Thoughts on News From Home

    On Criterion, I watched News from Home, a 1976 avant-garde documentary film directed by Chantal Akerman. The film consists of long takes of New York City life as Akerman reads in voiceover letters from her Belgian mother that she sent her between 1971-1973. 

    Akerman had moved to New York City at age 21 in 1971, where she did odd jobs, befriended filmmakers like Jonas Melkas and Babette Mangolte, and made films of her own. She returned to Belgium in 1973, and came back to NYC to shoot long takes of the city, then going through a financial crisis. As the camera holds on long takes of people in the subway, walking the streets, or people working the graveyard shifts late at night. 

    Over these images, Akerman in voiceover reads letters from her mother, which often have a passive aggressive tone to them, like "We know you're busy, but please find some time to write back to us," or bugging her about when will be the next time she'll come home to visit. Her mother updates her with mundane news, like when someone got married or had a baby or moved or whatnot.

    There's an interesting contrast between the mother's loving yet nagging correspondence, and the long shots of grimy city life, where people just walk on their way or stare ahead on the subway, save for the few who notice Akerman's camera and stare at her, like one old man on the subway. It brings up feeling lost and alienated in the city while the letters are about news close to home in more closer suburban life.

    I liked it more for seeing shots of 1970s New York City and relating to the feeling of being annoyed by a parent's hectoring for not being close to home, and I saw this more as an experimental art piece, not really as interested in sitting through it, as I let it play on streaming while getting up around my home and doing things, then sitting down to watch more of it. It runs slowly, with the long takes and redundant letters, and I felt I understood it without watching all 90 minutes of it, but I still liked it as an experimental art film.

Thoughts on Marc by Sofia

    At the Angelika Film Center in Manhattan, I saw Marc by Sofia, a 2025 documentary film directed by Sofia Coppola, about the fashion designer Marc Jacobs. The film follows him as he prepares for a fashion show, and sits with Sofia, his longtime friend of over thirty years, discussing his career and influences.

    The film has a bit of an insider, cool kids feel to it, as Marc and Sofia, both of the elite arts upper classes, speak with a bit of a airy sound to their voices, which can make the audience feel like a third wheel to their conversation. The film gets more interesting when Marc talks about his childhood growing up in New York City as a 70s kid, spending time with his grandmother, and being inspired by pop culture icons like Diana Ross, Liza Minnelli in Cabaret, and Bob Fosse's choreography in Sweet Charity, bringing his influences with the thick, clumped eyelashes and sequined mirrored dresses onto his models for the show, bridging between his childhood loves and his professional work as a designer and artist. 

    I really enjoyed the parts with Jacobs and Coppola talking about their 90s heyday in fashion and music and art, focusing on Jacobs' "grunge" collection in 1992 for Perry Ellis, and the controversy of him commodifying the grunge fashion subculture into the mainstream with supermodels like Christy Turlington dressed in flannel on the runway, and Jacobs saying how Courtney Love and Kurt Cobain hated it. Coppola going "Oh, yeah?" with her detached voice made her sound a little out of touch, since I could definitely understand, even having been a kid back then, how it would look to people who grew up in a scrappy environment and were broke seeing their clothes turned into expensive fashion for the upper classes and being annoyed.

    In their 90s flashbacks, I did like that the film talked about the famed 1994 X-Girl fashion show, when Kim Gordon of Sonic Youth (who Jacobs said he was intimidated by when asked to do the fashion for one of Sonic Youth's videos) and Daisy von Furth had the X-Girl fashion line at the time, and did an outdoor show that was produced by Coppola and Spike Jonze, with models including then-club kid Chloë Sevingy at 20. It definitely felt like a moment of the time, bringing together fashion, alternative rock music, photography, and a lot of cool kid energy.

    I enjoyed a lot of the music needle drops, like hearing an Elastica song over the ending credits, and hearing various Sonic Youth songs like "100%" and "Dirty Boots."

    I liked watching the scenes of Jacobs with his team discussing differences in fabric when looking at swatches for clothes, and distilling down to particular "handfeels" and textures that he wanted, I was interested in the technical parts of fashion and creativity. I also liked Jacobs' metallic nail polish that he was sporting.

    It was a decent movie. It felt safe because he and Coppola are longtime friends, so there was bias there, and as much as I do like pop culture and celebrity stuff, I can feel a distance from it at the same time when watching videos of celebrities interviewing each other and being in their own insular world. I also had questions about how Jacobs and his fashion contributed to the negative parts of the fashion industry, like using overly thin models or any unethical factory practices or making clothes too expensive for the general public, but given the bias, I knew that wasn't to be explored as a hit piece on him or on the industry in general. So it was nice for the parts about 90s nostalgia and the scenes where he is working on his craft with his team of fashion professionals.

Thoughts on Will

    On Criterion last week, I watched Will, a 1981 drama directed by Jessie Maple. It was the first independent feature film to be directed by a Black woman. The film centers on themes of addiction and recovery, focusing on Will (Obaka Adedunyo, in his first film role), a man in Harlem who is recovering from a heroin addiction and has been sober for two years, who lives with his wife Jean (Loretta Devine, also in her first film role). He meets a 13-year old boy nicknamed "Little Brother" (Robert Dean), who he can tell is being influenced by the same cycles of drugs and addiction in their neighborhood that pulled him in, and he befriends Little Brother, inviting him to live with him and his wife to be a positive role model and to keep him away from the temptations of drugs.

    Will had been a star basketball player in his youth, and he becomes a coach for a high school girls' basketball team, helping the team get better and score well in games. Getting back into coaching basketball is a great way for him to get past his addiction and heal more in recovery. 

    But Little Brother is still curious about drugs, even snorting some cocaine he finds, and Will yells at him and is angry because he doesn't want him to go down the same path he did. It doesn't help that the neighborhood boys are mocking Little Brother for not wanting to do drugs and are pressuring him into it.

    This was a decent movie. I felt it got better when the actors were more natural with each other, like in scenes where Will and Little Brother are roughhousing with each other, or when Will and Jean are being flirtatious and teasing one another. When it got more into plot-dependent dialogue scenes, it felt more stilted, and had the feeling of an after-school TV special about the dangers of drugs. 

    I liked the film more for watching scenes of early 1980s Harlem, with documentarian filmmaking; seeing Loretta Devine in an early role (she would star in Dreamgirls on Broadway around the same time, her star-making role); and comparing it to later films like 2006's Half Nelson (where Ryan Gosling played a schoolteacher in recovery trying to mentor Shareeka Epps' high school student) and 2016's Moonlight (where Mahershala Ali plays a drug dealer trying to protect a young gay boy from his abusive home even if he knows he is complicit in selling drugs to his mother).

    Will won an award at the Athens International Film Festival and was used as an educational film in New York drug rehab centers. In 2024, the film was selected for preservation in the National Film Registry by the Library of Congress for its cultural significance. 

    Jessie Maple, the director, who passed away in 2023 at age 86, initially studied medical technology, but switched to become a filmmaker through training in Ossie Davis' Third World Cinema, and through a program run by WNET public television in NYC. She worked hard, through a lot of discrimination and legal action, to be the first Black woman admitted to the New York camera operators union in the 1970s, and used her perspective to make sure that Black voices were heard in news stories and not cut out. She made Will in 1981, and the basketball drama Twice as Nice in 1989, and screened her own films and other films by Black directors in her Harlem brownstone under the name 20 West Theater, Home of Black Cinema. The Black Film Center & Archive at Indiana University holds her papers and films in the Jessie Maple collection.

Thoughts on The Drama

     Yesterday at the Village East Cinema in Manhattan, I saw The Drama, a 2026 romantic comedy drama written and directed by Kristoffer Borgli. The film stars Zendaya and Robert Pattinson as Emma and Charlie, an engaged couple whose wedding is in a few days, but their relationship is tested when they learn secrets about each other.

    The couple live in Boston, and Charlie (Pattinson) had originally approached Emma (Zendaya) in a coffee shop by pretending that he had read the book she was reading. He stumbles over his words, thinking she's ignoring him, until she reveals that she is deaf in her right ear and was listening to music in her left one. She gives him a chance to start over, and they begin their courtship, and are engaged two years later.

    When the couple are walking one night, they see their wedding DJ out on the street in front of a bar with others, possibly smoking heroin, and deliberate whether to continue to have her as their DJ. They talk with their friends, Rachel (Alana Haim) and Mike (Mamoudou Athie), and Rachel defends the DJ, saying they've all done bad things, and they take turns admitting the worst things they've ever done. Mike used his ex-girlfriend as a human shield against a dog attack; Rachel as a teen locked a mentally disabled child in an RV closet and left him there overnight; and Charlie as a teen helped bully a peer so bad he had to move away. When it comes to Emma's turn, she admits that at 15, she had planned to commit a school shooting, having a rifle ready, but backing out of her plan. Everyone immediately turns on her, treating her like she's a psychopath despite that she didn't go through with it. Despite that Mike gave Charlie a pass on his actions for his brain "not being fully developed yet" at 14, Emma isn't given the same grace, and Rachel is harshest on her, because she has a cousin who is paralyzed from a school shooting.

    Charlie's view of Emma is completely changed, and he keeps picturing her with guns, and wondering whether to go through with the wedding. Emma explains that she was in a dark and depressed time in her life, and only after another shooting happened and she saw how it affected her community did she change her mind, and became a teen activist for gun control. Despite that this was fifteen years ago, and that Emma didn't cause any actual harm to anyone (unlike the other three, whose actions all hurt people), she is shunned by Rachel (whose true colors had been shown early in the film when she casually told Emma that she looks ugly when she cries), and Charlie is panicking at work.

    The film works in both exploring trust issues with a couple, as well as the hypocrisy of demonizing one person as "bad" while downplaying their own actions, as well as being darkly hilarious. In the flashbacks of young Emma (Jordyn Curet) trying to film her manifesto via webcam, posing with a gun with smudgy eye makeup and dressed in fatigues, her computer keeps interrupting with updates, breaking up the flow of her "by the time you see this I'll be gone" speech. 

    When Emma and Charlie are meeting with the wedding photographer (Zoe Winters) and she's detailing her schedule of photographing guests, she goes "So I'll shoot you first, then I'll shoot your parents, then I'll shoot the guests, and," and constantly saying "shoot" and making them feel jumpy, as well as the snaps of her camera sounding like gunshots as the couple pose with pained, fake smiles in front of a gray backdrop. The uncomfortableness of trying to act as normal while being stressed and anxious was really funny to watch.

    I found this film interesting. I felt like the characters were reacting in over the top ways to Emma's confession, when she hadn't gone through with her ideation and plan, but later realized that the point was that the other characters were terrible people, who hadn't done the work like she did to become a better person and to be more mentally healthy, and that they were unfair to her. 

    I did like the physical acting of Zendaya and Pattinson, like their body language when they are uncomfortable with each other, or when she is picturing him being playful with her the morning after her confession, rather than being distant and aloof. Those reactions helped to illustrate the characters' sudden unease with each other.

    The marketing for the film worked really well, promoting the film like a wedding announcement and the trailer leaving out the big reveal of Emma's secret, which made the film more intriguing, and it worked well for me to examine it afterwards.

Thoughts on SLC Punk!

 

    On Criterion, I watched SLC Punk!, a 1998 comedy-drama written and directed by James Merendino. The film is set in Salt Lake City, Utah in 1985, focusing on pre-law graduate and anarchist punk Stevo (Matthew Lillard), who is disgusted by his parents, who were 1960s hippies who sold out to Reagan-era corporate life (as his father says, "I didn't sell out. I bought in."), and is rebelling against fascism and Nazis and the boring life of his hometown in a state run by conservative Mormons. Stevo and his best friend, Heroin Bob (Michael Goorjian), who has the nickname despite that he is afraid of needles and only uses beer and cigarettes as his vices, believing that any drug is inherently dangerous, slam-dance at the local punk rock shows and get into fights with other subcultures. Stevo is casually dating a girl named Sandy (Jennifer Lien), while Bob has a crush on Trish (Annabeth Gish), who owns a head shop.

    As Stevo is in his early twenties, he is questioning his life and how to stay committed to his anarchist morals while not wanting to be seen as a poser or a sellout. He sees his friends moving on in their lives with romantic relationships and college and careers, and he sees the downsides of the punk rock life. A local teen, Sean (Devon Sawa) had attempted to stab his mother while high on 100 tabs of acid that had accidentally bled into his skin when he got wet while holding them in his pocket, and he gets sent to an institution. When Stevo sees him years later, he's panhandling on the street with obvious mental issues, declaring himself a bum, and having no contact with his family.

    Matthew Lillard does really well in the narration to the audience, often talking to the camera while interacting with other characters in the scenes, the others unaware of the fourth wall breaking, and it feels very Goodfellas to me with Henry Hill's narration to the audience. He's a bright and charismatic actor who shined a lot in this role at the peak of his 90s fame following Hackers and Scream. He's had more of a resurgence in recent years, with his dramatic role on the show Good Girls, renewed appreciation for his role as Shaggy in the Scooby-Doo series, and coming back to the Scream series in Scream 7.

    Michael Goorjian at the time was best known for playing Neve Campbell's boyfriend on Party of Five, and he gives a sensitive performance as Bob, a guy whose father has deep psychosis issues and believes that the C.I.A. is watching him, and he's afraid of ending up like his father. He sees the effects of drugs on people, including the dependence on prescription medication, and is firmly against it, seeing it as poison and corrupting the mind.

    The film has a great soundtrack, and brought me back to being a 90s teen hearing 80s hardcore for the first time, hearing classic songs like "I Love Living in the City" by Fear, and "Amoeba" by The Adolescents, as well as cuts by The Stooges and The Velvet Underground.

    The film doesn't have the gritty or messy look of a low-budget punk underground film, it may look too slick and mainstream to be seen as a film talking about punk anarchism, and it has a confusing conclusion that feels like it gives in to the characters "selling out" while still wanting to maintain their punk credentials. But I thought it was a decent film helped a lot by the soundtrack and lead performances.

Thoughts on Evil Cat

    On Criterion, I watched the 1987 Hong Kong supernatural action film Evil Cat, directed by Dennis Yu and written by Wong Jing. The film is about a family that, every 50 years, must fight the resurrected cat demon until its nine lives are up, and only the son born every 50 years can fight the demon with his inherited energy and strength. The demon is now on its ninth life, coming back and possessing people and sucking out people's lifeforces, jumping and pouncing in big leaps like a cat. Master Cheung (Chia-Leung Liu) has cancer, and is worried that he will die of the disease before he can defeat the demon, so he decides to train his daughter Siu-Chuen's (Lai-Ying Tang) boyfriend Lo (Mark Ho-nam Cheng) to be the warrior.

    Despite that this film has some heinously sexist moments (a young woman who is seen as whiny and annoying on a car ride is left tied up on a pole by guys laughing at her), the film is very neon atmospheric and combines excellent wire work with the cat-like jumps and claws and arched backs, blue lightning that follows the demon around (including a part where it attacks a woman by shooting a beam right at her vagina in a ridiculous moment), and the violence is gory, with punches that go through torsos. There are left-field moments, like when the movie suddenly cuts to a singer performing a canto-pop song, and he just pops into the story, with fans adoring him outside, only for him to be a victim of the cat-demon seducing him, having sex with him in a car, then biting off his tongue and killing him.

    I liked how the film ends in a surprisingly heartbreaking way, not the triumphant ending that I was expecting. It's a weird horror-fantasy, and very interesting to watch.

Thoughts on Project Hail Mary

    At the Alamo Drafthouse in Manhattan, I went with my friends to see Project Hail Mary, a 2026 sci-fi adventure film directed by Phil Lord and Christopher Miller, written by Drew Goddard, and based on the 2021 novel of the same name by Andy Weir. The film centers on Ryland Grace (Ryan Gosling), a man who awakens from a coma on a spacecraft. The other two passengers died in their comas. He struggles with temporary amnesia and figuring out why he's on this spacecraft, and he slowly remembers as the film intercuts the present-day scenes with flashbacks scenes from 12 years prior, as he has been traveling for nearly 12 light years on the spacecraft Hail Mary. 

    Grace was a middle-school science teacher and a former molecular biologist, and there is news that the Sun is dimming due to a fictional microorganism called astrophage eating up the sun's energy, and that in thirty years, the Earth will have cooled 10 to 15 degrees, destroying food sources, plant life, and making humans and animals extinct. Grace is recruited by government agent Eva Stratt (Sandra Hüller) because of a paper he wrote in the past, and has been working with scientists from all over the world to develop a solution to save the sun. Grace figures out that astrophage, coinciding with the development of an infrared line from the Sun to Venus called the Petrova line, breeds on Venus via their carbon dioxide and energy from the Sun. The mission to Tau Ceti, the only undimmed main star, is a one way one, as the spacecraft only has enough fuel to get there, but can send probes back to Earth with the crew's findings to save the world.

    Grace wakes up on Hail Mary and gets his bearings, and he encounters an alien spacecraft, who is trying to communicate with him, sending him cannisters of materials. The alien spacecraft makes a tunnel walkway of xenon to allow Grace to enter, and he meets a spider-like alien with a rock-like body, who speaks by rubbing its limbs together, creating a musical speech, and Grace makes a computer translator program to be able to communicate more, with a voice (James Ortiz) to give the alien, named "Rocky," more of a human quality.

    

    It turns out that Rocky, from the star system 40 Eridani, is the sole survivor of a mission to stop the astrophage. Neither Rocky nor Grace can survive in each other's atmosphere, so Rocky enters the Hail Mary in a small, pressurized glass ball as a spacesuit, and the two of them work together to save each other's worlds from extinction, and develop a bond as friends and roommates.

    

    I really enjoyed this film a lot. At 156 minutes, it is long, and there were parts in the last third that I felt could have been cut down, where the story seemed like it was ending but kept going, so that part felt tedious. But I liked the mix of realistic science with humor, and Andy Weir, the novelist who wrote the Project Hail Mary book, also wrote The Martian, and there were similar feelings between the film adaptations, mainly with a man alone in space or on a planet, who has a biology background and uses his scientific knowledge and sense of humor to survive on his own and avoid losing his mind. Ryan Gosling has an easygoing charm as Grace and is fun to watch, and his relationship with Rocky (performed by Ortiz and several puppeteers as an animatronic robot) was funny and delightful, and got into real pathos as the story reached higher stakes. There are also funny ongoing gags of Grace wearing shirts with science puns on them, like a periodic table joke on one shirt, and the inspiration came from Val Kilmer's character in Real Science, who also wore a lot of funny pun shirts.

    I really liked Hüller as Eva Stratt, a no-nonsense East German woman who is frank and honest with Grace about the risks to Earth if a solution is not found, and believes in him even when he has self-doubt and just sees himself as a lowly science teacher and not a hero. She is wryly funny, and especially shines in a karaoke scene during a moment of levity and steals the film from Gosling in that moment. I really liked her a lot in Anatomy of a Fall, so I was happy to see her back again.

    Lionel Boyce, best known as part of the hip-hop collective Odd Future and as pastry chef Marcus on The Bear, delivers a strong supporting role as Carl, a government agent who acts as a security guard, who Grace takes a liking to and brings him along on his science experiments, including a fun moment of shopping on the government's expense account at a big box store and bowling down the aisles.

    I would recommend this film if you like science fiction comedies that mix realism in science with humor, and obviously if you liked The Martian.

Thoughts on Are You There God? It's Me, Margaret.

    On Hulu, I watched the 2023 coming-of-age dramedy Are You There God? It's Me, Margaret., written and directed by Kelly Fremon Craig (The Edge of Seventeen), based on the 1970 novel of the same name by Judy Blume. The film is set in 1970 and focuses on 11-year old Margaret Simon (Abby Ryder Fortson), who lives in New York City with her mom Barbara (Rachel McAdams) and Herb (Benny Safdie). Her parents tell her that they are moving from NYC to a New Jersey suburb, and Margaret is upset about leaving her friends and her life behind, and most importantly, her grandmother Sylvia (Kathy Bates). The family moves to the suburbs, and Margaret is immediately befriended by her neighbor and soon-to-be classmate Nancy Wheeler (Elle Graham), who shows up at the Simon's house already knowing the basic stats on Margaret and being like, "You're with me now." She invites her into her friend group with Gretchen Potter (Katherine Kupferer) and Janie Loomis (Amari Alexis Price). Nancy organizes the group to have a secret club where, according to Nancy, none of them can wear socks (leaving Margaret with blisters on her first day of school), they all have to wear a bra (in which three of them get a Gro-Bra training bra), and they have to keep a "Boy Book" of their school crushes, mainly admiring the same boy, Philip Leroy (Zackary Brooks). And the famous "we must, we must, we must increase our bust" chant with the arm pumping looks ridiculously funny when acted out than when reading it on the page.

    Margaret adjusts to her new school and her friends, trying to fit in with Nancy, even though Nancy encourages bullying of Laura Danker (Isol Young), a taller girl who developed earlier than the other girls, making up slut-shaming rumors about her. Margaret though is struggling more with her religious identity, as her mother is Christian and her father is Jewish, and she wasn't raised with either religion, her parents wanting her to choose when she is an adult. Her class is assigned a year-long research assignment, and based on Margaret's answers in a class questionnaire, Mr. Benedict (Echo Kellum) encourages her to choose religion as her research project. Margaret goes to temple with her grandmother on an NYC visit, much to Sylvia's joy, and she goes to church with Janie and her family.

    Meanwhile, Barbara is trying to adjust to suburban life, joining various PTA committees, though her activities keeps her away from her true passions of painting and teaching art. Herb tries to mow the lawn, but cuts his finger, so a neighborhood boy, Moose (Aidan Wotjak-Hissong) cuts the lawn. The parents are happy together, and there is a cute flirtatious moment on the lawn when Herb pretends to rev up the mower seductively to tease Barbara.

    The film spans over the school year, as Margaret experiences the high and lows of her adolescence, like crushes and peer pressure, and anxiously awaiting growing breasts and getting her period, not wanting to feel left behind in her friend group, especially when other girls get their period ahead of her. There is more grappling with her religious identity, and not wanting to disappoint her parents or grandmother over which religion to pick, and feeling stressed out by her internal struggles.

    I really liked this movie a lot. I read the book when I was around 11, and while it's not my favorite of Judy Blume's books (that would be Starring Sally J. Freeman As Herself, based on Judy Blume's childhood in the 1940s), it's memorable for a funny childhood memory of mine as a 1990s kid. I hadn't had my period yet, and I was reading the book and read the 1970s description of a sanitary pad attached to a belt, which clips onto the underwear, as that was the feminine hygiene product at the time before adhesive pads were invented. I was upset and went downstairs to my mom and told her about that, and whined, "I'm gonna have to wear a belt?!" My mom laughed and said, "It's not like that anymore." Later printings of the book did change that part to an adhesive pad, and the movie depicts it as an adhesive pad as well, even though that would have been anachronistic with the period setting of the movie.

    Abby Lee Fortson was wonderful as Margaret. She brought a lot of realism and sensitivity in her portrayal, making Margaret not perfect, a little messy (especially when she snaps at Laura Danker and goes along with Nancy's bullying, then immediately regrets it when Laura calls her out on her meanness), and overall a normal kid. Fortson had played Paul Rudd and Judy Greer's daughter in the first two Ant-Man movies, and was just cast as Velma in the latest Scooby-Doo project, so it'll be good to see how her career progresses.

    Elle Graham had a harder role to play with Nancy, of making her a Type-A leader with a controlling personality, who bullies another girl over being too tall and having boobs, yet isn't a monster or a horrible person, and it's a fine line to balance, and Graham is great in making Nancy feel like a normal kid as well. She is immature while is a natural leader, encourages her friends to talk about their periods and their crushes and their breasts, and is still a kid, like when she gets her period for the first time while out at a restaurant with her family and Margaret, and is embarrassed and is calling for her mom to help her. She really shines in this film with a more complex role to play.

    Rachel McAdams is great as always, playing a woman who is watching her daughter grow into puberty, not wanting her to grow up too fast. When they go bra shopping (and Barbara is hesitant, like "Do you think you really need one?") and Margaret tries on a bra and is like "I immediately want to take it off," Barbara goes, "Welcome to womanhood." Her parents disowned her because she married a Jewish man, and she and Herb wanted Margaret to make her own decisions about religion and not have it define her life or choices. 

    When Barbara is trying to fit in with the local moms, she is eager to join, but finds it tedious, like cutting out lots of cloth stars for a school dance to fill up the ceiling, or having to put on a fake smile for things she doesn't want to do. It is a relief for her that, at the end of the school year, when time comes to re-enroll in committee activities, she at first looks for an excuse before happily going, "I don't want to do it!" and driving off.

    I liked how the music had early 1970s songs without them being the obvious hits, or that the characters seemed more contemporary and not hitting the audience over the head with "This is the 70s!" in a cartoonish way. It's like when I watched The Wonder Years as a kid and didn't notice that the show was set in the 1960s and 1970s, because I wasn't noticing the costumes or period details, paying closer attention to the stories and characters, and that the themes about family and school and friends were still relatable today. Are You There God? It's Me, Margaret. had the same feeling, of a story about girlhood being the same regardless of the period details, and I really thought it was a wonderful film.

Thoughts on Get Low

    Last Sunday on Tubi, I watched Get Low, a 2009 drama directed by Aaron Schneider and co-written by Chris Provenzano, C. Gaby Mitchell, and Scott Seeke. The story is loosely based on a true story about Felix Bushaloo "Uncle Bush" Breazeale. The film stars Robert Duvall as Felix Bush, a man in 1930s Tennessee who has lived as a hermit in a cabin in the woods for 40 years, and the townspeople don't really know him, so they've spread rumors and stories about him for years, saying they've "heard" that he killed in cold blood, or that he's in league with the devil. One day, Felix comes into town in the local church, with a large roll of cash, and asks the preacher if he can have a funeral for himself, but while he's still alive, not after his death. The preacher refuses, finding it sacrilegious, but the local funeral home director Frank Quinn (Bill Murray) is facing financial troubles, and offers to arrange Felix's "living funeral." Felix wants to have the funeral to hear what everyone would say about him after he dies, and to hear what kind of stories they've been telling about him.

    As the funeral party is being planned, Frank's assistant Buddy (Lucas Black) is uncomfortable with the arrangements, feeling it isn't right, but goes along with Felix' wishes. He too finds Felix to be a mystery, and as others express skepticism over Felix' reasons for the party (one man [Scott Cooper] thinks that Felix wants to arrange everyone in one room for a mass shooting). Felix sweetens the deal, offering a $5 raffle with his property as the prize.

    Things get more complicated when an old story from Felix' past resurfaces, involving a local widow Mattie Darrow (Sissy Spacek), who was Felix' girlfriend 40 years prior in the 1890s, and her deceased sister, Mary Lee, who she accuses Felix of having been in love with and using Mattie to get to her. With a preacher friend Charlie Jackson (Bill Cobbs), Felix wants to use the funeral party not just to hear what others think of him, but also to tell the truth about something that happened decades prior, for which he feels immense guilt and built his cabin like a prison to sentence himself in all that time.

    It's a small film that feels personal and intimate, and like a folk tale that one would tell their children or grandchildren many years later, a story that would turn into a local legend. Robert Duvall was 79 at the time, and delivered one of his best performances late in his career, as this stubborn old man who secretly carries a lot of humanity in his heart. Bill Murray, Lucas Black, and Bill Cobbs were all good, but Sissy Spacek was fantastic, in a supporting role where she challenges Felix on his hardheadedness and makes him confront the past to get out of his self-exile. Spacek has always been such a naturalistic actor, with subtle performances in her senior years that can get taken for granted, and she was great in this film.

    I really liked Get Low. I had heard of it when it came out, and it got some critical acclaim, but didn't become a big mainstream hit. But with Duvall's recent passing at age 95, it's gotten some long overdue love, and I'm happy it's getting rediscovered nearly twenty years after its initial release.

Thoughts on Send Help

     Last week, I went to the Alamo Drafthouse in Lower Manhattan to see Send Help, a 2026 comedy thriller directed by Sam Raimi and co-written by Damian Shannon and Mark Swift. The film stars Rachel McAdams as Linda Liddle, a meek but hard-working office drone who has been awaiting a promotion to vice president at her corporate job. Unfortunately, the president died, leaving his arrogant son Bradley (Dylan O'Brien) in his place, and he is immediately disgusted by Linda's nerdy looks and the specks of her tuna fish sandwich on her face, and wants to make his frat buddy, who has only worked at the company six months, vice president. He plans to have Linda transferred out to a dead-end position at a satellite office in Bangkok to get rid of her.

    Linda lives at home alone with her cockatoo, has tons of books about wilderness survival, and films an audition video to be on the next season of Survivor. She stands up to Bradley at work, about him taking back her promotion, and he invites her on a business trip with him and his other slimeball bro executives to Bangkok to finalize a corporate merger. On the way there, a storm causes the engine to fail and the plane comes apart, crashing by a remote island in the Gulf of Thailand. Linda and Bradley are the only survivors, and with Linda's survival knowledge, she immediately knows to collect rainwater, build shelter, tend to Bradley's injured leg, and hunt for food. When Bradley is recovering, he reverts to treating her like a subordinate, despite that they are now stranded on an island and are no longer in an office environment. Linda tests Bradley's attitude by leaving him alone for two days, and when he nearly dies of thirst, she gives him water and takes control.

    The film focuses on a power struggle between Linda and Bradley, as Linda, thrilled at being the one in charge and with control, avoids any potential rescue by search teams because she doesn't want to go back to office life with Bradley back in his CEO position humiliating her. Bradley resents that he is now dependent on Linda, and will try to outsmart her, but keep failing at it because he doesn't have any real-world survival skills from growing up rich and privileged. 

    The movie is really funny, both due to McAdams' gleeful performance as a woman getting revenge on her boss, who just may be more twisted than he realizes, and O'Brien's performance as a smarmy jerk who is reduced to being a sniveling whiner when bested. The movie has blood and gore moments, like when Linda kills a wild boar, blood spraying in her face as she stabs it, or when she vomits after eating poisonous food, her yellow puke looking like creamed corn.

    I really enjoyed this movie, mostly for McAdams, and for liking the thriller and comedy combination, the homages to Cast Away, Misery, and Swept Away, and the silliness of it all.

Thoughts on Double Happiness

     On Criterion, I watched the 1994 Canadian drama Double Happiness, written and directed by Mina Shum. The film starred Sandra Oh in one of her earliest screen performances (and for which she won a Genie Award for Best Performance by an Actress in a Leading Role) as Jade Li, a Chinese-Canadian woman who lives at home with her traditional Chinese family, and is struggling with wanting to be an actress and a creative artist, while also wanting to please her parents, who want her to marry a Chinese man and uphold their values. Her older brother Winston has been disowned and lives in the States, and she fears disappointing her parents and facing the same fate.

    She switches between speaking English and Cantonese with her family, and is close with her younger sister Pearl (Frances You). Her family is concerned with putting on a good public persona to their friends, like when her father's (Stephen Chang) childhood friend Ah Hong (Donald Fong) comes to visit and the mother (Alannah Ong) makes her daughters wish him luck and a happy new year in rehearsed Cantonese unison. Jade's family sets her up on dates with the Chinese sons of their friends, including one, Andrew (Johnny Mah), who is secretly gay and just goes along with the dates once a year to appease his mother. For the dates, her family makes her dress up in pearls and an overly coiffed hairdo, to which her mom approvingly tells her that she looks like Connie Chung.

    The "double happiness" of the title is from Jade trying to live both her paths in life, as an aspiring actress and hanging out with her friend Lisa (Claudette Carracedo), and being in deference to her parents, who scold her for any mistake she makes and treat her like a child despite that she is a grown woman in her twenties. She wants to move out, but is afraid to confront her parents about it, not wanting to be cast out like Winston was.

    Through a chance meeting and brief hookup, she meets Mark (Callum Keith Rennie), a shy but cute nerd who had awkwardly flirted with her outside of a nightclub they were both denied entry to, and while Jade is hesitant to date him because he is white and her parents wouldn't approve, she still feels drawn to him, and they see each other casually, with her feeling torn between her desires for him and her duties towards her family. Their chemistry is really sweet and adorable, and their romance was one of my favorite parts of the movie.

    There's a lot of talk about a conflicting pressure to assimilate while still upholding her family's culture, like being expected to be fluent in English and Cantonese at the same time, and being held to Asian stereotypes when auditioning, or being told by an Asian woman that she's not really Chinese if she can't read Chinese in a script.

    I really liked this film a lot. I liked how it felt relatable to me in feeling family obligations, and wanting to be free to do things while not wanting to feel controlled by parental influence and being shamed for it. Sandra Oh was excellent in this film, and I especially liked the sequences when she is in her room practicing monologues and going into abstract worlds, with the colors and costumes changing, before one of her family members would be calling for her from downstairs and interrupting her inner world, it had a very dreamlike feel to it.

    There's an excellent sequence where Jade is escaping one of her dates (whose face is never shown, he's meant to be representative of the generic Chinese white collar men she is set up with by her parents) by running down the street, throwing off her coat and mussing up her Connie Chung hairdo, crying and literally breaking free while Sonic Youth's "Sugar Kane" plays, it's very emotional and thrilling to watch.

    The film will also have confessional sequences, done documentary film style, where the characters will talk to an unknown person, and there's a great scene where Alannah Ong as Jade's mother talks about being a child and joining in on the bullying of a mute woman, calling her "Dumb Dumb," then only after being a mother herself learning about the trauma that was inflicted on that woman that caused her to never speak again, and feeling shame for her ignorance and cruelty towards her.

    Some of the film score is by the Toronto-based band Shadowy Men on a Shadowy Planet, who are best known for doing the theme song to the TV show The Kids in the Hall.

    I really liked how the film is more about holding onto a sense of self and not giving up one's identity just to satisfy family expectations, as it can feel good in the short-term to appease what parents want but isn't good for someone's long-term mental health. The film is dated as a 1990s Canadian independent film, but still holds up a lot with its messages about family and identity and being a first generation child of immigrant parents.

Thoughts on Laggies

    I rewatched Laggies today, a 2014 film directed by Lynn Shelton and written by Andrea Seigel, and I liked it, but I couldn't suspend my disbelief that Sam Rockwell's dad character Craig would really let this random near-30 year old woman named Megan (Keira Knightley) stay in his house because she is friends with his teen daughter Annika (Chloë Grace Moretz) (which already came off as weird and questionable), buying her cover story of "waiting to move into her new apartment," and just being dumb enough to give her a pass because she's attractive. It felt really implausible to me, especially since Craig comes off more as a sarcastic cynic type, and is a lawyer, and should have seen the red flags come up more.

    Megan had been with her boyfriend Anthony (Mark Webber) since high school, she's had the same friend group since then, and they're all 28 and Megan is going through a quarter life crisis, not having a real career and being stagnant in her life, so when Anthony proposes to her, she freaks and makes an excuse to go to a seminar for a week on nearby Orcas Island, and really by chance befriends Annika and her friends (including a pre-fame Kaitlyn Dever), uses the apartment excuse to lay low at her and Craig's house, and is operating under false pretenses while getting involved in their lives.

    I like the movie, mostly the lead performances, but the stretches that people will believe Megan's lies makes the story less believable to me.

    A funny aside: when I watched the movie years ago with the commentary on by the late director Lynn Shelton, she comments on a sexy moment where Sam Rockwell drops his umbrella and pulls Keira Knightley by her coat into a kiss, and Lynn goes, "And that's why Sam Rockwell gets paid the big bucks." Lynn Shelton passed away way too soon, she was a great talent in the indie film world.