Each generation curates their own canon-- the stable of truly great films they grew up watching that inform and inspire their own work, and hope to preserve for generations to come. The filmmakers of the French New Wave canonized the greatest films of the Studio Era-- Hawks’s Red River (1948), Ford’s The Searchers (1956), Hithcock’s Vertigo (1958). The next generation of filmmakers, New Hollywood, canonized the greatest films of the French New Wave-- Truffaut’s The 400 Blows (1959), Godard’s Breathless…
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A Dirty Shame 2004
Great to throw this on after seeing The Black Phone and see James Ransone again. Love that dude. As a swan song, this works. I wish there were more Waters movies after this one but at this point I don’t see that happening. Fantastic cast saying the stupidest shit imaginable. That’s art, baby. The stupider and more made up on the spot the euphemisms in this are, the harder I laugh. Although, the Italian line might be the funniest one in here.
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The Black Phone 2021
I really enjoyed this. It’s so shameless in its King-isms that I have to respect it. There’s a level of casual cruelty and violence in both King and Hill’s work when it comes to everyday life for kids that unfortunately reflects my experiences. I wasn’t expecting this to commit to that ugliness as much as it did and I love that. It’s also explicitly Christian which makes this so much more interesting both in terms of supernatural phenomena and thematic…
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Joker 2019
What’s frustrating about a movie that revels in its emptiness is that by taking it seriously, the critic only ends up making himself look dumb. That’s fine by me though— I already look like a horse’s ass. What Joker (2019) and joker Todd Phillips don’t understand is that that there is no such thing as an absence of ideology. A foundational element of critical theory is that everything is political; there’s no such thing as an image without a message.…
