Review: Monos (2019)

I reviewed Monos, an intense new film from Brazilian filmmaker Alejandro Landes, for Rogerebert.com.

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Present Tense: Matthias Schoenaerts

I’ve written a lot about Matthias Schoenaerts over the years. From Bullhead to Rust and Bone (which I went really long on here), to 2016’s Disorder (which I reviewed for Ebert).

I decided to discuss Schoenaerts’ work – especially his gift for playing tormented bound-up masculinity – for having insight into what’s really going on there – for my new column at Film Comment.

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Review: Chained for Life (2019) See it.

I did my best to describe how Aaron Schimberg’s Chained for Life works in my review of the film on Rogerebert.com. But at a certain point, the real message is: you just have to see it for yourself.

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The Two Days That Came Before

About 15 years ago, I gave myself the exercise to write down everything that happened “the two days that came before” – one of the reasons being that both days were unique and memorable, in their own small ways, nights to remember. These days took on more significance afterwards, in the aftermath, as the new world started and the old world ended, and I looked back across the gap. It was surreal. And it continues to be surreal to me, which is maybe why I needed to write it down. I took a picture of the World Trade Center on the evening of September 10th, out my bedroom window. I stared at it for a long time, since it was a new view to me. Like I said, surreal, especially in looking back. I won’t say that “I somehow knew what was coming” because of course I did not. But the two days that came before were very particularly New York kind of days, a New York – and a me – that doesn’t exist anymore. People sometimes get annoyed at detailed personal essays. They’re like “it’s not all about you.” Of course it’s not. But in an essay like this, it IS. It’s about what I remember. The point of it was to re-create what I remember of “the moment before”, in as much detail as I could muster. So here it is.

September 9

I rushed to meet my sister Siobhan for a drink. We were convening at Astor Bar, one of our favorite places in the city. It was in a central location, it was close to Siobhan’s job and it was also right around the corner from where 2 of my cousins lived, so it was a great “let’s meet there” spot. Astor Bar was the O’Malley-family jumping-off point.

I was dressed up, I remember. Long tight skirt, high heels – and I was hurrying, as quickly as I could, across 4th Street. I was late.

I only remember how warm it was because, in my hurrying, I started sweating, and my powder dissolved off my face, which bummed me out. I stopped in an empty doorway, popping out my compact, checking out the damage, and thinking: “Ah well. Tonight is too hot for powder then.”

Strange. The things the brain retains.

Astor Bar had an upstairs bar with a big window, looking out on Bleecker Street. There was also a downstairs bar, shadowy, rather decrepit with peeling ceilings, and cavernous red leather booths, extremely atmospheric and dark. The upstairs bar, though, was the good meeting-spot because you had a view of all the comings and goings up and down Bleecker – with 2 tables in the window, high bar stools – and then room for about 6 or 7 stools at the small curved bar. As I hurried past this window, I saw Siobhan, in a sun dress with a pleated skirt, sitting at one of the tables in the window.

Then, in the next moment, as I entered, 5,000 things happened at once. Each thing clear, distinct, set apart, and remembered perfectly, like a flickering newsreel, the images burned on celluloid. Clarity of memory is a blessing and a curse.

I pulled the door open.

In a flash second, I saw a guy sitting at the bar with a couple of other people. My eyes just quickly glanced over him, and I saw that it was a guy I met at a party the year before. At the party, there was an instantaneous and powerful chemistry, a recognition, a strange and unmistakable feeling of: “Wow … I already know you … ” We took a walk through Soho together at 3 in the morning, talking, laughing, the world was our playground, we could have kept talking forever.

Truth be told, our behavior that first night was not really the behavior of two mature adults meeting one another. It was more along the lines of babies reaching out to each other from separate shopping carts in the aisles at grocery stores … or the sudden intimacy between romping dogs at Washington Square Park … Recognition. Oh. You. You are like me. I know you. We are the same.

I had not seen him since that night a year earlier, and then suddenly – on September 9, 2001 – there he was. Perched on a bar stool at Astor Bar.

So what did I do? I ignored him.

Reminds me of this quote from Nancy Lemann, one of my favorite authors:

It is always remarkable when someone sees your soul to a better degree than you see it yourself. You could count the people who see your soul on one hand. Others might know you but they would forget; their knowledge of you was like a weak and undisciplined thing. But that wasn’t so with him. He didn’t forget. It stuck in his mind. He had seen a kindred soul. He had seen it long ago. She only saw it now. But she was stricken with it. Suddenly she had identified him. There was the man she loved. As a result, she proceeded dementedly to behave as if the opposite were true.

I was so thrilled to see this man again that I “proceeded dementedly to behave as if the opposite were true.”

I swept by him, blithely pretending that I didn’t see him. I was a terrible actress, although I thought I would win an Oscar for how much I DIDN’T KNOW HE WAS THERE. I went straight for Siobhan, pretending to be oblivious – and yet inside I was thinking, It’s him, it’s him

Siobhan and I greeted each other, big hug, and I hissed at her, like an outlaw, “So and so is here. But don’t. Look. Now.” I didn’t know how to be casual and just say to him like a normal person, “Hi! How are you?”

This was all made even more awkward because I felt him see me. His entire posture changed. He sat up poker-straight, his head turned my way. It was like a moment on the Discovery Channel. Animals in the wild, alert, ears turned up and out.

I knew he saw me, and yet I made this elaborate pretense that I was oblivious to his presence. I was acting like an ASS and I could not stop myself.

It continues to be strange to me that this entire dance of awareness and avoidance would be so technicolor-vivid to me even now. I remember the body language, the pauses, how he tilted his head. And not only the first moment, but the whole rest of the night at Astor Bar … I remember our exchanges word for word. The entire night is preserved perfectly in my memory, a fly drowned in amber.

A lost world.

It would be the last time (for a long long time) that I would be in a group of people and be able to talk about everyday things, movies, theatre, life, poetry. Two days later and all interest in anything other than THAT would vanish for a long long time.

And so the conversation on September 9th stands out for me, a museum exhibit of a world long vanished.

All is preserved. Especially that moment when I first walked in, saw him, ignored him, he saw me, and I walked by, pretending to not see him. How he sat up straight and watched me pass, how I leant in to my sister and hissed at her “That’s him, that’s him…”, how I could feel him watching me like a hawk, waiting for an “in”.

Finally, he could no longer stand the wait, and he yelled – yes, YELLED – across the bar at me – causing a dead silence to descend:

“WHY ARE YOU IGNORING ME?”

I still laugh when I remember that.

Why do I laugh? Because in that loud unafraid moment, he called me on my bullshit. He didn’t let me get away with the charade of “Oh my God, I didn’t see you when I first came in! You’re here?? Wow, what a coincidence!!” He KNEW I was ignoring him, and he YELLED that at me across the bar.

That’s why I fell for the guy a year before. He understood me without knowing me. And believe me, that never happens.

So I continued to be an asshole, looked over at him and feigned surprise.

“Hi there! Wow! You’re here??”

He stared at me with excitement, adrenaline and deep scorn. He stated, “You walked right by me.”

“Oh … sorry … I didn’t see you …”

I knew he busted me, and I knew that he knew I knew … and it all was hilarious and beautiful. I loved that he busted me. It made me feel safe. He knew I was acting like a jackass, and that the reason why I didn’t say Hi to him right away was because I was having a “riot of feeling” – but judging from his posture change, and his behavior the rest of the night, he also experienced a “riot of feeling” at the sight of my face … and so he saw that I was protecting myself for a second … and he busted me on it, with humor.

It seemed like everything was going to be okay.

This is how it was. I walked away from Astor Bar later, coming home at about 2 o’clock in the morning, thinking to myself, “Wow. Everything’s going to be okay, I think.”

That’s what I thought as September 9th turned into September 10th.

Our two groups merged – Siobhan and I going over to sit at the bar with him and his small group of friends. We sat and talked, all of us, in that beautiful way that happens sometimes, rarely: vigorous, up, down, people interjecting, fights breaking out, random bursts of laughter, blurting inappropriate statements, one person rising to the forefront with everyone else listening, someone else chiming in fluidly with their interpretation, either adding or detracting … It went on and on and on and on and on.

The conversation would have stood out in my memory even if the world didn’t explode two days later.

At one point, Siobhan and I were being entertained by one member of the group, a guy we still laugh about to this day. All he needed to do was light his cigarette, and we would burst out laughing. And with my lunatic peripheral vision (on overdrive that night), I saw that my crush was sitting down the bar, watching us. Not speaking, not joining in, just watching the two of us talk to his friend. And suddenly he exclaimed to the person sitting next to him, “Are those two women the most gorgeous women you’ve ever seen in your life?”

I don’t say this to be vain. I just say this because it happened. It is one of the many things that I remember.

When he and I said goodbye to each other, there was a repeat of our good-bye on the night we first met, only it was deeper and more tormented. He hugged me like he never wanted to let me go, and he kept saying my name into my neck. It was a spectacle. I pried him off me. I knew he was dating someone else. His response to me brought with it an ache, as well as a confirmation of what I felt on that first night. But still, such encounters make one feel one’s loneliness in an acute way. He and I would have one more major encounter, the following year, where all of this came out into the open. That night in 2002 was the entrance of the Really Bad Time, exacerbated by the grief and rage of what happened to my city, my country … I could not process anything else and after our final encounter, I descended into a Bad Time that lasted for years. In many ways, I will never be the same again. You don’t bounce back from everything. But for now, we are left with the fizzy hilarity of the group experience at the Astor Bar, where the loneliness I felt was a bittersweet twinge as opposed to a Gavel Rap from a Judge after handing down a Life Sentence.

Afterwards, Siobhan and I walked through the warm night to our respective subways, still laughing and laughing about certain moments over the course of the night. We cried off our eye makeup.

September 10

I emailed him first thing that morning, writing, “Just wanted you to know how great it was to see you last night!”

I thought, and I meant it: “It’s not about getting a response. People should say this stuff to each other when they have the chance.”

My friend David has often observed to me that my life operates “like a literary conceit.” Writing out these events makes me understand why he says that. My crush did not respond, but a week later, smoke still rising from downtown, he reached out, just checking in to make sure I – and the people I loved – were okay. Siobhan worked in the building next to the towers, and ran from the collapsing buildings, and was then missing for 6 hours until she arrived at my cousin’s apartment way uptown later that afternoon. Those were crazy days with almost no cell phone service. I heard from people I hadn’t heard from since I was a child. I told him we all were okay, although Siobhan being out of touch for so long – when we all knew where she worked – was so awful I still couldn’t think about it. I asked him if he was okay. He said yes, at least physically. He told me the guy who had been making Siobhan and me laugh so hard at Astor Bar was a trader at the NYSE, and he, like Siobhan, made it out in the nick of time. The two of them may very well have been running away from the collapse on the same street. New York is a huge city but it is also a very small town.

September 10 was a Monday. I got no sleep because of the romping the night before. But I felt wide awake, alert, my mind swirling with images, and occasional bursts of laughter from the shenanigans of the night before. My journal entry for that day is barely controlled hysteria and joy. “I’m happy, God, I’m so happy right now!”

I’m just reporting the truth. That’s what I wrote in my journal on September 10. It’s not my fault it’s also a literary conceit.

Just 5 days before, my roommate Jen and I moved into a new apartment. Our landline was not hooked up yet, our TV was not hooked up yet. In normal times this would have been no big deal, a minor annoyance. But in September 2001 it turned into a huge deal. It would take us a month and a half to finally get a phone hooked up, because of the chaos in the city. On that Monday, September 10, when I returned home from work, our entire kitchen was still in boxes. We had barely unpacked.

All windows opens. Cross-breeze.

My heart was still singing from my hours-long evening in the presence of a man who seemed to get me, seemed to enjoy me. Those were dark years for me. I subsisted on crumbs. I can see that now.

Jen was there, arranging her room, getting accustomed to her new space. Our bedrooms both faced east. The gleaming World Trade Center towers were visible above the Hoboken skyline. I could see them from my bedroom, and they looked different from minute to minute, since they reflected the ever-changing sky. I took a photo of the gleaming towers on September 10th.

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Jen and I lay down on her bed, our feet dangling off the sides, looking out at the Manhattan skyline. I told her the entire story of the night before. “You’re never gonna guess who I ran into last night …”

She asked me 598 questions, and we talked about it to our hearts content. She had me re-enact certain moments so she could get the full picture. Great fun.

But it makes me uneasy to think of now.

It was about 10 pm, and Jen said she was afraid she was going to have trouble getting to sleep that night because it was a new place and all. And would I mind reading out loud to her? Maybe that would help her go to sleep.

She never asked such a thing before. It was a strangely intimate request. I love reading out loud but wasn’t sure what I should read. She said, “Just pick out a book you like – I don’t care …”

I was so excited. I went into my room where, of course, the first thing I organized was all my books. I thought: “Hmmm. What do I want to read to her … what do I want to read to her…”

Out of nowhere, I picked out Paul Zindel’s The Pigman, one of my favorite books ever written. I first read it in 8th grade but its charm and humor has never palled. It was one of those life-saving books I read at an all-important time, when everything seems dark and grim (re: junior high) and that book, about 2 outsider kids who befriend a weird little old man who collects china pigs, made me realize I wasn’t alone. There were other “freaks” like me out there, life could be beautiful, you could have a possibility of joy in life.

That is what The Pigman is about.

Maybe I pulled that book off the shelf on the night of September 10th because there was a clear dovetail between the book and my feelings for my crush, and what the crush unleashed in me. There is definitely a connection. It all feels like the same experience, in my memory.

Jen and I curled up on her bed, the summery night wind blowing through the dark window, and I read a couple of chapters out loud to her.

We never did this again. It was the only time.

The Pigman ended up not being the best choice because it is laugh-out-loud funny, and I could barely get through it. Jen kept guffawing like a mad woman, instead of falling asleep. I kept being unable to go on, and so my laughter would make her start to laugh, and the whole thing disintegrated into a guffaw-fest.

As I read it, with tears of laughter in my own eyes, I kept interrupting myself and saying to Jen, “God, I haven’t read this in years … this is so fun …” I read it in Ireland when I was 14 and laughed so loudly my mother had to come down and tell me to be quiet.

I got through about three chapters.

Jen finally murmured, “Okay. I think I can fall asleep now.”

I tiptoed out of her room, turned the light off, and went into my new room.

There was something heightened and very tight in my heart. Sometimes I get too excited. My experience of things is so intense I can’t bear it. I can’t sleep. I lie in bed, going over and over and over things that excite me.

And that’s what I did that night, after writing in my journal about the Astor Bar meeting with love-at-first-sight guy, the crush I could not have but loved anyway.

I lay in bed, for hours, the darkness in front of my eyeballs, re-living that moment when I first walked into Astor Bar … and he sat up straight in his chair … and he followed me with his eyes … and his voice boomed across the bar, “WHY ARE YOU IGNORING ME…” … I didn’t know why it pleased me so much, but there was an intense and satisfying aesthetic to it.

The other replay in my mind as I lay in bed on the night of September 10th was how much I enjoyed sharing The Pigman with Jen in our new windy apartment staring out at the Manhattan skyline. Staring out at the towers.

I thought to myself over and over in the darkness, as I slipped off into sleep: I really must read that book again someday …

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50 Best Albums, by Brendan O’Malley, #16. The Beatles, The White Album

My talented brother Brendan O’Malley is an amazing writer and actor. He’s wonderful in the recent You & Me, directed by Alexander Baack. (I interviewed Baack about the film here.) His most recent gig was story editor/writer on the hit series Survivor’s Remorse. Brendan hasn’t blogged in years, but the “content” (dreaded word) is so good I asked if I could import some of it to my blog. He did series on books he loved, and albums he loved. I thought it would be fun to put up some of the stuff here. So we’ll start with his list of 50 Best Albums. I’ll put up one every Monday.

Brendan’s list of 50 Best Albums is part music-critique and part memoir and part cultural snapshot.

I have always loved these essays, because I love to hear my brother talk. I am happy to share them with you!

50 Best Albums, by Brendan O’Malley

16. The Beatles – The White Album

This is not your ordinary Top 50 List. First of all, the albums are not in any real order in terms of quality or ranking. I merely search through the muddled ether that serves as my cerebral cortex and I grab onto whatever seems weighty enough to drag my fingers down to the keyboard from their normal position, which is on my skull tearing my hair out.

Putting The Beatles up against anyone else in pop music is unfair. Being a musician in the wake of The Beatles is like claiming to be the Messiah anytime after this guy named Jesus was hanging around. You might be able to do it, you might get a few people to believe in you along the way, but the scope of history is not going to pay you much heed.

So let me state that if this were any kind of conventional list, the 13 official album releases of The Beatles would be #’s 1 thru 13 and everyone else would be a very distant 14 thru 50.

Since it is an unconventional list, I am picking the album that is sort of like the Sesame Street song…”one of these things is not like the other”.

The White Album. Right away there is something subversive going on because everyone knows the album by a title which is incorrect. Out of all of their albums, THIS one is the one The Beatles were comfortable saying, “This is The Beatles” about. As an artist, I look on that as a very significant gesture on their part.

The two previous albums had been Sgt. Pepper’s and Magical Mystery Tour, both of which fictionalize the band to a certain degree. There is a level of myth and creation that sets them apart, that separate the listener from the band. This has its own set of pleasures. And as I said, either of those albums could go at # 1 on any list and it would not be inappropriate.

But if you want a real idea of what it was like to be one of those 4 guys trapped inside of that nuclear bubble of fame, creativity, politics, cultural upheaval, Cold War posturing, media explosion, the dismantling of accepted sexual structure…this is the album to listen to. And those 4 guys collectively said, “This album is The Beatles.”

(In a very interesting side note that undercuts everything I’ve just been typing, legend has it that they wanted to call the album A Doll’s House but some band called Family released a similarly titled album earlier in the year. I could write 17 books about this one fact. Or read 29 books about it. Or both.)

I just got overwhelmed by merely looking at the track list. I can’t go into it. I feel mildly like Nigel Tufnel forbidding Marty DiBergi from even looking at a certain guitar in his collection.

I’ll go back to the simple fact that these 4 guys, clearly at the top of their game, having completely restructured the music business, shot a youthful jolt through the crusty bullshit of a decaying outdated moral framework, experienced fame in a completely unprecedented manner…these 4 guys together decided that THIS particular album didn’t need an intricate cover, didn’t need a clever title, didn’t need any trappings WHATSOEVER. All it needed was the packaging material it came in and two words on the cover.

The Beatles.

To speak of these things is dangerous and unnecessary. How can you quantify genius on that scope? Tell me what the universe means. Why is the sky blue. What does it all mean?

I am a false Messiah.

— Brendan O’Malley

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Review: Satanic Panic (2019)

I reviewed this new new horror-comedy for Rogerebert.com.

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Review: Ms. Purple (2019)

I really dug Ms. Purple. I reviewed it for Rogerebert.com.

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August 2019 Viewing Diary

While We’re Young (2014; d. Noah Baumbach)
Part of my own Noah Baumbach retrospective in preparation for writing a piece for Film Comment about his filmography. On stands now. Or order here! I love this one. It’s so honest and funny about growing older, feeling left behind, the mix of admiration/resentment of the young … Adam Driver is just perfect in this. Well, he’s perfect in everything.

Blinded by the Light (2019; d. Gurinder Chadha)
I really liked this. I reviewed for Rogerebert.com.

Light of my Life (2019; d. Casey Affleck)
This didn’t get much chatter which I find slightly surprising, especially considering it was directed by Affleck. I really liked the film and feel it was quite effective. I reviewed for Ebert.

The American Dreamer (1971; d. Lawrence Schiller and L.M. Kit Carson)
The crazy documentary about Dennis Hopper. Or, not even really a documentary. Schiller/Carson just follow Hopper around, and Hopper speaks. And has sex with multiple women in bathtubs. And hosts parties at his house. And shoots guns in the desert. And never ever stops talking. The whole thing is riveting. On Youtube. I re-watched in preparation for my piece on Out of the Blue for Film Comment.

Aquarius, Seasons 1 and 2 (almost)
So the conversations around Once Upon a Time in Hollywood – which seemed to take place almost 100% on Twitter – were just not my scene, maaan. Who knew that “the Manson murderers did a bad thing” would be a controversial opinion? In one of the conversations on Facebook, though, someone recommended Aquarius to me, a TV series which I had completely missed the first time around (2015-2016). Starring David Duchovny, Aquarius is about a homicide detective in late-1960s Los Angeles – who, along with working a bunch of other cases – is also trying to track down the daughter of an old girlfriend. The daughter ran away from home and is apparently living with a bunch of hippies in some house in one of the canyons, and she’s in thrall to the “leader,” a grub-ball named Charles Manson. The series was about a lot of things – the clash of the older square generation (as represented by Duchovny – which doesn’t quite work. Duchovny can play many things but he can’t really play The Man) with the younger hipper angrier generation – it was about Los Angeles in the late 1960s, a swirling mass of chaos and riots and Black Power compounds and hippie compounds, and yadda yadda. I liked a lot of it. But there was much I did not like, and in Season 2 I got so turned off I stopped watching. Ironically, all of the things people were criticizing Once Upon a Time in Hollywood for – criticisms I mostly disagreed with – are completely true of Aquarius, so much so that I recoiled. Manson was the main focus in Aquarius (he has only one short scene in Hollywood), and when he’s given a lot of screen-time, he becomes the focus, the mad-genius-leader, the “reason” all this happened, screentime where he gets to act crazy and threatening and messiah-like – scaring Dennis Wilson, etc. – people who wanted “more Manson” in Tarantino’s film … this is what it would have looked like because this is what it ALWAYS looks like when Manson is prioritized. He’s the boogey-man. That’s how he thought of himself, too. But the issues are far more complex than that. And key elements of the Manson story were changed, basically to make them seem even MORE evil (which … why. They already were evil). For example, Mary Brunner gave birth to Charles Manson’s son. This is a fact. She gave birth in some isolated location, surrounded by other members of “the family.” This is also a fact. In Aquarius, though, the baby is born dead. This is NOT a fact. Charlie is so devastated that Susan Atkins dresses up as a nurse, infiltrates a hospital, and steals a newborn. She brings it back to the family. And Mary Brunner hugs the stolen baby, crying. And that’s it. The baby is never returned. There are rules with “alternate history.” Aquarius presents it all as factual. You don’t need to PUMP UP Susan Atkin’s potential for evil. It’s already on the record. There were also extremely graphic shots of Sharon, pregnant, near-nude, dead on the floor, staring at the camera. That’s when I stopped watching. Nope.

Once Upon a Time in Hollywood (2019; d. Quentin Tarantino)
Second time, I saw it with Allison, my partner in Helter-Skelter-crime. She noticed something I hadn’t, the first time. I described it in my newsletter, which … here you can sign up, if you want. Leo is so so good. The scene where he fucks up the scene … My God, it’s so real.

Peanut Butter Falcon (2019; d. Tyler Nilson and Michael Schwartz)
I was so moved by this film. I reviewed for Ebert.

De Palma (2015; d. Noah Baumbach, Jake Paltrow)
More of my Noah Baumbach research. I saw this when it came out. It’s very good. No “talking heads.” The only talking head is De Palma, and it’s great to spend some quality time with him.

The Seduction of Joe Tynan (1979; d. Alan Alda)
I watched this for the Barbara Harris factor, preparing for my essay on Female Comedians. I saw this a million years ago. In college, I think. Meryl Streep was exploding, and this was “early” work, so I was curious. It’s now pretty hard to find. I had to pull some strings. It’s interesting. You can see Alan Alda’s self-righteousness at play, and you can also see how he – subconsciously? – lowered the stakes for himself. The man is “seduced” but he also has a great and sexy relationship with his wife (Harris). There are two valid choices for him. And he makes the right choice in the end, but they have this long meaningful stare across the primary-floor, and you can tell that she is now like, “You’re a bad-ass, and I love you, and I’m all in with your political career now.” So … okay? Harris is great, though. It’s THE performance in the movie.

Bridesmaids (2011; d. Paul Feig)
It’s just so freakin’ good. I don’t even know how many times I’ve seen it. It’s so hilarious but it’s also so damn honest. It has everything, cake and eating it. Humor and pathos. Incredible cast. And it’s really honest about feeling like you’re being left behind by your friends. Love it. Watched it, again, for my Female Comedians piece.

Mindhunter, Season 2
My God, I’ve been counting the days for this and my God it didn’t disappoint. Fascinatingly enough, there was a whole “Manson episode” and so … August, which is the anniversary of the murders, was very Manson-heavy – so much so I was like, “This asshole again? I thought he was dead and we’d never have to hear him fucking talk again.” There was Once Upon a Time in Hollywood, Aquarius AND Mindhunter. There was also, earlier this year, the despicable The Haunting of Sharon Tate (I was unfortunate enough to review it – giving it my only flat-out no-points Thumbs Down), and Mary Harron’s Charlie Says, which had some interest (but the more I think about it, the more I dislike it). The Manson episode in Mindhunter is fascinating, as is the follow-up interview with Tex Watson. They both say different things: Manson puts it all on Tex and Susan, Tex throws it right back. But it’s treated intelligently and with enough ambiguity that it makes you think about it, rather than come down as a Hammer of Truth. I was fascinated by it. If you’ve been reading me for any length of time, then you already know my feelings on the Manson family. Unless you’ve driven out to Hawthorne to wander around the Western supply store where members of the Manson family had a shootout with the cops – as I did with Alex and Emily – we all were like “we have an afternoon together so here, let’s do THIS” – then maybe do a bit more reading before you tell the rest of us that we’re all just blood-thirsty ghouls for our interest. How is it even possible that some people seem to not realize that True Crime is one of the most popular genres there is? Whatever. Back to Mindhunter. I was fascinated by the development of the Bill Tench character – played by the great Holt McCallany (great as in capital-G great). Season 1 was really about Jonathan Groff. Season 2 is all about Bill. There’s a moment where he’s manning the grill in some depressing backyard barbecue he’s hosting, and he’s wearing plaid pants, and it’s just perfect.

Once Upon a Time in Hollywood (2019; d. Quentin Tarantino)
Allison and I wanted to see it again. So we went again. God, I love this movie. Every time we’ve gone, the place has been packed. It plays like gangbusters.

The Mustang (2019; d. Laure de Clermont-Tonnerre)
I had missed this on its initial release early this year, but I’m such a Matthias Schoenaerts fan I caught up with it as quickly as I could. He’s so good.

Jawline (2019; d. Liza Mandelup)
I was surprised by how moved I was by this documentary about a Tennessee teenage boy’s dream of becoming a YouTube sensation. I expected to judge. I was drawn in. There’s something wistful and sweet in Mandelup’s approach that really really works. I reviewed for Ebert.

Hard Times (1975; d. Walter Hill)
I had forgotten how good this is. How good Bronson is in it. Everyone’s good in it. And the look and feel of it – seedy-glamorous-Depression-era beauty, the Walter Hill look and feel, stylish and moody, calling up memories of other movies, and also grounding the action in what seems like a very real place. I loved it.

The Family, episode 1-3 (2019; d. Jesse Moss)
I didn’t finish this Netflix documentary about a right-wing Christian secret society which basically runs the world. It was good and paranoid, but I guess not as revelatory as the film thinks it is. Of course these horrible people are organized. Of course. And of course they’re all hypocrites, having affairs and behaving in all kinds of inappropriate ways. This is not news.

The Warriors (1979; d. Walter Hill)
As you can tell, I’m on a Walter Hill kick. This movie is a classic.

The 43, Season 1, episode 1-2 (2019; d. )
Netflix docuseries about the disappearance of 43 students in Iguala, Mexico in 2014. It’s extremely upsetting and I highly recommend it.

The Long Riders (1980; d. Walter Hill)
Such a fine film. Charlie and I went to go see it at the Metrograph on Father’s Day last year. If you haven’t seen it, what are you waiting for? Featuring all of these actor-brothers: the Quaids, the Carradines, the Keachs, the Guests … plus a phenomenal cast of women. Great roles for women. Really the whole movie is about these guys’ relationships with their women. Pamela Reed! I love it so much.

Monos (2019; d. Alejandro Landes)
I will be reviewing this one for Ebert.

48 Hrs. (1982; d. Walter Hill)
Gritty San Francisco cop drama/comedy, with great chemistry between the two leads.

Crossroads (1986; d. Walter Hill)
My Ralph Macchio mania had died down by the time this came out, but you can bet I went to see it. And many years later, when I saw Supernatural‘s “Crossroad Blues,” and I saw the brothers go check out the crossroads near a place called “Lloyd’s Bar” I recognized the reference, and knew I was in very good hands with these Supernatural people.

Extremely Wicked, Shockingly Evil, and Vile (2019; d. Joe Berlinger)
The desire/demand for art to be a moral lesson, for art to show good clearly and bad clearly, is kind of … shocking to me. I would expect it from Sunday School teachers in the 1950s, or from Victorian-era matrons. Not only am I fine with ambiguity, I prefer it. And this film, which caught a lot of flak for idolizing Bundy (which, of course, it doesn’t), and for not showing clearly ENOUGH that Bundy is “Bad” … was such a great experience for me because it lived in that grey area of Liz’s perspective. We only see what she sees. And she is dazzled by him. Many were. I reviewed for Ebert. Berlinger himself thanked me on Twitter for understanding what they were going for. That doesn’t happen a lot. It felt good. If you watch this and admire Bundy, that’s your problem, not mine, and not the film’s.

Ms. Purple (2019; d. Justin Chon)
Reviewing for Ebert. It opens this week.

Disorder (2016; d. Alice Winocour)
One of my favorite films of 2016. I reviewed for Ebert. See it.

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50 Best Albums, by Brendan O’Malley, #17. Minor Threat, Minor Threat EP/In My Eyes

My talented brother Brendan O’Malley is an amazing writer and actor. He’s wonderful in the recent You & Me, directed by Alexander Baack. (I interviewed Baack about the film here.) His most recent gig was story editor/writer on the hit series Survivor’s Remorse. Brendan hasn’t blogged in years, but the “content” (dreaded word) is so good I asked if I could import some of it to my blog. He did series on books he loved, and albums he loved. I thought it would be fun to put up some of the stuff here. So we’ll start with his list of 50 Best Albums. I’ll put up one every Monday.

Brendan’s list of 50 Best Albums is part music-critique and part memoir and part cultural snapshot.

I have always loved these essays, because I love to hear my brother talk. I am happy to share them with you!

50 Best Albums, by Brendan O’Malley

17. Minor Threat – Minor Threat EP/In My Eyes

I am in high school. I have just become friends with Tom via Justin. I’d known of Tom as far back as junior high, mostly because he got a mohawk and rumor had it that he’d almost been kicked out of school because of it.

That goes to show you just how much CONTROL was still being exerted over teenagers in 1983. If you cut your hair a certain way, they threatened to DISCONTINUE your education.

Preppies. When I look back on this fad, I get profoundly disturbed. Teens and pre-teens dressing as if they were figures from a 1950’s sitcom. Now, I don’t want my teenagers toting guns and shooting heroin but a little rebellion is rather important. At a time when they ought to have been questioning the line of malarkey their parents were giving them, these kids were emulating not even the parents themselves but some sick idealized version of a past their parents wished they had lived. Very creepy.

This was the atmosphere I was in when I met Tom. I remember us in a study hall laughing about some math homework and that was it. Best friends. He, Justin and I then spent all of our free time loitering around town or in Tom’s room listening to music.

This is where I first heard Minor Threat.

My musical upbringing consisted of show tunes and folk songs, with a little bit of The Beatles thrown in for good measure. I knew virtually no classic rock, none of the punk scene, nothing. I was a babe in the woods. Justin and Tom would continually rag on me when our band would try to cover some classic rock song. They’d play something, ask me what it was, and then roll on the floor when I had no clue. I couldn’t tell Zeppelin apart from The Scorpions.

So I’d had no intermediate LOUDNESS in my music. Minor Threat sounded like a bomb going off.

I flipped out.

I went back recently and listened to their entire catalog and was pleasantly surprised at how good the songs are. How instantly catchy. How well-played. Compared to what passed for rock in those days, they sounded like a bunch of monkeys trying to turn Shakespeare into the Sex Pistols but it is almost poppy music. Crude, yes, sloppy? Not a bit.

Minor Threat had broken up by the time I ever heard them so I never got the chance to see them live. I wonder at how few people actually did see them live. It can’t be over 10,000 in total. But if you listen to Ian MacKaye bark and growl, in those songs you hear the future of radio. The poser from Rage Against The Machine? Stole it from Ian. Nirvana’s rasp? Cribbed. Linkin Park’s almost rap? Minor Threat.

Much like the beginnings of what is today gangsta rap, Minor Threat started something that quickly snowballed into a whole new industry. At the time Minor Threat picked up their instruments, the loudest thing you heard on the radio was Led Zeppelin. Maybe late at night you got The Ramones.

When I played Minor Threat for the uninitiated back in those days it was as if I were physically placing their heads inside of giant machinery. People have been trained differently now. They don’t automatically dismiss something merely due to the volume at which it is played.

But they sure did back then.

And the guys who INVENTED this music were all teenagers. Minor threat, indeed.

Tom and Justin had guitars. I knew I could sing. Et voila. A band was born. Are Tom, Justin and I friends today because we were in a band? I don’t know but I sort of think so. In some way we will always be that band. Fecund Youth. And even though we never put out a record (officially!), never toured (farther than a house down the road without parents), we also never officially broke up, either.

Take your time
Try not to forget
We never will
We’re just a minor threat
-Ian MacKaye, “Minor Threat”

— Brendan O’Malley

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Film Comment Sept./Oct. 2019: on Noah Baumbach

I have an essay on Noah Baumbach’s career – his themes and interests – for the latest Film Comment, on sale now. Editor-in-chief Nicolas Rapold wrote about Baumbach’s latest film Marriage Story. You can pick up a copy or purchase here.

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