Yes, the quote that titles this blog is from The Brady Bunch movie -- and, I'm sorry, but it's a guilty pleasure of mine. Christine Taylor has brilliant comic timing, though she's never used properly, and I can't think of any other film based on a TV show that I hate which actually amused me (um, well, yes, I can... Miami Vice... scratch that). PS: What Carol Brady (Shelley Long) doesn't realize is that 20,000 pennies would equal $200, not $20,000 which is needed to save their house from foreclosure... just a minor blemish.
MTV should be shot for including the film 300 in a category that recognizes the "best" of anything in their Movie Award nominations. Granted, who gives a fuck? But my hatred for the film 300 runs so deep, even this irks me.
Why do people (particularly black people) find men in drag... or more specifically, men dressed as fat women... amusing? Christ, it's barely funny any more in Some Like It Hot, and that's a recognized "classic." Now we have to have Norbit, Mrs. Doubtfire, any fucking Tyler Perry abortion, White Chicks, Big Momma's House 13, To Wong Foo, the Hairspray remake (mind you, no John Waters films are included in this blasting) and probably a bunch that were recently green-lit. Mrs. Doubtfire earns some minor respect in my book, solely for Arrested Development's brilliant parody of it.
Dear filmmakers (and TV producers),
If you feel the urge to put any incarnation of Leonard Cohen's "Hallelujah" in your film, slap yourself. This applies to you: Amy Berg (Deliver Us from Evil), anyone involved in Shrek, Andrew Niccol (Lord of War), Hans Weingartner (The Edukators), Julien Schnabel (Basquait), and the producers of that ridiculously successful show House. The song no longer emits any serious emotional response from the audience except for a groan.
Back on the subject of music, Yo La Tengo should score every film out there. With three amazing scores in just two years, they have a perfect understanding of the relation between visuals and music. See: Shortbus, Old Joy, and Junebug for reference.
Christians are scary. See: Danielson: A Family Movie (or, Make Joyful Noise Here) or Deliver Us from Evil for just two cinematic examples of such.
In addition to Christians being scary, I’m scared of Dakota Fanning. Though I think the name The Dakota Fanning Rape Conspiracy is a wonderful band name (I trademarked it, so don’t try to steal it from me), I don’t know what to make of her. She seems to always be “acting” to ludicrous extents--extents that are completely distancing from the audience. She’s not a human; she’s some sort of alien or acting robot. Granted, I am basing this solely on my “I’m-bored-on-a-Saturday afternoon” watching of Uptown Girls on TV, but I’ve been told that she’s not much different elsewhere.
I’m sick of hearing about this being the summer of “threequels.” That’s not a word, fuck off.
With this year’s Cannes film festival coming very soon, I wonder how long it will take for the Palme d’Or winner to make it stateside. Other than Fahrenheit 9/11, which had a release date before it even premiered at Cannes, most of the past winners have taken over a year, including the Dardennes’ L’enfant and Ken Loach’s The Wind That Shakes the Barley, which will be on DVD in July, a year and two months after it's big win.
Is there a “respected” Oscar winner out there who has had their name involved in more shitty film projects than Nicole Kidman? (I say “respected,” because Cuba Gooding Jr., Mira Sorvino, Marisa Tomei, and Angelina Jolie don’t count.) Though I think she needs to stay away from the Botox, I can admit that she was wonderful in The Hours, The Others, and To Die For, but look at the rest of her films. Some of them may have sounded worthwhile in the pre-production stages only to get fucked in the end (see Fur, The Human Stain, Eyes Wide Shut, and Birth), but some of them were just destined to suck (see Bewitched, The Stepford Wives, The Interpreter, Batman Forever, and Practical Magic). With all these failures, she doesn’t seem to be touched by it, perhaps because everyone forgets about her shittier projects.
I wish Steve Carrel would stick to lower-key comedy like Little Miss Sunshine; his performance in that film will keep him forever in my fondest memories, even if I dislike everything else he does.
Why do directors want to work with Kirsten Dunst? She’s only given one worthy performance in her life and she was like 10 when that happened (Interview with the Vampire, if you’ve forgotten). Ms. Dunst has managed to woo “hip” directors like Sofia Coppola, Michel Gondry, and Sam Raimi to cast her in their films (in Sofia’s case, twice!). Her performances lack any interest or, worst of all, soul, and yet I still have to hear about her. If the rumors of Kiki playing Debbie Harry in a biopic are true, God help us all.
Also on the subject of actresses, how come Jordan Ladd seems to be showing up in… everything (at least everything on my American cinema radar)? I once only remembered her as the sex-crazed Alyssa who warned her friends about the coming of the rapture (not the Siouxsie and the Banshees album, mind you) in Nowhere. Now, she’s in Grindhouse, Inland Empire, Cabin Fever, and--of course--Hostel 2. Don’t get me wrong, I quite enjoy her, and though I hate her mother (Cheryl Ladd), she inadvertently gave the world the glory that is Rose McGowan by vetoing Jordan’s involvement in The Doom Generation. McGowan replaced her as Amy Blue last minute, and the rest is history.
Quentin Tarantino has an unhealthy foot fetish. Expect a blog with numerous photo examples of such soon. Someone else has already spotted this.
And, if you haven't yet seen Kelly Reichardt's Old Joy, it has officially taken Mutual Appreciation's spot of the best film of 2006, only six months late. It's a rapturous experience that I can't say I've had in a long, long time.