I HATE guys who make a big egoistic show of this…who brazenly perform for the crowd by dropping to their knees in order to propose marriage to their beloved. “Look at what a loving, open-hearted fellow I am! Actually look at the two of us!”

You’re appalling, Monsieur Douchebag, and you don’t even know it.

Initial HE reaction to Terrence Malick‘s The Thin Red Line (’98): “Too many leaves, alligators, interior monologues and meditations. The script I read before filming was tight and lean and true, but Malick didn’t shoot it. Or he did but fell in love with something else in post-production. Talk to Adrien Brody about this.”

It was The Thin Red Line that (a) fixed Malick’s reputation as a whimsical, nature-revering, tossed-salad filmmaker, and (b) resulted in that famous quip about Malick never having “met a leaf he didn’t like.”

But you know what? Jim Caviezel‘s “death of Private Witt” scene is amazing. Most of it, I mean.

We all listen to excellent music of our exact choosing all the time, and certainly whenever we like. But this mostly happens when we’re driving or on a plane or train trip, and yet — this just hit me this morning, sadly — we never have the right kind of musical accompaniment in our heads during the actual, real-deal moments of engagement (momentous, tearful, emotional, climactic, poignant, euphoric, jarring)…the real thing.

This is one of the key differences between classic movies and real life. When we encounter dramatic stuff in actuality, we almost always (99.99% of the time) experience these things without a soundtrack. But in classic films, the heavy stuff often has an expertly written and orchestrated soundtrack playing along, either quietly in the background or loudly or lullingly.

The curious thing is that I believe that Phillip Glass‘s The Fog of War soundtrack is, in a certain sense, my personal soundtrack…the music of my life…music that I often hear in my head as I experience significant stuff as well as the boring non-essentials. It’s been living inside me for years.

But of course, Robert S. McNamara never heard a single note of Glass’s score when he was actually in the thick of various chapters in his life (World War II in the Pacific, Ford Motor Company presidency, Secretary of Defense under Kennedy and Johnson). But in an ideal world, McNamara would have heard it all along. Because the meaning of his life and what was actually happening deep down could have been so fully and completely understood and articulated by Glass’s music.

It’s a shame, in short, that we all live our respective lives without sublime musical accompaniment. We all have to wing it (and feel it) on our own…silently in a sense.

The Wiki page is calling Paul Thomas Anderson‘s One Battle After Another (Warner Bros., 9.26) “an American satirical black comedy,” but that’s a vague description. A dude who recently saw this September ’25 release says it essentially “makes fun of radical left revolutionaries.”

Set in the American northwest, pic has to do with Leonardo Di Caprio‘s “Bob Ferguson” character, an unhinged, bathrobe-wearing, hyper-mannered lowlife, and is about his mixed-race daughter, possibly played by Chase Infiniti, having been kidnapped by Sean Penn‘s Col. Steven J. Lockjaw. Maybe, apparently…who knows? The guy didn’t specify.

No, I’ve never read Thomas Pynchon‘s “Vineland,” which the film is loosely based upon.

I wish I was more certain about who play Infiniti’s mother (and DiCaprio’s ex-lover) — Regina Hall or Teyana Taylor. Probably Hall because she’s the prettier of the two.

Except the guy I spoke to wasn’t all that clear about certain aspects. I asked questions and absorbed as well as I could, but I wasn’t left with a specific idea of what the film really is.

“It’s played for comedy,” the guy told me, “but the [wokeys] won’t like it. I laughed and my white friends laughed, but we were in the minority [in the audience].

“It’s a guy movie, kinda like Uncut Gems. Made for a predominantly male fanbase. It will probably go over like Mickey 17 and Alto Knights, both of which lost Warner Bros. a lot of money.

“Guys aside, the humor is aimed more at the demo of black women or conservative white women than liberal white women on anti-depressants who are keyboard warriors on Twitter. Black women and conservative women aren’t as mentally ill as college-educated white women, and will probably enjoy it. It was fun for me, but a gender studies major at a liberal arts college will definitely pan this. Don’t look for much love from the woke army.

“I probably wouldn’t take a woman to see it. It’s a film for dudes.

“PTA actually manages to direct the black actresses — Regina Hall, Teyana Taylor, Chase Infiniti — pretty well. It’s his most commercial work in a sense, but it probably won’t get any awards action. The cinematography and editing are fine, and I loved the performances.

“It’s a movie I’d take my male friends to opening weekend, but not the girlfriend. And Leo, remember, isn’t selling tickets like he did 10 or 15 years ago.

“It’s not a 2025 movie. It’s something that would’ve gone down well during the halcyon days of Obama’s second term. I love this type of shit, but movies like this are not made today.

“Leo has a great scene in which he says ‘I love black women!'”

The Democrats are “toxic” now, Gavin Newsom said last night on Real Time, and are regarded with unfettered contempt by over 70% of the electorate, and that is simply because of their insane allegiance to woke shit.

Identity politics, he meant, along with “all white males are bad and all POCs are wonderful”, cancellations over sexist slights in the workplace, trans stuff in schools and in women’s sports, guys fucking each other in the ass in movies and on streaming series (i.e., Sam Rockwell in The White Lotus), progressive government officials decriminalizing shoplifting by hoodie assholes…all of that “what is happening to our culture?” shit.

And yet elite urban Democrats (especially university-diploma’ed women) are so heavily invested in this stuff that they’ll probably never back off.

Bill Maher to Newsom (:18 mark): “I feel like this country is divided into owners and healers. And I feel that the next president, at least if he or she comes from this party, the Democratic party, is going to be someone who wants to talk and heal.”