Sunday, November 3, 2024

The Arc of the Moral Universe

Hi everyone,

I've found myself so much more irritable, emotional, and ill-at-ease as the election draws forebodingly nearer.  Despite dramatically reducing my consumption of the news and how much I'm even talking about it in recent months, even when it isn't in my conscious awareness it is a hulking omnipresence.

Honestly, we've lived through too much in the past decade or so.  From the nauseating and terrifying results of the 2016 election, to the endless indignities, abuses, and outrages of the years of Trump's presidency, to the unimaginable surreality, fear, and isolation of a years-long pandemic, to a now year-old US-funded social media-streamed genocide, all mercilessly back to back to back, it's too much.  It feels like we're all entitled to a bloodcurdling, lung-emptying existential scream no one has made space for.  It feels like that scream would never end if it ever started.

I used to be so comforted by Dr. Martin Luther King Jr.'s statement about the arc of the moral universe.  It articulated my worldview for years, encapsulating my optimism and willingness to engage in ongoing, persistent struggle.

The trouble is, I was so naive about how long that struggle would take.  I thought Obama's election in 2008 and 2012 would naturally lead to the immediate election of our first woman President, that liberal political leadership would become more or less the norm in this country, and that steady progress would continue for the rest of my lifetime and beyond--with considerable labor, but also with heartening consistency.  It was so encouraging, so inspiring to imagine I would get to see the elegant unspooling of the moral universe toward a justice that would shine its light on everyone.  It seemed like such an easy roadmap to follow, just a gentle slope climbing ever upward.

In retrospect, I realize I almost felt a sense of unwitting entitlement to things just continuing in what seemed like a logical, relatively orderly direction.

At first, I saw the outcome of the 2016 election as an albeit gigantic bump in the road, or perhaps like the messiness and agony of childbirth; something beautiful and new coming into the world often necessitates pain, effort, strength, and a period of recovery.  I thought a bunch of dinosaurs were throwing one last racist, sexist, ableist, xenophobic temper tantrum before finally succumbing to their powerless irrelevancy, after which we could return to our steady progression toward a better world, perhaps further strengthened and emboldened because of what we'd just endured.

As time went on, however, it got harder and harder to hold onto my original assumptions about the world and the future.  The more horrific bullshit Trump did, and the more impunity with which he did that horrific bullshit--the more court cases and impeachments he evaded essentially scot-free, the more judges he appointed, the more people he got killed with his unconscionable anti-science nonsense, the more ugliness he said and did and thereby empowered his followers to say and do--the more my belief that the world was moving toward something better shriveled.  

By the time his followers faced hardly any commensurate consequences for launching an attempted coup and Trump himself fully evaded accountability for overtly attempting to upend American democracy, not to mention as people lost federal protection for abortion rights and the bloodthirsty war against trans people continued to escalate unabated despite having a Democrat for a President, I'd numbly accepted defeat.  Maybe pessimists are right: maybe history simply repeats itself, over and over, until the end of time.  Maybe what looks like "progress" is just a fleeting, ephemeral period of relief, an eye in the unending storm of inherently self-destructive human cruelty.  Maybe the moral universe isn't traveling on an arc at all, but instead it's simply stuck in place, spinning in a circle we're doomed to always be rotating around.

I don't want this to be the truth.  I don't really know how to make sense of living in a world in which that's the truth.  I certainly don't understand how to parent--like, big picture parent--in a world that's just going to get worse for my children and everyone around them.  I don't know how to square the deep joy I get from caring for my children and my home with the despair I feel for the world around us.  The dissonance feels impossible to resolve.  It's miserable.

In trying to work through all this, I've had conversations with people I trust, I've sought guidance through the words of thought leaders I respect, and I've done a lot of thinking.  I don't want to sacrifice my innate optimism for people and the world at large.  I don't want to give up on my belief in people's inherent goodness.  I also refuse to blind myself to the realities of what horrors people are capable of inflicting on others, and the evil that people perpetrate because they think no one will care or intervene.  I refuse to choose the narrow view of my little, happy life to the exclusion of the rest of the world, primarily because that is simply wrong and selfish, but also because one of the things I love most about humanity is our interdependence, and something that harms my neighbor will one day harm me, too.  There has to be a way to hold all these truths at once without becoming paralyzed by despair or denial.

Through all of this, I've come to the conclusion that neither of those two preceding worldviews are accurate, and neither of them are wrong.  Instead, I think we're on a circular path, but moving through space in a slow yet inexorable course toward justice.  There are still going to be periods where things get worse, but that doesn't determine our overall trajectory.  The journey is more circuitous than I wish it was, yet the destination remains the same.

Key in consolidating this view for me was a recent metaphor using the Shepard tone discussed in one of my favorite podcasts (around minute 6 of this episode, if you're curious to hear it for yourself).  The host used this tone to illustrate the reality that there are things that are getting better and worse all the time.  The getting-better and the getting-worse are always there, a part of the overall song of our world.  What comes through the loudest is what you focus on.

The message I hear in that metaphor is to recognize the combined realities of our world, and to choose your focus intentionally depending on what the moment requires.  If you find yourself lapsing into despair, as I very often have in the past few years, then focusing on the good in the world could bring you back from the brink.  If you instead lull yourself into an inaccurate sense of comfort and passivity, then focusing on where your energy and attention is still needed and taking action is necessary to avoid complicity in the cruelty and oppression that still exists in the world.

All that to say, I've found it's heartbreakingly easy to lose sight of the arc of the moral universe, because it's so very long.  Yet I believe Dr. King was, ultimately, right: it bends, ceaselessly, toward the light.  Because it has to.  Because we can make it so.

So that brings us to today, two days before the next election.  I don't pretend to be able to predict the outcome.  A lot of bad things may still happen.  But we've got each other and a future to fight for.  To reference another leader for justice, we must mourn the dead and fight like hell for the living.  At the end of the day, there's simply no other choice.

{Heart}

Thursday, October 31, 2024

A (Mini) Halloween Sampler for All Souls: 2024 Edition!

Happy Halloween, dear friends!


Given this year's reduced movie-watching goal, it perhaps follows that I have fewer scary movies to review for this year's spooky sampler.  Nevertheless, I'm excited to share a few films that might be fitting if you're in the mood to enhance this scary season with some cinematic creepiness.

As always, each of the movies below will be rated with the usual overall 1 - 5 rating scale, as well as a scary/intense rating of 1 - 5 exclamation points, to be interpreted as follows:

! = not at all scary
!!!!! = so scary!

Let's get to it!

"A Haunting in Venice" (2023)
Rating: 3.5  Scary Rating: !!!!

Having seen at least one of the campy previous generation of Detective Poirot movies, I didn't expect "A Haunting in Venice" to be as scary as it was.  The film uses its dark, foreboding setting in a decaying Venetian mansion with a hellish history to very strong effect, and is further enhanced by its willingness to toy with the line between the natural and supernatural world, especially because that seems to run counter to Poirot's typical refusal to believe that anything other than living human beings can be responsible for murder.  This detective-film-turned-ghost-story is definitely perfect for Halloween!


"Twisters" (2024)
Rating: 4  Scary Rating: !!!

Long-term readers of the blog know how much I love the original "Twister" (1996), so it should come as no surprise that I was PUMPED for this long, long-overdue sequel.  AND IT DID NOT DISAPPOINT.  It packs all the heart-pounding tornado-y action you know and love from the original with added themes of climate change, social media celebrity, grassroots mutual aid, and predatory capitalism to bring it into the future.  

Is it the most scientifically rigorous movie in the world?  No.  Are the characters super well-developed?  No.  Is it the universe's best script?  No.  We cannot demand the world from "Twisters", but we can sure as hell can demand a good time, and it absolutely delivers.  So if you're in the mood for something intense that is firmly rooted in the natural world, this is your movie.

I hope you enjoy a wonderful and optimally spooky Halloween!


{Heart}

Sunday, September 29, 2024

Getting to the "Bottoms" of "Wicked Little Letters": A Women Behaving Badly Double-Header

Hey everyone,

I am DELIGHTED to share two absolutely excellent movies I watched recently.  While by pure coincidence these films share some major thematic similarities, they also differ dramatically aesthetically.  Yet both fully deliver in enjoyment and emotional uplift.

The two movies are: 


"Bottoms" (2023) tells the story of Josie (played by Ayo Edebiri) and PJ (played by Rachel Sennott), high school best friends who are both gay.  They hatch an elaborate plan to start a girls-only fight club, which they tout as a self-defense/feminist self-empowerment group, with the ulterior motive of climbing their school's social hierarchy from the bottom of the barrel (hence the movie's title), and to thereby gain greater access and appeal to the two popular cheerleaders on whom they have crushes.

What follows feels like "Booksmart" (2019) meets "Kill Bill" (2003) with a hit of acid.  The world PJ and Josie live in is just surreal enough to feel like a weird parallel universe version of ours, in which rivalries between high schools turn literally bloodthirsty and hero worship of the football team's histrionic and entitled quarterback is unabashedly and in equal measures zealous and thirsty in an altogether different way.  The movie only barely acknowledges its own strangeness, which feels like a massive compliment to its audience; you feel cool for being along for the ride without needing it explained to you why Marshawn Lynch's history class is only 5 minutes long.

Thankfully, another way in which "Bottoms" leans into its surreality is through the relative cartoonishness of its violence.  While people do get bloodied and bruised--it needs to be clear that the blows these girls land hurt--the movie isn't all that graphic, which makes it easier to watch and also to not miss the point of the movie.

"Wicked Little Letters" (2023), on the other hand, is set in post-World War I suffragette-era England and centers on an opposites attract friendship gone awry in the wake of particularly vulgar poison pen letters.  Edith (played by Olivia Coleman) is an unmarried woman living with her elderly parents under extremely strict religious and gender role expectations imposed by her domineering, sexist, and humorless father.  Rose (played by Jessie Buckley) could not be more her opposite: she is an unrestrained and loud single mother who is fully at ease with a range of profanity and prioritizes playing darts, drinking, and sleeping with her devoted boyfriend over wasting her time with tedious housework and maintaining propriety simply to appease her nosy and uptight neighbors.  The trouble is, her neighbors are Edith and her parents.

When Edith receives the latest in a parade of libelous anonymous letters, her father finally decides to involve the police in pursuing Rose as their suspected author.  While at first she attempts to refuse to participate in the investigation for fear of taking the judging role she attributes only to her god, Edith eventually relents under her father's pressure and suddenly becomes the unintended victim-heroine in a highly publicized and swiftly escalating poison pen scandal.  As the stakes quickly rise for all concerned, it becomes increasingly clear that Rose might not be the actual culprit.

"Wicked Little Letters" matches the surreality of "Bottoms" with a comparative realism, down to the outhouses and shared washbasins that were typical of the era in the UK.  It is nevertheless leavened with a heightened silliness, often telegraphed through the highly communicative facial expressions of the group of women that form the heart of the film.

Taken together, these superficially different movies center on the same powerful core themes, including friendship and solidarity between women, the power and protection that can be drawn from found family, and the revelatory liberation that follows when women openly, even violently when necessary, flout restrictive gender and sexuality norms.  They're also both extremely funny, well-acted, and well-constructed movies that move along briskly and thrive in no small part because of their excellent scripts--and they're both directed by women: Emma Seligman directed "Bottoms", while Thea Sharrock directed "Wicked Little Letters".

I loved both of these movies so much, and I highly recommend them to anyone looking for a good time and affirmation for being a misbehaving woman.  I gave them both a 5.

{Heart}

Monday, August 5, 2024

New Car

We got a new car today.

Despite the misdirect of that opening line and title, I want to talk about my old car.

My old car, an 11-year-old sedan, was tired.  It traded in for a pathetic $1500, dwarfed by the evidently over $10,000 it would have cost to restore it to true roadworthiness.  Among its many ailments, one of its headlights had water trapped in it, and one of the inner door panels--the rear driver's side door, of all options--had started to fully separate from the frame, making the door stick every time it was opened.  If it was a smart car, it was smart in the sense that single-celled organisms are smart: no futuristic amenities like a back-up camera or blind spot sensors, instead the most it could muster was the damn voice commands to get my bluetooth to play that had an almost 100% failure rate (oh lord the horrific names I called that poor robot voice when she told me, "You can say USB" when BITCH I *DID* SAY USB).

But my old car, named Little Car, was a good car.  He (because he was a boy, unlike my girl car before him) was a work horse.  We put over 100,000 miles on him, which means he could have driven around the world over 4 times.  He had good pick-up, and excellent maneuverability--he could do the tightest u-turns and squeeze into tiny parallel parking spots with just a bit of finesse.  He kept me safe in multiple (thankfully minor) accidents and weathered countless mild to moderate repairs.  His penchant for flat tires for a stretch while I lived in Massachusetts got me skilled up quickly in changing them, even in work clothes, even on work trips.  I liked the little song he played to remind you to take the keys out of the ignition or buckle your seatbelt, and the anxiety with which he alerted you on the rare occasion his trunk was ever open while he was in motion.

The last few years of our time together, I'll admit I was always a bit ashamed of his state.  He was perpetually coated in a layer of smoothie packet crust, pretzel stick shards, granola bar bits, desiccated french fries, dust, and hair (HOW so much hair??).  The interior of his windshield was always accumulating an alarming film of unknown provenance that would at a minimum generally look crummy but at its worst seriously impact visibility when the sun was at just the right height in the sky, which was always when you were either driving to or from daycare with one or both children along for the ride.  Random spots or splotches of food or drinks would remain, punctuating the upholstery, for a deeply undignified amount of time.  All of this high level of baseline mess persisted because, with two very small children, truly who has the time, energy, and delusion to waste on the Sisyphean task of cleaning it up?  And maybe it doesn't hurt to have a little daily humbling in your life, especially such a low-stakes humbling as a dirty car.

And yet, Little Car was a refuge.  After getting over a normative amount of anxiety while learning to drive as a teenager, I have always loved driving (except in Boston).  I love being in motion, I love being in my agency.  I love being sequestered, contained, yet still out in the world.  I love listening to what I choose.  I love going exactly where I want to go.  I love reflecting.  I love dangling my hand out the window when the air outside is hot.  During the pandemic, our only outlet was to drive, and we would flee north up a long, winding road into the county where houses got farther apart and the trees at times were dense and green, or through a state park to our southwest, or through a nearby historic smaller city.  At least that way we could be out in the world without risk of getting sick.  At least that way we didn't feel so trapped, and we could be reminded that the world was still big.

Over the decade he was my car, Little Car was an escape.  I drove as far north as Ogunquit and as far south as Raleigh-Durham.  I drove to Sylvan Beach, Long Beach, Cape Cod, tiny cabins, covered in cream cheese and bagels crumbs on my way postdoc, over bridges and onto ferries, back and forth from the city where I trained to the city in which I was destined to live to plan my wedding, then back again and again to the city where I trained after we moved away because I still loved it.  

Little Car empowered us at major life turning points.  He helped us move 3 times across 3 different states.  He drove us on a 3-hour round trip to get our then-pathetic-and-meek little mutt, and now majestic, beautiful, good-most-of-the-time medium-sized mutt.  He took the unnecessarily long way to the hospital the second time around, and he drove both our babies safely home from the hospital.  He drove me to interviews and first days of work, to weddings and baby showers, and then always home.

When I got Little Car, almost exactly 11 years ago, I was nearing the end of my 20s and the end of graduate school.  I was about to start my internship, which would require 3 hours of commuting by public transit every day.  Having done that commute 3 days a week during my third year of grad school, I knew doing it 5 days a week with a 40+ hour work week while trying to finish my dissertation would break me.  It was time and energy I simply did not have to spare.

Thankfully, my Mom and Stepdad came to visit, and spent one day of the weekend they were in town at a Ford dealership negotiating a lease for me.  My Stepdad took advantage of the salesman stepping away for a moment to dip behind his desk to verify that they were, in fact, giving me a good deal.  In the midst of these negotiations, I called my Dad to let him know how things were going and tell him the terms of the lease.  I'd previously told him I'd be getting a car and why, and now that we had numbers, I asked if he might be able to help me with part of the cost of the down payment.  I'd been living off tiny grad student stipends and student loans for the past 4 years and my internship stipend was on trend: not generous.  Any little bit would help.

I don't remember what he said, but I remember that he was so relentless in berating me for asking that, sobbing in front of the dealership where I'd fled when it was clear the call would not go well, I simply begged him to say no.  "Dad, you can just say no.  Please, just say no."  But something in him just needed to punish me for asking.

As we were trading in Little Car, with my kids' handprints still on the rear windows and the indentations of their carseats still pressed into the fabric of the seats, with the air of over a decade of conversations, singing, laughter, and also tears and silence still dissipating, I thought about the photo that was taken of me and Little Car when that lease was finalized.  In it, I've draped myself along the top of the driver's side door with a huge, showy smile on my face, telegraphing jubilance at suddenly being a lady with a car, stuffing down the heartwrenching, sick, confused, bombed out feeling that still managed to catch me by surprise back then.  I was really good--although definitely not perfect--at blotting out that feeling when it was called for.  

I took that photo again as we said goodbye to Little Car.  In some ways, it's the same photo: I made sure to pose exactly the same way, extending my arm along the curve of the front driver's side door as if I was slinging my arm around the shoulders of a friend and putting on a big smile.  In some ways, it's different: for one, it was pouring rain, and I am visibly soaked.  I'm also almost 40 now, and Little Car looks significantly less shiny and new.  But also, the smile isn't fake.  It's poignant, taking stock of how much this little car has seen and the end of its chapter, but it's sincere, and it's not covering up for anybody.  By design, I just don't have cause to do much smile-faking anymore.

I know the car is just a thing.  My mind keeps toying with seeing letting go of Little Car as if we're returning an old pet to the pound, but thankfully I have my wits about me enough to know that come on, it's not that.  But of course even objects have a bit of a life of their own in part because they sometimes accompany us through so much, and because of the meaning with which we imbue them.  Little Car was a talisman of so many things--independence, freedom, adulthood, excitement, adventure, efficacy, possibility, and love--but of course, like any complex thing, they weren't all good.  Sometimes, moving on to a new chapter, even if you're not completely sure you're ready to let go of the old one, is the strongest, bravest, healthiest, and most hopeful thing you can do.

{Heart}

Wednesday, July 31, 2024

"Babes" and "Brats"

Hi everyone,

I've continued to pick up the pace a bit on watching movies this month, which is a welcome change from the first third of the year.  Two of the three movies I saw in July (again, I emphasize I've been picking up the pace *a bit*) were:

 

"Brats" (2024) is a documentary directed by and starring Andrew McCarthy, who tediously makes the rounds of most of his fellow '80s teen movie stars to contemplate the ramifications of being labeled the "Brat Pack" by some jealous prick-y reporter and overblow the importance of the John Hughes suite of teensploitation movies that rocketed them to fame.  Those aforementioned ramifications were apparently to grievously and irrevocably derail McCarthy's career, a fate which he tries unsuccessfully to generalize to all of his Brat Pack brethren, the likes of which include Demi Moore and Rob Lowe (whatever happened to them, anyway?).  

And the impact of those films?  Look, I have a major soft spot for "Ferris Bueller's Day Off" (1986) and "The Breakfast Club" (1985).  John Hughes clearly had a visionary impact on films for children and teenagers in the '80s and '90s, and as a child born and growing up during those years I don't know how I wouldn't have fondness for his work.  But here again "Brats" massively overreaches as it overdraws the boundaries while mapping the impact of what was ultimately only about a half-dozen films.  

(Also it will never cease to irk and confuse me that Matthew Broderick is never included as a member of the Brat Pack?  Just why??  It makes no sense!!)

#JusticeForFerris

Despite a short runtime of just 92 minutes, this film was so circular, repetitive, and preoccupied with vindicating its creator that it felt like it dragged on forever.  I gave this movie a 1.

I was excited to watch "Babes" (2024) given my deep and abiding love for Ilana Glazer and everything she does.  The film has a lot going for it, including a healthy dose of Glazer's unique comic delivery, a resonant contemplation of friendship between women in the context of adulthood and parenting, and some deep poignance about love and grief.

That said, "Babes" somehow doesn't achieve its full potential.  The comedy doesn't hit as hard as it could given the excellent core cast of Glazer, Michelle Buteau, and Hasan Minhaj, and some of the scenes feel a little stagey or under-finessed.  Perhaps "Babes" has the opposite problem to "Brats" in that it suffered from trying to stick to a typical comedy's solidly-under-two-hours runtime when instead it would have benefitted from a bit more room to breathe into the interpersonal and existential spaces it only just started to explore.

In any case, I gave it a 3.

In reflecting on these two films, in addition to every other film I've watched this year, I'm realizing that I've made it more than halfway through 2024 with barely any movies cracking a rating of 4 or higher.  I'm not completely sure what's going on here, although I think a part of it is definitely my overall emotional stamina being pretty depleted by the time I could, theoretically, sit down to watch a movie.  

The thing that really puts films at the top of my rating scale is that they pull a lot of emotional weight.  Lately, I'm just not in the market for more of that.  This is not to say I'm emotionally weighed down, but more accurately that I'm emotionally very full.  So while the movies I've been watching this year aren't exactly the most thrilling or satisfying things I've ever watched and there's definitely some disappointment that goes along with acknowledging that, I suppose this is also an opportunity to appreciate movies that tread lightly.

That said: I'll be looking for some chances to watch some real bangers before the year is done.

{Heart}

Sunday, June 30, 2024

Movies on a Plane

Hey there,

I recently had the immense pleasure of taking a multiple-years-delayed international trip with Husband and our two children.  Between wrangling our kids and trying to get some sleep, our two flights gave me opportunities to (mostly?) watch some movies.  I say "mostly?" because I watched one without sound and the other two without sound but with subtitles, since baby-wrangling made having a headset plugged in would have readily delivered the losing combination of being both irritating and impractical.

This less-than-optimal viewing experience should probably majorly caveat the following reviews, so take them with whatever dose of salt you think they deserve.

Movie on a Plane #1: "Turning Red" (2022)

This was both a captionless rewatch and a movie I didn't finish for aforementioned baby wrangling reasons.  Given that I didn't think very highly of it the first time around (previously rating the movie a 2), I chose to watch it largely because it was a children's movie that wouldn't offend the prying eyes of my kids, it was a known quantity, and the animation is at least competent and visually interesting enough to provide a little diversion to pass the time on a long trip.  "Turning Red" nevertheless fails to exceed even that very low set of expectations.  I just don't think Disney is up to the task of skillfully constructing a movie about characters navigating early adolescence, and as a result this film is just kind of cringey and uncomfortable.  I don't mean to be overly conservative, but I just think there should be limits on little girls twerking in children's movies, even if they're temporarily transmogrified into a giant fluffy anthropomorphized red panda, and "Turning Red" somewhat mortifyingly exceeds those limits.

I continue to rate the movie a 2.

Movie on a Plane #2: "Bridget Jones's Diary" (2001)


I recall this movie being very well-regarded and enjoyed when it came out, and I must have seen it multiple times over the years because I remember a lot of it remarkably clearly.  It's nevertheless been quite some time since my last viewing, which might explain why its overt racism, fatphobia, and normalization of sexual harassment seemed especially egregious this soundless go round.  The anti-Asian racism, as well as other unappealing and problematic content, are front and center in the first five minutes of the movie, making them completely unmissable and placing a completely unnecessary bad taste in the viewer's mouth from the jump.  The fact that you never even meet the character the film's recurrent Japanophobia is targeting makes it all the more noxious and excessive--for some reason, this movie just needed to find an outlet for some random anti-Asian bullshit, and we're supposed to find it funny(??).  

I also can't overstate how much I *hate* that the main character repeatedly explicitly states her weight throughout the film.  It's a slap in the face to every woman watching every time Bridget reports her own (under-average at the time) weight.  Either we are tacitly encouraged to feel self-hating chagrin that we weigh as much as or more than her, or to feel perhaps a sense of unearned superiority or relief if we weigh less than her, but either way we are being subtly pitted against all other women and ourselves by this surprisingly mean-spirited movie.

And to boot, 2/3s of the main characters are aggressively small-minded, ignorant, shallow, self-absorbed people, and 1/3 of them is an awkward Colin Firth with an inexplicably bad picker.

I gave the movie a 1.

Movie on a Plane #3: "Serendipity" (2001)


I'd never seen this movie before, but chose it because a) why not watch another romcom in the hopes of cleansing my palate post-Bridget Jones and b) I like John Cusack.  And thankfully, it was fine!  For starters, Eugene Levy has a delightful silly supporting role.  Furthermore, I appreciate that the film didn't stick Kate Beckinsale's Sara with a boring manic pixie dreamgirl persona, but instead had her evolve into someone more discerning over the years between her first encounter with Cusack's Jon and their later, inevitable reconnection.  Jon also evolves during this period from being completely unconvinced of the reality of fate to upending his plans for marriage because he is so converted by his conviction that Sara is the fated "one" for him.  I like the ways in which both of the main characters adopt each other's view points over time to some extent, and that the film then playfully toys with them as they try to find each other again, flailingly yet ardently attempting to enforce their own wills over the will of fate.

That said, Sara and Jon both kind of suck in important ways.  They both are dating other people when they meet, yet spontaneously embark on a day-long date together after their chance meeting at a department store (where they are shopping for gifts for their significant others).  Sara is so obsessed with the concept of fate when she meets Jon that she creates a bunch of ridiculous tests to essentially force the universe to prove that they're destined to be together, which results in them unnecessarily losing touch for years.  She also later gets engaged to an insufferable and self-obsessed goober, which is a bit suspect.  Jon, though, is arguably much worse, as he spends the day before his wedding to a perfectly-fine-seeming woman rushing around New York City frantically trying to track Sara down.  The movie wants us to be so swept away in its contention that Jon and Sara are ~*~*~*DESTINED TO BE TOGETHER*~*~*~ that we look past their deep emotional infidelity to multiple partners, and I'm just not really here for that.  I think we deserve romantic comedies that don't necessitate majorly emotionally damaging innocent bystanders, even if one of those bystanders in an embarrassingly bad musician.

All that said, especially in the context of the very slim pickings on two very long flights, I gave the movie a 3.

In conclusion: hopefully managing to watch three movies even under these non-ideal circumstances means my movie-watching tempo is changing for the better.  May the fates be in my favor.

{Heart}

Friday, May 31, 2024

Compromise

Good evening friends,

Lately I've really been compromising on movie-watching time.  For the last few months, it's been hard to imagine where movies would fit into our lives.  Sometimes it just doesn't seem clear where that could possibly happen.

And sometimes, somehow, we manage to fit a full "Dune" movie into our lives.

So there's that.

Which means that, evidently, instead of compromising on movie time, I'm compromising on writing time.

I'll see you next month!

{Heart}

Tuesday, April 30, 2024

2023 Movie Round-Up!! Part 1

Hi team,


We're already doing it differently, obviously, given that it's the end of April and I'm just now getting to it.  I inadvertently set myself up to approach this post differently this year when I wrote the preamble to this year's round-up, so I suppose it makes sense to continue to deviate from my routine way of reflecting on a year of movies.

My plan for this year is to write the round-up in three installments:
  • Part 1: Overview
  • Part 2: The Worst Movies
  • Part 3: The Best Movies
I'm actually kind of excited to try out this version of the round-up, because in honesty writing the one-big-post version is kind of a bear.  It's one of the longest and most labor-intensive posts I do each year.  As we've already established, I just don't have time for that kind of task right now.

So now, let's commence Part 1: The Overview!

As you'll see below, in stark contrast to this year (so far, at least), I watched A TON of movies last year.  In fact, I watched the second-most number of movies last year in the entire history of this blog, with the sole exception of 2020 (aka the other year I had a parental leave) (but also the year the pandemic started), during which I watched a whopping 95 movies.

Those movies were:

1. Popstar: Never Stop Never Stopping (4)
6. Failure to Launch (2)
8. Wall Street (2)
10. Notting Hill (1)
11. This Changes Everything (3)
14. Spirited Away (5)***
15. Trust No One: The Hunt for the Crypto King (3)
16. Norma Rae (5)
17. Luca (3)
18. Persona (5)***
20. Now You See Me (2)
21. Inside Man (4.5)
23. Late Spring (5)
24. To Catch a Thief (3)
25. The Philadelphia Story (4)
27. Cléo de 5 à 7 (4)***
28. Early Summer (5)
32. The Big Sleep (3)
33. Rome, Open City (5)
34. Belle de Jour (2)
35. When Marnie Was There (3)
36. Murder on the Orient Express (3)
37. Red Notice (3)
38. Broadcast News (5)
39. Magic Mike (2.5)
40. Audrey (2)
42. Die Hard (5)***
43. Bad Boys (2)
44. The Lego Movie (5)***
45. Palm Springs (5)***
46. Shadows (4)
47. Winter Light (4)
48. Autumn Sonata (5)
49. Funny Face (2)
50. Malcolm X (4.5)
51. Rye Lane (4)
52. Le Samouraï (5)***
53. The Brady Bunch Movie (4)***
54. The Super Mario Bros. Movie (2)
55. The Goonies (2)
57. Despicable Me (3.5)***
58. Despicable Me 2 (3.5)
59. Wish Dragon (5)
60. Minions: The Rise of Gru (4.5)***
61. Stutz (5)
62. Plus One (5)
63. BlackBerry (4)
64. Heat (4)
65. Spider-Man: Across the Spider-Verse (5)
67. Glitch: The Rise and Fall of HQ Trivia (4)
69. Barbie (5)
71. Joy Ride (4)
72. Barbie (4)***
73. Teenage Mutant Ninja Turtles: Mutant Mayhem (4)
74. Nosferatu (3)
75. Quiz Lady (3.5)
76. Moana (4)***
77. The Lego Movie (5)***
78. No Hard Feelings (4)
79. Best. Christmas. Ever! (1)

Overall, I'm not only pleased with the quantity but also the quality and breadth of the movies I watched last year.  I watched movies from a variety of eras, genres, and countries.  I watched children's movies, documentaries, silly movies, movies important to the history of cinema, and movies I'd never heard of before.  

I watched a lot of movies I'd seen before and overall enjoyed revisiting.  As a reminder, these latter films are indicated thusly: ***.  In the past, I've used * to indicate that I got nauseated while watching a movie and ** to note that I fell asleep while watching a movie.  Happily, neither of those indicators were necessary last year.

I'm also thrilled with the number of movies I wrote about last year.  A variety of post structures made that possible, including writing perhaps my favorite double header ever, but mostly trying and finally succeeding at keeping myself to slightly briefer posts of a couple of paragraphs is what clinched 2023 as the most prolific blog year to date by number of posts.

Unlike in 2020, I allowed myself to be guided much more by my instincts and interests rather that curated should-y seeming lists of what other people consider to be the best or most important or whatever movies.  Taking that latter tack in 2020 got me into some trouble, including watching some of my least favorite movies of that year.  I'm thankful to have moved past the sense of obligation to decide what to watch based on other people's opinions, because I truly do feel content and satisfied with what I watched last year.

And with that, I think we'll conclude Part 1.  I'm excited to get into the worsts and bests, hopefully very soon!

{Heart}

Sunday, March 31, 2024

Living in the Margins

Hi friends,

This month, I watched about a third of a movie and am putting off the 2023 round-up yet again.

I feel sad about this somewhat dramatic and abrupt change in my ability to engage in two things that are really important to my identity as a whole person, not only a caregiver: writing and watching movies. I also feel a bit anxious about this change, because I don't totally understand why it suddenly feels like the already very thin margins on the logistics and demands of my life have suddenly gotten even narrower.  

That's maybe because it's not due to only one thing.  There are the obvious contributing factors, like our Second Child becoming more mobile and communicative in the months before and since his first birthday, and enduring the cliché parade of different kid-borne plagues, the latter of which at best slowed the rate at which we're able to handle the everyday tasks of life and work.  I've also gradually started to increase my work hours while simultaneously trying to stay on top of various routine obligations like doctor and vet appointments.  And then there are the "bonus" unanticipated disruptions, like being sent on a wild goose chase of possibly buying a second car because of a dubiously dire assessment from an unfamiliar mechanic about our current one (lesson learned: always get a second opinion, ideally from a mechanic you already know and trust), or rescuing a cat who showed up in our backyard and yelled at us through the window until we finally gave him the chance to walk right into a cat carrier and set up temporary residence in one of our bathrooms, or the surprisingly large lift of completing enough continuing education credits to renew one of my licenses.

On the lighter side of things, Husband and I have also recently rediscovered our love for Love Island as well as discovering a new show we're really enjoying, which together gobble up the potential movie-watching time in the evenings.  I've been putting a lot of effort into meeting and building relationships with other parents in our neighborhood, and also unwittingly but joyfully building relationships with several types of local wildlife who now frequent our backyard.

It all makes sense when I lay out all the things that have accumulated to the point that they fully color in the page of my life to its very outermost edges.  I just keep waiting for there to be a little more breathing room, a little more consistent reprieve from the happy relentlessness of this stage of life.  It truly is happy, but it truly is also relentless.

I started this blog as an accountability check during grad school, to hold myself accountable to myself for making space for my whole self as I engaged in a process that could easily consume everything I had to offer: learning to be a psychologist.  I am not only a caregiver.  I knew that then, and I know that now.

The happy trouble is, I'm really good at caregiving, and I love doing it.  I love my work and I love parenting and I love maintaining everything that is my family, including my home and all the living things within (and around) it.  It gives me a deep sense of fulfilled, values-directed purpose and satisfaction.  That signals a change in my caregiving that I've taken stock of recently--I'm caring for things in a way that doesn't feel like pouring into a bottomless vessel.  I used to do a lot of that impossible kind of caregiving, and it was at times pretty devastating.  At best, it was draining, made me feel devalued, and cloudied my mental vision.  I think I've become more realistic about what I'm responsible for and what my care can and cannot accomplish, and when I stay within the new boundaries that awareness creates, caregiving feels radically different.

Now, I feel the ways in which my love and care can create an echo chamber in the same way depression, fear, or trauma can.  I feel my own care and love reflected back to me, and added to, when I'm with my children and husband, when I see a fox in our backyard or hear birds singing around our house, when I know more of my neighbors, and when I do my work.  Each of these things is evidence of the love and care I've planted blooming.  I'm tired, overworked, and overwhelmed most of the time now, but I'm also happy and emotionally full most of the time, too.

So where in all this do movies fit?  I don't know.  They don't really, at least not with the regularity they used to.  I've taken to reassuring myself that however over-the-top things feel right now, my life won't feel like this forever.  There will be times when there is more freedom in my days for other things, and hopefully I'll enjoy those, too, because the love and care I plant continues to yield a bountiful and broad harvest.

I'm genuinely so excited for the movies I'll watch when it's possible again.  There's so much good stuff out there to see.

{Heart}

Thursday, February 29, 2024

Decently Good "Good Grief"

Hey everyone,

I am accepting that I’m putting off my annual movie round-up for yet another month since this choice is just an honest indicator of what my life is like right now. This is not remotely to say my life is bad. It’s just immensely full, and it’s therefore giving me lots of opportunities to practice being gentle, realistic, and reasonable with myself about what’s possible and what’s a priority right now.

So instead of the heavier lift of a round-up post, I’ll squeeze in a February post on this leap day by writing about a movie I recently watched. 


On a possibly ill-advised whim while Husband was out for the evening for a family event and I stayed home with our children, I watched “Good Grief” (2023), a film about a person mourning the sudden death of his husband. Because how better to take advantage of a solo evening after the kids are in bed than to watch a movie that makes you sad and anxious about spousal loss? This was truly free time allocation at its finest.

Beyond the mild angst and regret I feel about that decision, I have overall mixed feelings about this movie. Let’s get into it.

The film is written and starred in by Dan Levy, who also made his directorial debut on this project. I am aware of how beloved Levy is following his role in “Schitt’s Creek”, and found his scenes in “Happiest Season” (2020) to be the most redeemable parts of that movie. He wields a unique combination of sass and pathos that makes him incredibly watchable, and for the most part I enjoyed his performance in “Good Grief”.

The movie starts out strong enough, quickly submerging us in the social world and relationship dynamics of Levy’s Marc and his two close friends, Sophie (played by Ruth Negga) and Thomas (played by Nimesh Patel). Knowing the premise of the movie (hell, just knowing the title of the movie) lends the raucous Christmas party at its beginning a somewhat obvious-feeling dread. This is not to say that the pivotal moment of the death of Marc’s husband Ollie (played by Luke Evans) doesn’t succeed in landing its gut punch of wrenching shock and grief—it does, but taken altogether it feels a bit artless.

And ultimately, that sense of artlessness, of emotional moments that land in a slightly faltering way, typifies the entirety of “Good Grief”. The turning point when this became inescapable for me, unfortunately, was during a monologue of Marc’s that went on a little too long, to the point that it took on an almost stage-y feeling. Rather than feeling authentic and organic, each major moment afterward was instead dogged by a sense of fastidiously checking off the necessary evolutions and catharses to which each main character was entitled. They felt forced and over-written when they could have been outbursts or conversations that sounded like things real people would say to each other. The performances in “Good Grief” were therefore limited by what feels like a lack of maturity in the film’s writing, which is a shame because the actors were otherwise very enjoyable to watch.


The movie’s settings are beautiful and the soundtrack is great. And the overall existence of this film, as an examination of gay married life, love, and loss, as well as adult friendships and grief, is unarguably a net positive. Despite the dubiousness of the timing of when I watched this movie, I’m glad I did. It won’t be the best thing I watched this year, but I think it’s still worth watching.

I gave it a 3.

{Heart}

Monday, January 15, 2024

2023 Movie Round-Up Preamble: Lightning Round!!

Hi friends,

As I was preparing to write my annual round-up post--like as I was literally highlighting the list of movies I watched last year to copy and paste them into a blank blogger window--I noticed I'd underlined a couple of titles with the aspirational intent to come back to those films and write about them.  I felt disappointed to move onto 2024 without talking about those movies.  This happens every year: there are always movies I meant to write about that end up simply getting passed over and, unfortunately, ultimately forgotten about.

Well NOT THIS YEAR.

Because it's better to write a few sentences or paragraphs than nothing at all, I'm going to attempt to write a lightning round-style post about (at least some of) those movies.

Here we go!


"Norma Rae" (1979)

The first thing that viscerally registers about "Norma Rae" is the noise.  The film opens in the thunderously loud warehouse where Norma Rae, her parents, and her neighbors toil, and the intense and droning din is instantly oppressive and overwhelming.  In this manner, the movie reminds me of the use of sound in the much-later "Children of Men" (2006) to wrenchingly ground its audience in its bleak world--the sounds of this world aren't only impacting the characters in the story, distorting their perceptions of reality, but you, the viewer, as well.

Beginning with this bodily experience of the consequences of the working conditions of Norma Rae and her compatriots, "Norma Rae" is still a remarkable, gripping, and inspiring film about the desperate importance of the labor movement.  It is just excellent!  I gave it a 5.


"Thelma and Louise" (1991)

I watched this movie shortly after watching "Norma Rae" in an attempt to continue watching some of the empowering lady movies of yore, but this one fell pretty flat especially by comparison to its union-celebrating predecessor.  "Thelma and Louise" is fun in a pulp fiction-y way, but also a bit rough to watch.  To my unpleasant surprise, despite being billed as an early women-driven buddy movie, "Thelma and Louise" struggled with the same casually compulsive sexism of movies from over a decade prior without reckoning with it in a clear-headed way.  Sure Thelma and Louise variously kill and inconvenience a variety of extremely shitty men, but I was still struck with how harshly critical Susan Sarandon's Louise was at times of Geena Davis's Thelma.  I'm glad I watched it given its importance in cinematic history, but it didn't move me nearly as profoundly as "Norma Rae".  I gave it a 3.


"The Princess Bride" (1987)

I know this seems ~*~inconceivable~*~, but I actually had never seen the "Princess Bride" before last year.  I was a bit hesitant to watch it because I couldn't imagine it would live up to the deep adoration many people have for it, and I feared that being a late-comer to the film would mean I would find it  particularly underwhelming.  On the other hand, I thought it would be convenient to finally get the jokes and references people make to this movie every once in a while.  

Happily, I honestly liked it!  It was cute and silly, and I understand why people find it so lovable.  I know this is probably the oddest of details to hang onto, but I really liked how you can see where the set designers incorporated crash pads into the set so the actors safely engage in dramatic leaps during one particular sword fight.  Something about the low-fi nature of the movie's stunts really endeared me to it.  Also apparently Andre the Giant was a goddamn delight!  I gave "The Princess Bride" a 4.


"Audrey" (2020) and "Funny Face" (1957)

An offshoot of my micro-theme of empowered lady movies was to watch a few Audrey Hepburn movies, starting with the documentary about her followed by "Funny Face".  Despite absolutely loving Hepburn as a person and actor, I unfortunately found both of these films pretty underwhelming.  The documentary is a bit lifeless, which is kind of astonishing given its incredible source material--Audrey Hepburn is one of the most magnetic, charismatic, lovely performers of Hollywood's Golden Age, so it's a crime that a movie about her dramatic, impactful, and jam-packed life be so dull.

I chose to watch "Funny Face" for the fashion and also because I wanted to see Hepburn's dancing.  While it delivers on those two fronts, I was again underwhelmed by other aspects of the film, including its unconvincing romance between Hepburn and (a comparatively much older) Fred Astaire and its overall belittling attitude toward Hepburn's Jo (are you kidding me with the title referring to her face??), but especially her intellectual interest in a new philosophical doctrine.  Blech.

I gave both movies a 2.


"Despicable Me" (2010) and "Despicable Me 2" (2013)

Especially after reckoning with how much I liked "Minions: Rise of Gru" (2022), I basically had to watch these movies.  I was genuinely curious to see how I'd feel about "Despicable Me" upon rewatching it, and whether "Despicable Me 2" would uphold the generally solid quality of this series of movies.  Neither disappointed!  I didn't enjoy them quite as much as the Minions movie, but both juxtaposed goofy slap-stick humor for children against competent and thoughtful relationship themes, first the father-child relationship and then the parent-new partner relationship.  I really like that these movies exist to model non-problematic versions of these relationships for children, as movies like that are bizarrely rare.

I gave both movies a 3.5.

I have a few straggling movies from 2023 that I genuinely hope I can write last-minute longer-form posts about, because I really want to dig into them a bit more than would make sense here.  That sure would be consistent with my first resolution for 2024, so here's hoping I pull that off!

{Heart}