Bernard Malamud wrote The Natural, his debut novel, in 1952, the year the Yankees beat the Dodgers in the World Series. The tale of once-promising baseballer Roy Hobbs was almost universally praised upon the novel’s release, with many championing it as the first great novel about baseball. Critical consensus, though, agreed that the actual baseball — the strategy, the technicalities, the game — mattered less than the fable at hand. In some ways the myth behind Roy Hobbs was more interesting than Roy Hobbs. The original New York Times review from August ’52 typifies this stance in describing the novel thusly:
a sustained and elaborate allegory in which the “natural” player who operates with ease and the greatest skill, without having been taught, is equated with the natural man who, left alone by, say, politicians and advertising agencies, might achieve his real fulfillment.
Continue reading The Natural (1984) →
It ain’t always fun, the movies. Amongst this year’s least-fun pictures we probably have the likes of Alita: Battle Angel, Glass, Dark Phoenix and Gemini Man, all of which share in common a clear prioritization of special effects over storytelling. They’re also united in the fact that production was rocky in every instance, be it years of limbo or last-minute hackjobs in the editing bay, though that’s not necessarily synonymous with a bad film. Production on one of this year’s best, The Lighthouse, was described by its own director as “tense” and “cold”. No fun to be had in making that movie. Only in watching it.
In a pre-recorded clip before the New England premiere of Knives Out, writer/director Rian Johnson — whilst thanking us for seeing the film and imploring us not to spoil it — said flat out that making it was “a blast.” It’s not hard to believe, and evident from the film’s very first scenes: everyone in front of the camera (Daniel Craig, Ana de Armas, Christopher Plummer, Don Johnson, Jamie Lee Curtis and a million others) breezes through having the time of their lives. And Johnson, too, exudes a confidence here as both a writer and a director that can only be borne of exciting material in the hands of a craftsman coming into his prime.
Continue reading Knives Out (2019) →
In 2017 The Last Jedi ignited a culture war between lovers of Star Wars on the one side and…well, lovers of Star Wars on the other side. This war was ostensibly borne of debate over the film, praise versus criticism, and there certainly is a battlefront of this war that does engage in genuine discourse over Jedi. There’s another front, of course, comprised mostly of warriors fighting with a willing blindness to the merits or pitfalls of the film as a film; some people just despise Jedi for puerile personal reasons, some just defend it simply because it’s Star Wars. This is the Ultimate First World Problem, such hatred and ire thrown about over the seventh sequel to a space fantasy from 1977. But intentionally or not, a particular faction of “critics” revealed themselves during this war. We’ll call them the Shitboys, because they’re mostly boys and they mostly shit on everything.
The Shitboys are that splinter cell of Jedi-haters that conspired to sink the Rotten Tomatoes score of the film by flooding the internet with bad reviews. They sent death threats to director Rian Johnson from the safety of their mother’s basements. They made cute little petitions that proposed Disney literally remake the movie they just released. Eventually, they shit the same shit over Black Panther, actually claiming that white males were becoming a marginalized group in Hollywood. Once the rest of us stopped laughing/crying and once Panther walked home with billions of dollars and a few Oscars, the Shitboys regrouped and set to work on Captain Marvel:
Continue reading Captain Marvel (2019) →