“HALT AND CATCH FIRE (HCF): An early computer command that sent the machine into a race condition, forcing all instructions to compete for superiority at once. Control of the computer could not be regained.”
Halt and Catch Fire has never been subtle about its view of capitalism. The very first thing that appears on screen at the start of the pilot is a definition of its title, worded to produce a clear double meaning: this is a story about how endless competition causes a system to implode.
Continue reading “The World is Going to Crack Wide Open”
The air crackles with potential. A change is coming. I see it on the horizon. Hope is home to roost at last. The tide is about to turn. I know the signs. People in Film Twitter ask some question – What film would you make everyone else in the world watch? What film would you take into the bunker with you if the bombs fall? – and ever more people give the same answer as me.
But it’s not just Speed Racer – it’s everything that writer-director team Lilly and Lana Wachowski do. People who never mentioned Sense8 in their life outed themselves as viewers in their hundreds when it was cancelled. The Matrix was never out, but it’s back in, and even the sequels are getting more appreciative second looks. I see gifs of Jupiter Ascending used in non-ironic contexts, and all of a sudden people remember that Bound exists. When my favourite film magazine took suggestions for future issues, I scream-tweeted “WACHOWSKIS ISSUE PLEASE” and six people liked it, only one of whom co-runs this blog. I knew it would happen, but I didn’t realise it would happen this soon.
The Wachowskis are on the verge of a critical rehabilitation.
Please don’t fuck it up by calling Speed Racer an art film.
Continue reading “Speed Racer Is Not An Art Film”
Raw is one of my favourite films of the year so far.
I don’t have a clue what it’s about.
Continue reading “I Didn’t Understand Raw and That’s Okay”
M. Night Shyamalan was the worst director in the world until he wasn’t, the butt of endless jokes until he wasn’t, and a talentless hack who made two good films twenty years ago by fluke until he wasn’t. He spent almost a decade in the critical doghouse from 2006’s Lady in the Water until his first tentative steps towards redemption with 2015’s The Visit. Now, he’s back on top thanks to the incredible success of Split, which was lauded by critics as a welcome return to form and made a tidy profit somewhere in the region of a quarter of a billion dollars on a budget of less than ten million.
Here’s the problem: Split is an awful pile of crap. Worst still, he already made the movie that critics seem to think Split is – a great B-movie directed in the style of Hitchcock – nine years ago. Almost universally panned at the time, its reputation has only grown worse over the years, largely, I suspect, due to people on the Internet who’ve definitely never seen it using it as a cheap punchline. But what if it’s not one of the worst movies ever made? What if it’s sincerely enjoyable and great?
I’m not the first person to defend this movie, but I’m one of the few whose praise is full-throated and unapologetic. No caveats, no cop-outs. I think it’s a near-perfect execution of its concept and I wish I could take away all the acclaim that others have heaped on Split and give it to this movie instead.
I love The Happening.
Continue reading “In Defense of The Happening (Yes, Really)”
We’re five years into the boom in superhero television kicked off by the surprise success of The CW’s Arrow, and business is so good we’ve somehow strong-armed Noah Hawley into making a show based on a minor X-Men property. But at what cost? Arrow has just come full circle by concluding the story of Oliver’s time in exile and bringing us right back to the opening moments of the show, and the genesis of television’s superhero boom.
Now seems an appropriate time to examine and evaluate the landscape of the genre over the past five years and consider what the future may hold.
Continue reading “Five Years in Hell: a Reflection on the Superhero TV Boom”
If you know Kaitlin Olson at all, you know her as barmaid and failed actress Dee Reynolds in It’s Always Sunny in Philadelphia, the best show on television. The only comedy actress on television in the same league as Kaitlin Olson is Julia Louis-Dreyfus of Seinfeld and Veep, and in a better world, their rivalry would be the Emmy story of the past six years. We’d all hold our breaths right as they announce who’s won Outstanding Lead Actress in a Comedy Series – is this Julia’s year or Kaitlin’s? Everyone would politely clap for Lena Dunham and Edie Falco and the other nominees, but we’d know it came down to Julia or Kaitlin, and if anyone else won, it would be the biggest upset of the night, like when Jeff Daniels won Outstanding Lead Actor in a Drama Series for The Newsroom, a show that I like way more than the average person and which I would definitely never give an Emmy for anything.
Instead, we’ve had five years of Julia Louis-Dreyfus waltzing away with the award because her one true rival wasn’t there to challenge her.
Continue reading “The Last Slapstick Artist”
Save the Tiger is the story of Harry Stoner, the owner of a clothing manufacturer in Los Angeles, as he tries to keep his company afloat through a season of hardship. He goes to numerous ethically dubious lengths to do so, and worst of all, he spends the whole time pining for the simplicity of his youth, when baseball players would put the spikes of their cleats right in your face and you knew how a plane stayed in the air because you could see the propeller on the wing. Even Jack Lemmon, the most charming man in history, can’t make Harry Stoner’s meandering trips down memory lane anything but annoying.
Then Harry stands at a podium to shill for his company’s new fashion line. He looks out on the crowd and his face turns white. His audience of middle-class drunks have been replaced by a legion of war dead, young men that Harry saw blown to pieces and shot to stillness in the Second World War. They stare at him in total silence. Harry tries to speak, but he can’t.
This is what we talk about when we talk about nostalgia.
Continue reading “What We Talk About When We Talk About Nostalgia”