It’s impossible to ignore the year 2016 when talking about Loving, a film that takes place between 1958 and 1967 and depicts the lives of the titular couple at the center of one of the Supreme Court’s landmark cases of the 20th century. So let’s talk about 2016.
A competent, ambitious, and some-might-say-chilly blonde who thinks she’s got this election in the bag goes up against unlikely opponents who are unqualified and uninformed, but hold an anarchic appeal to a certain deplorable fan base that’s fed up with the establishment. When the rubble is cleared, some careers will be ruined, some hearts will be broken, and one very controversial woman will rise to power, sweeping aside a few questionable tactics along the way.
Oh, and did we forget to mention the myriad sex scandals?
In our third episode, the When We Were Young podcast tackles Alexander Payne’s 1999 film Election, a high school satire that has absolutely zero relevance to anything going on in the American political system today. Listen here or subscribe here.
We’ve now aired three episodes of the When We Were Young podcast, which means it’s officially time to start uselessly ranking things.
That’s right — because I am a millennial (barely), I am obsessed with ranking things that are not terribly similar in any way, and chances are, you are obsessed with it, too. (Thanks, Buzzfeed!) So I am keeping a running tally of which of the movies, TV shows, albums, and other pop culture artifacts from the 80s and 90s hold up best.
Is it completely arbitrary to compare, say, Steven Spielberg’s E.T. to the 90s catalogue of Britney Spears to the entire run of The Fresh Prince Of Bel-Air? Of course it is! That’s what makes it such a meaningless waste of time!
Forgive me. I know it seems much too early to talk about the Oscars, but we’re getting into that time of year now. So far, 2016 has been all but entirely barren of buzzworthy performances. I have a small handful of favorites, but only one or two that are certain to make the cut on my “Not Oscars” list next year.
The new film Indignation is one of those “wait and see” films, released in spring or summer or early fall, which most people agree has some noteworthy work, but no one’s quite willing to bet on it yet. After all, we know there are bigger, flashier things in the pipeline — Tom Hanks, Viola Davis, Casey Affleck, Denzel Washington, and other familiar faces are attracting plenty of early chatter about their awards chances in forthcoming releases. Nothing in Indignation is quite striking enough to challenge them, but you never quite know how things will pan out. The film has made over $2 million in a smallish release and is playing well with critics and audiences. It’s the kind of film that just might have staying power.
I’ve seen a lot of movies. A lot of them contain some pretty shocking stuff. I don’t necessarily like gore or explicitly disturbing subject matter, but my cinematic journeys often lead me toward such material anyway. I’m more adventurous than the average moviegoer. Sometimes, I think I’ve seen it all.
After a while, one act of abhorrent violence is just like all the rest. It’s rare to encounter a scene in a movie that feels that new, that novel, truly unprecedented. The final scene of Enemy was, perhaps, the last piece of cinema to truly make me sit up in my seat and say, “What the fuck?”
Whoever you are, whatever you’ve watched… there’s something in The Neon Demon I can pretty much guarantee you haven’t seen.
Where you live. Where you learn. Where you pray. Where you drink.
It’s happened again.