When I went to summer camp in New Jersey in the late 90s and 2000s, we heard about Cropsey. The legend left only a broad impression—a man, a fire, a daughter, the woods. We learned the story on Initiation Night, when the oldest campers slept over in the woods behind what we so-lovingly called “The Pavilion,” a large wooden bandstand with a roof, surrounded by forest on one side and a large grassy field on the other. Many of us... Read more
Before there was Superbad (2007), there was The Daytrippers (1997). Director Greg Mottola’s debut feature feels like a predecessor to Juno (2007), not a movie with a major character who calls himself McLovin. The dialogue is ironic and self-effacing. The characters embody generational conflict, rather than the harmony of twenty-something cops partying with an errant teenager. Whit Stillman probably likes this movie. And so do I (mea culpa)—at least up to a point. The titular trip concerns five relations: Jim... Read more
Imagine if Kevin Smith made Dogma (1999) but in the flat, unaffected style of Clerks (1994). Add in a self-professedly nymphomaniacal nun who has never had sex but who has visions of the Virgin Mary telling her she’ll make a terrible convent community member. While you’re at it, throw in some amnesia, the porn industry, human trafficking, and the perfidious Dutch. Even Parker Posey and Dwight Ewell have bit parts. Fold to combine and you’ve got yourself Hal Hartley’s Amateur... Read more
The thesis of John Cassavetes’ Minnie and Moskowitz (1971) is that most people are a bit looney. “Normal” is a comforting lie we tell ourselves—an implicitly understood charade masking dark secrets or, at best, harmless idiosyncrasies. Most conversations between people are but monologues given in impolitely staked-out turns. We see this in the film’s opening, when Seymour Moskowitz (Seymour Cassell) and his bushy blonde mustache sit across from a slack-jawed drunk of a fellow diner named Morgan Morgan (Timothy Carey).... Read more
In recent years, I have mostly avoided weighing in on specific religious issues or controversies. I’ve preferred to spend my time reviewing films, reading, and passing time with my wife and friends while quietly going about the practice of my faith. Recent news about the former Fr. Hilarion Heagy (now Mr. Troy Heagy) apostatizing and becoming Muslim seems to have broken from the bounds of my little Byzantine Catholic world. Coming from this small tradition and having seen people take... Read more
At the risk of sounding like de Maistre or Kierkegaard, “genius” is a bad word in our (brace for it) leveling age (not that I don’t stand for leveling). When drafting histories of their relationships to TV, my students agreed that one quality kept them glued to the tube: relatability. Standing out through sheer force of talent (honed and trained to be sure) now often alienates. Singin’ in the Rain (1952) is a crime. How dare Donald O’Connor dance up... Read more
Bob Balaban. The name’s enough really. If I had seen it on a page before I’d seen the man himself on a screen, I’d have liked the cut of his jib. His parents named him “Robert.” He was smart enough to go with the alliteration; on name alone, he’s got my trust. Like Philip Baker Hall or F. Murray Abraham, he haunts the edges of your favorite media. You could swear you’ve seen him before, but you aren’t sure. Indeed,... Read more
Right now I’m precepting a course on American Television. The truth is that my favorite TV shows are mostly dark, absurd, or satirical; they play with the conventions of more popular television. Take, for example, Danger 5 (2012-2015), an Australian jab at 60s spy shows, WW2, American masculinity, and (eventually) Operation Paperclip, and 80s fads. Near and dear to my heart is also Check It Out! with Dr. Steve Brule (2010-2016), a Tim and Eric Awesome Show, Great Job! (2007-2010)... Read more
Pedro Almodóvar’s Tie Me Up! Tie Me Down! (1989) is not a film for today. I can imagine fewer things more transgressive to our sensibilities than the tale of an orphaned and institutionalized stalker who kidnaps a porn actress trying to breakthrough into mainstream movies. Worse yet, events are played as a comedy, complete with two musical numbers and a color palette straight out of your high-school Spanish textbook. Other similar films like Jonathan Demme’s Something Wild (1986) get around... Read more
Adapted from a Neil Gaiman short story, the John Cameron Mitchell-directed How to Talk to Girls at Parties poses as a teen movie. The promotional poster shows Elle Fanning cuddled up to cut-off t-shirt-wearing Alex Sharp, the background an eclectic mix of Barbarella-influenced (1968) partygoers and punks. Or maybe I should’ve known better. Gaiman isn’t exactly known for working in the grand tradition of American Pie (1999) and Superbad (2007). In any case, the title got us—my wife and me.... Read more
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