FilmWonk Podcast – Episode #213 – “The Brutalist” (2024) (dir. Brady Corbet), “M” (1931) (dir. Fritz Lang)

Poster for "The Brutalist" (2024) (dir. Brady Corbet)

This week on the FilmWonk Podcast, Glenn and Daniel return to the world of cinema with Fritz Lang‘s classic police procedural (and a prototype of the genre), M (1931), a film from Weimar Germany which hits a bit differently today, but no less powerfully. And then we venture into Brady Corbet‘s towering and inventive immigrant story (featuring an Oscar-winning performance from Adrian Brody, The Brutalist (1:07:37).

May contain NSFW language.

FilmWonk rating (M): 10 out of 10
FilmWonk rating (The Brutalist): 8.5 out of 10

Poster for "M" (1931) (dir. Fritz Lang)

Show notes:

  • [01:50] Review: M
  • [27:07] Review: The Brutalist
  • [46:20] Spoilers: The Brutalist

Listen above, or download: M, The Brutalist (right-click, save as, or click/tap to play)

FilmWonk Podcast – Episode #212 – “My Old Ass” (dir. Megan Park), “Challengers” (2023) (dir. Luca Guadagnino)

Poster for "My Old Ass" (2024 film)

This week on the FilmWonk Podcast, Glenn and Daniel check out two very different takes on thirtysomething nostalgia for your teenage years, first with My Old Ass, starring Aubrey Plaza and feature newcomer Maisy Stella as the older and younger versions of the same person, meeting through the magic of psylocibin. And then we catch up with Luca Guadagnino‘s fraught and sexy tennis triad, Challengers (1:01:26).

May contain NSFW language.

FilmWonk rating (My Old Ass): 8/10 (Glenn), 8.5/10 (Daniel)
FilmWonk rating (Challengers): 8/10 (Glenn), 6/10 (Daniel)

Still from "Challengers" in a scene featuring Mike Faist, Zendaya, and Josh O'Connor.

Show notes:

  • [02:13] Review: My Old Ass
  • [22:40] Spoilers: My Old Ass
  • [36:23] Review: Challengers
  • [52:58] Spoilers: Challengers

Listen above, or download: My Old Ass, Challengers (right-click, save as, or click/tap to play)

Mike Cahill’s “I Origins” (2014) (presented by 10 Years Ago: Films in Retrospective)

Poster for "I Origins"

This review originally appeared as a guest post on 10 Years Ago: Films in Retrospective, a film site in which editor Marcus Gorman and various contributors revisit a movie on the week of its tenth anniversary. This retro review will be a bit more free-form, recappy, and profanity-laden than usual.

“If I drop this phone a thousand times, a million times…and one time, it doesn’t fall. Just once…it hovers in the air. That is an error that’s worth looking at.”
-“You’re so fucking stubborn.”

I’ll be honest; I’m not sure my eye has evolved enough in ten years to give me anything new to see in I Origins. You can consult my 2014 review or our spoiler-filled podcast discussion, as I did after rewatching the film this weekend, found that my opinion about the film itself has not substantially changed.

“I worry that some people will come away from I Origins believing that it has abandoned its post in the apocalyptic battle between science and religion – that after spending easily half the film with atheistic scientist Dr. Ian Gray (Michael Pitt) fastidiously attempting to model each of the evolutionary steps in the development of the human eye, the film veers off into more conventional territory. That by delving into the supernatural, the film strips away its ambitions and becomes yet another Hollywood-kumbaya tale of how we should probably all just get along and believe what we want. But based on the evidence presented in the film, this couldn’t be further from the truth.”

By and large, I still felt this way when the film was over. The battle rages on, but this film takes a nuanced position on it. The first act of I Origins is a whirlwind romance between Ian and Sofi (Àstrid Bergès-Frisbey), a vaguely defined spiritualist and model, which begins with an impromptu and nearly silent party hookup, continues with an oddly mystical Cinderella search in which Ian follows a string of coincidences and numbers (and eventually Sofi’s eyes on a billboard makeup ad) to the woman herself. Their relationship remains firmly in the honeymoon phase, presented in montage form, before reaching an abrupt end as Sofi gets suddenly and brutally bisected in an accident involving a malfunctioning metal box in her apartment building. This follows a fight in which the pair seems on the verge of breaking up, and Ian doesn’t come off particularly likable, and in a way, that’s what made the scene so effective? Freak accidents aren’t tidy or narratively satisfying – a terrible thing happens so fast you barely realize it, and then you realize it, and then you scream. Despite a heartfelt performance from Bergès-Frisbey and impressive, if perfunctory, chemistry with Pitt as her ontologically mismatched boyfriend, Sofi fits a dismissive mold that I still use all the time: “more concept than character”. I was critical of Sofi’s short shrift and fridging when I saw the film originally, but as Cahill’s next film Bliss would illustrate 7 years later, this is a filmmaker whose slightly muddy sci-fi ideas often land better with me than his storytelling and characterization.

Still from "I Origins"

In I Origins, these ideas are initially voiced by smug atheist Ian, who literally pauses his search for Sofi to read Richard Dawkins at a bar (as if trying to give her a head start on not fucking him again). In his molecular biology lab, Ian seeks to understand the evolution of the human eye in order to provide a scientific rebuttal to the creationist notion of irreducible complexity, which posits that certain biological systems (like the eye) are so complicated that they simply couldn’t have evolved on their own without the guiding hand of God to make them do so. “Why are you working so hard to disprove God?” asks Sofi, and Ian clarifies that he has no interest in God – he’s just trying to fill in a gap in human understanding. Like every component of “intelligent design”, irreducible complexity is unpersuasive pseudoscience whose sole purpose is to give young-Earth creationist dogma a patina of intellectual rigor in order to be able to argue falsely in acquiescent Republican-stacked federal courtrooms that it is not a violation of the separation of church and state to force every teacher to tell every child that yes, Virginia, there is a Santa Claus. But more on that in a moment.

First, my priors. I was raised Christian. I spent many years in the church, and even went on missions to persuade others to forge a personal relationship with Jesus Christ. The beginning of the end of my religious years was like something out of a Pureflix script, as poorly explained by Kevin Sorbo: I went to college and attended a meeting of Campus Crusade, and I chatted with the other Christian boys about the origins of *gestures around* all of this. I asked how they squared the evidence for evolution and the age of the Earth with the existence of the God we both believe in, and I meant every word of it. I was trying to keep my religion, not continue losing it. We treated each other well. The conversation was kind, cheerful, and civil. We met each other as we were – ignorant young adults – and I heard arguments presented with love and sincerity ranging from “God made the universe and can use whatever tools He wants to make it run” to “yes, the Bible says it all happened in seven days, but who knows how long a day is in Heaven, God exists outside of time”, etc. This was a nice moment in my life in which imperfect humans came together with good intentions to explore ideas together. And I found the Christians’ answers so unsatisfying that it was the beginning of the end of my belief in God – or at least, my belief in any specific deity as a necessary or productive component for humanity’s ability to know and describe the Universe. I read books on biology and anthropology and geology and cosmology and astronomy and became an atheist so gradually that I hardly even realized I’d lost touch with the man upstairs. Fundamentally, I still believe in humanity’s capacity to be persuaded to change its ideas, because it happened to me and I’ve seen it happen to others. I know that one of my faults entering middle age has been the temptation to view myself in a static sort of way – I bask in a cozy feeling that because I’m comfortable in my own skin now, I always have been. I’m an imperfect rationalist! I look for the truth even if it’s difficult or complicated. I have my biases, and I can absolutely be wrong. And it’s been a hard ten years watching the world go insane.

Still from "I Origins"

After watching the unchecked march of the religious right in my country (including their baffling choice of Messiah, Donald Trump – who worships no god but himself) – I come back to I Origins and think to myself, “Alright, solidifying the evolution of the eye is an interesting argument. But who is it for?” Christian supremacists have shown that they have little use for evidence or ideological coherence as they consolidate their power. Dobbs, Burwell, and other court decisions have made it clear the degree to which the federal judiciary has become a Calvinball venue for rubber-stamping right-wing policy that they can’t achieve via other means, culminating in Trump v. United States, an ably named case in which the Supreme Court unconditionally surrendered on behalf of the country. To borrow a phrase from the angel Loki (Matt Damon) in Dogma, Christian fascists only need one argument: “Do it or I’ll fuckin’ spank you.” This loud and deplorable faction’s assault on institutions of knowledge and science has culminated in a know-nothing certainty that the loudest, richest assholes in the room know what’s really going on, blaming those people you already hate for every problem, including many that don’t exist, and eliding past the ones caused and exacerbated as a matter of policy by their own elected selves. And it has gotten worse. The GOP was smugly denying climate change for decades before they gained the power to literally make it illegal to mention climate change in Florida law and policy. They were trying to foist religion back into schools for decades before Louisiana passed a law requiring the Ten Commandments to be displayed in every classroom. And from coast to coast in this country, right-wing politicians spent the duration of a deadly viral pandemic watching millions of Americans die as they formed a deliberate, strategic alliance with the virus itself, and while some of them were punished for it electorally, it seems to have collectively exited the American psyche as we barrel toward reelecting the man who offered to cure what ailed us with bleach and sunshine up our collective asses. The storm rages on, and King Donald scribbles it away with a Sharpie. I’ve run afield of the film a bit, but I guess I’m just tired. In 2014, I regarded I Origins as Cahill’s full-throated allegorical endorsement of the scientific method as well as humanity’s capacity for reasoned discourse, and I loved the film for that. But that faith has become harder to maintain in the face of evidence that knowledge doesn’t matter nearly as much as power.

After a seven-year time jump, Ian goes on a book tour chronicling his successful work replicating the evolution of the human eye in a lab using genetically engineered worms, and when I first saw the film, I was fresh off watching all 3 hours of the debate between creationist Ken Ham and science communicator Bill Nye. There’s a moment near the end of this debate in which the men are asked what it would take to change their minds, and while the Ken Hams of the world are happy to tell you that they need no facts whatsoever to believe that the Earth was created 6,000 years ago by Almighty God, the Bill Nyes will still volunteer that all it would take to change their beliefs is one single piece of evidence. This same sentiment appears in the text of this film, placed in the mouth of both Ian and the Dalai Lama, and then it goes a step further: It presents Ian with evidence for persistence of memory and reincarnation after death – evidence he could simply choose to ignore, because the idea of his dead girlfriend’s soul finding a new corporeal home is preposterous, disturbing, and sad to him. But instead, he does the right thing: He pursues the truth even if it doesn’t agree with his prior assumptions. In a parable featuring a single fact which upends Ian’s understanding of science, he and his team choose to react in an admirable way: Let’s do more science! I maintained this rosy view of the film’s third act even as the science turned out to be poorly designed and yielded mixed results. Pro tip for anyone testing paranormal activity: keep your methods consistent and don’t call out “correct/incorrect” unless you wish to be branded a poor scientist. But at least they tried! And in performing their messy and imperfect science, they not only made the ending feel grounded in reality, but they unlocked a whole new branch of research which a mid-credits scene all but confirms reflects reality in the film’s world.

Conversely, it’s fair to say that reality in our world has soured I Origins for me a bit. The film’s world can remain rosy because it doesn’t need to persuade me of what might change as a result of this discovery – it merely needs to maintain internal consistency. Ian’s proof (or rather, well-designed experimental model) of the evolution of the human eye would probably attract little notice in real life. And in the event it were noticed and perceived as a threat, I know there is an entire propaganda ecosystem which could be deployed to pillory, dox, threaten, and swat this man until he stops talking about it, just as it has been used against every other enemy of the religious right, from pediatricians to beer spokesmodels to climate scientists to IRS agents. I’m even further removed from the church that raised me than I was in 2014, but I still remember what I saw there: A few weirdos, a few kooks, a few fanatics… but mostly just…people. Ordinary people forming community with their neighbors, living their lives, and doing their best with what they had. I don’t really think all or even most religious people are fascists, dogmatic, or unreasonable – and I would regard it as a personal failure if I ever came to believe this, even as our government continues to operate lopsidedly in favor of that fringe minority, and a reliable percentage of Christians turn out to vote Republican no matter how violent or depraved the resulting governance turns out to be. I really hope I’m right to maintain my faith in people. I hope the ones who love the Lord Their God with all their hearts, souls, and minds will try to remember to engage those faculties – as should the rest of us, for whatever value they hold as metaphors for what makes us human. I hope history will swing back in a direction where facts and science matter more than holding up a Bible you haven’t read and cutting rich people’s taxes. Perhaps when that happens, I can have fun with a rip-roarin’ science vs. religion debate again.

FilmWonk Podcast – Episode #211 – “Kinds of Kindness (dir. Yorgos Lanthimos)

Poster for "Kinds of Kindness"

This week on the FilmWonk Podcast, Glenn and Daniel check in on the latest from director Yorgos Lanthimos and his Poor Things collaborators Emma Stone and co-screenwriter Efthimis Filippou (The Killing of a Sacred Deer, The Lobster, Dogtooth), whose presence announces in advance that this is gonna be one of the weird ones. Additional weird ones include Jesse Plemons and Willem Dafoe, and everyone who ventures out to catch this one in theaters (36:34).

May contain NSFW language.
[CW: Self-harm, pregnancy loss]

FilmWonk rating: 8 out of 10

Show notes:

  • [01:44] Review: Kinds of Kindness
  • [23:07] Spoilers: Kinds of Kindness
  • We slightly misstated Stone’s awards history, which includes Oscar nominations for Best Supporting Actress in Birdman and The Favourite (both eventual #1 Glennies selections), and wins for Best Actress for Poor Things and La La Land.
  • Yorgos Stefanakos, who appears in the film as R.M.F., did not appear in Dogtooth, but did appear in Poor Things, and is in fact a notary public and an old friend of the screenwriters of this film.

Listen above, or download: Kinds of Kindness (right-click, save as, or click/tap to play)

FilmWonk Podcast – Episode #210 – “Furiosa” (dir. George Miller), “Unfrosted” (dir. Jerry Seinfeld), “Hustlers” (2019) (dir. Lorene Scafaria)

Poster for "Furiosa: A Mad Max Saga"

This week on the FilmWonk Podcast, Glenn and Daniel reunite with long-time friend of the pod Erika to review Furiosa, a return to the Mad Max saga which absolutely refused to rest on its laurels conceptually or thematically. Then, at Daniel’s behest, we “see what Jerry Seinfeld is up to” with Unfrosted, new on Netflix. And then we venture back to a gem of a crime dramedy from 2019, Lorene Scafaria‘s Hustlers (1:17:55).

May contain NSFW language.

FilmWonk rating (Unfrosted): 7/10 (Daniel, Erika), 4/10 (Glenn)
FilmWonk rating (Furiosa): 9.5/10 (Erika), 9/10 (Glenn, Daniel)
FilmWonk rating (Hustlers): 8/10 (Glenn), 9/10 (Erika), 7.5/10 (Daniel)

Still from "Unfrosted" featuring Hugh Grant dressed as Tony the Tiger, minus the mascot head.

Show notes:

  • [03:01] Review: Unfrosted
  • [18:19] Review: Furiosa
  • [41:38] Spoilers: Furiosa
  • [55:38] Review: Hustlers

Listen above, or download: Unfrosted, Furiosa, Hustlers (right-click, save as, or click/tap to play)

Darren Aronofsky’s “Noah” (2014) (presented by 10 Years Ago: Films in Retrospective)

Poster for "Noah" (2014 film)

This review originally appeared as a guest post on 10 Years Ago: Films in Retrospective, a film site in which editor Marcus Gorman and various contributors revisit a movie on the week of its tenth anniversary. This retro review will be a bit more free-form, recappy, and profanity-laden than usual.

“But they ate from the forbidden fruit. Their innocence was extinguished. And so for the ten generations since Adam, sin has walked within us. Brother against brother, nation against nation, Man against Creation. We murdered each other. We broke the world, we did this. Man did this. Everything that was beautiful, everything that was good, we shattered. Now, it begins again. Air, water, earth, plant, fish, bird and beast. Paradise returns. But this time there will be no men. If we were to enter the garden, we would only ruin it again. No, the Creator has judged us. Mankind must end.”

Noah (Russell Crowe) tells his family a nice little bedtime story.

I’m going to toss out a hot take this Easter week and say that Noah’s Ark has a better claim to being the greatest story ever told than the life, death, and resurrection of Jesus Christ. That was the first thing I wrote in my notes for my re-review of Darren Aronofsky‘s 2014 film Noah, right before an all-caps reminder to myself: “DON’T BE AN INSUFFERABLE ATHEISTIC EDGELORD PRICK”. I sincerely wish to comply with that, but I’m certain some readers will see this comparison and think that I’m belittling the sweetness and mercy of my man J.C. in favor of his crotchety Old Testament Forebear, less likely to bequeath the Earth to the meek than obliterate them with fire and brimstone. I’m not praising or condemning that version of God (as if He’d care about my opinion anyway), but I sure do applaud that notion – as well as its encapsulation within the apocalyptic tale of Noah (Russell Crowe) and the Ark – for its sheer popularity among humans. The Genesis flood, which parallels other deluge narratives that exist around the world, all basically fit the mold of a rebirth of humanity, following punishment by one or more deities for their sins and excess. It has been used to justify some genuinely silly beliefs, such as George McCready Price‘s 1923 book, The New Geology, a 20th century repackaging of a fringe idea from a century earlier, which states that every piece of evidence that exists of an Earth that is older than 6,000 years can be attributed to the Great Flood of Genesis, which in addition to wiping out all of humanity, carved out every geological feature that we might erroneously conclude takes millions or even billions of years to form, and spread out a nice, orderly, stratified fossil record filled with naught but the Devil’s lies (which coincidentally possess the expected ratios of uranium, thorium, and lead). I’m trying to front-load all of my scoffery for the Young Earth Creationists, who deserve quite as little intellectual consideration as they give their own ideas, because I’m well aware that most religious people don’t really think that they live on a tapestry of pointless, Luciferian deceptions, but rather think that the universe can be whatever way we observe it to be, but that does not preclude the existence of a loving deity who set the whole thing in motion, because they find this idea appealing, as well as a theoretical source of virtue and moral truth. And this is fine by me, really, as a baseline idea. I had my first child shortly after this version of the Noah tale came out, and while I haven’t yet sent him to Sunday School to peer at the cartoon Ark with its cartoon elephants and giraffes sticking out with giant smiles beneath sun and rainbow, I have had to explain life and death to him, and in so doing, I’ve had to grapple with my own conviction that religious faith and tales about mortality are fundamental components of the human condition, and one way or another, my children will be exposed to both and have to decide for themselves which stories they find the most comforting. And, depending on where they land, they’ll have to try not to be insufferable, atheistic, edgelord pricks about everyone else’s comforting beliefs.

Still from "Noah" (2014 film)


The life and times of Jesus Christ are certainly popular, but they cannot be the greatest story ever told, if only because its adherents spend so much time ignoring or preposterously reframing them. Noah’s Ark, conversely, is a tale that humans have stood by through thick and thin because of its versatility as a tool of oppression and judgment. Humans, unique among apes for our perceptions of mortality and space-time, craft a uniquely human narrative: Do what I say or be judged wicked and face the wrath and apocalyptic vengeance of my god. The Curse of Ham (which does get a token nod near the end of the film) doesn’t even require any actual sins – it’s been used for the last thousand years to justify everything from medieval serfdom to the African slave trade, all on the grounds that some people are just born inferior because Ham (Logan Lerman) glimpsed his father’s drunken junk that one time.

The only specific sins called out in the Genesis narrative are violence and angel-fucking, and Aronofsky cleverly turns this in an environmentalist direction, crafting a version of barren Biblical landscape steeped in metaphor that hits hard in the modern age – a fallen wasteland dotted with distant, dying industrial cities, ancient technology, magical energy-carrying minerals, and a race of fallen angels called Watchers, rendered as beings of light trapped in the muck as huge, formless rock monsters, serving alternately as helpers and slaves of humanity, doing violence and hard labor alike in service to their will. This is Lord of the Rings meets Mad Max, with everyone in this land acknowledging the existence of the Creator like a fact they all accept in living memory, but with each interpreting it differently depending on their own inclinations and desires – just like most of the modern humans watching this version of this tale today. The descendants of Cain – the cursed, wandering son of Adam and Eve and the first murderer – have mined the Tzohar, built the cities, scorched the landscape, killed each other over resources, and hunted and eaten the animals. Aronofsky takes a few other creative liberties with Noah and his family, taking the biblical narrative that they are the descendants of Seth, but adding in that they are vegetarians in tune with the land who won’t even pick an errant flower if they don’t have some use for it. As one might expect, there were a few Christian biblical scholars and barbecue enthusiasts who felt the need to scoff at this notion when the film came out – and in all fairness, I did re-read the Genesis account for the first time since I was a child before rewatching this film, and it’s pretty clear that Aronofsky tossed out the parts of the story that didn’t fit his environmentally friendly message, including Genesis 9:3-5, which explicitly states that humans have a green light to kill and eat any animal that walks the Earth, provided they drain its blood first. Granted, the very next verse also contains an admonition not to kill other humans, and we all know how studiously humans have obeyed that one over the millennia.

Still from "Noah" (2014 film)

This version of Noah (Russell Crowe) is as much of a patriarchal cipher as the one in the holy books, being virtuous because he is deemed so by the Creator, and knowing best because he is the man in charge of family and boat-making operation alike. And it’s hard to argue with that designation when reality itself seems to bend to his hallucinatory visions, making a forest spring forth spontaneously from nothing but a seed from Eden, a clever hand-me-down from Puckish man-of-the-mountain Methuselah (Anthony Hopkins), who is old enough (to his grandson Noah’s mere 600 years) to know that men of the Pentateuch can make miracles happen with nothing but their trusty thumbs and the confidence of a dude who speaks supernatural subtext aloud. It is with this miracle-thumb that Methuselah sets the third act in motion, curing the infertility of Ila (Emma Watson), an orphaned girl whom Noah finds as a child and raises as his own daughter. As she becomes a love interest for Noah’s eldest son Shem (Douglas Booth), the tension between her doomed desire to bear children for the boy she loves and Noah’s conviction that humanity has been judged guilty and must all die after saving the animals, becomes tension over whether Noah will slay whatever newborn child that his daughter should produce aboard the Ark. When I saw the film in theaters a decade ago, I daresay this act is when I checked out the most – acts 1 and 2, which consist of antediluvian Ark-building and angelic warfare with the wicked hoards of Tubal-cain (Ray Winstone), were absolute bangers. And then, following the Doom of Man, comes a schism within this family, as Noah’s wife Naameh (Jennifer Connelly) – a woman-shaped instrument like so many in the ancient and modern writings of men – acts as conscience and voice of mercy to Noah’s commitment to baby-murder, and his son Ham bitterly bonds with a stowaway Tubal-cain, who acts as the devil on his shoulder, trying to manipulate and corrupt whatever remains of humanity, because…why not? Nothing else to do in Waterworld. This isn’t the first or the last time that Aronofsky’s strained, secondary Garden of Eden metaphor would fail to fully land with me (hi mother!), but to my great surprise, I found myself sympathizing more with Noah this time around, if only because his dilemma actually seems to make some rational sense in this world. His God is definitely real, and has definitely just obliterated nearly all of humanity, and Noah has definitely been put in charge of deciding whether any humans get to live after that’s over with. Let’s set aside the question of whether any God-handwavey solution to this genetic bottleneck amounts to an admission that the entire Ark project was unnecessary anyway (I said don’t be an insufferable atheistic edgelord prick, Glenn!), and let’s embrace the Chosen One narrative that sees its prototypical form here. Here is Noah, Champion of God, placed in the position of having to decide whether his family, whom he loves and knows to be virtuous and good as he has taught them to be, should live or die.

If nothing else, this sequence was a stark reminder of the tantalizing nature of fanaticism, main character syndrome, whatever you want to call it. Noah is the main character, he was right about everything, and he holds the power of life and death over all of humanity because that’s what the story says: the great, megalomaniacal tale of the human race. The greatest story ever told. And the question of what to do with that power – whether to believe in a future in which humanity can be at peace with one another and in balance with their environment – is the fundamental question of the human condition. Do we sapient apes choose life, and hope, and a future for ourselves? Or do we let it all get swept away, taking meager solace in the notion that something will live on, and perhaps even become smart enough to ask these questions again, as we, God’s greatest mistake, return to the dust whence we came?

I don’t have an answer. But in the fullness of time, I’m sure we’ll come up with one together.

FilmWonk rating: 7.5 out of 10

FilmWonk Podcast – Episode #209 – “Road House” (dir. Doug Liman), “The Book of Clarence” (dir. Jeymes Samuel)

Poster for "Road House" (2024)

This week on the FilmWonk Podcast, Glenn and Daniel check out Doug Liman‘s faithful and surprisingly enjoyable Road House remake, a film which somehow finds its feet with a western premise that was dated in the 80s, transplanted here into the Florida Keys, where that decade never ended. And then we reach back into 2023 for an epic of Biblical apocrypha by The Harder They Fall director Jeymes Samuel, The Book of Clarence, a mixed bag of religious satire which somehow manages to give The Life of Brian a run for its money. Exvangelicals should not miss this one (1:05:48).

May contain NSFW language.

FilmWonk rating (Road House): 7/10 (Glenn), 7.5/10 (Daniel)
FilmWonk rating (The Book of Clarence): 7.5/10 (Glenn), 6.5/10 (Daniel)

Still from "The Book of Clarence" featuring LaKeith Stanfield and RJ Cyler

Show notes:

  • [02:17] Review: Road House
  • [27:17] Review: The Book of Clarence
  • [53:13] Spoilers: The Book of Clarence

Listen above, or download: Road House, The Book of Clarence (right-click, save as, or click/tap to play)

FilmWonk Podcast – Episode #208 – “The Beekeeper” (dir. David Ayer), “The Kitchen” (dir. Daniel Kaluuya, Kibwe Tavares)

Poster for "The Beekeeper"

This week on the FilmWonk Podcast, Glenn and Daniel check out The Beekeeper, an enjoyably uncomplicated John Wick retread which is heavy on bee metaphor and light on everything else. And then they check out The Kitchen, the near-future dystopian sci-fi film on Netflix, set in London’s last remaining social housing unit, and featuring the feature debut of actor Daniel Kaluuya as co-writer/co-director (53:59).

May contain NSFW language.

FilmWonk rating (The Beekeeper): 6/10 (Glenn), 5/10 (Daniel)
FilmWonk rating (The Kitchen): 7.5/10 (Glenn), 6.5/10 (Daniel)

Poster for "The Kitchen" (2024 Netflix film)

Show notes:

  • [02:26] Review: The Beekeeper
  • [21:04] Review: The Kitchen
  • [45:11] Spoilers: The Kitchen
  • The audiobook production of Vladimir Nabokov‘s Lolita that Daniel referred to was indeed narrated by actor Jeremy Irons, and is available on all audiobook platforms.

Listen above, or download: The Beekeeper, The Kitchen (right-click, save as, or click/tap to play)

“American Fiction” (dir. Cord Jefferson) – A skewering of authenticity

Poster for "American Fiction"

One of the earliest and most trite observations of my 20s was that authenticity is an overrated virtue. As I’ve gotten older, my opinion has softened a bit – authenticity is indeed a virtue; it’s simply impossible to assess either internally or externally, which renders it meaningless as an article of praise. At worst, authentic is used to describe an unfamiliar cuisine by people who have never eaten it before, often in the same breath in which they describe it as bold, experimental fusion. It gets worse when describing stories – at best, a story might be deemed “authentic” by a non-critic who shares some verifiable life detail with a work’s subject, e.g. a soldier rating another soldier’s memoir as such, often before asserting that no one can truly understand war unless they’ve lived it. Even the people who lived a particular life or in a particular neighborhood or with a particular worldview will be the first to tell you – their people contain multitudes, and nobody’s the same as anyone else. So what is authenticity, really? A stamp of approval of the truthiness of a thing? Confirmation bias as analysis?

I began this review with a discussion of authenticity because it is skewered so thoroughly in first-time film director Cord Jefferson‘s American Fiction (Master of None, Succession, Watchmen), an adaptation of Percival Everett‘s 2001 novel Erasure. If you really want to damage your critical psyche a bit, spend about 15 years reviewing films and then go back and re-read every time you’ve used the word “authentic” in a review. Cringe appropriately. As a current practice, I prefer to judge a work by its perceived sincerity, and American Fiction is sincere, hilarious, and a great deal more than the sum of its elevator pitch: that frustrated fiction writer and professor Thelonious “Monk” Ellison (Jeffrey Wright) would adopt an authorial minstrel persona in the form of fictitious fugitive “Stagg R. Leigh” in order to write a pandering pastiche of Black trauma porn, only to see it embraced by the literary establishment and the white world writ large. And the film’s greatest trick is to treat this pitch – almost certainly the reason why it has attracted such buzz in the wake of its audience award at the Toronto International Film Festival – as an afterthought to the establishment of Ellison himself – and his family, history, and relationships – as the furiously beating heart of this film.

When Monk ends up on a forced hiatus from his academic position after excoriating a white student for complaining a bit too much about the presence of the N-word in a class on literature of the American South, he returns home to his ailing mother Agnes (Leslie Uggams), and is joined in turns by his adult siblings, Lisa (Tracee Ellis Ross) and Cliff (Sterling K. Brown) – both doctors, and both recently divorced. This family is solidly middle-class bordering on upper, and – like many American families, just one medical crisis away from financial ruin. And so the family comes together, their history spelled out so plainly from the first interaction that I wanted to stew in it, because these people are as wryly hilarious as they are deeply damaged. Ross is a particular delight, having to establish a sibling dynamic with Wright in just a few utterly charming scenes in which these two make it clear that despite being out of touch and having serious shit to deal with in their lives, they still love and like each other, and are genuinely thrilled to be back in each other’s orbits. Brown, meanwhile, plays Cliff as the black sheep of the family, off his head on cocaine in half his scenes, and exploring his newfound identity as a divorced, gay, Black man, having only lived a third of that out loud so far, and experiencing pain and pleasure in equal parts at the freedom and pathos of finally letting his family know the entirety of himself. Cliff is very much not the focus of this story, and yet it is a testament to Brown’s performance that this character feels so fully realized. His life is a mess, but it goes on when the camera stops rolling. So it is as well with Lorraine (Myra Lucretia Taylor), the family’s longtime housekeeper and caregiver, who is rightly and mutually seen as part of the family, even as she finds herself the only maternal figure remaining as Agnes’ health begins to fade. And again with Coraline (Erika Alexander), an attorney and public defender who lives across the street from the family’s beach house, mid-divorce herself, and as eager to strike up a hasty, casual fling with Monk as he is to find a distraction from his deep well of career disappointment and self-loathing. These people exist outside of Monk and he outside of them, and yet they sketch out a life that is fully realized both onscreen and implicitly before the film began. I can’t speak to their authenticity, but they sure felt real as I watched them. And I spent so much time laughing aloud at their biting humor – as well as uncomfortable moments where the laughter was just a discomfited placeholder for incoming pathos – that I hardly had time to ponder what purpose they served as archetypes. I just wanted to live with these people for a bit, and hear what they had to say.

Still from "American Fiction"

Where Wright really shines is in his character’s capacity for both self-awareness and self-deception. From his first scene, he is utterly in command of both screen and classroom, and yet, he has so much anger stewing beneath the surface that he feels fit to burst (and ultimately does burst, kicking off the film’s plot). And yet, Monk has had a fortunate career and he knows it. He writes books that are sold in chain bookstores – albeit not with the kind of regard he wants. “The only thing black about this book is the typeface,” he says to a store clerk as he moves his book out of the “African-American fiction” section, even as the clerk assures him that he has no choice about the placement and that he’s just gonna move em back as soon as Monk leaves. Monk has written works that he is personally proud of, but he can’t continue to sell them to an increasingly monolithic and tunnel-visioned publishing world that only wants one specific narrative from Black writers: the Real Black Experience. By which they mean…a ghetto. Poverty. Drug abuse. Crime. Murder by the police. And slavery, if it’s a period piece. This version of Black fiction is represented in the film by a novel called We’s Lives in Da Ghetto by Sintara Golden (Issa Rae), who also fits the bill of characters who appear in Monk’s orbit fully-realized and yet feel as if they have a life outside of it. Sintara went to Oberlin and grew up well off, and touts the authenticity of the AAVE and patter in her book by saying she based her book on “real interviews”. This is the Michael Lewis of poverty tourism fiction authors – she hasn’t lived it and doesn’t really understand it, but…she sure can sell it. And she’ll defend herself persuasively to your face if you dare to try and make her feel bad about giving the market what it wants.

It is to the film’s credit that it really doesn’t take a position on whether Sintara’s mercenary attitude is any less dysfunctional and twisted than Monk’s self-important sense of discontent. Monk doesn’t hide his contempt for the publishing world nearly as well as Sintara does – at one point demanding on a conference call to the marketing department that Stagg R. Leigh’s new book should be retitled from My Pafology to simply…Fuck. Which, of course, they agree to do, and it only makes the book more buzzworthy. It hardly matters whether an artless exercise in self-parody actually gets read by anyone, as long as it makes for an interesting cover and conversation piece. Monk’s literary agent Arthur (John Ortiz) concludes a reading of a racist review of his last book, in which the critic essentially tells Monk to stay in his lane (wondering what the book’s subject matter “has to do with his experience as a Black man”) by commenting that white people think they want the truth, but what they really want is absolution. This sort of cynicism is well-earned by the film’s plot, even if it taps out a bit at the end into a Kaufmanesque discussion of how the story should end for the audience they’re trying to sell it to. Monk playing ball with this discussion almost feels like he’s come around a bit to Sintara’s way of thinking, but it’s hard to forget how much he talked down to her about it without even deigning to read her book for himself. They’re both pretty awful in this moment, and yet, not nearly as awful as the white people praising Fuck for its authenticity. As a critic, American Fiction was a reminder to stay humble. And as a reader of fiction, American Fiction was a reminder that nobody knows anyone else’s life. And sometimes, the richness and texture of that life can be pleasant to immerse yourself in whether or not you can turn it into a grand observation about your own.

FilmWonk rating: 9 out of 10
 

FilmWonk Podcast – Episode #207 – “Killers of the Flower Moon” (dir. Martin Scorsese)

Poster for "Killers of the Flower Moon"

CW: Discussion of abuse

This week, Glenn and Daniel follow the western genre into the oil-rich 20th century and the terror of white supremacy in the Osage Nation with Killers of the Flower Moon (55:22).

May contain NSFW language.

FilmWonk rating: 10 out of 10

Show notes:

Listen above, or download: Killers of the Flower Moon (right-click, save as, or click/tap to play)