Finally, the compleat Midsommar (Ari Aster 2019) one-sentence review tweets

Midsommar

So l finally saw Midsommar, or, the Bizarre Demonisation of ‘Scandinavian Style’ Social Democracy

So l finally saw Midsommar, or, the Dangers of Undertheorised Participant-Observation Methodologies

So l finally saw Midsommar, or, the Need for Strong Research Ethics Committees and Rigorous Approval Processes

So l finally saw Midsommar, or, the Never-Decreasing Need for Ari Aster to Hire a Script Editor

So l finally saw Midsommar and I am left wondering: what is the point of dressing up as a bear if you are not then going to punch out a nun?

Der Golem, wie er in die Welt kam (Wegener 1920)

The-Golem-1-e1574353233440and so anyway it turns out that the best thing about Paul Wegener’s Der Golem, wie er in die Welt kam (1920) is not the stunning 4K restoration, which makes it look like a completely different film to the one that’s only been available in shitty prints and ropey transfers for decades, nor is it sniggering at the subtitle, which I am told by a German friend would nowadays  mean ‘and how he ejaculated into the world’ , no, the very best thing about this film about a creature fashioned from clay and brought to life through mystical powers, is the way it it loses all credibility the moment Fabian (Lothar Muthel, below right, shirt-cocking, full-Winnie-the-Pooh) starts to express an interst in, well, girls…

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A question about Knausgaard

51TfzLcO3BL._AC_SY400_ML2_So in the middle section of The End, the sixth and final volume of Karl Ove Knausgaard’s My Struggle, are we supposed to notice all the parallels between Hitler’s youth and his own early years, even though he never draws explicit attention to them, and thus be grateful he is merely making hilariously lofty claims for the significance of his work by subjecting us to 450 interminable pages of poorly argued and banal literary-philosophical-historical-aesthetic-theological exegesis, rather than, say, invading Poland or committing genocide?

Asking for a friend.

Some unexpected praise for Martin Amis

51E21ChU8mL._SX323_BO1,204,203,200_I am no fan of Martin Amis, but kudos for the truly incredible piece of confessional writing that is his 2011 intro to Ballard’s THE DROWNED WORLD, which goes: I don’t understand sf, I don’t understand Ballard, I don’t understand this novel, I don’t understand climate science, I don’t understand DeLillo (but I do have a crush on him), I don’t understand introductions, and I’m less than 100% on the placement of commas, but I do understand I get paid the same if I pad this out with long quotes, and I do understand spoilers – and to prove it I’ll end with a really big one:

Alien: Covenant (Ridley Scott 2017)

michael-fassbenderand so anyway it turns out that the best thing about Sir Diddley Squat’s latest xenomorph instalment is that after the prologue – and if you overlook the clunky dialogue, indistinguishability of the ‘characters’, poor grasp of physics, idiot plotting and general boring-ness of it all – most of the first hour is nowhere near as bad as Prometheus (Scott 2012) or, indeed, as the second half of Alien: Covenant, even if the second half is the half in which we get to see Michael Fassbender in a dopey hat, Michael Fassbender play Kurtz as Hannibal Lecter, Michael “you blow into it and I’ll do the fingering” Fassbender finally have a queer romance with Michael Fassbender, and, in the very final shot, Michael Fassbender show off his enormous feet in clown shoes…

Overlord (Justin Wyatt 2018)

hero_overlord-image-2018and so anyway it turns out the best thing about Overlord (2018) is, as any sane person would expect, the always awesome Bokeem Woodbine, though the second best thing about this very silly film featuring a mission behind German lines in Normandy in the early hours of 6 June 1944 discovering mad scientists manufacturing a Nazi zombie army is the way it poses a mystery every bit as big as how Bokeem “Okay I’ll Be In It, And The Best Thing In It, But Only For 5 minutes” Woodbine makes a living, namely, how in the hell was this film not called D-Day of the Dead

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The Girl with All the Gifts (Colm McCarthy 2016)

girland so anyway it turns out that the best thing about The Girl with All the Gifts (2016) is not the absence of Sean Pertwee in a scenery-chewing Sean Pertwee role, because if there is one thing this movie needs it is Sean Pertwee in a scenery-chewing Sean Pertwee role, no, the best thing about this movie is one or other of these two slowly dawning realisations: either a) that Gemma Arterton is gradually transmuting into Mads Mikkelsen, who, by the way, was fabulous in his unexpected turns as Tamara Drewe and Gemma Bovery; or b) that what people actually mean when they say that The Girl with All the Gifts is unlike any other zombie movie is that The Girl with All the Gifts is, more than any other zombie movie, almost precisely identical to an underdeveloped, poorly plotted, British ‘not actually sf’ sf drama mini-series…

Atomic Blonde (David Leitch 2017)

Atomic-Blonde-2017-movie-posterand so anyway it turns out that the best thing about Atomic Blonde (2017) is not the weird disjuncture between the parts of the film that want to be John le Carré (but aren’t), the bits that want to be exciting (but aren’t) and the bits that want to be sleazy (but can’t even manage that) and the bit that wants to be really cool by using George Michael’s ‘Father Figure’ in an unexpected way (but comes a very distant second to Keanu (Atencio 2016)), no, the best thing about Atomic Blonde is the complex set of emotions when you suddenly realise that the bald bloke playing C is a rather dour Peter Wyngarde and that this must have been his last film, and then when you get to the credits and discover it was actually James Faulkner impersonating a rather dour Peter Wyngarde and you kind of feel sorry for him but relieved that at least Peter Wyngarde, dour or otherwise, was spared the indignity of appearing in this piece of shit…

American Sniper (Clint Eastwood 2014)

41kcZZlsC2Land so anyway it turns out that the best thing about American Sniper (2014), Clint Eastwood’s po-faced remake of Stolz der Nation, is how it perfectly captures – both formally and narratively – the precise experience of getting bogged down in a fundamentally mistaken venture with no clear exit strategy…

Phantom Thread (Paul Thomas Anderson 2017)

imagesand so anyway it turns out that the best thing about Phantom Thread (2017), Paul Thomas “No Daddy Issues Whatsoever” Anderson’s latest paean – albeit ambivalent – to men who are monstrous pricks is not the fabrics or the frocks or the fungi, nor is it the way in which the relationship between Edward Christian Reynolds and Bella Anastasia Alma deconstructs the myth of romantic love, revealing the way it works as ideological cover for the toxicity of heteronormativity under a patriarchal class system, no, the best thing about Fifty Shades Posher is the scene at the fancy-pants New Year’s party in which there is literally an elephant in the room – and no one talks about…