Liked Duck Duck Goose (2018) (IMDb)
Directed by Christopher Jenkins. With Jim Gaffigan, Zendaya, Lance Lim, Greg Proops. A bachelor goose must form a bond with two lost ducklings as they journey south.
Each weekend, Sunshine has a kids flick for $5. This weekend it was Duck Duck Goose. I watched the trailer and thought it looked fine. However, there was a surprise, a cat that was a cross between Gmork from Neverending Story and Golem from The Lord of the Rings. Maybe it captured the split nature of cats, but there were moments when it took things to the limit. I would be fascinating in a reworking of the trailer as a horror film, because it was more than a comedy.
Listened Loop Groups by Info Pocketknife from Twenty Thousand Hertz
Invisible actors create worlds of sound in everything you watch - from Jaws to The Wire. With special guests, Carl Gottlieb, screenwriter and author of "The Jaws Log"; Dann Fink, loop group director and co-owner of Loopers Unlimited; Stuart Stanley, Sound Supervisor; loop group members Eboni Booth, Dennis Carnegie, Axel Avin, Jr., Shannon Burkett, Daphne Gaines, and Rashad Edwards; and Will Ralston, supervising sound editor for The Wire, The Deuce, and Treme.
Carl Gottlieb discusses the art of subtle storytelling in film through voice and sound effects.
Liked Hollywood Doesn’t Make Movies Like ‘The Fugitive’ Anymore by Soraya Roberts (The Atlantic)
While “old-man action” movies like Taken and The Equalizer could be considered descendants of The Fugitive, they lack its character development. Those thrillers that are character driven—say, No Country for Old Men or Hell or High Water—are less popcorn, more art. The Fugitive acts as a placeholder for a time when adults could be entertained by action heroes without being condescended to (see Die Hard, Lethal Weapon, The Firm, Patriot Games), which is why many viewers who saw the movie as kids in the ’90s, and who are adults now, wield it as a nostalgic marker of taste.
Liked What About “The Breakfast Club”? by Molly Ringwald (The New Yorker)
If attitudes toward female subjugation are systemic, and I believe that they are, it stands to reason that the art we consume and sanction plays some part in reinforcing those same attitudes. I made three movies with John Hughes; when they were released, they made enough of a cultural impact to land me on the cover of Time magazine and to get Hughes hailed as a genius. His critical reputation has only grown since he died, in 2009, at the age of fifty-nine. Hughes’s films play constantly on television and are even taught in schools. There is still so much that I love in them, but lately I have felt the need to examine the role that these movies have played in our cultural life: where they came from, and what they might mean now.