Coming of age stories are frequently awkward, often painful, but ultimately, usually, hopeful. Pin Cushion is one of those rare coming of age stories that is not really invested in perpetuating the myth that oddballs and weirdoes emerge from adolescence as interesting and functional adults. It is instead preoccupied with the ways that trauma passes between generations, and that no amount of parental love and acceptance can make up for a lack of same from peers. In Pin Cushion, bullying is not the métier of the playground, but is a cycle that perpetuates into adulthood, and bullies don’t always get their comeuppance (or, if they do, it’s just more trauma for the pile). Pin Cushion’s image of adolescence is a candy-colored darkness. Continue reading “Mother-daughter heartbreak in the colorful, tragic Pin Cushion”
Obviously happening because Paddington was a sleeper hit, and Tigger is horrifying. Old toy AND no teeth? Rocket-grade nightmare fuel.
Ant-Man and the Wasp
Marvel’s latest is a direct antidote to the sturm und drang of Infinity War and it succeeds within in its own modest parameters. Also, like Spider-Man: Homecoming, this is pretty much just a comedy with some superhero stuff in it.
Full review here.
I’ve been thinking about something since watching Nanette. Hannah Gadsby makes the point that laughter is not the medicine, that stories are the really important thing, the thing that creates empathy and invites understanding. She’s not wrong. Laughter doesn’t cure society’s ills. It won’t solve any problems or offer solutions. Jokes are simple, and laughter, however cathartic, is not understanding. This is all true.
But this is also true: We NEED to laugh. Continue reading “We NEED to laugh”
A gender-swapped remake of the Goldie Hawn/Kurt Russell screwball comedy reveals the real issue with Overboard is not a man lying to a woman with a traumatic brain injury, it’s ANYONE lying to ANYBODY with a traumatic brain injury.
A dilapidated estate in the Irish countryside is the setting for Brian O’Malley’s The Lodgers, a Gothic haunted house story set in the days following World War I. Any Gothic film set in a grand country estate immediately calls to mind Rebecca’s Manderley, and The Lodgers certainly has shared DNA with the Gothic films that have come before, including The Innocents and a little bit Picnic at Hanging Rock. It also calls to mind Guillermo Del Toro’s recent Gothic horror-romance, Crimson Peak, though where that film reaches for spectacle (and kind of face-plants in the garden of its own grandeur), The Lodgers is a quieter tale, atmospheric and creepy and full of decay.
This movie was gross in 1974 when it starred Charles Bronson, and it’s super gross in 2018.