Upon rewatch, I still dig some of the tunes (my favorite tune off the soundtrack, "Magic," is painfully underused) and there's a lot that could work in here if it was in better hands, but man, this movie is such a mess. And so goddamn long. But the experience of watching with an audience and my exasperated friend certainly added to the novelty.
I'm really so pleased that Gillian Robespierre is making movies that I feel so comfortable existing within for an hour and a half, over and over again. Obvious Child and Landline are so tonally different, but both exist in this really beautiful state between comedy and drama where I feel a genuine connection to the characters, however messed up they or their actions may be. She's one of the few filmmakers who can make me well up with emotion and…
"It's not scary."
"It cares more about style than substance."
"It loses itself in the second act."
A delicious blend of romantic drama and haunted house films of an era long gone, with splashes of horror from a multitude of decades. It's beautiful, melancholy, and all too enjoyable to dismiss solely based on predictability. Assuming you allow the red snow to envelop you like a good old friend, you'll have a lovely time.
What starts off as a lovely typical awkward sweet romance between two women who actually have [gasp] chemistry abruptly turns into a movie that doesn't give a flying fuck about the two women it introduced in the first act. And then...
STRAIGHT PEOPLE SAVE THE DAY. CLAP FOR STRAIGHT PEOPLE. THEY ARE GOOD. SOME STRAIGHT PEOPLE AREN'T SO GOOD, BUT THE OTHERS, THEY ARE SO GOOD.
ALSO MICHAEL SCOTT IS HERE PRETENDING TO BE GAY AND PRETTY MUCH BEING AN…