I saw Beetlejuice Beetlejuice was on Netflix so I watched it for the first time since I saw it in the theatre last year. It's good for a second viewing in how it successfully conjures a sense of place and an ensemble of characters. I maintain my opinions from my original review though the flaws seem less important.
Monica Bellucci's character still seems superfluous. She looks so much like Morticia Addams I wonder if Burton originally wanted her for Wednesday. She would've been a lot better than Catherine Zeta-Jones.
Justin Theroux's character is the funniest in the movie. I'm impressed how consistently the screenwriters make him credibly say exactly the wrong thing. I'm not a fan of excessive exposition but I'd kind of like to know why Lydia became such a pushover. It's not that I don't believe it and certainly people can change a lot between adolescence and middle age but the difference here is so extreme I'd like some kind of insight into it.
The "MacArthur Park" sequence falls completely flat. It really feels like a studio note insisting Burton repeat one of the most memorable aspects of the original film. It doesn't help that I keep being reminded of "Weird Al" Yankovic's funnier version, which isn't even among Yankovic's best parodies.
I am kind of hoping Winona Ryder gets her wish for a romance between Lydia and Beetlejuice in the third film, especially if the writers are bold enough to make it deeply wrong at every turn.
Beetlejuice Beetlejuice is available on Netflix in Japan, I'm assuming on HBOMax in the U.S.
Did you know Charlie Rose is still doing interviews? I didn't. But he's been releasing new video interviews on his web site and on YouTube since 2022. Rose was one of the high profile figures whose career was effectively ended by the MeToo movement in 2017. Last year, Rose reached a settlement with his accusers:
“On reflection, and after having the benefit of discovery, we realize that different people could interpret the conduct in different ways, and therefore we have resolved the claims,” the women said. “We do not assign any bad motive or ill intent to Charlie Rose.”
I assume it was a written statement and the group of women didn't recite this in unison.
I don't think this settlement in itself will do anything to repair Rose's reputation but his re-emergence is more facilitated by the public and media generally stepping back from a propensity for extremely severe judgements in the years following Trump's first election victory and the downfall of Harvey Weinstein.
I was never particularly a fan of Charlie Rose, although he's been a respected interviewer for all of my 46 years of existence. But Rose has been a kind of journalist never intended for fandom, one who seems to see his job as presenting his subject as clearly as possible without the noise of his own opinion. It's not that he actively conceals his opinion and I've heard him give voice to it now and then, it's just that he seems to hold himself secondary to the person he interviews. So while I may not have felt a fondness for Rose himself, I might greatly appreciate his interview with George Lucas or Jimmy Carter or Quentin Tarantino for the clarity with which Rose allows his guests to present themselves. Its this almost invisible quality that constitutes Rose's greatest asset though it's a philosophy of journalism that has been falling out of favour with the public over the past forty years.
So far it doesn't seem like he's gotten many opportunities to interview the kinds of high profile figures he once did, though his first episode in April 2022 was with Warren Buffett. The biggest names he's gotten in the past few years are Isabella Rossellini, Jimmy Carter, David Petraeus, Candice Bergen, and Chris Christie. Last month he interviewed Douglas Murray, which may be as much a marker of Murray's fall as Rose's rise.
This is largely, I believe, the fallout of Murray losing the argument with Dave Smith on Joe Rogan's show, which I wrote about at the time.
I should note that while I respect Murray's commitment as a journalist, I fundamentally disagree with him on many topics, especially his opinion on transgender people. A key moment I would point to is a somewhat recent appearance made by Murray on Real Time with Bill Maher in which Maher and he directly stated their divergent opinions on whether people can be born in the wrong body. Maher believed it happened, Murray did not. Plenty of people on the left have criticised Maher's tone on trans issues but I think it's important to recognise prominent allies to a cause rather than dumping them for their imperfections. At the same time, I think a component of potentially one day healing an increasingly divided culture is recognising when the opposition is cogent, graceful, and presents reasonable arguments without resorting to ad hominem.
The fundamental problem is that so many people seem disinclined or unable to dispassionately evaluate evidence. I'm not actually convinced it's a new problem, though.
I've been living in a town called Kakogawa in Hyogo prefecture since April. The town's famous for producing multiple shogi champions and it's known for its delicious katsumeshi--fried, breaded meat on rice. One of the first things I noticed about the town, though, were the bronze statues of naked boys in sensual poses everywhere. Here's one near my apartment:
I haven't seen any statues of girls so far though I saw plenty of great ones when I visited Kobe two years ago, like this one:
I wonder if that statue's still there, though, because to-day I see there are news articles on various web sites (like this one) about how Japan is removing statues of naked women and girls all over the country. Many of the articles just say "nude statues" are being removed but, clearly, it's primarily female statues being targeted, which may explain why Kakogawa has a surfeit of boys.
The article I linked to above quotes a university professor named Takayama Yoko as saying, "Japan is the only country with so many statues of naked women in public spaces." These statues appeared in the years after World War II to replace statues of military figures that had been melted down to provide material for weapons manufacturing. To the Japanese, these depictions of naked women symbolised peace. At least, that was the belief, but depictions of womens' bodies are now scrutinised under a new lens.
Anyone who compares Japanese manga and anime from the '80s to manga and anime to-day will notice a difference in quantity of nudes depicted. The recent anime remake of Ranma 1/2 is almost identical to the original except for the absence real nudity.
This kind of artistic circumspection will be familiar to western students of art and literature of the past forty or fifty years who've become acquainted with the term "male gaze", a term I've written about multiple times. One flaw evident in it is that it would likely not be applied to the statues of nude boys even though they were mostly made by men according to their ideas of beauty. Western critical concepts digested by Japanese culture don't always emerge in their same essential forms. To-day's Japan has been called a post-modern culture because in many ways it's a product of deliberate social engineering in an attempt to emulate the west. In the Meiji era, scholars, artists, and statesmen from Japan visited Europe and America with the specific intention of studying and importing western ideas to Japan's culture and institutions. This 19th century phenomenon was followed by another artificially imposed influx of western culture and ideas after World War II. In Japanese art using importing western ideas, there is often a marked sense of artificiality and imitation, as in the Panty and Stocking song I posted yesterday. In her review of 1954's Seven Samurai, Pauline Kael wrote:
There is no specifically Japanese tradition for film music, and the budgetary allowances for composers are minuscule. The result is what sounds to us like a parody of European music.
I can easily imagine Japanese intellectuals visiting Rome, seeing statues of naked people, and coming back home saying, "Okay, we gotta have statues of naked people if we want to be civilised." Now, as western culture is becoming neurotic about depictions of women's bodies, Japanese intellectuals are saying, "Okay, we gotta remove statues of naked women if we want to be civilised." It's strange how much this seems like the neuroticism of the colonised when Japan has never been colonised since the first migrations of people from continental Asia.
But it's not like the Japanese just saw statues and made statues. The statues of naked women were intended to symbolise peace so there was an idea behind it. As in the west, a victim of the crusade against the male gaze is the idea that the beauty of the human body is an aspect of nature that reflects the better qualities of the human psyche, be they sexual or spiritual. Mechanical morality continues to place the human spirit in smaller and smaller boxes.
X Sonnet 1958
The young gorilla paints a hero's face.
A champ'yon wears the C across his shirt.
We never think of pecs the brand replaced.
Abandoned muscles lie in dust and dirt.
Another jumper cleared the clearance rack.
To sweater weather, gymnasts now distend.
A Spirit shop foretells the march of Jack.
The ides of eight on zombies now depend.
To cure a walking corpse requires salt.
It short supply, the yahoos march to war.
Laputians keep a floating seasoned vault.
Their soup is mined from rainy clouds of ore.
It's dinner now at noon like olden times.
So breaking fast requires fewer dimes.
This week's new Panty and Stocking with Garterbelt had some of the best and the worst gags I've seen from the series. The first two of the three segments had nothing I could recommend about them. Written and directed by Amemiya Akira, they formed two parts of one story in which Panty and Stocking help a rookie "Impact Cop" defeat the internet, manifested as ghost. The story is apparently a reference to a YouTube series created by Amemiya about these Impact Cops who appear to be action figures with flaming skull heads. The essential joke behind the concept escapes me in these Panty and Stocking shorts, maybe I'd appreciate it more if I'd see the original series.
The third story, though, was almost entirely golden. Co-written by series creator Imaishi Hiroyuki with Yamazaki Rino, the short is a parody of La La Land called "Fa Fa Fuck". Fed up with Panty's foul mouth when she interrupts his viewing of a classic musical on DVD, he invokes the power of Heaven to put a ring on her tongue that cuts it off every time she says a swear word. Since she's an angel, the tongue immediately regenerates but not without a lot of blood and pain. She figures out, though, that the ring can't detect swear words if she sings them, leading to her marching outside with a musical number consisting almost entirely of profanity and dodgy Japanese English with, for some reason, a slightly British accent.
The makers of this show have an odd fixation on swear words that sadly makes the show frequently feel out of touch. Panty singing "fuck" over and over did remind me of the opening number in Jay and Silent Bob Strike Back.
But that movie's twenty-four years old now and even then swear humour was starting to feel kind of stale. Nowadays, the MPAA rules on how many times someone can say "fuck" or "shit" have gotten gradually broader in PG-13 movies, reflecting a culture in the U.S. where they're often not considered a big deal. The genuinely verboten lingo is all related to racial and sexual identity now.
But "Fa Fa Fuck" has some exceptional gags. My favourite was Garterbelt seeing the gradually expanding pile of severed angel tongues and seeing a business opportunity, promptly selling them to sushi restaurants where angel tongue sushi immediately becomes all the rage.
Panty and Stocking with Garterbelt is available on Amazon Prime.
While walking to and from work lately I've been listening to the audiobook for The Secret Diary of Laura Palmer. The Twin Peaks tie-in was first released in 1990 but the audiobook was recorded in 2017 by Sheryl Lee, who played Laura Palmer in the series. The book's better than I remember, I think because when I originally read it in junior high school or high school I saw Laura as a peer. Now, she's around the same age as my students.
The diary begins on her twelfth birthday and ends just before her murder when she was seventeen years old. Wnen I was a teenager reading it, I enjoyed the book up until Laura really starts analysing herself. At the time, I felt it was too self-indulgent. Now it seems quite natural for a teenager with insecurities to write like that. It's almost difficult to judge the Diary as a creative work because any flaws it has can be attributed to the fact that it's supposed to have been written by a character who was a child and not a professional writer. So any flaws can be taken as virtues.
The diary was written by Jennifer Lynch, daughter of David Lynch, the mastermind behind Twin Peaks. She was 22 years old at the time and therefore could certainly remember with accuracy what it was like to be a teenager. Her father asked her to undertake the project because he remembered her telling him that she fantasised about finding another girl's diary to see if the things going through her own head were things that went through other girls' heads when they were teenagers. So the diary consequently touches on a lot of topics the series does not, like Laura's fears of being laughed at, her self-image, and her preoccupation with sin and punishment. But, of course, Laura's life was not that of a normal teenager. She was systematically abused from an early age by the otherworldly series antagonist, Bob. But even having an abnormal life doesn't mean she doesn't have the normal mental and physical development stages. She, however, has no vantage point to see the difference between what is normal and what is not, something Jennifer Lynch captures really well.
I was surprised by how much more the book ties into the series than I remembered. There's a scene where she meets the Log Lady at a gas station after seeing the gas station in her dream. I wonder if this was the same gas station and convenience store seen in season three and first referred to by Mike in the dream sequence in season one.
Sheryl Lee gives the same brittle yet at times fiery performance that's so captivating in the 1992 film.
I'm three more episodes in on season three of Sandman, episodes that basically cover the Brief Lives graphic novel in which Dream and his sister, Delirium, personification of delirium, set out on a road trip to find their missing brother, Destruction, who abandoned his role at some point before the events of the series. So the show skipped over the Game of You graphic novel, which is not very surprising since Dream only briefly appears in it and it's odd for a conventional television series to leave out the main character for several episodes. So I guess producer David S. Goyer decided to make this more of a conventional series. Characters from Game of You were introduced in season one like they were being set up for an adaptation of the volume so maybe there was a change of plan when Neil Gaiman was forced out of the writers' room.
One character from A Game of You does sort of appear in these episodes, though; Wanda, played by Indya Moore, whom Time named one of the 100 most influential people in the world in 2019. I guess I fall outside their sphere of influence because I'd never heard of them but they give a good, charismatic performances as someone with a completely different appearance and personality than the Wanda of the comics. Actually, this Wanda replaces a character called Ruby who was Dream and Delirium's driver in the waking world. I don't know why they thought it was so important to crowbar Wanda into this story. If they'd left her out, they could've left the door open for an adaptation of Game of You somewhere down the line.
Actress Esme Creed-Miles plays Delirium as generally dim, which I guess works, although she doesn't seem to change much in the brief scene where her mind clears.
The two begin searching for Destruction by looking up his old friends, the second of whom is Ishtar, formerly a goddess of sex and war, now a dancer at a strip club. She's played by Amber Rose Revah who played Madani on Punisher. She gives a decent performance but I wish they'd gotten a professional dancer who could've done something really special for the dance sequence that concludes her story. The makers of the show did get someone who could sing to play Orpheus, an actor named Ruairi O'Connor, and his song to Hades and Persephone is genuinely effective.
I'm still mostly enjoying the series. The Sandman is available on Netflix.
A free-spirited young woman and her fussy friend go on a madcap road trip in 2024's Drive-Away Dolls. This was the first of Ethan Coen's "Lesbian B-Movie Trilogy", the second entry of which premiered over the past weekend in the U.S. but not here in Japan. So I settled for watching this one which is available on Amazon Prime here. It's good and Margaret Qualley is fantastic in it but, like the lesser Coen Brothers' comedies, its silliness overstays its welcome at some point.
Ethan Coen is half of the famous Coen Brothers, makers of the famed cinematic masterpieces Fargo, Miller's Crossing, The Big Lebowski, and No Country for Old Men. Some years ago, the duo split up after more than thirty years together to start directing their own projects. Among other things, this gives us an opportunity to gauge the particular tastes and talents of the brothers whose individual artistic voices were previously always combined into one.
The other brother, Joel Coen, has so far directed just one project, an adaptation of Shakespeare's Macbeth starring Denzel Washington in the title role. The vastly different tones of the two projects suggest Ethan may have generally been more responsible for the comedic aspects of their films and Joel for the more sombre. But who can say for sure? Maybe their time apart is to test territory each had previously always left to the other.
Ethan co-wrote Drive-Away Dolls with his wife, Tricia Cooke, and they pitched it originally as something in the vein of '70s exploitation films or John Waters movies. I don't find it has the accidental sincerity of the former or the rambling camp of the latter. It really feels, as I said, like one of the sillier Coen Brothers' comedies like Hail, Caesar or even The Hudsucker Proxy. However, the two main characters are well established.
Qualley plays Jamie, a southern gal who's recently broken up with her angry cop girlfriend, Sukie. Jamie decides to go on a road trip with Marian (Geraldine Viswanathan), whom we meet fussily correcting her co-worker's grammar in their workplace of nondescript office cubicles. So the odd-couple set up is clear from the start as the two characters are almost polar opposites. Both are quite charming, particularly Qualley who reminds me here why I thought she was the most impressive of the Once Upon a Time in Hollywood Manson girls. Qualley captures the hare-brained, easy-going energy of the Lou Costello half of her double act with Viswanathan. Viswanathan's Marian is sweetly uptight, staying up in their hotel room reading Henry James, only to be disturbed when Jamie returns drunk with some strange girl she'd picked up in a bar.
There's a plot involving murderous thugs and a corrupt senator that's mainly entertaining for another double act, the pair of thugs on the lesbians' tail, a grimly violent enforcer and a chatter-box, reminiscent of Steve Buscemi and Peter Stormare's characters in Fargo. Both sides of the story are better in the first half of the film but I found myself restless with the silliness by the latter half. Your mileage may vary.
Drive-Away Dolls is available on Amazon Prime in Japan.
Sony and Netflix are currently drinking Disney's milkshake with this year's surprise hit, KPop Demon Hunters. This simultaneously fresh and derivative film delivers a former hallmark of Disney animation, pretty people falling in love, that Disney has turned its nose up at for about fifteen years. This new movie also presents an LGBTQ coming out allegory that resembles Disney's current fixation. And it beats Disney to the punch by becoming the first animated American film to successfully exploit trendy Korean culture. It's one of those things that seems like it should've been obvious in hindsight but nevertheless seemed to take everyone by surprise. Its songs are genuinely catchy with music by an ensemble of American talent with a score by Brazilian musician Marcelo Zarvos. The film's story is told with economy and sparkle.
The story centres on a K-pop group called Huntr/x (pronounced "Huntrix") comprised of three members: Rumi (Arden Cho), Zoey (Ji-young Yoo), and Mira (May Hong). Each character is voiced by an American actress of Korean heritage while their singing voices are provided by Ejae, Audrey Nuna, and Rei Ami, all Korean Americans. The characters lead a double life: known to their fans as idols, they secretly also engage in demon hunting as a part of a tradition among Korean singers stretching back generations. However, Rumi conceals a secret from her two compatriots; she is half demon, a fact betrayed by her distinctive body markings which she's obliged to conceal. The girls' mentor, Celine (Yunjin Kum), a singer from an '80s pop group, like Elsa's parents in Frozen instructed the girl to "conceal don't feel", commands Rumi to keep her half demon nature a secret in the hopes of one day obliterating the race of demons entirely and Rumi's markings along with them. Celine instructs all the girls to repress their emotions.
You can, I'm sure, already see the familiar pattern from Frozen, Turning Red, Encanto, Elemental, and numerous others as family pressures and/or traditions come in conflict with the main character's instinctive needs.
Meanwhile, another K-pop group rises to prominence, a boy band called Saja Boys who are secretly a group of demons. Despite her better judgement, Rumi finds herself falling for the group's handsome leader, Jinu (Ahn Hyo-seop, singing voice provided by Andrew Choi). It's the kind of romance that really hasn't been spotlighted in a Disney movie since 2010's Tangled but used to be their stock and trade in the Disney Renaissance of the late '80s and '90s. Back then, Disney deliberately presented audiences with sexy characters like Jessica Rabbit, Ariel, Aladdin, Jasmine, and Pocahontas whose stories revolved at least partially around romance. After the success of KPop Demon Hunters and the failures of Elio, Wish, and Strange World, will Disney finally be willing to go back to that well? God, I hope so.
KPop Demon Hunters comes from Sony Pictures Imageworks, the same studio that made the Spiderverse movies. Those movies' idiosyncratic blend of cgi and imitation cell drawings also introduced audiences to a form of animation that seems to have a deliberately rough flow, as though every third frame were removed from the reel, giving the character movements a quality somewhat reminiscent of stop motion animation. KPop Demon Hunters uses the same effect without the conceptual premise of 3D blended with 2D. I'm not sure it helped the movie.
KPop Demon Hunters was directed by Maggie Kang and Chris Appelhans from a screenplay by Kang, Appelhans, Danya Jimenez, an Hannah McMechan. Three members of the K-pop group Twice perform one of the film's songs in the closing credits. I wonder if the K-pop industry will take note of this film's success and start making their own movies.
I keep thinking about how funny the New York cover with Neil Gaiman is (on the left). I felt compelled to make that version with the Master from Doctor Who last night. This is kind of separate from what I think of Neil Gaiman or any of his work but just my general compulsion to mock manipulation in media. They chose the picture showing he has bad posture, so they know how they want you to make up your mind.
I still think the evidence against him is extremely weak at best (I've gone over that already) but I do find it ominous that he's gone completely quiet this year and no-one seems willing to say anything in his defense, unless you count Tori Amos saying, "That's not the Neil I knew," when prompted in a Guardian interview. Amanda Palmer, his estranged wife who's also had allegations levelled at her, has spoken publicly about how difficult it's been for her to be cancelled and has posted photos of herself with an assemblage of celebrities to show that she does have friends and a support base. Gaiman seems to be going it alone and I have to suspect that's at least partially his choice. I wonder if he'd gotten tired of being a celebrity and in some small way saw this as an opportunity to get away from it all.
Anyway, I still think his Sandman series from the '90s is among the best comics I ever read. I remember Fridays, pay day, going straight to the mall and buying the next collected volume and devouring the whole thing. His work in subsequent years has been a mixed bag for me and I felt the American Gods television series and the second season of Good Omens even more so seemed like they came from writers who were deeply out of touch. How much of that is his fault, I don't know. But I have Netflix again for the moment and over the weekend I finally started watching season 2 of Netflix's Sandman adaptation.
It's close enough to the original, and the performances are good enough, that I find it engrossing. All the divergences from the source material I've been able to spot have degraded it. I've watched three episodes so far which cover the Season of Mist collection, the story in which Lucifer gives Morpheus the key to Hell and he has to decide whom to pass it on to. He, meanwhile, is on a quest to save a woman he condemned to Hell for 10,000 years. A lot of people complained about this aspect of the story, which was introduced in season one, but one of the things I really liked about the comics is that it felt like Gaiman was writing the Endless, his pantheon of anthropomorphised concepts; Dream, Desire, Destiny, Delerium, Destruction, Despair, and Death; as they were throughout history, not merely as they are to-day. So when Morpheus, Dream, condemned Nada, he was operating from an infant form of human morality that is unimaginably different and more primitive than we have to-day. That's how gods behaved back then. Think of the Old Testament or Zeus. But a failing of the show is its fundamental shying away from that. A flashback to Nada's country in the past was changed from an early agrarian culture to what one article called "steampunk"--though to me it looked more like simply a standard, cheap, high fantasy rig, one that doesn't differ much fundamentally from modern culture. Yes, it's probably impossible to imagine the past with complete accuracy but the attempt can be much more interesting than what the show manages to offer.
When Morpheus does finally reunite with her, she certainly doesn't seem anything like someone who's been tormented for 10,000 years and, in that scene, he does not seem like an anthropomorphised version of human dreams. He stumbles through his apology and she indignantly chastises him for his wording. The tone of the conversation is more like he bailed on the speakeasy when the cops were raiding it and she had to spend the night in jail. Think of articles or documentaries you've read or seen about people who spent two years locked in a basement or people who were held captive for ten years. They undergo profound physical and psychological changes. If you're not going to attempt to show something like that, there's no reason to introduce the concept of 10,000 years of torment in the first place.
Some viewers complained about Death being played by a black woman when she was a white woman in the comic. What bugged me is that the white actor plays Dream in all his dialogue with Nada. There are brief flashes of Dream as a black man, but they're so brief that they're confusing more than successful in conveying the idea from the comic that the Endless appear to be beings from whatever community the beholder belongs to. Which makes sense. When Nada sees Dream take the form of a human, she's never even seen a white man before. He's not really a man, he's a concept, so I always liked how he and his siblings were reflections of the people and animals they interacted with. Outside of those interactions, depictions of the Endless as goth white people frankly seemed to me an intentional reflection of the author.
But enough of the dialogue is close to the original that enjoyed it. The fun of reading the comic was in looking at it two ways at once, as both a fantasy story about these powerful characters in negotiation over a realm, but also as a complex metaphor for how these concepts were operating in the real world. I look forward to seeing the rest.
Sometimes I feel like writing art criticism is the ultimate quixotic endeavour. It's what I do here on my blog almost every day but the hazy line between subjectivity and objectivity seems to render it pointless sometimes. This past week I've been listening to a lot of YouTube critics while drawing pictures. They're not a fair sample if I'm talking about the fundamental quality of criticism itself, I guess. I ought to be be talking about Pauline Kael or William Empson.
Paul Schrader wrote this on his Facebook recently:
AI FILM CRITICISM. It should be fairly simple to program chatgpt to review a new film in the manner of, say, Kael, Sarris or Farber. Chatgpt would need simply watch the film, read every review written by the designated critic, see every film the designated critic reviewed, see every previous film made by every talent (directors to actors to prod designers) in the new film, watch every film in the new film's genre, read every review written about those films and read all other reviews of the new film. That should take chatgpt about thirty seconds.
Ironically, I think the real appeal, at least for me, of criticism is the feeling of shared experience. As seeing a movie in a theatre is a communal experience, reading or hearing criticism is another facet or manifestation of that experience. The balance between comments I agree with and comments I don't are like echo location to map my own feelings while at the same time carving an impression of the other human being. Which kind of describes group communication in general. It seems computers are on the verge of simulating this, the ultimate result being, I guess, that everyone can more successfully lead completely solitary lives.
It's not just the computer's image we mould, though, it's our own. ChatGPT won't notice if you have a pimple or if you're bald. It's Satanic self-creation. I say that as a fan of Milton's Satan. Of course, it's only the rich who will go extinct or upload themselves to a hard drive. There are still vast swaths of Earth's population who have no hope of meeting ChatGPT.
I'm aware a lot of people don't read criticism the way I do. The number of people who do so only to be told how to think are multiplying. So it's important to note how lousy YouTube criticism often is.
I was listening to a YouTube critic called Sheev Talks last week. He mostly talks about Star Wars stuff and is slightly unusual for the fact that he compares criticisms of other YouTube critics. I appreciated his retrospective on The Phantom Menace for how he discussed the ways in which The Phantom Menace is often discussed, singling out the influential Mr. Plinkett reviews on the RedLetterMedia channel and pointing out just how bad and sloppy they are, even though Sheev Talks agrees that the prequels are bad. Personally, as I said before about criticism being for me part of the communal experience, I appreciate RedLetterMedia more for the hosts' rapport and personality than for the insights of their reviews. The original Mr. Plinkett reviews seemed to be me to be partially a parody of criticism itself, of the idea of even spending hours and hours talking about movies that most people supposedly don't like. The channel's content has generally shifted away from parody into doing something more straight-forward.
Despite his tirade against the flaws of other YouTube critics, I find Sheev Talks' criticisms to be equally flawed, as when he says that the houses on Skeleton Crew too much resembled suburban '80s American houses and uses the '50s diner in Attack of the Clones for comparison, saying that the diner was different enough to fit comfortably within the Star Wars universe but the houses were not. The footage he himself provides seems to belie this comparison. I would actually say the diner is more of a diner than the suburban houses are suburban houses.
Despite calling the prequels bad, Sheev Talks says that he loves them and has watched them repeatedly since childhood (he seems to be in his 20s). In a sense, I can appreciate separating what I like from what I think is objectively good--Vertigo is my favourite movie but I think Citizen Kane is more deserving of the "Best Film of All Time" title. But surely how a movie makes us feel should be a vital part of the criticism. If he loves them, why doesn't he analyse himself to see why he loves them? Since art is often popular and effective despite how well they do or don't follow the conventional rules of storytelling, surely our feelings should factor into any judgement of a film's quality. Whatever problems a film may have, do we find it satisfying at the end of the day? Most filmmakers would say that's the only point.
I wonder if, as AI becomes more emotional, human beings are becoming more mathematical. Recently, the YouTube algorithm has been encouraging me to watch this conservative book critic called The Second Story. She has a video bemoaning the omnipresence of sex in women's fiction and lamenting the fact that people repeatedly pursue titillation. Watching her and noting her form fitting clothes and dead-eyed delivery, I couldn't help thinking of Nicki Brand in Videodrome.
Second Story's critiques seem entirely meant for people who are already willing to agree with her and she tends to offer no evidence for any argument she makes. I will give you some evidence for my argument, a particularly amusing one in which she argues with GRR Martin's assertion that JRR Tolkien created the modern fantasy genre.
Second Story goes on at length to say and reiterate that Tolkien, though talented, did nothing new or special. I would think the obvious thing for her to do would be to provide examples of fantasy fiction written before The Lord of the Rings that have qualities that are erroneously believed to have originated with Lord of the Rings. She does not. Meanwhile, anyone watching who knows anything about fantasy will know that, yes, certainly fantasy existed before The Hobbit in the works of Clark Ashton Smith or Lord Dunsany, but The Lord of the Rings nonetheless provided a basic blueprint that was followed by thousands of publications in the fantasy genre ever afterwards, all over the world. The numerous books published under the Dungeons and Dragons banner replicate the party of adventurers depicted in Lord of the Rings of different representatives of fantasy races and specialised professional classes. Martin's work replicates the epic war in a fantasy world that Lord of the Rings introduced. Elements of Tolkien's works certainly existed in a number of forerunners but Tolkien was undeniably the first to put them together into something of The Lord of the Rings' depth and scope, having something of the true war account of Wilfred Owen while also having the grandeur of Alfred, Lord Tennyson. And I have the sinking feeling ChatGPT would've seen this.
X Sonnet 1957
The young macaque is guarding station food.
You hunger now for bread about the cheese.
Around the dairy stuff the tasters brood.
As global honey holds the yankee bees.
Partake and run, the banquet threatens peace.
You have to wait and bid before you buy.
A hundred yen could buy the golden fleece.
And yet a billion fails to budge a fly.
You see the dappled sun become a coin.
The darker spots were never what they seemed.
As owls watch the agent's soggy groin.
The rest of us were watching Orson Bean.
A later hobbit bought his leaf for cheap.
Safari dwarves repaired to Thorin's jeep.
Apparently a belief has arisen over recent years that guys who like breasts are right wing and guys who like butts are left wing. I encountered a few comments referring to this during the Sydney Sweeney ad controversy. A few days ago I saw this article on The Guardian praising the resurgence of thong bikinis. This paragraph from the article is such a bald attempt at social engineering and manipulation that I find it sort of thrillingly revolting:
Gen Z, in particular, are less inclined to restrict themselves to clothes deemed to be “flattering” – a term that has fallen spectacularly out of favour. Thong bikinis, once the preserve of those who conformed to a particular body type, are now being manufactured in a more inclusive range of sizes and marketed more diversely.
Fallen "spectacularly" out of favour? Did someone throw it off building?
Yes, here's another left-winger from a tiny, wealthy percentage of the world's population implying that the vast majority of people are living under the delusion that some people are prettier than others. "Flattering" is so over, don't you know. Meanwhile the article itself only has pictures of fashion models in the bikinis.
As I wrote a few weeks ago in my post about Sydney Sweeney and beauty, I'm a liberal who's forced to watch while my side digs itself deeper and deeper into a rhetorical trench of a rarefied reality perception that makes us seem crazy enough that even someone like Trump seems preferable to many. Please, please stop doing this, folks. I mean, isn't dividing up a woman's body for political purposes inherently anti-feminist anyway?
Well, I'd be lying if I said I didn't see the logic. Large butts are more common than large breasts, making them vaguely more--what?--democratic? Natural butts are not markers of gender, a transwoman has a better chance of having a naturally curvy butt than large breasts. These guys tie large breasts to Nazi Germany and the stereotypical image of the Bavarian barmaid with a lowcut blouse.
However, when you're talking about sociological philosophies influencing impressions of body parts, dividing them up among factions seems to be putting the cart before the horse. People have bodies first and political opinions second. And, as I argued in my previous post, beauty is too mysterious, too full of contradictions, exceptions, and oddballs to be truly adaptable to any box. Beauty has power, but a lot of that power comes from the fact that no-one's really sure how to attain it. All you can really say is . . .
One of the biggest differences between this new season of Panty and Stocking with Garterbelt and its first season is that there are women on the writing staff, which seems appropriate for a show about female sexual liberation (or tyranny). This week's new episode featured two for the two vignettes comprising it. Yamazaki Rino, who wrote the teleplay for the first half (from a story by Wakabayashi Hiromi), started as a production assistant before writing scripts in recent years for Darling in the Franxx and Spy Family among other titles. Ueno Kimiko, meanwhile, both conceived the story and wrote the teleplay for the second of the two vignettes in the new Panty and Stocking. Her credits include Little Witch Academia and multiple Crayon Shin-chan movies. Crayon Shin-chan, while not well known outside of Japan, is an enormously popular series for small children. So it's a little surprising seeing her writing for a series with such adult humour.
Ueno's vignette also features a series of references to American culture that I would estimate only a very tiny fraction of the Japanese population have heard of. The story's called "Longest Bitch Yard", a reference to the American film, The Longest Yard, which is about American football, a sport about which the Japanese have very limited awareness, at least based on my experience. In the episode, Panty and Stocking and the demon sisters are thrown in prison where they organise an American football team. Panty makes numerous references to Oliver Stone's Any Given Sunday, another American football movie, which she admires for its depiction of locker room genitalia. The episode also features a lot of references to The Shawshank Redemption, which a number of Japanese people I've spoken to have heard of. Interestingly, there seems to be a high awareness of Stephen King works in Japan and both Stand By Me and Shawshank Redemption are popular but many people don't seem to realise that King wrote Shawshank Redemption and Stand By Me. Stocking manages to smuggle in a spoon so they get the idea of digging their way out and hiding the hole with a poster. Instead of Rita Hayworth in Gilda, Panty puts up a poster of hunky guy starring in Cool Cock Luke, a reference to Paul Newman in Cold Hand Luke, which is a movie I think most of the show's Japanese and American viewers are unaware of.
But is the episode funny? Ueno's vignette is pretty good. Yamazaki's, called "Independence Dick", is less so. The title's a reference to the movie Independence Day but the plot has very little to do with it. It features Garterbelt and Geek Boy bonding with the new male angels in a place called Casino City where they go to gamble.
Panty and Stocking with Garterbelt is available on Amazon Prime.
Milla Jovovich dons leather boots and a cocktail dress to fight a zombie infestation in 2002's Resident Evil or, as it's known in Japan, Biohazard because "evil" doesn't translate well to Japanese. I'd seen the beginning of the movie years ago and stopped because it seemed lousy but I stuck with it this time because I've become a more generous viewer. It's not so bad once you get used to the fact that it's really bad. By which I mean, if you look at it as watching someone else playing a video game rather than a good, visceral depiction of what it might be like if hordes of walking dead took over an underground lab, you can enjoy it. At least as much as you can enjoy watching someone else play a video game. A lot of people do, there're lots of playthrough videos on YouTube, after all.
Director Paul W.S. Anderson shoots the underground facility with consistent, even lighting and liberally employs some of the worst cgi in cinema history. It is, generally, a very uncinematic film. Season one Buffy the Vampire Slayer felt more cinematic. Resident Evil is all soundstages with basic lighting, camera angles, and compositions. But to Anderson's credit, he doesn't waste time. We get the lab outbreak after introducing a few characters to humanise the place, then Alice (Jovovich) wakes up in a shower with amnesia shortly before elite shock troops break in and take her and her possible amnesiac husband underground. Making her an amnesiac really helps capture the feeling of a video game because we all start video games usually knowing next to nothing about what we're jumping right into or about our own character.
It can be quite fun, again in a very video game kind of way. I enjoyed the security lasers that cut people up. The zombie dogs, though fake looking, were still a cool idea, presumably imported from the games which I never played. Jovovich gives a good performance and was game for the old pulp convention of heroines being scantily clad for progressively insensible reasons. She even gets a creatively cut-up hospital gown, a nod to her claim to fame from Fifth Element. The film also has young James Purefoy and Michelle Rodriguez ably performing in supporting roles.
Resident Evil/Biohazard is available on Amazon Prime in Japan.
A college boy becomes suicidal after being hazed for his femininity in 1956's Tea and Sympathy. Vincente Minnelli directs the film, based on a stage play, as a decadent melodrama with lush, gorgeous colour cinematography by John Alton.
Deborah Kerr stars as Laura, wife of an influential coach who also runs the boarding house where Tom lives. Tom is the boy bullied for the way he walks, the fact that he knows how to sew, and the fact that he's seen talking to women without intending to date any of them. Tom's played by John Kerr who is supposedly not related to Deborah Kerr but, I have to say, the two kind of look alike.
Dig those giant fish cake moulds. The cake moulds all seem to be the same colour as Deborah Kerr's hair. The film has a fairly consistent copper and blue palette. I wonder how much of it was intentional and how much was a limitation of Metrocolor.
The story's in line with a lot of other movies from the '50s about the breakdown of traditional family structure centred on a maladjusted boy like Rebel without a Cause and The Wild One. Like a lot of those movies, it suffers from characters delivering social commentary at each other as exposition but some of it is pretty insightful, as when Laura argues to Al (Darryl Hickman) that virtually anyone can be smeared by gossip for the most trivial, arbitrary physical or personality trait.
This leads to a slightly amusing scene of Al trying to help Tom adopt a more manly stride only to discover Al himself doesn't know exactly what's not manly about Tom's stride, that it was a phantom impression entirely conjured by the bigoted social group.
The original stage play directly referenced homosexuality but the film was not permitted to, despite coming a few years after the Hays Code was judged unconstitutional. It's hardly a surprise the studio was afraid of tackling the issue directly in the '50s.
I don't know exactly what the differences were between play and film but I suspect a character other than Tom turns out to be gay, which would really turn the story on its head.
Occasionally, Minnelli's desire to hit the high emotional notes leads only to awkwardness but for the most part the film's fairly satisfying. Deborah Kerr always gives a great performance though she may be a little over the top in some instances here.
Tea and Sympathy is available on The Criterion Channel until the end of the month.
A spacecraft embarks on a dangerous journey to Alpha Centauri in 1963's Ikarie XB-1. An eerie and influential science fiction film, it was based loosely on Stanislaw Lem's The Magellanic Cloud.
The crew are comprised of scientists, mathematicians, and technicians. A mathematician called Anthony (Frantisek Smolik) has a robot called Patrick who resembles Robbie the Robot slightly so this film was also influenced in turn by films that came before it. Forbidden Planet had some of the eeriness you find in this one but Ikarie XB-1's dark, black and white cinematography evokes something more of the coldness and emptiness of space, a feeling emphasised when encounters prove deadly.
There are two major encounters. First with a derelict Earth ship and then with a mysterious "dark star" that's only perceptible for how it obstructs the view of the normal star field. It's here that the film takes on a Lovecraftian quality that's appropriate for a truly alien environment.
Much of the story is focused on the sociological and psychological impact on a human community adapting to life on a spacecraft voyaging further and further from Earth. Director Jindrich Polak conjures tension really well, especially when one crewman goes mad and the others are forced to find ways to deal with him. There's also a nice bit about the psychological impact of time dilation as the characters muse on the fact that fifteen years will pass on Earth while the voyage seems to be only a matter of months to the crew. This story element isn't explored to its fullest potential as it is in Gunbuster or Interstellar but it's certainly an interesting point of anxiety for the characters.
Ikarie XB-1 is available on The Criterion Channel.
Terence Stamp has passed away at the age of 87. The actor is best known to-day for playing General Zod in Richard Donner's Superman movies and his performance was certainly what solidified the character's status as one of the most famous comic book villains of all time. His vampiric makeup and subzero demeanour give the impression of merciless, unshakable will.
His role in 1978's Superman and 1980's Superman II was by no means the beginning of his career. He had starring roles in films by William Wyler, Ken Loach, and Pier Paolo Pasolini throughout the '60s and '70s. In the 1980s, he transitioned gracefully into mostly supporting roles in films. He played the Chancellor in Star Wars: Episode I and fans of the Elder Scrolls video games remember him as one of the villains in Oblivion, which also featured Patrick Stewart and Sean Bean. Oblivion was re-released just this year with updated graphics so a whole new audience is being introduced to him again.
But his career as a lead didn't end after Superman. He had well-regarded lead performance in 1999's The Limey and 1994's Priscilla, Queen of the Desert. He was one of those actors whom I never looked for but was always happy to see.
For the past couple months, Criterion has had a playlist featuring movies with Tom Ripley, Patricia Highsmith's con artist character who appeared in a series of novels. I watched 1999's The Talented Mr. Ripley last night, based on the first novel from 1955, which had already been adapted as Purple Noon with Alain Delon in 1960. The primary distinction of the 1999 version is that it makes the story's subtextual homoeroticism textual. It has kind of a "straightening out the slinky" effect, rendering the story less nuanced and making the character of Tom Ripley much simpler. It does have some terrific performances.
The film basically renders Tom's compulsion to become another man as entirely a symptom of sexual attraction, which is frankly less interesting than a guy who wants to swap places with another. But Matt Damon as Ripley and Jude Law as Dickie Greenleaf, the man whose life Ripley infiltrates, have fascinating chemistry and there's a lot of tension in scenes where Dickie is trying to suss out Ripley's true motives while also wrestling with his own hedonistic proclivities. Ripley's compulsion rendered as simply a sexual infatuation feels a little too commonplace to be the film's centrepiece, though. I have to say Purple Noon also had better clothes and was better shot. The murder of Freddie, Dickie's friend, was far more effective in Purple Noon, though I was impressed with how gory another murder was in the 1999 movie.
What a cast. Matt Damon, Jude Law, Gwyneth Paltrow, Cate Blanchett, and Philip Seymour Hoffman. This was director Anthony Minghella spending the clout he'd attained from making The English Patient, a movie I was a fan of in high school and the reason I saw his Talented Mr. Ripley and even bought the soundtrack back in 1999. But I guess the movie didn't impress me so much because I didn't watch it again until this past week, I think. I'd kind of forgotten how much I'd loved that soundtrack, though. I think it's what ignited my love for jazz with its inclusion of tracks from Charlie Parker and Dizzy Gillespie. I also totally forgot that it has a really beautiful Sinead O'Connor track called "Lullaby for Cain".
X Sonnet 1956
The animal you know is never real.
A phantom fur enshrouds the happy beast.
You see, he takes from cans the chunky meal.
But ever plots to take a better feast.
The friendly pup will watch your wobbly arm.
Your trusted friend dissects your meaty thigh.
So far from thought that Fido ponders harm.
Within his very jaws you mayn't cry.
His seeming size belies a mountain ghost.
The infiltrator damned the friendly house.
You play the gentle human, gracious host.
He eyes tomato stains upon your blouse.
No safety here in friendly furry eyes.
Your mascot suit will choke your startled cries.
