs, and Wyatt Russell is a helluva villain. Worth a poke in between Letterkenny marathons.