Elvis Costello & the Attractions — “I Hope You’re Happy Now” [ALTERNATE THEME] Antietam — “Orange Song” The Ekphrastics — “A Painter of Mild Renown” Megan Reilly — “Love Was a Dream” Spiritualized — “Let It Bleed (for Iggy)” Tsunami — “Beauty pt. II” Bob Mould — “Next Generation” Vintage Crop — “Hold the Line” The Bug Club — “Marriage” Lotion — ”Tear” King Missile (Dog Fly Religion) — “As I Walked Thru Queens” Lewsberg — “Communion” Generifus — “Didn’t Even Look at the Mountain” The Handsome Family — “Far From Any Road”
Jack Silbert proudly records the Aquarium podcast in Hoboken, NJ.
1. Reboot the show 24. 2. Resole my Reebok ReBoots. 3. Start a 501c3PO non-profit for androids. 4. Publish subjective book about famous telescopes, In My Hubble Opinion. 5. Write bucket list. First item: Buy bucket. 6. Give up obsession with taking 10,000 steps a day with help from a 12-step program. 7. Buy an electric car, which will look cool with my electric trains. 8. Next time fisticuffs seem imminent, explain that I’m a lover, not a fighter. Whoops, typo, I meant loser. 9. Reunite Hall & Oates. Failing that, team up Daryl Hall and Joyce Carol Oates. 10. Finish my softcore multiple-marriage screenplay, Big Bigger Bigamist. 11. Withdraw from weightlifting competition at the 2024 Olympics; enter weight-loss competition at the 2024 Ozempics.
The Von Erichs were heroes to some but didn’t mean shit to me. I was a WWF kid: Bruno Sammartino, Bob Backlund, Jimmy “Superfly” Snuka, Mr. Fuji & Mr. Saito, etc. When I was a bit older there was some second-rate wrestling federation on WTBS; I associate that with Saturday nights, the folks away, and cooking up Steak-Umms on the stovetop. But I don’t think the Von Erichs were in that either.
Still — especially with my own experience as a wrestling commentator — I was interested to see this film, a “serious” look at pro wrasslin’ and this “cursed” family. I was curious when I saw “inspired by a true story” in the opening credits, which is a lot looser phrasing than “based on.” Well, here’s one example of an omission from the facts: The movie begins with dad Fritz Von Erich as a younger man, trying to make it as a pro wrestler (with his signature move, The Iron Claw!). But what I learned later from Google: He chose the name Von Erich because his bad-guy character (a heel, in wrestling terminology) was… a Nazi. So, maybe just maybe that would’ve been a turnoff for modern audiences. At least I hope so.
Fritz is played by Holt McCallany, who I enjoyed in both Lights Out and Mindhunter. The character is a Great Santini type, a hardass pushing his boys to excellence, which in their world is the NWA heavyweight championship belt. His god-fearing but generally quiet wife is portrayed by Maura Tierney from NewsRadio. I didn’t recognize top-prospect son Kevin initially; whoa, it’s Zac Efron beefed up like Ahnold! Efron, sad/catatonic through most of the story, gives the strongest performance here, and is the movie’s conscience. And look, it’s Jeremy Allen White from The Bear as the brother who hoped to be an Olympic discus-thrower, but just when he thought he was out, the Von Erichs pull him back in. His signature wrestling move: When he sneaks up on he opponent, he shouts “Behind you, chef!”
What do these cast members have in common? They’re primarily TV actors, not movie people. And this really feels like a TV movie, not a theatrical release. Because it’s just not very good or artful in writing, direction, or performance. As bad luck befell yet another Von Erich boy (there are two more: David who passes Kevin as the favored contender, and gentle Mike who only wants to play in a bar band but that’s not good enough for Daddy!), I just had to laugh — it was getting ridiculous. The filmmakers knew it, too; they omit the story of yet another doomed real-life brother, probably thinking the audience would view it as over-the-top.
There’s a hidden existential question that could’ve made this film more interesting. Early on, Kevin’s future wife (Lily James) asks him about it all being fake. Then we see Von Erichs plotting out a match with their opponents. And later, Nature Boy Ric Flair seems to be taking the sport much less seriously than the Von Erichs do. With that unexplored concept — this Shakespearean tragedy of blood, sweat, and tears in an absolutely meaningless pursuit — then you’d have a movie! As-is, it’s The Iron Blah.
I think the last movie I saw directed by Michael Mann was Heat back in 1995. And prior to that, Manhunter in 1986. But I was a big Miami Vice fan, and perhaps unfairly associated Mann with style over substance. And while the racing scenes here give Mann plenty of opportunities to show off his flair for high-speed action (vroom! vroom!), his decades of experience as a screenwriter, director, and producer have taught Mann the finer points of storytelling. And here he delivers a fully satisfying movie.
His reputation also allows Mann to hire A-list leads: Adam Driver and Penélope Cruz as Mr. and Mrs. Ferrari. The film focuses on 1957, a challenging year for the Ferraris financially and personally (specifically, Mrs. F learns about Mr. F’s secret family — Shailene Woodley and Enzo Ferrari’s bastard son Piero). The Enzo that Driver gives us is modest but supremely confident — perhaps not hard to be when everyone calls you “Comandante.” Impeccably attired and with sunglasses on (more fashionable than Crockett and Tubbs ever were), he is unflappable — but can he remain so as interior and exterior pressures mount? And Cruz’s Laura Ferrari is no shrinking violet. She knows her crucial role in the family business and is ready to fight for what’s hers. In their first powerful shouting match, Mann shows he’s up to the task conveying human emotions. Plus I could sit in a theater all day and listen to the Italian pronunciation of “Laura.”
The bulk of the rest of the cast and a giant percentage of the crew is indeed rounded out by Italians, adding to the overall authenticity. The only other name actor (to us Yanks, anyway) is Patrick Dempsey as a driver for Team Ferrari. (He is perfectly cast, as Dempsey has long been an amateur racer himself.)
We see the importance of racing to the entire community, from children’s devotion to star drivers, to the men in church clicking their stopwatches when they hear a far-off starter’s pistol, to track if Maserati’s cars are faster than Ferrari’s. The traditions, joys, and heartbreak of the racing circuit are lovingly recreated. I’ll admit to getting choked up a time or two.
And in case you were wondering: In Ferrari versus Ford v Ferrari, Mann is without doubt the man.
Dear Poor Things: Where The Wild Things Are called; it wants its font treatment back.
OK, on to the review! For the first 30–45 minutes, I was entranced by this film, laughing out loud, prepared to re-order my top movies of the year, and ready to hand the Best Actress Oscar to my long-time fave Emma Stone. Though I still think she deserves at least a nomination, and while it remains an enjoyable film with big laughs and impressive visuals, the wild creativity dries up as the movie goes on, and it becomes something much more by-the-book.
I do and yet do not blame Yorgos Lanthimos, one of my favorite directors to emerge in the 21st century. He co-wrote the first three of his features I saw — Dogtooth, The Lobster, and The Killing of a Sacred Deer — and all were dark and twisted. He did not write 2018’s The Favourite, which though still very good lacked some of Yorgos’s trademark wackiness. He again lacks a writing credit on Poor Things, and for me at least, it shows.
But again, the early going here is truly great. Willem Dafoe’s late career win streak continues as a demented but benevolent Dr. Frankenstein-type with some serious daddy issues. Emma is Bella, his daughter/experiment. Ramy Youssef, childhood friend of my young buddy Moses, is very likable as the student Dafoe hires to track Bella’s every move, in the name of science. Emma imbues Bella with childlike wonder, frustration, and curiosity, and it is such a fun performance to witness.
A puffy Mark Ruffalo shows up in a rare turn as a cad, just in time to take advantage of Bella’s burgeoning sexuality and “take her away from all this.” He’s good as always but if the movie had a smaller budget, the role would’ve rightfully belonged to Paul F. Tompkins.
In this section, the plot shifts to a somewhat more conventional coming of age/fish out of water tale. And as Bella’s intellect further develops, the fun starts to slip away. And unfortunately none of the other characters are dynamic enough to pick up the slack. On the bright side, being out in the world allows the filmmakers to create some gorgeous settings, such as the breathtaking sky the first time Bella steps out onto the deck of a ship.
Unexpected gripe from me but there’s too much sex in the movie. Early on, when Bella is discovering her sexuality, it fits the character development perfectly — it’s charming and funny. Later, it just becomes gratuitous and does not advance the story very much.
And, like in Batman Begins (ooh, 18-year-old reference, nicely done, Jack!), there is a completely unnecessary final act. The movie could’ve ended before that, saving all our butts some sitting time, and staying much more true to the main character.
Points added for casting my modern-day fave Margaret Qualley in a very small role.
Yorgos, thanks for another good time at the movies, with many goofy laughs. But in the spirit of the holidays, why not call your old screenwriting partner Efthimis Filippou? See how he’s doing, maybe kick around some zany ideas….
It’s the waning days of war in Japan, and Koichi Shikishima is a failed kamikaze pilot; you’d think the situation couldn’t get any worse. Ah, but you forgot about Godzilla, didn’t you?
Frankly, no one would blame you. In 1998, the American film conglomerate tried to reboot the big scaly guy, and since 2014 they’ve been trying again (the Strathairn era), attempting to build a pseudo-Marvel Universe of Enormo Creatures with King Kong (whose own failed revivals date back to 1976), with generally underwhelming results… and more on the way. In my humble estimation, only 2019’s Godzilla: King of the Monsters was a genuinely good film.
Now, in steps Japan’s legendary Toho Studios — creator of Godzilla back in 1954 — to show us how it’s done. In a word: Wow.
By stripping away the wide-demographic-chasing touches of U.S. movies — Puff Daddy soundtrack contributions, teen-led groups of youngsters doing their own parallel investigation, etc. — we’re left with a film that’s both honestly terrifying and emotionally resonant. The script takes time to develop the human angle. Pilot Koichi (portrayed by Ryunosuke Kamiki) is dealing with some serious PTSD and crushing guilt; he failed the military and his country with disastrous results. Forget those zombie shows — Koichi is truly the walking dead. Yet some decency deep within him connects Koichi with Noriko (actress Minami Hamabe) and orphaned infant Akiko — and as their trust builds, one of the film’s major themes emerges. Family is where you find it.
With very few opportunities to earn money in post-stomped Tokyo, Koichi is drawn back to the military world, where another makeshift family awaits. And also, Godzilla.
When the monster comes ashore and attacks the city of Ginza — where Noriko has found office work — I actually gasped in horror. The unrelenting destruction and panic even evoked memories of 9/11.
As the people of Japan decide to fight back, there is some cheesiness-slash-corniness. And yet, it works! I dare say there’s a Capra-esque quality to the proceedings, with repeated displays of people caring for one another. At the same time, there’s a critique of the country’s WWII military philosophy, and even subtle acknowledgement of Japan’s participation in the Axis powers.
What a delight to be caught off-guard by such a thrilling, effecting film. Go go Godzilla!
The Who — “Happy Jack” [THEME] The Surfrajettes — “Warm Up” American Trappist — “…Rides Again” Loose Wing — “Moving Blankets” Trust Fund — “Cut Me Out” Alien Boy — “The Way I Feel” Annie Blackman — “Drive” Have a Good Season — “Shoulder Blades” Well Wisher — “Need You Around” San Tropez — ”Here Is Glowing” Paper Bee — “My Love Is” Puppy Angst — “Timekeeper” Lowercase Roses — “Salt the Sea” Sun Organ — “Please Not Today” Iceblynk — “Spared” All Under Heaven — “Don’t Suffer Alone” Glare — “Blank” deadharrie — “Florida” Paint Fumes — “Starting Over” Truth Cult — “Resurrection” Movie Movie — “Better Off Friends” The Prof.Fuzz 63 — “Jazz Wives” Jacuzzi Boys — “Fell Into a Hole” The Dreaded Laramie — “Tell Me” Real Burn — “Burner” Merce Lemon — “Tiny Man” The Whiffs — “Never Be Free” Shadow Monster — “Temporary Love” Emily Robb — “Solo in A”
Jack Silbert proudly records the Aquarium podcast in Hoboken, NJ.
Darlene Love — “Christmas (Baby Please Come Home)” [ALTERNATE THEME] Los Straitjackets — “Deck the Halls” Ohio Players — “Happy Holidays” [pt. 1] Yo La Tengo w/ Ira Glass & Eugene Mirman — “Toymageddon” Giant Sand — “Thank You, Dreaded Black Ice, Thank You” Student Teachers — “Christmas Weather” Swansea Sound — “Santa Bail Me Out” Colleen Green — “I Believe in Santa Claus” Ribeye Brothers — “Eyes of Santa” Vince Guaraldi Trio — “Christmas Time Is Here” The Porchistas — ”A Dirty Jersey Christmas” The Courettes — “Christmas (I Can Hardly Wait)” Eels — “Christmas Is Going to the Dogs” Nick Lowe — “Christmas at the Airport” Cassie Ramone — “I’ll Be Home for Christmas” The Pogues feat Kirsty MacColl — “Fairytale of New York”
Jack Silbert proudly records the Aquarium podcast in Hoboken, NJ.
The Who — “Happy Jack” [THEME] Surfer Joe — “The North Swell” Hallelujah the Hills — “My Name Sounds Sinister” BabyBaby_Explores — “Twiddle” Blondshell — “Dangerous” The Sunken City — “Sometimes It All Comes Together” Ov Stars — “Ov Stars” Philosopher Pirate — “Heart Strings” Roe Knows Best — “Northbound”
Saw in previous years, obtained records in 2023: Lightheaded — ”The Garden” Erika Sherger — “Indecision” Tami Hart — “Thanks for Saying Hi” Teen Idle — “Every Night”
SUSS — “Laredo” Karl Blau — “The Reins” Cory Hanson — “Housefly” Paisley Fields feat. Lavender Country — “Stay Away From My Man” Carson McHone — “Hawks Don’t Share” Fake Eyes — “Illuminate” To the Wedding — “Here and How” Cor de Lux — “Syncopated” Percocet — “I’m Leaving” En Attendant Ana — “Principia” Good Grief — “High to Low” Plastic Palms — “Heat” Gwenifer Raymond — “Ruben’s Song”
Jack Silbert proudly records the Aquarium podcast in Hoboken, NJ.
The Who — “Happy Jack” [THEME] The Resonars — Radio Limbo ad The Buggles — “Video Killed the Radio Star” The Donnas — “Gimmie My Radio” XTC — “Radios in Motion” Dwight Twilley — “Radio” The No Ones — “KLIV” Sensational Country Blues Wonders — “Airwaves” Bad Moves — “Spirit FM” John Hiatt — “Radio Girl” Swansea Sound — ”Greatest Hits Radio” Micky Dolenz — “Radio Free Europe” Squalls — “Elephant Radio” Minor Alps — “Radio Static” Harry Nilsson — “Turn On Your Radio” The Pogues — “The Parting Glass” r.i.p. Shane MacGowan
Jack Silbert proudly records the Aquarium podcast in Hoboken, NJ.
Jack Silbert, curator