Marjorie Taylor Greene’s personal account is history for posting Covid falsehoods, resulting in five “strikes.” But to stay in business, so to speak, she simply has to use her official Congressional account, @RepMTG. So all is relatively well from her perspective. She soldiers on.
…about a baseball player player with an “ugly girlfriend” indicating that he has no confidence. But what does it mean when a smart, attractive, well-established woman in a tough profession…what does it mean when she has a galumphy, ginger neckbeard boyfriend who’s nearly twice her size and was once called a “bin raccoon“? Does this indicate self-confidence on her part or…? Sorry but I’m always a bit startled when attractive, highly accomplished women pair up with geeky-looking, borderline-ugly boyfriends. Whatever happened to the old “birds of a feather” proverb?
It’s not a factor as far as vaccines are concerned. Because a shitload of people are getting infected regardless of vax status. And once they have it they’re merely besieged with fatigue, a cough and a head cold for three or four days, and they’re gifted with a serious state of immunity in its wake. So it “counts”, yes, but it’s not governed or influenced by vaccination rates. It’s actually a “good” thing, except for those with weak constitutions.
World of Reel‘s Jordan Ruimy has rebooted his list of preferred films that should (and probably will) be released in 2022. I’ve boldfaced the ones I’m especially interested in, which come to 18.
I’ll tell you right now that the 2022 Best Picture Oscar choices are between Killers of the Flower Moon, Babylon, The Fablemans, Bardo, Avatar 2 and (if it manages to open in late ’22) Kitbag.
THE TOP TEN (one of these will win the Best Picture Oscar in March 2023):
“Killers of the Flower Moon” (Martin Scorsese)
“Babylon” (Damien Chazelle)
“Disappointment Blvd.” (Ari Aster)
“The Fablemans” (Steven Spielberg)
“Avatar 2” (James Cameron)
“White Noise” (Noah Baumbach)
“Bardo” (Alejandro Gonzalez Inarritu)
”Kitbag” (Ridley Scott — Joaquin Phoenix as Napoleon Bonaparte — but will it be ready in time?)
“Elvis” (Baz Luhrmann)
“Canterbury Glass” (or whatever it’s called now) (David O’Russell)
The FOLLOWING EIGHT:
“The Killer” (David Fincher)
“The Northman” (Robert Eggers)
”Bones and All” (Luca Guadagnino)
“The Batman” (Matt Reeves)
“Blonde” (Andrew Dominik)
“Bullet Train” (David Leitch)
“The Way of the Wind” (Terrence Malick)
“R.M.N” (Cristian Mungiu)
___________________________________________________
THE THIRD GROUPING:
“The Master Gardener” (Paul Schrader)
“Armageddon Time” (James Gray)
“Asteroid City” (Wes Anderson)
”Poor Things” (Yorgios Lanthimos)
“The Banshees of Inseherin” (Martin McDonagh)
”Owl” (Kelly Reichardt)
“The Zone of Interest” (Jonathan Glazer)
“Crimes of the Future” (David Cronenberg)
THE FOURTH:
“The Whale” (Darren Aronofsky)
“Decision to Leave” (Park Chan-Wook)
“Fire” (Claire Denis)
“Tar” (Todd Field)
”Kimi” (Steven Soderbergh)
“Next Goal Wins” (Taika Waititi)
“Don’t Worry Darling” (Olivia Wilde)
“Nope” (Jordan Peele)
THE FIFTH:
”Men” (Alex Garland)
”Pinocchio” (Guillermo del Toro — stop-motion)
“The Son” (Florian Zeller)
“The Stars at Noon” (Claire Denis)
“The Bubble” (Judd Apatow)
“Women Talking” (Sarah Polley)
“3000 Years of Longing” (George Miller)
“Triangle of Sadness” (Ruben Ostlund)
THE REST:
“The Eternal Daughter” (Joanna Hogg)
“Tori et Lokita” (Jean-Pierre & Luc Dardenne)
“Apollo 10 1/2: A Space Age Adventure” (Richard Linklater)
”Rebel Ridge” (Jeremy Saulnier)
“Deep Water” (Adrian Lyne)
I’m delighted to leave 2021 behind, of course. Was it as miserable and depressing as ‘20? No, but not for lack of trying. One of the only good or hopeful things is that a larger, disproportionate percentage of anti-vaxx bumblefucks are…uhm, being “culled.”
I had never seen either version of Angels in the Outfield. Mainly because Field of Dreams aside, I’m not much for sports fantasies. I’d certainly never considered watching the 1994 version, which earned a 33% Rotten Tomatoes rating with a 49% audience rating.
The other night, bored and listless, I decided to watch the black-and-white 1951 version. To my surprise it won me over within 15 or 20 minutes.
It’s basically a redemption story — A Christmas Carol set in Pittsburgh. Paul Douglas is Guffy McGovern, a coarse, foul-mouthed brute of a Pittsburgh Pirates manager, loathed by just about everyone. One evening he’s visited by an invisible, craggy-voiced angel who tells him “become a better person and I’ll fix it so the Pirates start winning some games.” Douglas goes along, and before you know it everything has turned around — his life, the fortunes of the Pirates, even his non-existent love life (i.e., local reporter Janet Leigh takes an interest).
Complications ensue, of course, but that’s pretty much it — an abusive asshole becomes a better person with some heavenly assistance. It’s a minor effort but it works.
Based on a story by Richard Conlin, Angels in the Outfield was written by Dorothy Kingsley and George Wells, and directed by Clarence Brown, king of the “house” helmers.
…or will the world finally catch a break? Probably not. The only chance of Democrats not getting murdered in November would be to grow spines and stand up like persons of principle and (a) completely renounce the progressive nutter Robespierre woke wing and (b) announce a commitment to sensible, practical, fair-minded liberalism.
Only shallow hormonal idiots go out on New Year’s Eve to get bombed and yell ‘YeaaAAAGGGHHHHH!” when the big moment arrives.
3:10 pm Pacific: Ten minutes ago the clock struck twelve in Paris. No fireworks due to Omicron, but once again I’m feeling all nostalgic about Jett, Dylan and I watching the Eiffel Tower fireworks display from the same vantage point, 22 years ago exactly.
On 7.30.21 I posted an excerpt from a book of political-cultural analysis, but I didn’t reveal the author’s name. It was a passage about how elite film critics have all been trained to kowtow to the wokester authoritarian left, but I didn’t name the male author because I wanted the content to be considered rather than the branding. I also didn’t feel comfortable with aligning myself with this person as I didn’t agree with some of his opinions. But in the months since this posting I’ve gradually begun to feel a greater degree of allegiance.
In the comment thread one person guessed his name correctly. The author’s identity is after the jump.
…who are deeply alarmed about Licorice Pizza, and particularly the non-sexual, one-sided ’70s relationship between Gary (Cooper Hoffman), a 15 year-old actor and waterbed salesman, and Alana (Alana Haim), a 25 year-old whom Gary has a huge thing for but never scores with.
A similar kind of relationship was depicted a half-century ago in Robert Mulligan‘s Summer of ’42, except back then the younger lad (Gary Grimes as an anxious 14 year-old named “Hermie”) and the 20something woman (Jennifer O’Neill‘s “Dorothy”) did the actual deed…once.
Dorothy is heartsick over her young Air Force pilot husband having been shot down over France, and so, half-drunk, she invites Hermie to bed. Hermie is not only aroused but transformed by this episode, but the next morning Dorothy disappears, never to be seen or heard from again.
Herman Raucher‘s screenplay is based on his own actual experience. At age 14 he really did get lucky with a heartsick 20something he called “Dorothy.” If only some wokester scolds from the 21st Century could have somehow been time-tripped back to 1942 Nantucket and saved poor Herman from the terrible trauma of making love with a beautiful woman at age 14.
The sane world has spoken, and there’s absolutely no ambiguity about the quality of Lana Wachowksi‘s The Matrix: Resurrections — it’s utter howling hell to sit through, and anyone who would recommend it is therefore a kind of clueless (perhaps even demonic?) emissary.
It follows that N.Y. Times opinion writer Kara Swisher cannot and will not get a pass for writing the following: “The reason I liked The Matrix Resurrections [is because it’s a story] about the limits of big tech, big media and big politics and the importance of heartfelt, real family connections.
“These are critically important ideas as we move into the next iteration of tech, which will have a lot more to do with virtualizing everything. How we evolve and connect as humans as the world moves to VR is a critical issue.” Dear God in heaven!!
“At this point, this Matrix movie about how they probably shouldn’t have made another Matrix movie becomes just another Matrix movie, albeit one that wears its self-awareness like an ‘ask me about my self-awareness’ T-shirt.
“For what it is, it’s still pretty engaging, losing steam only when it tries to make topical points about our red-pilled political climate. The new iteration of the Matrix converts ordinary people into swarms of murderous hate-bots to protect its grip on power; its creator gloats about how easy it is to control people with feelings, rather than facts. ‘If we don’t know what’s real,’ a character says to Neo, ‘we can’t resist.’
“None of this is objectionable. But minus a shot of bathroom graffiti guaranteed to turn every dude on Reddit into an expert on the thematic resonances between this film and Don DeLillo’s ‘Americana’ (Don-pilled!), it’s served up without even the modicum of subtlety and egg-hunt mystery that made the original Matrix such a durable chew toy for undergrad post-modernists.
“There’s nothing to unlock in Resurrections — it’s a movie whose password is ‘password.'” — from “The Matrix: Resurrections Is A Crucial Keanu Reeves Movie,” written by The New Yorker‘s Alex Pappademas and posted on 12.30.21.
