Does anyone else out there who watches The Office think that Pam has a case for sexual harrassment?
If that ultra-creepy moment at the end of tonight's episode wouldn't do it, then the "she will do you" comment at Career Day would. And this is coming from someone who usually understands Michael Scott as just being well-intentioned but stupid.
Plus, this comes on the heels of the hand-on-the-knee incident in the "Chairmodel" episode...and the crude, thinly veiled oral sex joke in the "Dinner Party" episode. Neither of those were Michael, of course. I wonder if they're going somewhere intentional with this.
Thursday, May 8, 2008
Sunday, May 4, 2008
Storywh0re's summer movie kickoff
I would like to mark this fine Mayday weekend by reviewing two of the first films of the Summer movie season—The Forbidden Kingdom and Iron Man
As much as it pains me to say it, The Forbidden Kingdom was forgettable. There is almost nothing about it that stays with you after you've left the theater. In brief, it is the story of a young boy, a fan of Wuxia films,who gets transported back to a fantasy version of ancient China. He aquires two mentors, played by Jackie Chan and Jet Li, who recognize him as the prophesied hero who will rescue the magically imprisoned Monkey King. None of the characters are three-dimensional, none of them grow or change emotionally or psychologically. It bothered me that a secondary protagonist who is eaten up with rage dies without getting past it. For some reason, not even the fight scenes hold the attention—which is tragic, considering how long Jackie Chan and Jet Li have wanted to work together.
The very best part of the movie is the Monkey King. Not only is he a joy to watch, but The Forbidden Kingdom would be a good movie for anyone who wanted to better understand the concept of the Trickster God.
One review that I read compared The Forbidden Kingdom to Willow as a movie that a ten-year-old might enjoy and remember fondly. I was that age exactly when Willow came out, and I think it's the better movie of the two.
Coming out of that disappointment, I saw Iron Man this morning, and now I feel that summer has truly begun.
Iron Man begins in the Afghan desert, with the kidnapping of brilliant multi-billionaire weapons developer Tony Stark. A rogue warlord tries to force him to recreate one of his newer and deadlier weapons, but he escapes instead, by creating a robotic soldier suit. Once selfish and irresponsible, Tony returns home with a new perspective and new energy technology (also his design) keeping him alive. His former captors soon want the suit for their own. To the frustration of the military, Tony, still characteristically reckless, acts on his own to stop them and to help the civilians in the area. His best friend and his personal assistant help him (as does a robot with an adorable canine disposition), but another old friend turns out not to be what he seemed.
I really enjoyed this movie. The action sequences were engaging, and the beautiful, super-cool gadgetry will appeal to the kid in everyone. (There were times when the audience literally moaned over the suit—even the girls.) The story has been updated for our complex times without taking a divisive stance, or losing touch with the themes that make comic books meaningful. (The scene where Iron Man targets baddies using human shields made me wish for a real hero so adept at avoiding “collateral damage”) The movie takes full advantage of Robert Downey Jr.'s comic talents, including one moment at the end that will leave you laughing and saying “Hell, yeah!" We get to see Tony Stark grow up, and the process, as other writers have observed, mirrors Downey's own redemption. (As a former heart patient, I really appreciated the very symbolic “heart” subplot.)
If you do go to see Iron Man, stay for the clip after the credits. It reveals a bit of future Marvelverse casting that had my audience—mainly gamers and comic fans—squeeing. It's been a while since I've been around that many people that happy at one time.
Part of the fun today was seeing trailers for upcoming movies, like The Dark Knight and The Incredible Hulk. Summer is the time for being outside and playing in the water; but it is also the time for slick, big-budget spectacles featuring talented and beautiful folk embodying beloved archetypes. I can't wait!
As much as it pains me to say it, The Forbidden Kingdom was forgettable. There is almost nothing about it that stays with you after you've left the theater. In brief, it is the story of a young boy, a fan of Wuxia films,who gets transported back to a fantasy version of ancient China. He aquires two mentors, played by Jackie Chan and Jet Li, who recognize him as the prophesied hero who will rescue the magically imprisoned Monkey King. None of the characters are three-dimensional, none of them grow or change emotionally or psychologically. It bothered me that a secondary protagonist who is eaten up with rage dies without getting past it. For some reason, not even the fight scenes hold the attention—which is tragic, considering how long Jackie Chan and Jet Li have wanted to work together.
The very best part of the movie is the Monkey King. Not only is he a joy to watch, but The Forbidden Kingdom would be a good movie for anyone who wanted to better understand the concept of the Trickster God.
One review that I read compared The Forbidden Kingdom to Willow as a movie that a ten-year-old might enjoy and remember fondly. I was that age exactly when Willow came out, and I think it's the better movie of the two.
Coming out of that disappointment, I saw Iron Man this morning, and now I feel that summer has truly begun.
Iron Man begins in the Afghan desert, with the kidnapping of brilliant multi-billionaire weapons developer Tony Stark. A rogue warlord tries to force him to recreate one of his newer and deadlier weapons, but he escapes instead, by creating a robotic soldier suit. Once selfish and irresponsible, Tony returns home with a new perspective and new energy technology (also his design) keeping him alive. His former captors soon want the suit for their own. To the frustration of the military, Tony, still characteristically reckless, acts on his own to stop them and to help the civilians in the area. His best friend and his personal assistant help him (as does a robot with an adorable canine disposition), but another old friend turns out not to be what he seemed.
I really enjoyed this movie. The action sequences were engaging, and the beautiful, super-cool gadgetry will appeal to the kid in everyone. (There were times when the audience literally moaned over the suit—even the girls.) The story has been updated for our complex times without taking a divisive stance, or losing touch with the themes that make comic books meaningful. (The scene where Iron Man targets baddies using human shields made me wish for a real hero so adept at avoiding “collateral damage”) The movie takes full advantage of Robert Downey Jr.'s comic talents, including one moment at the end that will leave you laughing and saying “Hell, yeah!" We get to see Tony Stark grow up, and the process, as other writers have observed, mirrors Downey's own redemption. (As a former heart patient, I really appreciated the very symbolic “heart” subplot.)
If you do go to see Iron Man, stay for the clip after the credits. It reveals a bit of future Marvelverse casting that had my audience—mainly gamers and comic fans—squeeing. It's been a while since I've been around that many people that happy at one time.
Part of the fun today was seeing trailers for upcoming movies, like The Dark Knight and The Incredible Hulk. Summer is the time for being outside and playing in the water; but it is also the time for slick, big-budget spectacles featuring talented and beautiful folk embodying beloved archetypes. I can't wait!
Saturday, May 3, 2008
Storywh0re goes to the Nashville Film Festival, Part 2 - Tennessee Film Night 1
My second night at the Nashville Film Festival was a redux of Tennessee Film Night One. I got to see a number of enjoyable and well-made films, and hear about them from those involved.
The first film was Electricity: Unplugging the Myth , the 2007 48-Hour Film Festival Winner from Marflux Productions. The character that all of the teams were given to work with was an electrician. The result in this case was a very cute moc-doc predicated on the idea electricity is not real, but really just the actions of microscopic workers. (Needless to say, this theory is disproved in the end.) You could tell that the movie was made in limited time, but it looks really good considering.
Also screened was Blindsided, by Eleven After Films, which won the festival's Tennessee Independent Spirit Award. In it, a young man brings his girlfriend to meet his family for the first time. They are startled that she is blind, but not nearly as startled as she is by the toxic family dynamics into which she has been thrown. The parents' marriage is falling apart, and they and the young man's siblings air their conflicts with each other. This film was filmed in twelve hours, with stage actors, and it practically crackles off the screen. It is by turns funny and shocking, as everyone is “blindsided” by something. While the wisdom proffered at the end is hardly original, it is well worth the reminder.
Fight It, by Darrin Dickerson of Ghostwater films, is perhaps best described a public service announcement for personal activism. We see a young man using money that he has earned and collected at a gym to feed the homeless, provide toys for orphans, and donate to cancer research (his mother is ill). At the end, the viewer is encouraged to “choose one thing and fight it”. The DVDs include include envelopes for related charities, and are available for free. Ghostwater can be contacted online, and Dickerson wants the DVDs to be shared between people and used by various groups to foster discussion and action.
Watkins College was well-represented by recent graduate Brent Montgomery, who directed and starred in The Pugilist. It is the story of a boxer who doesn't realize that he has been the beneficiary of rigged fights, until he is asked to take a fall. One of the most interesting things about this film was its sense of timelessness. There are elements—not just costumes and set, but also newsreels and home movies—that appear to be from different points in recent history. The movie as a whole has a 1920's or 1930's feel. The acting is good, and the boxing elements are well-researched. There are many dry, intelligent laughs, and a tentative love story which ends the film on a tender note.
The evening wrapped up with The Mother Hen, by Carlos Griffin of Half and Half Productions. Set in Middle Tennessee, this is one of the best films I have seen about the topic of immigration. A young Hispanic woman shows up with a baby at the home of a friend of a friend. Her husband has just been picked up by ICE, and she needs shelter until her brother can come get her. Her host is reluctant. The women gradually develop a connection, but not before ICE comes knocking. I felt that this piece told a very human story about the two biggest issues in America today, and managed to do so without being heavy-handed or divisive.
Tennessee Film Night One was an enjoyable and informative evening that highlighted the amazing film talent that we have here in Music City.
The first film was Electricity: Unplugging the Myth , the 2007 48-Hour Film Festival Winner from Marflux Productions. The character that all of the teams were given to work with was an electrician. The result in this case was a very cute moc-doc predicated on the idea electricity is not real, but really just the actions of microscopic workers. (Needless to say, this theory is disproved in the end.) You could tell that the movie was made in limited time, but it looks really good considering.
Also screened was Blindsided, by Eleven After Films, which won the festival's Tennessee Independent Spirit Award. In it, a young man brings his girlfriend to meet his family for the first time. They are startled that she is blind, but not nearly as startled as she is by the toxic family dynamics into which she has been thrown. The parents' marriage is falling apart, and they and the young man's siblings air their conflicts with each other. This film was filmed in twelve hours, with stage actors, and it practically crackles off the screen. It is by turns funny and shocking, as everyone is “blindsided” by something. While the wisdom proffered at the end is hardly original, it is well worth the reminder.
Fight It, by Darrin Dickerson of Ghostwater films, is perhaps best described a public service announcement for personal activism. We see a young man using money that he has earned and collected at a gym to feed the homeless, provide toys for orphans, and donate to cancer research (his mother is ill). At the end, the viewer is encouraged to “choose one thing and fight it”. The DVDs include include envelopes for related charities, and are available for free. Ghostwater can be contacted online, and Dickerson wants the DVDs to be shared between people and used by various groups to foster discussion and action.
Watkins College was well-represented by recent graduate Brent Montgomery, who directed and starred in The Pugilist. It is the story of a boxer who doesn't realize that he has been the beneficiary of rigged fights, until he is asked to take a fall. One of the most interesting things about this film was its sense of timelessness. There are elements—not just costumes and set, but also newsreels and home movies—that appear to be from different points in recent history. The movie as a whole has a 1920's or 1930's feel. The acting is good, and the boxing elements are well-researched. There are many dry, intelligent laughs, and a tentative love story which ends the film on a tender note.
The evening wrapped up with The Mother Hen, by Carlos Griffin of Half and Half Productions. Set in Middle Tennessee, this is one of the best films I have seen about the topic of immigration. A young Hispanic woman shows up with a baby at the home of a friend of a friend. Her husband has just been picked up by ICE, and she needs shelter until her brother can come get her. Her host is reluctant. The women gradually develop a connection, but not before ICE comes knocking. I felt that this piece told a very human story about the two biggest issues in America today, and managed to do so without being heavy-handed or divisive.
Tennessee Film Night One was an enjoyable and informative evening that highlighted the amazing film talent that we have here in Music City.
Storywh0re goes to the Nashville Film Festival, Part I: Trailer Park of Terror
Last week, I was lucky enough to spend two evenings at the Nashville Film Festival. This is the first year that the Film Festival has officially categorized their late-night showings.
The first night, I saw Trailer Park of Terror, based on the Imperium comic book series of the same name. It was directed by award-winning music video director Steven Goldmann. Several of the film's stars were there, including Trace Adkins, who has a running cameo as the Devil himself.
The film begins with the tragic story of Norma, a young woman who tries to run away with her fiancee to escape the baseness and poverty of the trailer park where she lives. (A few small details, including the opening graphics and a later newscast, set the story solidly in our own beloved Middle Tennessee.) The ensuing confrontation is a perfect illustration of the “crabs-in-a-bucket” phenomenon: if the people around Norma can't get out, they don't want her to, either. When the lecherous redneck men who control the community accidentally kill Norma's fiancee, and the Devil helps her get her due.
The film picks up a few years later, with a youth ministry group of troubled teenagers whose bus wrecks on a rainy night. They soon find that Norma and her neighbors are still in the trailer park, and don't plan on letting them go.
If you don't like horror movies, Trailer Park of Terror is obviously not for you. If you do, however, then you will consider it an almost perfect example of the form. It's campy supernatural horror, more akin to Rob Zombie's movies than to the self-important solemnity of The Ring. The characters, while they hardly need to be three-dimensional, are distinctive and well-acted. It is highly gory, with elements of sexual and psychological cruelty. There are a lot of dark laughs, but there is also one scene in particular that had me wishing for a character's suffering to end.
Trailer Park of Terror operates on typical horror movie morality, with death and dismemberment as the consequences for sex and drug use. (Interestingly, this provides the context for some of the most beautiful drug visuals I've ever seen in a movie.) The one character who sees the light of of the following morning might be the last one you'd expect; but then, as with all horror movies, we're here to see the protagonists die, even if we're ostensibly rooting for them.
While I actually enjoy a good horror flick more than many people, my favorite part was the music. It runs the gambit, from songs by Adkins to heavy metal to what can best be described, to borrow from Rob Zombie, as Hellbilly--Heavy Metal with a mixed retro gothic and rockabilly aesthetic.
It was interesting to stay afterwards, and hear Goldmann talk about the frenetic 18-day process of filming the movie. Trace Adkins joked that he signed on just for the Devil's “pissin' scene”.
Goldmann said that he made Trailer Park of Terror for Southerners, that he wanted us to consider it “Our fuckin' horror movie”. I have mixed feelings about this. Norma's trailer park at the beginning represents a very extreme picture of only one slice of Southern culture. At the same time, it rings true enough for Southerners to appreciate it; and he did get one thing right: we really do deep fry everything.
The first night, I saw Trailer Park of Terror, based on the Imperium comic book series of the same name. It was directed by award-winning music video director Steven Goldmann. Several of the film's stars were there, including Trace Adkins, who has a running cameo as the Devil himself.
The film begins with the tragic story of Norma, a young woman who tries to run away with her fiancee to escape the baseness and poverty of the trailer park where she lives. (A few small details, including the opening graphics and a later newscast, set the story solidly in our own beloved Middle Tennessee.) The ensuing confrontation is a perfect illustration of the “crabs-in-a-bucket” phenomenon: if the people around Norma can't get out, they don't want her to, either. When the lecherous redneck men who control the community accidentally kill Norma's fiancee, and the Devil helps her get her due.
The film picks up a few years later, with a youth ministry group of troubled teenagers whose bus wrecks on a rainy night. They soon find that Norma and her neighbors are still in the trailer park, and don't plan on letting them go.
If you don't like horror movies, Trailer Park of Terror is obviously not for you. If you do, however, then you will consider it an almost perfect example of the form. It's campy supernatural horror, more akin to Rob Zombie's movies than to the self-important solemnity of The Ring. The characters, while they hardly need to be three-dimensional, are distinctive and well-acted. It is highly gory, with elements of sexual and psychological cruelty. There are a lot of dark laughs, but there is also one scene in particular that had me wishing for a character's suffering to end.
Trailer Park of Terror operates on typical horror movie morality, with death and dismemberment as the consequences for sex and drug use. (Interestingly, this provides the context for some of the most beautiful drug visuals I've ever seen in a movie.) The one character who sees the light of of the following morning might be the last one you'd expect; but then, as with all horror movies, we're here to see the protagonists die, even if we're ostensibly rooting for them.
While I actually enjoy a good horror flick more than many people, my favorite part was the music. It runs the gambit, from songs by Adkins to heavy metal to what can best be described, to borrow from Rob Zombie, as Hellbilly--Heavy Metal with a mixed retro gothic and rockabilly aesthetic.
It was interesting to stay afterwards, and hear Goldmann talk about the frenetic 18-day process of filming the movie. Trace Adkins joked that he signed on just for the Devil's “pissin' scene”.
Goldmann said that he made Trailer Park of Terror for Southerners, that he wanted us to consider it “Our fuckin' horror movie”. I have mixed feelings about this. Norma's trailer park at the beginning represents a very extreme picture of only one slice of Southern culture. At the same time, it rings true enough for Southerners to appreciate it; and he did get one thing right: we really do deep fry everything.
Friday, May 2, 2008
"Empty" Idol.
This is a blog about popular culture, but I try to avoid the subject of reality TV. It's not Story....or is it? A recent incident illustrates why I despise American Idol.
American Idol is nothing more than a record-industry machine set up to discover the next undistinguished voice in a can. Yes, it's true, many of the singers are not ready for a record contract. Many more, in the early elimination shows, are simply awful; but I believe that most people can a be trailed to at least sing passable. Just as many performers who get savaged weekly by the petty and cruel Simon Cowell--who has never, to my knowledge, sung publicly--already have voices that are assets to their communities. Idol looses site of the fact that music is not just a business, it's a force of nature. I go to work and hear "Idol"chatter in the breakroom, and all I can conclude is that "Idol" is there to help people who are out of touch with their artisic passion feel superior to those who aren't.
I'll admit to enjoying the occasional Kelly Clarkson or Carrie Underwood song, but think about this: Idol would have never given us such unconventional voices as Buddy Holly, Johnny Cash, Janis Joplin or Joanie Mitchell.
The only reality show that's ever really held my attention was Rock Star: INXS. INXS was my favorite band at one time, and the outcome was important to me, even if it was a done deal before the last show. I'm not sure whether this incident indicates that American Idol is rigged, or just that Paula Abdul is loosing it (which we knew). Either way, give me a sitcom, courtroom drama or police procedural instead, any day.
American Idol is nothing more than a record-industry machine set up to discover the next undistinguished voice in a can. Yes, it's true, many of the singers are not ready for a record contract. Many more, in the early elimination shows, are simply awful; but I believe that most people can a be trailed to at least sing passable. Just as many performers who get savaged weekly by the petty and cruel Simon Cowell--who has never, to my knowledge, sung publicly--already have voices that are assets to their communities. Idol looses site of the fact that music is not just a business, it's a force of nature. I go to work and hear "Idol"chatter in the breakroom, and all I can conclude is that "Idol" is there to help people who are out of touch with their artisic passion feel superior to those who aren't.
I'll admit to enjoying the occasional Kelly Clarkson or Carrie Underwood song, but think about this: Idol would have never given us such unconventional voices as Buddy Holly, Johnny Cash, Janis Joplin or Joanie Mitchell.
The only reality show that's ever really held my attention was Rock Star: INXS. INXS was my favorite band at one time, and the outcome was important to me, even if it was a done deal before the last show. I'm not sure whether this incident indicates that American Idol is rigged, or just that Paula Abdul is loosing it (which we knew). Either way, give me a sitcom, courtroom drama or police procedural instead, any day.
Wednesday, April 23, 2008
Impressions
From the vault -Saved! (2004)
I watched Saved! on DVD a couple of weeks ago. It tells the story of Mary, a teenage girl attending a Christian high school, who gets pregnant when she tries to "cure" her boyfriend of his homosexual tendencies. Her nemesis is Hillary Faye, the Queen Bee of the school; her allies are Cassandra, the school's lone Jewish student, and Roland, Hillary Faye's wheelchair-bound brother (played wonderfully by Macaulay Culkin). Patrick, the pastor's son, is caught between Hillary Faye, who pursues him but who he dislikes, and Mary, who he likes, but who is reluctant for obvious reasons.
Saved! is a heartwarming funny film, and not at all hostile to religion. Both of the couples are really endearing. I was gad that in the end, even Hillary Faye is humanized, if not excused. She is a cautionary tale of what can happen when the pressure to be “good” becomes overwhelming. The worst thing I can say about Saved! Is that it, likewise, tries to do too much. The pregnancy storyline and the Christian school could both easily be movies unto themselves. (It's also hard to believe that Mary's pregancy would go undetected for so long.)
I think the real theme of this movie is diversity: diversity of beliefs, diversity of abilities, diversity of lifestyles. This is illustrated by the crowd that greets Mary's daughter at the end of the movie. All of them are keeping the faith, doing the best they can, and finding God within each other.
In theaters now - Run, Fatboy, Run
I'm not doing a full response to Run, Fatboy Run because so much ink had already been spilled over it before I even saw it. I don't honestly think it deserves the poor reviews that it's gotten. Yes, it follows a very typical romantic comedy form—boy meets girl, boy panics and looses girl, boy leads a meaningless existence before winning girl back from perfect-on-paper Baxter character. However, it was far funnier and more poingnant than I'd been led to believe. There are many refreshingly likable charaters. Unlike other reviewers, I also thought that Simon Pegg and Thandie Newton made a credible couple.
The “F” word put me off at first. While his character's weight gain is obvious, Pegg didn't exactly don a fatsuit. I'm unsure whether this shows that Europeans are healthier than Americans, or that everyone's body image is screwed up these days. Fortunately, the central issue is the hero's overall health—his stamina and endurance—and the titular insult only comes up once.
Like so many love stories, this is also a coming-of-age story. I totally connected to the idea of someone not finishing things for fear that they might not be deserving of the good results. I'm sure a lot of people can relate. The “wall” that people hit in a struggle, both in sports and in life, has not been visualized so well since The Animatrix. No, this is not Shaun or Hot Fuzz, but it's worth seeing in the theater.
I watched Saved! on DVD a couple of weeks ago. It tells the story of Mary, a teenage girl attending a Christian high school, who gets pregnant when she tries to "cure" her boyfriend of his homosexual tendencies. Her nemesis is Hillary Faye, the Queen Bee of the school; her allies are Cassandra, the school's lone Jewish student, and Roland, Hillary Faye's wheelchair-bound brother (played wonderfully by Macaulay Culkin). Patrick, the pastor's son, is caught between Hillary Faye, who pursues him but who he dislikes, and Mary, who he likes, but who is reluctant for obvious reasons.
Saved! is a heartwarming funny film, and not at all hostile to religion. Both of the couples are really endearing. I was gad that in the end, even Hillary Faye is humanized, if not excused. She is a cautionary tale of what can happen when the pressure to be “good” becomes overwhelming. The worst thing I can say about Saved! Is that it, likewise, tries to do too much. The pregnancy storyline and the Christian school could both easily be movies unto themselves. (It's also hard to believe that Mary's pregancy would go undetected for so long.)
I think the real theme of this movie is diversity: diversity of beliefs, diversity of abilities, diversity of lifestyles. This is illustrated by the crowd that greets Mary's daughter at the end of the movie. All of them are keeping the faith, doing the best they can, and finding God within each other.
In theaters now - Run, Fatboy, Run
I'm not doing a full response to Run, Fatboy Run because so much ink had already been spilled over it before I even saw it. I don't honestly think it deserves the poor reviews that it's gotten. Yes, it follows a very typical romantic comedy form—boy meets girl, boy panics and looses girl, boy leads a meaningless existence before winning girl back from perfect-on-paper Baxter character. However, it was far funnier and more poingnant than I'd been led to believe. There are many refreshingly likable charaters. Unlike other reviewers, I also thought that Simon Pegg and Thandie Newton made a credible couple.
The “F” word put me off at first. While his character's weight gain is obvious, Pegg didn't exactly don a fatsuit. I'm unsure whether this shows that Europeans are healthier than Americans, or that everyone's body image is screwed up these days. Fortunately, the central issue is the hero's overall health—his stamina and endurance—and the titular insult only comes up once.
Like so many love stories, this is also a coming-of-age story. I totally connected to the idea of someone not finishing things for fear that they might not be deserving of the good results. I'm sure a lot of people can relate. The “wall” that people hit in a struggle, both in sports and in life, has not been visualized so well since The Animatrix. No, this is not Shaun or Hot Fuzz, but it's worth seeing in the theater.
Monday, April 21, 2008
Storywh0re from the vault - The 40-year-old-Virgin
For a long time, I resisted watching The 40-Year-Old-Virgin. While my personal attitudes are far more sex-positive now than they were twenty or even ten years ago, I expected the movie to be rooted in locker-room perceptions of sex and masculinity. I was pleasantly surprised to read so many reviews describing it instead as warm, funny and even-handed. I finally watched it last night, and what I found was something in between, although ultimately more the latter than the former.
Two years after the movie's release, the premise is probably familiar to most moviegoers. Andy Sitzer, an isolated electronics store employee, admits to his co-workers that, for various reasons, he has never had sex. In the process of trying to help him, they become his friends, bewildering him with their varied and contradictory perspectives on today's muddled sexual politics. He finally meets someone he cares about, and ironically, she decides that they should wait and get to know each other before becoming intimate. (There is one huge medical inaccuracy in the movie, but I won't describe it!)
The first thing that got my attention was how well the film captures the complexity of modern life. Andy's workplace illustrates both inter-racial and intra-racial tensions. The love interest, Trish, is a young grandmother with a complex family situation. A trip to the health department illustrates epidemic sexual misinformation, among both youth and adults, even as society becomes more sexualized. Andy's adventures in dating also feel very contemporary, from the “straight” bar where girls openly snog together to the butch speed-dating bisexual who is "transitioning" back to men.
Not all of these images feel friendly or fair-minded. The character of Jay represents misogynist attitudes that exist all across society, through the lens of the Black community. When confronted by belligerent, stereotyped behavior, he responds by acting the same way. In the end, we're supposed to infer that he has grown up, just because he shows off some sonogram footage and minimizes his own infidelity. I would have felt much more comfortable if there had been at least one more positive, or even more balanced, Black character. Then, there is the “why you're gay” discussion that treads the line between hilarious and offensive.
Also toward the end of the movie, Andy is repulsed by a seductive display from Beth, a woman he picks up when he thinks he's driven Trish away. On the one hand, it's easy to imagine how anyone might be turned off by what she's doing. It's like a pre-packaged porn fantasy that has nothing to do with Andy as an individual. It's good to see the movie elevate women like Trish instead, who are whole in themselves and behave authentically. Unfortunately, the script never quite escapes the Madonna-whore dichotomy or the old Double Standard (R, TM). “I hit that a while back”, Jay explains as he leads Andy away from Beth.
I hesitate to pigeonhole myself by making feminist critique my “shtick” as a reviewer; but this movie is surprisingly ripe for it. All of the characters struggle for self-respect and wholeness in our MySpace-meets-Girls-Gone Wild culture. Trish accepts the news about Andy's inexperience very well, but I did wish that I had been more assured of her eventual sexual happiness. (The musical number at the end also kind of lost me.) The love story and the coming of age story are the real point, and I enjoyed them.
Two years after the movie's release, the premise is probably familiar to most moviegoers. Andy Sitzer, an isolated electronics store employee, admits to his co-workers that, for various reasons, he has never had sex. In the process of trying to help him, they become his friends, bewildering him with their varied and contradictory perspectives on today's muddled sexual politics. He finally meets someone he cares about, and ironically, she decides that they should wait and get to know each other before becoming intimate. (There is one huge medical inaccuracy in the movie, but I won't describe it!)
The first thing that got my attention was how well the film captures the complexity of modern life. Andy's workplace illustrates both inter-racial and intra-racial tensions. The love interest, Trish, is a young grandmother with a complex family situation. A trip to the health department illustrates epidemic sexual misinformation, among both youth and adults, even as society becomes more sexualized. Andy's adventures in dating also feel very contemporary, from the “straight” bar where girls openly snog together to the butch speed-dating bisexual who is "transitioning" back to men.
Not all of these images feel friendly or fair-minded. The character of Jay represents misogynist attitudes that exist all across society, through the lens of the Black community. When confronted by belligerent, stereotyped behavior, he responds by acting the same way. In the end, we're supposed to infer that he has grown up, just because he shows off some sonogram footage and minimizes his own infidelity. I would have felt much more comfortable if there had been at least one more positive, or even more balanced, Black character. Then, there is the “why you're gay” discussion that treads the line between hilarious and offensive.
Also toward the end of the movie, Andy is repulsed by a seductive display from Beth, a woman he picks up when he thinks he's driven Trish away. On the one hand, it's easy to imagine how anyone might be turned off by what she's doing. It's like a pre-packaged porn fantasy that has nothing to do with Andy as an individual. It's good to see the movie elevate women like Trish instead, who are whole in themselves and behave authentically. Unfortunately, the script never quite escapes the Madonna-whore dichotomy or the old Double Standard (R, TM). “I hit that a while back”, Jay explains as he leads Andy away from Beth.
I hesitate to pigeonhole myself by making feminist critique my “shtick” as a reviewer; but this movie is surprisingly ripe for it. All of the characters struggle for self-respect and wholeness in our MySpace-meets-Girls-Gone Wild culture. Trish accepts the news about Andy's inexperience very well, but I did wish that I had been more assured of her eventual sexual happiness. (The musical number at the end also kind of lost me.) The love story and the coming of age story are the real point, and I enjoyed them.
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