4 stars out of 5
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.
Movie Review: Ferrari
Movie Review: Poor Things
3.5 stars out of 5
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….
Movie Review: Godzilla Minus One
4.5 stars out of 5
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!
Aquarium Playlist, 12/26/23
EPISODE #570: BEST NEW-TO-ME 2023 PT. 2
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.
Aquarium Playlist, 12/19/23
EPISODE #569: HOLIDAY SPECIAL 2023
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.
Aquarium Playlist, 12/13/23
EPISODE #568: BEST NEW-TO-ME 2023 PT. 1
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.
Aquarium Playlist, 12/5/23
EPISODE #567: 12th ANNIVERSARY SPECIAL (RADIO XI)
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.
Movie Review: May December
4.5 stars out of 5
I have gone on record as being a big fan of both Julianne Moore and Natalie Portman (who once guest-edited an issue of my magazine). For Todd Haynes, I had to play a little catch-up, but he’s become one of my favorite directors. So I had high expectation for this film, which were not just met, but exceeded.
Haynes returns to an idea from his infamous first film, 1987’s Superstar: The Karen Carpenter Story (the original Barbie movie!) — humanizing a tabloid tale. Here, TV actress Elizabeth (Portman) is researching the role of Gracie (Moore), who 20+ years earlier was a lurid media sensation for seducing and being impregnated by a 7th grader. The couple has stayed together all these years, raising three kids and trying to live as normally as possible. But Elizabeth’s questioning stirs up issues the family has never fully dealt with.
Moore and Portman are at the absolute top of their games. Moore’s Gracie is always smiling, always Southern polite (with a slight lisp!), until Portman’s Elizabeth digs a little too deep, and then Gracie snaps just a little — protective of herself and her family. Gracie just as quickly gathers herself and is the textbook suburban mom again. Portman, meanwhile, imbues Elizabeth with a little defensiveness of her own, selfishness, and raw ambition. She is grateful for her TV celebrity status but reminds us that she started “on the stage” (she is a serious actress!) and really wants to prove herself by totally inhabiting the Gracie character.
I wasn’t familiar with Charles Melton’s work on Riverdale (on account of me not being a tween girl) but he is excellent here as Gracie’s husband Joe. He’s quiet, subdued, trying his best but clearly not in charge — and secretly trying to carve out his own existence, like the Monarch butterflies he breeds.
The story is set in Savannah, Georgia, and Haynes visually matches the city’s laid-back vibe. The camera work is soft and a little grainy, reminiscent of a ‘70s film. It makes for a nice contrast with the ever-present simmering tension, which when it boils over is punctuated with jarring stabs of dramatic music. Haynes also repeatedly utilizes mirrors here, underscoring how characters see themselves, and how they want to present themselves to others.
Kudos to Samy Burch and Alex Mechanik who came up with the story (Burch also wrote the screenplay). It appears they’ve primarily been crew members on other feature films, while also creating a couple of their own shorts. But in their first major effort they’ve delivered a layered, emotionally complex script, which Haynes and his actors have turned into one of the best films of the year.
What I’ve Been Watching: Edition XXV
This edition is a little skimpy (slower time of year? fewer new shows due to writers/actors strikes?). I’d like to say I filled my time enjoying the splendor of nature but I think I was just watching more old movies on TCM. Anyway, here’s my TV wrap-up from the past six months.
LIKED A LOT
Smartless on the Road (MAX) I really enjoyed looking behind the scenes as the popular podcast went on a 10-city live tour. We see the quirks of Jason Bateman, Will Arnett, and Sean Hayes, their sharp and funny rapport, and the lovely friendship they share.
63 Up (YouTube) For this installment of Michael Apted’s Up documentary series, in which director Michael Apted followed the lives of randomly selected British schoolchildren every 7 years starting at age 7, I watched the 3-episode TV version. Though the Jesuit motto that begins each show, “Give me a child until he is 7 and I will give you the man,” remains mostly true for these individuals, it’s the unexpected small shifts in people’s lives that have really kept this series fascinating. (Unfortunately with the death of Apted in 2021, the fate of 70 Up is unknown.)
LIKED
Bad Sisters (Apple) I don’t feel I was the target audience for this one, but it was entertaining enough to keep me watching. Points subtracted for not giving the husband a single redeeming trait, which got a little ridiculous. Points added for introducing me to Bono’s daughter (Eve Hewson) and yet another Gleeson (Brian, son of Brendan, sibling of Domhnall).
Full Circle (MAX) From Steven Soderbergh, this was an intriguing and watchable mystery involving Guyanese immigrant culture, upper-class Manhattan, family squabbles, crooked cops, etc. But unlike a full circle, it didn’t all come together.
SORT OF LIKED, SORT OF DIDN’T
Telemarketers (MAX) The charm of this documentary series is ultimately also its undoing: Amateur documentarians revealing widespread fraud in the telemarketing business. Initially I was amused by these sloppy Jersey guys trying to uncover the truth. But soon enough I found it frustrating that there weren’t legit journalists doing the digging.
LIKELY WOULDN’T HAVE WATCHED IF THE STRIKES WEREN’T HAPPENING
The Adventures of Rocky and Bullwinkle and Friends (YouTube) When getting into or out of my prosthetics, I kill the time by watching YouTube. A favorite source of clips is Late Night With Seth Meyers (especially A Closer Look, Ya Burnt, and online-only Corrections). With that show out of production, I needed more video! Thank goodness for bootleg uploads of Rocky and Bullwinkle! I certainly watched these as a kid, but there are a ton of hilarious bits for adults that must’ve sailed over my head. I love, love, love it! Only gripe: “Aesop & Son” have dark hair in their intro, but are both blonde during the actual segments.
SIX AND DONE
Son of a Critch (WB) First time I’ve been inspired to watch a series because of a merch advertisement on Instagram. “Oh, a Canadian coming-of-age sitcom, that’ll be a nice gentle show to watch,” I thought. First episode was no good; a Canadian Young Sheldon it seemed. One and Done! But as a few days passed, I thought about a certain Canuck sweetness the show maybe had, and the strikes were still ongoing, so I watched a handful more episodes. (Maybe I’d warm to it like I did with Schitt’s Creek.) Nope, still no good.
JURY’S STILL OUT
The Curse (Showtime) I love Nathan Fielder! I love Emma Stone! So this was a slam dunk, yes? Well, not really. It has a weirdly uncomfortable vibe which I’m kind of enjoying, but am waiting/hoping for the show to kick into another gear. If it doesn’t pan out, I’ll blame co-creators the Safdie brothers who brought us the good but overrated Uncut Gems.
SHOW I HONESTLY THOUGHT I’D KEEP WATCHING AFTER ONE EPISODE, YET DIDN’T
Light & Magic (Disney+) Greta Gerwig mentioned this on the Smartless podcast. It’s a documentary series about George Lucas’s Industrial Light & Magic effects company. And I loves the Star Wars! The first episode of this show was great. When a piece of technology that they needed didn’t exist… they built it! And I learned what matte painting was! I told people in bars about it! So why haven’t I watched episodes 2–6? I don’t know!!
SOMETHING I WAS “LOOKING FORWARD TO” AND THEN DIDN’T WATCH
Women’s World Cup (FOX) I blame Team USA’s early exit and rough match times in this time zone.
YES, I STILL WATCH THE SIMPSONS
But not in a “trivia team ringer” sort of way.
THANK YOU AND GOODBYE
What a brilliant series Reservation Dogs has been, with the final season really doubling down on the importance of family, friends, tradition, and past generations in tribal culture. How To with John Wilson has been right up my comedic alley, and I hope we get to see another project from him sooner rather than later. Painting With John was never as delightful as Lurie’s Fishing With John series, but I always enjoyed spending a weekly goofy half hour with him, and am very concerned that the cancellation has everything to do with corporate cost-cutting. Quirky stuff needs to survive!
LOOKING FORWARD TO
Jeopardy’s Tournament of Champions and eventual return to regular play. The Great North finally beginning its new season. Am so happy Fargo is back. Woman at the Wall looks promising. And of course, in the new year, Curb season 12!
SHOWS I USED TO WATCH AND IN MANY CASES STILL DO
Links to Edition I, II, III, IV, V, VI, VII, VIII, IX, X, XI, XII, XIII, XIV, XV, XVI, XVII, XVIII, XIX, XX, XXI, XXII, XXIII, and XXIV.
AquariumPlaylist, 11/28/23
EPISODE #566: HURT
The Who — “Happy Jack” [THEME]
Elmore James — “It Hurts Me Too”
West Coast Pop Art Experimental Band — “I Won’t Hurt You”
Timi Yuro — “Hurt”
Pianosaurus — “A Little Love (Never Hurt)”
Terry McCarthy — “It Hurts”
Patsy’s Rats — “It’s Gonna Hurt”
Giant Sand — “Hurtin’ Habit”
Patsy Cline — “I Love You So Much It Hurts”
Johnny Thunders — “Hurtin’”
William Loveday Intention — ”I’m Hurting”
Everly Brothers — “Love Hurts”
Brenda Holloway — “Every Little Bit Hurts”
Johnny Cash — “Hurt”
Randy Newman — “I Want You To Hurt Like I Do”
Jack Silbert proudly records the Aquarium podcast in Hoboken, NJ.
Jack Silbert, curator