The Personal History of David Copperfield

The first beneficiary of my “no more half-stars, we commit to the bit” resolution/Letterboxd overhaul, is certainly The Personal History of David Copperfield, which is probably a 3 star movie on a screenplay level, but a 4 for how it personally made me feel! Which was happy! And in 2020 2021, is that not a value to be treasured and praised?

Granted, I have not read the original Charles Dickens novel, in full: The Personal History, Adventures, Experience and Observation of David Copperfield the Younger of Blunderstone Rookery (Which He Never Meant to Publish on Any Account), so have no idea if I might feel differently about this film’s merits or demerits if I had. I’ve read a number of other Dickens though, so while I cannot comment on whether this is a “good” adaptation of its specific source material, to me it did feel appreciably Dickensian. My working definition of a Dickensian work is that it is a long, ultimately somewhat moralizing tale that follows a colorful character through an exaggerated series of misadventures alternatively ruinous or fortuitous, throughout which there are approximately 250 other colorful characters arrayed. Critics were fairly right then that Donna Tartt’s novel The Goldfinch has a relationship to this genre, as it hits most of those marks square on the head, with the one key exception being that the main character there is positively drained of all color, and his stuffed suit moroseness contributes to the pretentious pall cast over the whole thing, that Dickens, writing a monthly serial for a general audience, does not fall prey to so much. Now, interestingly, Aneurin Barnard is in BOTH of these 2019-released film adaptations as the lead’s Important Drunk Friend, which really is amazing, and had the effect of making me consider this exact full creative team doing the Goldfinch movie instead, with this same spry, absurdist tone, and then laugh and laugh.

Frankly, writer-director Armando Iannucci always seemed a curveball pick even for this project that he did do, given that most of his work previous has been original political black comedies shot in a faux documentary format, all but The Death of Stalin taking place in contemporary times, and all including The Death of Stalin characterized by his hallmark hilarious meanness. Copperfield, by contrast, is a PG-rated period film and just the cutest fucking thing. It’s sweet and sincere—still a comedy, still with a sense of humor you wouldn’t doubt as Iannucci’s, but without the bitter irony of a The Thick Of It or a Veep. And the nimbleness of the performances all across the board made me consider that while the classic Iannucci insult contains a cavalcade of words that Charles Dickens would NEVER use, it does contain a cavalcade of words. Iannucci is actually supremely suited to directing a script with a lot of stuff in it for his actors to say.

And what actors! Everyone in this is the best. Hugh Laurie plays a genially confused old man experiencing intrusive thoughts of King Charles I, beheaded two centuries prior. Tilda Swinton rockets brightly around every set, in between caterwauling off after donkeys in a field. You have never seen Ben Whishaw deliver a performance as sickening (not the gay definition) as his Uriah Heep. Gwendoline Christie plays an ice woman dressed in black and seven feet tall, and Peter Capaldi plays an orchestrina, badly. I had never seen Rosalind Eleazar in anything before but holy moly is she a delight, what a winning presence, manages the balancing act of a character a bit more sage than most of the others but still absolutely in the same world emotionally, and just so fun. But it is good and right that the most common descriptor I run across for this movie is “the Dev Patel David Copperfield.” Such is his impact! Dev Patel….is so charming. His vim! His heart! His beautiful face! And the little version of him: this precious boy!!

I mean really the biggest part of what I enjoyed about this movie was this cast wearing those clothes in those sets. For speaking of the colorful, this Dickens is colorful through and through, from the buoyantly colorblind casting to their color-drenched Victorian waistcoats and wallpapers, just this side of gaudy, and therefore: accurate. Peter Capaldi is dressed in mulberry velvet with pink vertical-striped socks, and Tilda Swinton is usually draped in head-to-toe turmeric holding court in her Tiffany blue sitting room. In one scene every lanky inch of Dev Patel is covered in patterned fabric and there are at least three of them. All the people and things on screen create together a world so vibrant and welcoming to the eye; it feels fairy tale but alive, fresh and living.

Now, what went wrong? Honestly I think it’s mostly just a script issue, I think there’s not enough material knitting the episodes together, and that it’s overall too quickly paced so trips over its own feet at times. I think the energy being up the whole time is a grand choice, but there were just too many plot beats to cover—I’m citing a speed issue, not a pep issue. Honestly I think Ianucci would have done really well with a miniseries, which is not something I would say for every film director, but in his case I know he’s actually very well-versed in writing for serialized television, and could do a terrific job with say, a 6-part series. I don’t necessarily think the way this was cut together was incompetent (though occasionally….a little cheesy), I think just trying to do it all in two hours was always gonna be an impossible task. The first edition of David Copperfield was 624 pages long.

But although at times this can careen all the way through rollicking into antic, with Hamlet’s unhinged connotations attached there, you can’t say it ever lacks spirit, and too many movies do, in my opinion. This was a right romp and I was glad to have it, jolts and all.



A pal wanted to talk about Tom Hardy, which eventually led to me wanting to rewatch Locke, the tiny 2014 film where Tom Hardy’s secretly strangest character just spends 80 minutes driving down the M6 while (mostly) steadily trying to cajole everyone in his life to calm down. This time I finally realized that must be part of why this stressed movie still works on me like a lullaby: so much of the dialogue is delivered to be soothing.

The concept at play is that we begin the movie with a successful construction foreman getting into his car at a building site in Birmingham, and then he proceeds to drive toward London in real time while his life cracks like badly poured concrete (to pre-empt the metaphor) one hands-free phone call at a time. Things that will not compete for your attention in this literal Tom Hardy vehicle:

– scene changes
– other people on screen

because there aren’t any!

Instead, we see only Thomas Edward Hardy in a cozy sweater & his nicest beard, serving up top-grade Resting Concerned Face while speaking in an accent that is PURPORTEDLY Welsh, no one believes this, but it’s as melodic as it is odd so I offer that you simply think of it as Hardish and just go with it. Hardy is a remarkably compelling actor even when half his face is obscured, which is weirdly often, and for once he’s not playing someone wearing a mask or even remotely connected to organized crime—refreshment. Instead, you just get to watch him somehow completely anchor your attention as he tries to remotely explain where a folder is to a slightly drunk Andrew Scott.

On that note, when I first watched this six years ago I definitely did not adequately appreciate the depth of the voice cast beyond the aurally mesmerizing duo of Not Welsh Tom Hardy and Full Irish Andrew Scott, and I really must must impress the rest of the cast list upon you right now: Olivia Coleman, Ruth Wilson, Ben Daniels, and baby Tom Holland. The filming construction they used here, and I think this is neat, is that they essentially shot this movie like a play—each night for a week, Hardy would get pulled down the motorway on a low flatbed trailer, and they would just run through it as written with the rest of the actors genuinely calling him up from a hotel conference room they were all camped in. The resulting film was edited together from the best bits of these complete runs.

One critique I will raise is that the most interesting version of a movie that is composed of just phone calls and one actor’s face is if it truly is just that, and as such we need to lose the couple of theatrical soliloquies to the empty backseat of his car. They seem to exist outside the established constraints in a way that feels sort of like a cheat, and are also easily the most broad parts of both the script and Hardy’s otherwise very very good performance, so it’s easy, we just 86 those and I promise we can do the father issues aspect of Ivan Locke’s character in just a handful of spare yet heavy allusions in dialogue that frankly will probably pack five-fold the punch anyway, why am I phrasing this like I am actively producing this movie in this moment, okay–

Something I think Locke does really beautifully, I have no notes, is how it’s tense & emotional but is all strung together with that familiar hypnotic lull that comes from driving alone at night with the lights of the road sliding over you. This movie feels like driving home from the airport after your late flight gets in. This movie is a poem to that yellowy urban glow over the major roadways at night.

Most importantly—you watch this movie and you are going to know what C6 is forever. You will not be able to help not only learning about concrete, but caring about concrete. Truly, what this movie is about, in order, is 1. concrete, 2. project management, 3. when you’re someone who believes everything can be project management if you can juuust get your little grid-patterned cuffs to stay rolled up over your sweater sleeves.

Don’t Look Now

Just an outright list of reasons to watch one of my very favorite autumn horror films, Nicolas Roeg’s Don’t Look Now (1973), adapted from the Daphne Du Maurier story by the same name. At time of posting, it is currently included free to stream with a Prime account, if you have access to one of those.

1. Don’t Look Now is unsettling and atmospheric and creepy and striking, but not due to jump-scares or gore. Of course everyone has different things they’re frightened by in movies, but for me at least, this is a horror film I have described as “not scary-scary, just eerie.” This is not a movie designed to make you cower with dread, it is a movie designed to make you keep asking softly, with disquieted wonder, “what the heeeck…”

2. It stars young Donald Sutherland and Julie Christie in capital 1970s Transatlantic bougie intellectual chic, playing a married couple who have recently lost one of their two small children in a drowning accident.

3. And they then go to VENICE, a city of water!! Obviously the haunting watery imagery is everything you’d want it to be. The reason they travel to Venice is because Donald Sutherland’s character is not simply one of cinema’s many architects, but specifically an architect who restores cathedrals. There could hardly be a better movie career. The combination of artistic, academic, and material know-how here…bellissimo.

4. Anyway it is of course, in the way all good horror movies are “really about” something, really about grieving.

5. I think there are three main components of my love for this movie: the filmmaking style, the setting, and the central couple. Let’s go backwards since we were already talking about them:

5. a. Donald Sutherland and Julie Christie are so good in this. More so than a lot of movie spouses these two actually feel like they’re married, and it’s partly what was scripted but so much of it just comes from their performances. It’s a relationship I always enjoy watching, whether they’re at odds as they struggle with the strain of their terrible loss, or being close and familiar and cute with one another in a very longstanding kind of way. I feel for and root for them, which is an important piece of investment to have in a movie that is only going to further and more strangely bedevil this pair as soon as they reach Venice.

5. a. i. (Don’t Look Now also features one of film history’s more infamous and influential sex scenes)

5. b. VENICE. I’m obsessed with the Don’t Look Now Venice, a sombre ghost city of little waves quietly lapping against stone, the bare, chilly streets with seemingly more pigeons in them than people. It is late autumn here, not the tourist season, the hotel they are staying at set to close for the winter as soon as they check out. It feels bleak and damp and old, perfectly enhanced by that particular taupe & cigarette smoke, Tinker Tailor Soldier Spy palette of this period. This is a quiet, half empty Venice, haunting and haunted. If you watched The New Pope, think the Venice of Episode 7—an episode I am now super guessing might have been deliberately referencing Don’t Look Now. Or think the Bruges of In Bruges, which Martin McDonagh said he wanted to function the way Venice does in Don’t Look Now, a movie his references in numerous ways thematically, formally, and of course in the metafilmic moment where Clémence Poésy’s character directly names it as the inspiration for the movie that is currently shooting in the city. Bryan Fuller would also cite Roeg’s Don’t Look Now as one of the reference points of the loss-haunted Italy section that begins the third season of his Hannibal adaptation on NBC—though if we keep going, the amount of filmmakers who have been influenced by this movie is nearly numerous enough to become comical if listed.

5. c. And that is mostly due to the sheer calibre of film craft being deployed here. It is a movie of vivid visual symbolism without feeling overbearing, of experimental editing without feeling remote. Practically any scene in this could credibly be someone’s favorite, they’re all just that good. The way the shots are laid out, the pacing, the finesse with which a plot line that will in time be entirely interrelated with our story begins unfolding first as just a piece of background texture (god I’m so into that!)… The first time I watched Don’t Look Now I immediately watched it again, because I just wanted to appreciate it a second time.

7. “One of the things I love about Venice is that it’s so safe for me to walk. The sound changes, you see, as you come to a canal. And the echoes near the walls are so clear. My sister hates it. She says it’s like a city in aspic, left over from a dinner party, and all the guests are dead and gone.”


Bram Stoker’s Dracula


You know maybe all the way at the actual beginning, because I had seen this movie before, but when I was 18, and for CLASS. Not a real class though, a fun wintertimes class as part of my college’s January term. It was called ‘Victorian Monsters’ and we read Frankenstein, Dr. Jekyll & Mr. Hyde, and Dracula, and talked a lot about how the true monster was [insert social concept] all along!!, and also at one point were encouraged to give the 1992 Dracula a gander. The main sense memory I’d retained of it could probably be summed as “DRAMATIC,” all-caps, along with a vague recollection of my classmates, mostly other tiny freshman, being like, ahaha whaahahaat?, and our professor, this fantastic old woman who made her own ceramic jewelry, casually declaring that something this magnificently ludicrous and hornéd was the only valid interpretation of this material—rather foreshadowing the tone of what would later be my equally casually assured pronouncements about Baz Luhrmann’s The Great Gatsby.

But I don’t remember us talking all that much about Francis Ford Coppola’s Bram Stoker’s Dracula, probably because again, this wasn’t exactly a hard-hitting academic course, the whole of Winter Study being designed to give both us and the professors a bit of a break for a month. This was the kind of class where I think our grade came from simply class participation and a loosely defined final project to just produce whatever the Victorian Monsters spirit moved us to. And clearly impacted by the sexual energy of this film, 18-year-old me wrote a dark slashy fusion fic combining Dracula and Frankenstein, well before I had the terminology to know that’s what I was doing. I got an A. The real project you should be excited about though was that of my friend Sean, who now does math for Google, who made AN ENTIRE BOARD GAME (out of card-stock and tape, mostly) where the objective was to escape Count Dracula’s castle, involving numerous meta-aware jokes about the literature. As soon as she saw it our professor was like hold up—this is the best shit I’ve ever seen—and immediately halted class (“class”) to play through Sean’s game in its entirety. 

The point is: I may have been kind of perfectly set up by that distant yet memorable college experience to finally rewatch the Coppola Dracula this year, now as an adult with the resources both mental and physical to truly appreciate what this baby has to offer while draped on my couch in the October night surrounded by taper candles. 

All of which brings me here to you to report that Professor Case was right: this Dracula rocks it totally.

For starters, the attitude this work has toward adaptation is one of my very favorites, where it takes care to include a good amount of arcane nerdy details right from the text, while on the other hand going completely off the shits in art direction and boldly adding a new plot element whole cloth—that nonetheless dovetails with and contextualizes plot points of the original story. It’s actually a really interesting adaptation!

It also rules because it is grand bloody-minded lunacy. The filmmaking here feels like you’re paging through an antic, lushly drawn storybook, for ~adults~. It is so strange and grotesque and sumptuous and Catholic, with all these unusual in-camera special effects that give it this hokey yet innately magical quality—a real stage magician was even contracted to advise on some of the visual tricks. Throughout I kept quietly exclaiming that it was like Jean Cocteau’s La belle et la bête yet technicolor, only to learn afterward that in fact that was very much one of the reference points! The other primary reference point I think we can just call “costume designer Eiko Ishioka,” the ravishingly brilliant artistic mind who also designed the costumes of Tarsem’s The Fall, and whom Coppola wisely let just fly free. “Bring me things that are weird,” he would reportedly ask everyone.

Relatedly, this cast. Exquisite marquise-cut gothette Winona Ryder paired with oddball dialect boffin Gary Oldman, sure, a sort of crazy-like-a-fox brilliance there actually. My poor angel Keanu Reeves staggering in exhausted after just shooting three or maybe even four other movies back to back, trying to finagle a British accent he has no comfort with, and turning in just the most bewilderingly out of tune performance, oh honey. The scene where you realize you’re watching Tom Waits as a bespectacled madman in a cell acting against Richard E. Grant, playing curiously against type as, relative to everyone else, kind of a normal man?? Normal and doctorly enough that I didn’t even recognize him until his second scene. Then, Cary Elwes. Cary goddamn Elwes as Lucy’s posh fiancé, a role he could do in his SLEEP, but that doesn’t mean we’re not elated to see him. Finally, finally, rather deep into the runtime, Sir Anthony Hopkins rolls in as fucking Van Helsing, in what I think might be the nearest performance of his to his eventual turn as Thor’s Odin, but specifically in Ragnarok, where Taika Waititi infamously once asked him to maybe tone it done just a tad.

NOTHING in Francis Ford Coppola’s gothic romance is toned down, and bless it for it. Dracula, like Shirley Jackson’s Hill House: not sane, is a darkly fantastical tits-out vampire operetta on a fever dream scale, and I can’t believe I haven’t been watching this ornate night-tale every Halloween since Winter Study.


Little Shop of Horrors

Medium to light spoilers here, by my standards, though I am careful to avoid going into detail on the different endings

The thing about Alan Menken music is that I am INSTANT GOOSEBUMPED. And I didn’t know that in Little Shop of Horrors, I would have the opportunity to be goosebumped by Alan Menken compositions in a Howard Ashman penned non-Disney property, very much a non-Disney property, music & lyrics by Menken & Ashman coming right out the gate with a Greek chorus of ‘60s gals singing to the camera about how you better look out, because things are about to get WILD.

Oh my god I loved Little Shop of Horrors! Every choice is delicious. A space-scroll Voice of God prologue about an eclipse— putting an elevated train in downtown New York City just for the hell of it— Ellen Greene’s breathless smitten squeaks— the way Rick Moranis swings his arms as he long-strolls down the sidewalk in his flashback— “Oh my gosh it’s peculiar!”

It’s so jokey, it’s blithe it’s stylized it’s a musical, but yet I felt real affection for these people, and that’s what I ask for in my comedies. Characters to be strange and funny but also engender genuine pathos in me as they topple around this incredible set of Skid Row, Fantasy New York, that they built entire on a huge soundstage, because you can leave the off-Broadway theater but the off-Broadway theater doesn’t always leave you, and neither do we want it to sometimes!

Although in fact, those elements did transpire to give this movie a curious place in film history, as part of the select club of those with alternate original endings. This was actually one of the few things I did know about Little Shop of Horrors beforehand, because I was so fascinated when I read this that it embedded in my brain even though I knew nothing else about the show. The story goes: when they played the movie for test audiences, the ending from the stage show, which had been a hit with the theater crowd, went over terribly at the test screenings. The theory of the movie’s director, puppetry legend Frank Oz, is that the more fatalistic (in…every sense) ending was easier on the theater audiences, because they got to see those characters they loved again when the actors came out for the bow, got to cheer them a farewell—a moment they didn’t get from the movie version. There is a further fascinating theory that the nearest corollary film has to what the curtain call gives theater audiences psychologically, is the blooper reel, but that’s another story. In our story, Oz and Ashman write up a new ending, a happier one, and this plays much better and is what the movie is released with in cinemas in 1986, and subsequently on VHS, where the movie’s popularity really takes off.

The footage of that original conclusion was still out there though, and in 2012, a Director’s Cut of Oz’s Little Shop of Horrors with the stage musical ending fully restored was officially released by the studio. When I streamed Little Shop of Horrors (HBO has it at time of publishing), the entire Director’s Cut version was linked to the theatrical release as a “special feature,” so I was able to watch the shorter theatrical cut first, and then go on an extended journey with the more macabre ending I OBVIOUSLY preferred, being who I am. But beyond just my taste for stories that end very um, finally, the ending that this show was originally written with, to no surprise, has just gobs more thematic & narrative resolution. It is better in absolutely every way!

I’m avoiding specificity for those who haven’t seen any version of Little Shop before, but a few of the elements that are perfectly brought to fruition (PLANT PUN INTENDED), include:

The premise of this story, which I cannot believe I am just now getting to: a sincere, be-shambled flower shop worker buys a small unusual plant he finds on the street, and thanks to a prick on his finger from a rose thorn (!), discovers that the plant eats human blood. The whole notion of this man Seymour—a wonderfully endearing Rick Moranis, no matter how dark his storyline gets—feeding this plant with his own blood is a concept I found frankly RIVETING, on its own merits but also for its intriguing position near but askew from the classic vampire story. The nature of the power differential and the motivations here are different from how how your usual Dracula-type tales go, but there are echos of the visual motifs and attendant emotional elements in things like seeing little bandages multiplying on his gradually more enervated fingers.

Though the arrangement does quickly start, ahem, growing (I’LL NOT STOP, apparently), and in what is in sound and structure absolutely the seduction song of the musical, the plant, which we should mention he has named Audrey II, after his coworker crush—wacky willowy genius Ellen Green, voice work insane—develops a hell of a baritone and begins cajoling him with the Jareth the Goblin King tack of promising to be your slave if you’ll only do what they say and sacrifice things to them. “Feed me, Seymour,” Levi Stubbs drawls, “Feed me aaallll night long.”

The pronounced psychosexual undertones introduced from really the moment Audrey II first started doing anything have definitely graduated to FULL OVERTONES by the time we meet eager masochist Bill Murray, who appears midway through to have a one-sided yet transparently erotic experience at the hands of sadistic dentist Steve Martin, but I’VE SAID TOO MUCH ALREADY.

Anyway perhaps the worst thing about the way I’ve structured this review, is that it’s only here at the end that I bring up that ultimately this musical is an overt allegory for the evils of capitalism. With everything that has come before that line there is really no way for that to not sound like a joke, but it is in fact true! Audrey II, a “mean, green” menace, represents capitalist enterprise growing ever bigger feeding off the blood of the people, and whose greatest weapon is in convincing you that you that your own path to success is only through becoming complicit in its growth and helping it drain those around you. But again, I’ve already said too much..!

So if you’re looking for a creature feature this October, watch Little Shop of Horrors, the charming, kinky, 94-minute (depending) plant-based dark comedy whose second song is a banger about economic disparity! It’s great!!


I’m Thinking of Ending Things


I wish this could have just been a weird poem movie. GOD I wish this could have just been a weird poem movie. I was so down for this as a loopy, uncomfortable, open-ended horror film loosely about the idea that you can never go home again, and also you should break up with your boyfriend. Just a disjointed nap nightmare you have on your parent’s couch on Thanksgiving weekend. That would have been cool with me! Love when things make me say “What!” out loud twenty times in an hour, not wanting an answer!

But no, I’m Thinking Of Ending Things had to go and answer. Based on a 2016 novel, I have since learned, this movie turns out to have something between a twist and a thesis, and more annoying than either: the eventually unavoidable fact that despite being our protagonist, Jessie Buckley is just a figment of Jesse Plemons’s imagination, and it was all about the neuroses of one sad, bad man all along. To his credit Charlie Kaufman doesn’t present this as a ‘gotcha’ surprise, mostly because it’s not really presented at all. For me I just got to a point, probably somewhere in hour two, where I just had to accept that there was just no other conclusion I was going to be able to come to. That this whole movie we had been driving down a snowbound one-lane road in the dark, and the turnoffs I was still looking for were never going to come.

I think mostly I found the imaginary girlfriend more artistically frustrating than necessarily misogynistic. Because she is at least intended to be the anti-manic pixie dream girl, rather in the mode of Kate Winslet’s character in Kaufman’s earlier Eternal Sunshine of the Spotless Mind. She spends a lot of time mulling in voice-over about how she’s not really getting anything out of this relationship and how, say, she feels like her role in it is to just prop up a man through letting him be associated with her own accomplishments through the mere fact of dating her. Well-observed, although defining herself only as Not His Manic Pixie Dream Girl is still a definition rooted in him not her, which of course is functionally the only option here as she straight up does not have an existence outside of him, which is admittedly pretty much peak misogyny, so!

But even if we can set that aspect aside, it’s still artistically frustrating too. Because she’s definitely the main character here, it’s her point-of-view and narration that we receive, the film has absolutely been about her. And so that makes the ending confusing, and I don’t mean because of the Oklahoma! performance—it’s emotionally confusing to have to spend the last 15 minutes recalibrating to prioritizing this guy and his feelings instead. For instance, now that we have to accept that he has just dreamt her up, then are we supposed to retroactively feel respect and sympathy for his self-awareness that he could so accurately imagine these previous two hours’ worth of damning indictments of his own shitty attitudes? All my whats shifted to much less enjoyable whys; ironically, the less inconclusive it got the more I wondered what was the point of all this.

Everyone gets to Act in this, capital A, so there’s that at least. Unfortunately this ultimately frustrated me too though, because the reason why they all get to Act is because they’re all playing flights of fancy, even this Jesse Plemons is just an imagined form of the older one—Jake, he at least does have a name I can use—and because the whole thing is a warped daydream of continually changing scenarios where no one’s really real, there’s little consistency in any of the characters. They’re by nature mercurial and unpredictable and actors seem to enjoy being able to play in this way, but I don’t know, watching things that heavily feature these kinds of roles has become more and more taxing to me in recent years. I don’t particularly care about a character’s big emotions if I have no understanding of how they got there due to the inconstancy of their internal landscape, because the work would rather keep surprising you with a character’s behavior than let you develop empathy for them. And the reason why I find I’m Thinking of Ending Things uniquely frustrating in this regard, is that Jessie Buckley (smartly) plays her role like maybe she would want to be someone we could get to know, but is prevented from it by the fact that she’s been imagined by this guy who keeps rebooting her demeanor and interests like he’s trying on different shirts.

Anyway. The things I most enjoyed were all the parts that were the most stylized and (therefore?) most free of the baggage of trying to be about something, my highlights of those portions being:
– dream ballet obvi
– the fake film within the film being directed by ROBERT ZEMECKIS—surreal, mystifyingly mean, surreal again, and by that point I’d rapid-cycled into hysterics



Bullet journal of my rewatch of Rope (1948), which I’ve decided is my favorite Hitchcock because that feels like me.

– the EXTENT to which these two are a couple, god watching Hays Code gays makes me feel HIGH sometimes

– you know they’re really unhinged because now they’re drinking champagne out of martini glasses in the middle of the afternoon

– registered homosexual John Dall said I will be playing an evil queen

– but this distinct, dysfunctional, now deadly relationship where everything that’s going on has to be kept just below the surface….the drama here, it’s tenfold

– the DOOR SHOT, the WILDLY FUN SWINGING DOOR SHOT. I let out a little yell!

– what makes this movie so good is that it’s got it all: the suspenseful creepy plot where fancy mid-century boyfriends murder their old schoolfriend and then invite his friends & family over ~just for the aesthetic~, and the bold artistic conceit of styling it like it was all shot in one real-time take, and, dark puns

– oh Janet has now entered the chat, girl you are a fantastic addition

– Jimmy Stewart has just lit his cigarette by picking up an entire taper candle—J Stew has ARRIVED

– it’s been ten years since I first saw this but it is ultimately going to resolve as an anti-eugenics movie right?

– god I love a classical unity, now we’re watching night gradually fall outside the floor-to-ceiling windows! the color shifting, the little lights in this soundstage model of the city coming on…! the craftsmanship, wonderful. the changing clouds were made of spun glass, enchanting

– Phillip’s playing changing with the tension of the dialogue and Rupert’s sly adjustments of the metronome, again, the CRAFTSMANSHIP

– every time we return to Farley Granger looking just miserable….chef’s kiss

– aannnd it IS an anti-eugenics movie, whew we made it

– oh, oh yes, this sublime waiting business as the camera slowly pulls back like a curtain fall—Brandon just silently fixing himself a drink, Phillip sitting down to play piano.. this spooky doomed posh bitches energy! absolutely


My Own Private Idaho

When Gus Van Sant started giving me breaks to time-lapse photography of clouds over the countryside to indicate breaks in the mental landscape of his narcoleptic protagonist, which occurs in the very first few minutes, I realized I had missed an important piece of information about My Own Private Idaho: that it was avant-garde. I knew it was a key entry in queer cinema, but films earn that designation for showing queer lives, not for necessarily making the bold ass artistic choices frequently beloved of the queer community. But when they do, we get things like a shot of an old wooden barn being dropped from a height and smashing into boards on an empty blacktop road to indicate a character’s orgasm, and that’s only the second scene!

That was also, as it turns out, not the only important piece of information I had missed before watching this. I know that at one point in my life I had stumbled over the detail that My Own Private Idaho was loosely adapted from Shakespeare’s Henry IV, Parts 1 and 2. I say stumbled over because I did not pick up this information and carry it along with me from that moment. Instead, a combination of realization & recollection broke over me like a splendid sunrise somewhere around the point Bob appeared, and I at last put it together that Keanu Reeves wasn’t being given odd little monologues just as part of the art, but because Keanu Reeves was specifically playing rent boy Prince Hal, quasi Shakespeare-sounding-like dialogue with his homeless Falstaff and all. I WAS GONE.

Not that I wasn’t already gone for this movie, I was gone for it even before the cut to Scott holding sleeping Mike in his arms like an alt Portland Pietà on the steps of the elk sculpture downtown, though I can tell you that would have done it.

I was gone for My Own Private Idaho because it was eccentric but emotionally earnest, and 1991 enough for things like living skin mag covers to land more experimental than twee. Something of a low-fi Velvet Goldmine but about street hustlers in the Pacific Northwest. And even at its greatest aesthetic extremes, there’s always something raw and vulnerable in those central two performances, particularly in what lovely, lost River Phoenix is doing in his portrayal of someone who is narcoleptic but also tired, the spit-shined performance he sometimes drags on for his trade never effectively covering the scuffs and bruises of his Richard Siken longing. But there is also something tender and open at the heart of Keanu Reeves’s luminous beauty, even when he’s being a bastard—it’s the quality that makes him such a good casting for Prince Hal. There’s a shared sincerity in the souls of these two young actors, a certain honesty that helps lend the whole project its scuzzy sweetness, while that tragedian backing lets us feel our sadness as part of a tradition old and grand and classical, which is kind, really.

Listen, is it flawless, does everything always work? Probably not! And I was at first going to leave half a star of room out of a sense that maybe I should, [gentle voice] go easy.. But then I remembered the way Van Sant did the sex scenes in those cuts of breathing tableaus and about had an artistic heart attack all over again, SO:



I’ve got this new thought I’m rolling around regarding Yorgos Lanthimos movies. Having seen four now, I think you can view each of them as him trying on different boundaries for the scope of his Weird World.

In Dogtooth (Κυνόδοντας, 2009), the weird world is precisely and clearly delineated by the fence bordering the property that the family lives on. What defines this world is an arcane and expanding set of rules and explanations for reality that the parents have forced upon their cloistered children, who know nothing else. We meet a few people from outside this family, and they seem a bit Yorgos-y (the deadpan), but they very clearly do not live in the same false reality that the children do, so they are still absolutely outwith the Weird World.

In The Lobster (2015), the weird world seems to be the entire world—scope expansion maximum. What defines this world is that those who remain single for too long are sent to a center with a bunch of other single people to try to find a partner, and if they fail, they are turned into an animal. There’s the hunting part too, but that could be considered part of the rules of the smaller, subset world of The Hotel. And we do meet people from outside that facility, in a very plot-relevant way! But, notably, they still exist within the larger weird reality with the animals thing.

In The Killing of a Sacred Deer (2017), the weird world is…a social circle? The few people we see outside of the family and their friends seem relatively regular (for Lanthimos). Interestingly, this time we don’t start out with any specific rules that define things, however, Barry Keoghan’s character begins to impose rules of sorts on the family as the story progresses. Why and how any of them have gotten themselves into this weird world is perfectly unclear though and honestly I think that makes this one more excitingly surreal than any of the other Yorgos Lanthimoses on this list, and perhaps relatedly, it’s my favorite of the Big Yorgos ones I’ve seen (where he is both writer and director).

In The Favourite (2018, and written by Deborah Davis and Tony McNamara this time), the weird world is lighter than the others, and is the British aristocracy. This is fun. We meet a few people outside the noble class and again, they’re weird (no one in a Lanthimos is not!), but they’re weird in a way distinct from the way the court is. This is because, and again, this is so fun: because courts have rules! This is the Yorgos Weird World applied to an existing weird world structure in our own reality, and it goes really well and I think that’s a big part of why we all liked this one so damn much. The Favourite was a bit different than his others, in several fundamental ways, but it was a really fine marriage and that was certainly part of what I found so keenly enjoyable about it.

Anyhow, Dogtooth. The strictest of the lot, yes I’d say even more than the one where single people are turned into animals. And the most sadistic, yes I’d say even more than the one where a boy is terrorizing a family. And I think it’s all because of the parents’ unique ability to cross the boundaries of this Weird World. Turns out that is the most disturbing concept Yorgos Lanthimos has presented me with yet.


Bill & Teds

Bill & Ted’s Excellent Adventure (1989) was released into this world the same year I was. I grew up on it playing on basic cable in the ‘90s, and these days actually own it on DVD, a gift from a friend at some point in high school. I love Bill & Ted. And so I was a little nervous to rewatch it this year to be honest, now as an adult with a Letterboxd, which tells me it has been eight whole years since I last saw it.

But you may have caught that tense: I LOVE Bill & Ted. Presently! Still & always. In fact I might even love Excellent Adventure more now. Because watching it as an adult (..with a Letterboxd) in 2020, this time I really noticed just how unusually sweet this movie is, in a year where I have perhaps been more primed than ever to be grateful for kindness.

If you have never seen Bill & Ted’s Excellent Adventure, the premise is ornate but the stakes very simple: Bill Preston and Ted Logan are best friends, seniors (I think) in high school in San Dimas, California, in the late 1980s. And for some reason, their terrible two-person garage band Wyld Stallyns is destined to someday unite the planets and bring about universal harmony. The problem though, and the time-travel paradox engine that powers the story, is that our affable dim-bulbs are currently failing their history class, and if they don’t get an A on their final presentation, Ted’s dad is going to send him off to an Alaskan military school (this joke destroyed me this time around), breaking up Bill & Ted, the band, and ALSO the existence of this most excellent future. So the future sends a representative named Rufus (comedian George Carlin, easily the biggest name in the cast at the time) back to the late 1980s in a magical time-traveling phone booth, and the boys proceed to use this technology to travel throughout history gathering up notable figures in an effort to craft the best history presentation ever.

The DNA of this plot actually seems to bear some genetic sequences in common with the original Star Trek series, now that I think about it: completely outrageous circumstances, but with this innately schoolish bent. 

The result is a goofily absurdist, laid-back adventure comedy that for some reason they kept a pure PG. Although they have what would seem to be an unmistakable stoner energy, Bill & Ted are never remotely alluded to partake in either drugs or alcohol, and beyond their cheery loyalty to the number ’69’ and an adolescent confusion over Bill’s hot young stepmom, their only love interests are a pair of chaste medieval princesses whom they readily fall to trying to woo in respectful knightly fashion, mostly through acts of bravery and reciting poetry. In fact, their unique vocal patter often gives them the impression of already being figures somehow unstuck in time, speaking in an parlance that combines irregular California surfer dude speak with a vocabulary and sentence structure that often veers oddly archaic, to entertainingly poetic effect. “Billy, you are adapting to the oddity of time travel with the greatest of ease!” they’ll compliment their first historical companion Billy the Kid, whom they politely address as “Mr. the Kid” upon first meeting him. It all creates a movie that is endlessly quotable.

And that’s aided of course by the indelible performances of the young leads, 22- and 23-year-old Alex Winter and Keanu Reeves, just two fresh-faced and puppyish children of God, my Doofuses of Light. They are so dumb and so sweet, containing not an ounce of smarts or malice in their souls. They never fight, they care about each other deeply, and they’re always looking out for those around them, consistently tending to the well-being of the “personages of historical significance” they pick up on their travels. They’re part of the branch of the himbo family tree that would produce Stranger Things’ Steve Harrington farther down the line, with Keanu’s gift of ’80s hair absolutely. Bill & Ted are the earnest, unironic heart of their earnest, unironic catchphrase, Be Excellent To Each Other, and Party On Dudes!

The subsequent sequel, Bill & Ted’s Bogus Journey (1991), was coincidentally released the same year my sister was born this time, but I guess it must have not gotten the same amount of play on cable in my childhood, because I had only seen it once before this year and didn’t remember much of it. Bogus Journey was going to be my test actually, of whether my affection for Excellent Adventure was just because of how long I’d already loved it. Unfortunately though that test would prove INCONCLUSIVE, because I don’t like Bogus Journey much on its own merits! And that is because, quite simply, it’s meaner than Excellent Adventure. More of the humor comes from confrontation this time, because this one introduces forces of actual malevolence to battle (something the first film actually entirely lacks). Bogus Journey also greatly ups the stakes, as instead of just trying to pass a class, Bill & Ted are now literally fighting for their lives—and again, by extension, the entire future—after being killed by evil robot versions of themselves early on and subsequently going on a (bogus) journey through Heaven and Hell.

The bright spot though has got to be William Sadler playing a parody of Ingmar Bergman’s Death from The Seventh Seal, a joke even more wackily esoteric than the first movie setting Napoleon Bonaparte loose in a waterpark called Waterloo. And, again quite like what happens with Napoleon, the initial concept deepens into actual character development, which is rewarding.

Now, nearly 30 years later, a third film resolves this set into a trilogy. Entitled Bill & Ted Face the Music (a good title), our titular duo are now middle-aged dads, and finally confronting the driving conceit of all of this: that these cosmic Fools who aren’t even that good of musicians are supposedly going to save the universe with their music. Fundamentally, I don’t think this series was ever supposed to actually address this, and just leave it as the charmingly silly and actually wonderfully hopeful joke of Rufus turning into the camera as they jam at the end of Excellent Adventure, and apologetically assuring us: “They do get better.”

For this reason I can never wholly approve of Bogus Journey, which tries to half address this, or Face the Music, which directly takes it on. That said, the solution that Face the Music comes up with is pretty cute and almost a little elegant in how it finds an answer through redefining the parameters of what we now learn was a (self-fulfilling? well aren’t they all) prophecy. And this film’s plot, which sees Bill and Ted encountering progressively older and messier versions of themselves as they try to hunt down the song that’s going to change the world, also allows for something ALMOST deep about each of their relationships to their selves, which I was not expecting from this franchise. However, the core of Bill & Ted was always their relationship with each other, and Face the Music knows that well.

I feel like I need to especially single out Alex Winter, who was coming back from a retirement from acting here, and feels like he never stopped playing Bill in the interim. He so completely recalls his younger performance as Bill S. Preston that I wonder if his ebullience as Bill is part of what makes Keanu Reeves actually feel almost a little stiff playing Ted again. That could also possibly be due just to physical stiffness from age, because the actor playing his daughter Billie (yes they named their babies after each other, my heart) does such a phenomenal young Keanu homage in this, really showcasing how much of the Ted ‘Theodore’ Logan energy is this low-tempo springiness of movement.

The addition of the adorable Billie & Thea was definitely a highlight for me, as was seeing Kristen Schaal (!) as Rufus’s daughter. Face the Music definitely attempts to be somewhat of a corrective of the previous two movies with regard to actually having female characters, even though it does kind of make the continued non-characters of their princess wives stand out more than you’d like. There was probably a whole doubling down here on the bigger shenanigans and stakes direction that the second film started (why do franchises always think they have to continually up the stakes! smaller stakes are more emotionally engaging, folks), and the joke concepts were not infrequently a bit more Bogus Journey than Excellent Adventure, which would not be my preference, but did I tear up at the very sincere musical climax? Oh you bet. And at one point in Hell when Bill and Ted are about to head over to try to make amends with their disgruntled former bandmate Death, one of their kids reminds them, “Be sweet!”, and that right there really is what I love best about Bill & Ted.

Bill & Ted’s Excellent Adventure★★★★★
Bill & Ted’s Bogus Journey★★
Bill & Ted Face the Music★★★