A couple of quirky offbeat films make up our pair for this episode. One tells the story of the rise & fall of the most popular cellphone before the iPhone came along. The second is surreal, dreamlike, unsettling odyssey through suburbia.
Continue reading “PopCult Podcast – BlackBerry/Ham on Rye”
Kids in the Hall (Amazon Prime)
Written by Garry Campbell & Dave Foley & Bruce McCulloch & Kevin McDonald & Mark McKinney & Scott Thompson & Jennifer Goodhue & Matt Watts, and Julie Klausner
Directed by Aleysa Young & Kelly Makin
I was a nerdy kid. I’m sure that really surprises you. Because I was living in the middle of nowhere in the middle of a two adults’ very dysfunctional marriage, I found solace in odd things. The TV Guide Fall Preview issue was always a highlight, teasing all the fantastic things I’d be able to watch soon. In 1993, when I was 12 years old, I remember coming across a description of a show that was going to air late night on Fridays on CBS. It was called Kids in the Hall, and the description said Lorne Michaels, the producer of Saturday Night Live, was making it. 1993 was around the time I started watching SNL religiously, so I was excited. Unfortunately, I grew up in the Southeastern United States, and I genuinely think our local CBS affiliate chose not to air KITH because it was a very transgressive show that didn’t hide its countercultural take. It wouldn’t be until 1999, during my freshman year of college, that I finally got to see the Kids for the first time as they were rerun constantly on Comedy Central.
Continue reading “TV Review – Kids in the Hall (2022)”
Come True (2021)
Written & Directed by Anthony Scott Burns
Certain movies hit my personal aesthetics so perfectly I love them immediately. Beyond the Black Rainbow and It Follows are two films that sit in that dreamlike 80s-ish wheelhouse. They don’t spam cultural references to get across their implied eras; they just exude the vibe. When you watch them, it feels like that movie you saw when you were up way too late, half asleep, not sure if you remember it quite right. They are movies where you don’t need concrete logic; you just need them to feel a certain way. Come True is another picture I can add to that list. Its blend of visuals and music made me immediately love it.
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This is a special reward available to Patreon patrons who pledge at the $10 or $20 a month levels. Each month those patrons will get to pick a film for me to review. They also get to include some of their own thoughts about the movie, if they choose. This Pick comes from Amy Stewart.
New Waterford Girl (1998)
Written by Tricia Fish
Directed by Allan Moyle
As someone who spent ages 10-18 in a small rural area, I have found that places like this can feel incredibly stifling. Much like the characters in this story, their religion (Catholicism in their case, American Nationalist theology for mine) casts a shadow over their lives but not in a way that strictly shapes their behavior. Instead, they create loopholes for inevitable downfalls of human morality. For example, if you get a girl pregnant, you just marry her, and then all is forgiven, or you go off for a few months to a convent where the baby is taken, and then you come home, and no one ever talks about it again. There’s not much to look forward to in this place, leading to a rather bleak outlook on life, a desire to escape.
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Ginger Snaps (2000)
Written by Karen Walto & John Fawcett
Directed by John Fawcett
I’d heard about this movie periodically since its release in 2000 but never sat down to watch it. I’m sure it played at the local arthouse theater when I was in college, but I was skeptical of most horror back then (now I’m just very picky). I have never been that big of a monster movie fan. I prefer more Lovecraftian/weird horror that spends its time in atmosphere and dread rather than fangs dripping with blood. When I was coming up with the list of movies to watch for my Flashback to 2000, I decided now was the time to finally view Ginger Snaps and see why it has garnered a cult following over the years.
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Possessor (2020)
Written & Directed by Brandon Cronenberg
Possessor is the film Christopher Nolan wishes he could make. It’s a cooly stoic film centered around an incredibly creative concept that delivers on real human emotion. But Possessor goes places Nolan just creatively cannot; he is too conservative in his ideology, a constant desire to frame things in stark objectivist Black & White. Writer-director Brandon Cronenberg knows it is more complicated than that, and, especially when dealing with monolithic tech corporations, you are entering a transcendental world where morality has been so blurred it’s not even recognizable any longer.
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Last Night (1998)
Written & Directed by Don McKellar
What would you do if you knew it was the final day of the Earth’s existence? Much like the Last Man on Earth trope, this is another one that comes up often when you explore Apocalyptic fiction. Here we have Canadian filmmaker Don McKellar’s distinct take on the end of the world, which balances both the darker aspects of humanity that would crop up and the way other people would cling to the norms and routines of decorum and civilization even as the end approached. It’s very different from the other films in this series, which is precisely why I wanted to watch it.
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Monsieur Lazhar (2011)
Written by Evelyne de la Chenelière and Philippe Falardeau
Directed by Philippe Falardeau
At school in Montreal, two students discover that their teacher has hung herself in the classroom. The school works quickly to push the class past this event by repainting & rearranging the room while having a psychologist make periodic visits. A new teacher is found in a rush, Mr. Lazhar, an Algerian man who goes on about his experience teaching at a university in his former home country. Lazhar brings an approach unfamiliar to the students, emphasizing the techniques of grammar and spelling over more expressive forms of learning. He reads Balzac to the children and requires them to take dictation. One student, Alice, expresses her still simmering anger and confusion over the suicide of their teacher in an essay. This outburst causes Lazhar to re-evaluate his methods and the needs of his class.
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The Captive (2013)
Written by Atom Egoyan & David Fraser
Directed by Atom Egoyan
In rural Ontario, a young girl named Cass vanishes from the back of her dad’s truck. Her father, Matt, and mother, Tina spend the next eight years going through stages of grief and disbelief about the well-being and whereabouts of their daughter. Detectives Cornwall and Dunlap pursue the case as part of their assignment on the Child Exploitation division and discover Cass being used as bait to lure other young girls into a child predator ring. The various people involved in this complex web slowly spiral closer and closer, with Matt pursuing who he believes to be the man behind his daughter’s kidnapping.
The Forbidden Room (2015)
Written by Evan Johnson, Robert Kotyk, & Guy Maddin
Directed by Guy Maddin and Evan Johnson
A bespectacled man hosts an aged and worn instructional film on how to take a bath. After explaining the opening procedures, the camera dives beneath the murky water, and we see a submarine float by. We cut to inside the submarine where the crew is in dire circumstances. They carry onboard an incredibly volatile substance that, if they were to surface, would combust due to air pressure killing them all. They find a portal in one of the dank, humid chambers that should lead them out into the waters, allowing them to abandon ship and swim to the surface. Instead, when they open a door, a lumberjack soaked to the bone tumbles forward. He begins to tell the tale of his quest to save a maiden from a band of cave-dwelling barbarians only to find the maiden is their den mother. In her sleep, the den mother dreams of another life, as a noir nightclub singer…and so on and so on. The Forbidden Room is a Matryoshka doll of short films, one nested within the other, moving up and down the ladder of stories until they become intertwined and lost within each other.
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