When my dad saw TRUE GRIT in the theater, he turned at one point, gestured at Hailee Steinfeld, and said quite audibly "She's the one with true grit." I think about it approximately once a day.
"Megalopolis only seems 'indulgent' by the impoverished standards of American popular cinema, which has been so degraded by anti-intellectualism by this point that even Steven Spielberg, Martin Scorsese, and Wes Anderson are mocked as pretentious."
Kind of perfect that FIGHT CLUB has become a sacred text for red-pill dudes, as it's a movie about a guy who accidentally radicalizes a bunch of idiots.
It surprised me to see a film as pitiless and uncompromising as THE ZONE OF INTEREST embraced by mainstream awards voters. But I get it now: Some of the people who voted for it were not actually engaging with it at all.
Really cannot fathom accusing Martin Scorsese of being some out-of-touch geezer. Setting aside the undiminished electricity of his own late-period filmmaking, the man is constantly championing and producing the work of new directors from all over the world.
I really loved when Bruce Willis would tap into his soulfully sad and fragile side. Folks like Wes Anderson, M. Night Shyamalan, and Terry Gilliam appreciated that shade of blue on his movie-star color wheel.
Woke up this morning to news that G/O Media has posted a job listing for my current position and those of several of my Chicago colleagues. This is nine days before any of us have to give the company a decision about whether or not we're making the move to Los Angeles.
Last month, G/O management told its seven Chicago-based A.V. Club employees that they either had to move to Los Angeles to work in the company’s new office there or lose their jobs. The employees were not offered cost-of-living increases. 1/X
Some news, as they say: After nearly nine years at the site, I am leaving The A.V. Club. These are the reasons why. My last day will be March 2nd, unless anyone wants to hire me before then.
UPDATE: The seven A.V. Club workers in Chicago have decided to take their union-contract-protected severances rather than move to L.A. without a cost-of-living adjustment. A statement from the union (1/X):
Maybe not surprising that people who spend all their time chasing an algorithmic viral payday also resent anyone with even mildly adventurous viewing habits.
Ten years ago today, FXX began airing every episode of THE SIMPSONS, round the clock, for 12 days. I wrote about that marathon — a last gasp of communal TV joy in the streaming age.
Sometimes the world seems so divided and closed-minded, and then you see a guy give a movie 4 stars on Letterboxd while also liking someone else's two-star review.
I understand those who won't read the site anymore, who are done with it. A small request, though: Please don’t harass the writers and editors who remain at The A.V. Club or the ones who will be hired after us. All vitriol should be reserved for management.
Not my MORTAL KOMBAT! Every fight in the movie ends with someone tearing out the other dude's spine instead of walking backwards, then forward, then backwards, and throwing a weak punch, and then the other guy just falls over dead very anti-climactically.
The TOY STORY movies are all about the anxiety of maintaining relationships and a deep, dark insecurity that the people you love will eventually grow tired of you and move on. No wonder film critics adore them.
The offscreen death in NO COUNTRY FOR OLD MEN might be the most subversive, expectation-confounding rupture in a mainstream thriller since PSYCHO. Still floored that a Best Picture-winning movie did that.
The saddest archetype I observe is the comfortably numb 27-year-old guy with a “stable” job making around $150k per year.
He probably wears a no-date submariner and lives in a respectable apartment. He looks forward to his 7 pm Chipotle burrito accompanied by the new show he’s
Dreading an impending era of films whose characters are either perfect models of moral behavior or explicitly condemned by the filmmakers to let us know that what they do Is Not Okay.
Today was my last day at The A.V. Club. I know it’s been pretty weepy around these parts lately, so forgive me for pulling into one last stop on the farewell tour. I just wanted to talk a little bit about my time at the site. Thread!
Do people consider SPOTLIGHT...bad? I mean, it's unremarkable filmmaking, sure, but plenty gripping as a procedural. Weird to see it lumped in with, like, GREEN BOOK as a notoriously misjudged Best Picture.
Too many plot holes in ENDGAME, like the fact that everyone seems to accept the reality of the snap instead of calling it a deep-state conspiracy and saying those grieving half the population are crisis actors.
KNIVES OUT is ingenious. Rian Johnson sharpens further his perverse interest in confounding audience expectations, this time in service of a whodunit that's dizzying in the ways it keeps compounding and upending its mystery. Just a pure blast. Get pumped.
#TIFF19
Reminder that the greatest Best Picture lineup of all time is 1975. NASHVILLE. JAWS. BARRY LYNDON. DOG DAY AFTERNOON. ONE FLEW OVER THE CUCKOO'S NEST. Unreal.
Excited to share some big news: Next month, I’ll be stepping into the position of Culture Editor
@chron
, where I’ll be overseeing coverage of movies, television, music, books, and more.
There are few movie scenarios I find more powerfully affecting than: two people meet, share a brief but intensely meaningful connection, and then part ways with no expectation of ever seeing each other again. Destroys me every time.
When I first saw THE KING'S SPEECH, with its ghastly fish-eye shots and unnecessary stretches of negative space, I knew that Tom Hooper was destined to one day make a true aesthetic abomination. Glad I lived to see it.
With my time at The A.V. Club coming to an end soon, I hope folks will indulge me a couple retrospective threads between now and my last day. For starters, here's a few of what I consider to be the best film reviews I wrote over the last nine years.
Glad to see Wilford Brimley is being remembered for how fucking terrifying he could be in the right role, from THE THING to THE FIRM to that time he put the fear of God into Kramer. R.I.P.
I know it's become a running gag, all of us threatening to leave Twitter and then just staying, but I don't think I know a single person on here that would stay if it cost money.
Can't believe it took a rewatch for me to see how AD ASTRA functions as a spiritual sequel to CLOSE ENCOUNTERS: A grown son ventures into space to find the father who abandoned him to pursue his obsession with extraterrestrial life.
BREAKING BAD is trending on Twitter as an example of a good series finale, and I am reminded that the truly great series finales don't give the audience (or the characters) everything they could possibly want.
I don't care if the movie is a live-action BAMBI remake directed by Stephen Daldry and written by Max Landis. A studio black-holing a completed film, *any* completed film, for a tax break is fucking evil.
Can pinpoint the exact moment I turned on ALIEN: ROMULUS. You'll know it when you see it. Slickly directed franchise taxidermy. Full review later this week.
SHUTTER ISLAND is a miracle: a madly entertaining Hollywood thriller made with god-level craft, pumped through with anguished emotion, spiked with the deeper horror of the 20th century. It's top-shelf Scorsese that does indeed get better every watch.
I had a dream last night that HANNIBAL came back for a fourth season, and they were doing a reworked LAMBS, and Julia Garner (!!!) was cast as Clarice, and I would like this be a real please.
Beyond a TAR sweep, the thing I'd most like to see Sunday is Colin Farrell win. He gave the performance of the year, the Oscars too rarely honor comic brilliance, and the dude seems like a mensch.
DRIVE MY CAR isn't my choice for movie of the year, but it's the perfect choice for movie of the year that will flummox people who think the role of critics awards is to shape the Oscars race.
Believing the Academy might give Best Picture to a South Korean film about the zero sum game of capitalism is about as wildly optimistic as, oh, thinking Relublicans might ever do the right thing.
The worst Kubrick take I ever overheard was when a prominent Chicago artist and lecturer said he was a terrible filmmaker because "he never moved the camera."
If I learned anything as an editor, it was that one of the crucial responsibilities of the job is stopping writers from stepping in it. Almost every bad piece you read got passed through some editorial chain, meaning that someone could have intervened.
Been really scared lately about the implications of AI, so it's oddly comforting to see the technology fail so spectacularly at mimicking artists' style. Not a convincing ripoff in this whole thread.
Not about this GAME OF THRONES revisionism. However clueless the showrunners sound, however badly they botched the ending, those first few seasons were as thrilling and thrillingly unpredictable as TV gets.
What movie from the past four years best captures the Tr*mp era? It's not American, but I'd lean towards BURNING, which is all about culture war, paranoid conspiracy theory, and unarticulated grievance curdling into violence. Plus, he makes a cameo!
Man, what a bummer if Abrams truly walked back that parentage reveal in THE LAST JEDI. "Heroes can come from nothing" is a much fresher and more heartening message than "bow before the royal blood."
Wonder if they opened THE IRON CLAW too late. Accessible (if deeply sad) sports drama that's made decent money and is popular with audiences and critics. I think it's a beautiful heartbreaker, and am surprised it's basically been ignored this awards season.
Breaking news in two things can be true: IT FOLLOWS is a brilliant, formally ingenious horror movie that absolutely did not cry out for a sequel; and I will be first in line to see what David Robert Mitchell does with a second shot at the premise.
Humbled and moved by everyone who has reached out today with a kind word—friends and colleagues and peers and strangers alike. You've made a hard day a little easier, and I'm grateful for you.
Some news, as they say: After nearly nine years at the site, I am leaving The A.V. Club. These are the reasons why. My last day will be March 2nd, unless anyone wants to hire me before then.
I maintain that this could be one of the most interesting Oscars ever. Good riddance to the white elephants. Let it ride. Give the real indies a chance.
This is disingenuous as hell. Netflix has no obligation to renew a program that isn't making them money. But this insanely profitable company does not get to play hero for mourning a show it could definitely afford to renew.
Left THE BRUTALIST wondering if it's too obsessed with being a Great American Movie in the Coppola/Cimino mold to actually achieve greatness. But the 3.5 hours flew by, and it's a breathtaking thing to behold, especially in 70mm.
#TIFF2024
Wild what a great actor Ray Romano has become. Between his really affecting work in PADDLETON and his scene-stealing comic supporting role in THE IRISHMAN, I'm basically at the point where if he's in something, I'm probably going to give it a shot.
Trailer for UNCUT GEMS makes little attempt to convey how nonstop stressful the movie is. Which I suppose is smart advertising; the average viewer probably isn't too enticed by a guaranteed panic attack.
Watched the Star Wars hotel video essay. It's very funny and engaging! An anatomy of a scam and a boondoggle. Also not surprising that it pissed Disney off, as it builds to a pretty damning indictment of the company's late-stage-capitalism business strategy.
Guess he missed the piece I wrote two months ago about how one of his novels changed my life and helped me confront my childhood. But, you know, it didn't have a grade on it, so.
The short version is that G/O forced the Chicago team out, demanding a prompt cross-country move to a much more expensive city with no cost-of-living increase and in the middle of a pandemic. They also created a job listing for my position nine days before the deadline they set.
Saving the sentimental thoughts for later. For now, I’ll say that I’ve poured my heart and soul into this job, and the relationships I’ve forged with my colleagues and an incredible group of freelancers kept it rewarding, even when other stuff chipped away at my morale.
I guess it was naive of me (or anyone else) to think that the Academy would give Best Picture to a black-and-white foreign-language movie released by Netflix. But GREEN BOOK? That's some very regressive bullshit right there. A disgraceful win.
There is an element of UNCUT GEMS that will be pure torture for those who obsessively remind themselves of a hard, impending deadline. Safdies establish a ticking clock and then have Sandler *totally ignore it.* It's WHAT THE FUCK ARE YOU DOING?: The Movie.
My hot take is that I really hope Pattinson makes a shit-ton of $ playing Batman, then turns around and spends the next decade making movies with Julia Loktev, Betrand Bonello, Kelly Reichardt, etc.
I like how Natasha Lyonne basically plays herself for a few seconds in AD ASTRA, implying a future where the brightest minds in science have come together to preserve Natasha Lyonne for our children and our children's children.
What’s next? I’m not sure yet! If anyone is seeking a full-time editor and writer with over a dozen years of professional experience, I am officially available.
Presenting your Best Picture nominees for the 96th
#Oscars
...
American Fiction, Anatomy of a Fall, Barbie, The Holdovers, Killers of the Flower Moon, Maestro, Oppenheimer, Past Lives, Poor Things and The Zone of Interest
Is there a filter on Letterboxd that hides reviews with 2,137 likes written in lower-case that amount in their entirety to "this movie fucks" or "a chimpanzee flips off a cop, 5 stars"?
Today was the 10-year anniversary of COMMUNITY. There are better shows, but not ones that I've returned to as often and as happily since, ones that have felt more like an old friend or a security blanket. Probably my favorite TV series ever, I suppose I'm confessing.
On the cusp of Sam Raimi's return to directing, I revisited his tense, heartbreaking A SIMPLE PLAN—a stylistically restrained outlier in his filmography that may also be his masterpiece. More at
@vulture
: