I’ll be in my trailer… watching trailers: Don’t stop–

Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.

Matt may not be as big a fan of Anthony Hopkins as many people, but he definitely liked The Father a lot, a film that’s worth seeing for more than just its acting. Check out his thoughts on Florian Zeller’s adaptation of his own play, Le pêre.

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Sad, little rich boy: HBO’s Succession

“Let me tell you about the very rich. They are different from you and me. They possess and enjoy early, and it does something to them, makes them soft where we are hard, and cynical where we are trustful, in a way that, unless you were born rich, it is very difficult to understand. They think, deep in their hearts, that they are better than we are because we had to discover the compensations and refuges of life for ourselves. Even when they enter deep into our world or sink below us, they still think that they are better than we are. They are different.”
— F. Scott Fitzgerald

“Look, here’s the thing about being rich, it’s like being a superhero, only better. You get to do what you want. The authorities can’t really touch you. You get to wear a costume, but it’s designed by Armani and it doesn’t make you look like a prick.”
— Tom Wamsgans, Succession

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Dazzled by the mob: The Godfather Part II

In cinematic terms, I sometimes wish I’d already been around during the 1970s. It’s the big films of that decade that I most regret seeing at the cinema. Thank god for good repertory cinemas, though: thanks to my favourite rep cinema, I’ve been able to see the likes of Apocalypse Now on the big screen – and the theatrical experience definitely makes a difference in terms of how potent these classics are.

Last week, as part of a series on migrants (which includes such different fare as Jan Troell’s The Emigrants and The New Land and Neill Blomkamp’s District 9), I was finally able to see Francis Ford Coppola’s The Godfather Part II on the big screen. The film is gorgeous to look at, with Gordon Willis’ Rembrandtesque cinematography an absolute triumph, and it’s a joy to see Pacino and De Niro in peak form, their acting specific and nuanced and entirely unlike the personas we’ve seen them embrace all too often since. The way I watch the film has changed in other ways as well, though, and these have nothing to do with the big-screen format. That difference is due to me having watched the entirety of The Sopranos in he meantime.

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A Hooplehead Reunion

The first half-dozen years or so of the 21st century saw some of the strongest arguments that a Golden Age of Television had arrived. Many of those were produced by HBO, from the New Jersey mobscapades of The Sopranos to the sprawling social canvas of The Wire. While it was cancelled after three season, the Western series Deadwood stands tall among the standouts of that time. Even thirteen years after its cancellation, it’s difficult to find a series as accomplished, with an ensemble cast as strong, and with writing as distinct.

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A Damn Fine Cup of Culture Podcast #25: Psychopaths (2)

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Sometimes they come back: since our last episode, where we discussed black and white movie psychopaths, couldn’t contain all the cinematic psychoses, we’re dedicating a second episode to our favourite psycho killers. Starting from the question what we consider the archetypical pop culture psychopaths, our three intrepid pop culture baristas embark on a journey, beginning with the capo of New Jersey from HBO’s The Sopranos. Is Tony Soprano a narcissistic psychopath or does he really care about those ducks? We then move on to ’60s and ’70s San Francisco and gaze into the absence at the centre of David Fincher’s Zodiac, before the episode finally ends on American Psycho and the dark, cold, empty heart of Wall Street psychopathy.

If you haven’t already done so, make sure to check out episode 24, where we talked about movie psychopaths and psychopath movies, from Night of the Hunter via Fritz Lang’s M to the psycho granddaddy of them all: Norman Bates and Alfred Hitchcock’s Psycho.

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Don’t they know it’s the end of the world?

In an instant, they were gone. Family, friends, lovers. You turned around for one moment, and when you turned back they were gone. Where? Why? Who knows. How to go on? Who knows. And how can you ever hold on to anyone again if you don’t know whether it might happen again?

No, I’m not talking about the Snap. (We’ve done enough of that elsewhere.) I’m not talking about the Rapture either, not quite. What I am talking about is one of the strangest, saddest, most infuriating, most hopeless, most hopeful stories I’ve seen, on TV or elsewhere: The Leftovers.

The Leftovers

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The Rear-View Mirror: Goodfellas (1990)

Each Friday we travel back in time, one year at a time, for a look at some of the cultural goodies that may appear closer than they really are in The Rear-View Mirror. Join us on our weekly journey into the past!

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A car rides into darkness. The film cuts to the three passengers and we hear noise from the back of the car.

“The f*&k is that? … Jimmy?” says the man behind the wheel. “Did I hit something?”

“… the f*&ck is that?” the man in the back says. They pull over and get out. Lit by the red back light of the car the men draw their weapons. The man in the trunk is bloodied but still alive. Swearing, they finish him off. They are Henry, Jimmy and Tommy, our protagonists.

After this violent beginning Henry’s voice-over starts with what is probably the most famous line in the movie:

“As far back as I remember, I always wanted to be a gangster.”

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Empathological behaviour

On most message boards, forums and online communities that I’m a part of (all… let’s see… 3 1/2 of them) I probably post most frequently in threads relating to films, TV series, novels, plays, comics and other media that are largely dedicated to storytelling, characterisation and the like. One recent discussion I took part in was about the HBO series Game of Thrones, and while many of the topics were predictable (OMG sexposition! Just how much does Tyrion rule? Is there such a thing as posting that animated GIF of Joffrey being slapped too often?), one caught me by surprise: a poster criticised that there’s barely anyone in the series to root for.

The reason for my surprise was this: I realised that ‘rooting for someone’ has never been a measure of whether I enjoy a story or not. Of course I root for the Indiana Joneses and John McClanes, the Bastian Balthasar Buxes and… I’m actually finding it difficult to come up with more examples, which is quite telling. Some kinds of stories necessitate a ‘good guy’ to root for, but this isn’t anything I’m looking for in storytelling. On the other hand, what I am looking for is the potential to empathise with the characters whose lives I’m following. And that’s something I find quite easy – you could go so far as to say that I’m a bit of an ’empathy whore’. I’ve never really rooted for Tony Soprano, Richard III, even a Darth Vader – or, for that matter, a Cersei Lannister, not exactly one of the nicer characters in a series that isn’t exactly famous for its many loveable protagonists.

It’s one of the reasons why I’ve greatly enjoyed series whose protagonists do questionable, petty, selfish things all the time, from the characters in Six Feet Under (as the series goes on, Nate becomes more and more selfish in his actions, yet that never makes me care about him any less), to the shades-of-grey cast of any season of The Wire (yes, I even care about Rawls, while fully acknowledging what a dick he is) to the moral monsters of The Sopranos. Which is also why the flip-side of rooting for a fictional character is something I very rarely do – I often read about other forumites wanting this or that character to die horribly, to get knifed in the back or thrown off a cliff or get a bullet in his head, which I just don’t get. I don’t get the vehemence and sadism with which these things are often formulated (and yes, I do understand that wishing death on a fictional character is not the same as wanting a real person to die), but more than that, whether a character is morally reprehensible or not doesn’t have anything to do with whether I want to continue watching them. Al Swearengen is a Machiavellian monster, happy to kill, or have killed, anyone who stands in the way of his plans, yet I can think of few characters who are as enjoyable to watch as him. Tony Soprano made The Sopranos must-watch TV for six seasons, even in the worst episodes. Even generally likeable characters like The Wire‘s Bodie or Rome‘s Titus Pullo do horrible, heinous things. It’s not just that I don’t get why or how the moralities of their actions would influence my wanting to watch them: it’s that their flaws, their ambiguity, often make them more interesting characters for me. (Obviously my enjoyment of the characters also has a lot to do with how they’re written and acted – I want to watch an Al Swearengen at least as much because of Ian McShane’s performance as because he’s a fascinating, complex character, and the same’s definitely true for Breaking Bad‘s Walt White and the fantastic acting by Bryan Cranston.)

However, there are characters – very few, but they exist – that don’t evoke any empathy on my part. There are some that I dislike so much I wouldn’t mind something horrible happening to them. I’ll admit it right here and now: every time I watch One Flew Over the Cuckoo’s Nest, I hope that McMurphy will succeed in strangling Nurse Ratched to death this time round. I guess that while I’m a bleeding heart of the worst kind when it comes to fictional characters as well, there’s still a tiny little reactionary inside me wanting to get out and flip the switch.

Vale of Tears, HBO style

My tastes probably tend towards the dark and tragic somewhat. For a while David Fincher’s Seven was my feelgood film (and I’m only exaggerating slightly). I’m not particularly into comedies, mainly because I don’t tend to find them funny – but I think that Shakespeare’s Richard III and John Webster’s The Duchess of Malfi are both rich in humour, though of the blackest sort. I tend to label things as “bittersweet” that my Significant Other would call “depressing as hell”.

Imagine my surprise when we finished watching season 2 of Oz… and my reaction was pretty much this: Whoa. This series may be too negative, too pessimistic, too “everything is going to shit” for me. By comparison, the last two seasons of Six Feet Under were light tragicomedy, The Sopranos is Analyse This! and Deadwood is Paint My Wagon. In the season 2 finale, Oz gives us a pedophile ex-priest getting crucified by Arians, a Latino guard’s eyes getting stabbed (with disturbing visuals of the damage) and one inmate’s arms and legs being broken. (I can still hear the snapping sounds…) When an old Nigerian gets stabbed to death, it almost feels like a relief: Thank god, they could have put his arm down the garbage disposal and then fed him his own kidneys!

Oz is open to allegations of being gratuitous in its use of violence, at least in this episode – but then, I can think of scenes of Deadwood, Rome and indeed Six Feet Under (elevator bisection!) that are as visceral and gory. So what is it, if not the gruesome depiction of violence? Is it that the characters are by and large doing evil things? Hey, Al Swearengen could pull off as many as six evil things before breakfast, without breaking into a sweat. The Soprano mob was no bit more angelic than the inmates of Oswald Penitentiary. So, again: what is it that makes Oz less bearable?

I think it’s this: Oz is about a world where hope is mostly dead, and what hope is left is killed over and over again. All these other series, for the pain, suffering and evil acts they depict, they haven’t killed off hope. Goodness can exist and survive and sometimes even thrive. In Oz, the only way that goodness can avoid being trampled is by hiding away, making itself smaller. There are sparse moments of light, but they are so exceptional and all the characters seem to know it that you almost dismiss them as a mere distraction from the doom and gloom. And yes, there is humour, but most of the time it’s grim as hell. Even the world of The Wire is more hopeful. Consider that: The Wire is more hopeful than Oz.

Arguably, that’s the world the series depicts: its version of the American penal system is Hell, an institutional hell where goodness is weakness, and the weak get their arms and legs broken. But if a series is that relentlessly negative and nine out of ten times something good happening is just occasion for the characters to fall from a greater height, it becomes wearying. And it’s the first HBO series where I’m not exactly eager to get started on the next season as soon as possible.

Perhaps I need to recover with something lighter.