Dog Day Afternoon: The Sundae Presents Episode 7

Ciara and Dean co-host The Sundae Presents, a podcast in which each of us makes the other watch films they haven’t seen. This episode, Ciara makes Dean watch one of her actual favourite films, Dog Day Afternoon. They talk about sexuality and gender, optimism and the Attica prison massacre.

Dog Day Afternoon The Sundae Presents

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August Van Sant: A Film Diary

Until we recorded the fifth episode of our podcast, I’d only seen two Gus Van Sant films: his infamous 1998 shot-for-shot remake of Psycho and his 2018 biopic of the late cartoonist John Callahan, Don’t Worry, He Won’t Get Far on Foot. I thought the former was interesting, but not necessarily enjoyable, and the latter I thought was simply a good film. But I was never really drawn to Van Sant as a filmmaker. I’m not sure why. I’d heard high praise for some of his films, especially My Own Private Idaho, but I’d heard others panned into the ground. Maybe it’s just because he doesn’t have a public persona the way a lot of directors do: he’s a private enough guy that he doesn’t even have a personal life section on his Wikipedia and he doesn’t seem to have much appetite for self-promotion or even making calculated career moves.

Then I watched Good Will Hunting and it piqued my interest in the films of this mysterious man with a name that just about rhymes. So, I decided to watch them. All seventeen of them, over the month of August. I initially recorded my brief thoughts on each over on my letterboxd, now I’ve compiled them here, with some elaboration. I found very little advice on navigating Van Sant’s filmography when I started, so hopefully this can act as, if not a guide, then at least an example of how someone did it for others to follow or ignore as they see fit. You can hear my thoughts on Good Will Hunting on the podcast, but the rest of the gang is all here.

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Way Down East: The Sundae Presents Episode 6

Ciara and Dean co-host The Sundae Presents, a podcast in which each of us makes the other watch films they haven’t seen. This episode, Dean shows Ciara D.W. Griffith’s 1920 silent melodrama Way Down East. They talk about its weird Christian feminism, silent film acting and sleepy kitties.

Way Down East The Sundae Presents

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Circle Calls Our Conscience To a Vote [Certified Forgotten]

Aaron Hann and Mario Miscione’s 2015 film Circle opens in a dark room.  Fifty people are waking up, confused and disorientated. They don’t know why they’re here or what’s going on. They’re standing arranged in concentric circles around a black dome with red lights. Then there’s a flash, and they start dying. 

Every two minutes, one of them is killed. It can be from a beam of light that comes from the dome. It can be if someone tries to leave, stepping outside the small red circle under their feet. But every two minutes, someone dies. The early parts of Circle are nervous chaos, as the group’s attempts to figure out what the hell is going on are interrupted by another death. They talk about what they remember from before they woke up here. They discuss if there are any connections between the people in the room. They theorize about how they might buy time. But every two minutes, flash, another body drops. 

I wrote about Circle, talky sci-fi and cynicism for Certified Forgotten! Read it here.

Revisiting Steven Spielberg’s Undersung Masterpiece, Catch Me If You Can [Film Daze]

Catch Me If You Can is a well-loved but still underappreciated film: the kind of movie that, were it made by almost anyone else, would be rightfully thought of as their masterpiece. But it was made by Steven Spielberg, who has made so many masterpieces that Catch Me If You Can gets lost in the shuffle. But at almost two decades’ distance, it stands out as a shining bright spot of the latter part of Spielberg’s career. It is one of the films that made me fall in love with cinema.

It’s one of the films that I watched as a kid that really blew up what I thought films could be and do. I have watched it so many times, and I’m always taken off-guard by how extraordinarily well-made it is: impeccably structured, bursting with extraordinary performances, and so goddamn exciting. Just as thrilling as the first time, every time. 

I wrote about Catch Me If You Can for Film Daze. Read it here.

Good Will Hunting: The Sundae Presents Episode 5

Ciara and Dean co-host The Sundae Presents, a podcast in which each of us makes the other watch films they haven’t seen. This episode, Ciara makes Dean watch Good Will Hunting for the first time. They talk about class, toilet humour, and whether Ben Affleck is a good actor. 

Good Will Hunting The Sundae Presents

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Eternal Subscriptions of the Spotless Mind

We’re living through a time that future media historians will call a major turning point in the digital era. The younger, techier companies that created the modern streaming market, like Netflix and Amazon, have used up their first mover advantage and the regrouped old guard are gearing up to crush them. (Apple are on the tech side, but did not use their first mover advantage, because they’re idiots, presumably.) The biggest conglomerates in the film industry – Disney, AT&T, Comcast, ViacomCBS – will stop licensing their films to streaming services owned by other companies in favour of exclusively streaming them on services they own: Disney+, HBO Max, Peacock and Paramount+ (formerly CBS All Access) respectively. It’s gonna take a few years to make the shift, as deals that were signed before launching these services cannot be rescinded. But they’ll pretty much all be expired by the end of this decade and very few will be renewed, especially once HBO Max, Peacock and Paramount+ go international. That’ll leave any streaming service without a major studio archive increasingly reliant on their original releases as enticement to stay subscribed, which will always be a worse value proposition for a consumer than original releases plus loads of existing films. Amazon seem to be futureproofing Prime against this threat by buying MGM and securing a back catalogue of their own. Netflix and Apple seem to be doing sweet fuck all, but that could change any minute. It’s Silicon Valley vs Hollywood in a fight to the death over which shower of assholes in California get to shape the future of global media, and it terrifies me.

Streaming has only been around for the bones of a decade and it’s already transformed the industry so much, mostly for the worse. Suffocating overproduction, cinemas decimated, expanding power of corporations to censor art. The casualties of the first streaming war (June 2011March 2020) have already been severe, and that was before Disney, one of the most awful, nihilistic media companies in human history, got involved. What fresh horrors will come now the second streaming war (May 2020 – present) is afoot? I obviously can’t know what Bob Iger and his ilk are cooking up in their high rises, but I can try to think like them. I’ve looked at graphs of market trends and nodded slowly, I’ve brainstormed and wordclouded and powerpointed, I’ve put a photo of Martin Scorsese on a dart board and shot it with a revolver. I’ve danced with Minions in the pale moonlight, huffed the helium from Walt Disney’s cryopod and sought prophecy in the entrails of a still-living Boots the Monkey. I’ve read the fucking Economist. And lo, the Invisible Hand came forth from the great maelstrom of the market, laid a single finger on my forehead and answered my prayers. I have seen the future that Disney and all the other rogues will bring about in their ruthless, pointless pursuit of wealth. It has come to me as if in a vision, and, buddy, it is fucked up.

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Speed Racer: The Sundae Presents Episode 4

Ciara and Dean co-host The Sundae Presents, a podcast in which each of us makes the other watch films they haven’t seen. This episode, Dean shows Ciara his favourite film released in his lifetime: the Wachowski Sisters’ 2008 children’s action blockbuster Speed Racer. They talk about digital effects, sensory overload and whether blockbusters can be anti-capitalist.

Speed Racer The Sundae Presents

we also mentioned: “In Defense of Disco” by Richard Dyer || Sean T. Collins on Speed Racer‘s “fossil-free future” || Lazy Town || Chapo Trap House’s Avatar episode || Speed Racer Is Not an Art Film

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Nightmares / Phases / Professions

A Nightmare on Elm Street 3: Dream Warriors

Asked to picture a mental hospital in a horror film, most of us would think similarly. From old B-movies to Halloween to the recent Happy Death Day and IT, they house dangerous maniacs itching for an escape, a weapon and an unsuspecting innocent to murder. It’s a trope A Nightmare on Elm Street 3: Dream Warriors plays into: a nun reveals that Freddy Krueger was the result of her gang-rape in an asylum, making him “the bastard son of a thousand maniacs.”

But Dream Warriors also flips this on its head. Our heroes, teenagers in a psychiatric unit, are all tormented by Freddy in their dreams, and Freddy is both a metaphor and a catalyst for mental health problems. Kristen Parker (Patricia Arquette) lands in the hospital after Freddy slits her wrists, but the other kids – in desperate attempts to stay awake or just deal with the trauma of their dreams – exhibit symptoms of mental illness. Jennifer puts out cigarettes on her arms. Will is paralyzed at the waist after a botched suicide attempt. Joey, once a high school debater, is mute.

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How Christopher Landon Is Reinventing The Slasher Movie [Fangoria]

Slasher movies occupy an unusual position within horror, and within film in general. As a genre, its scope is extremely narrow, yet its formula is endlessly replicable: somebody stabs a bunch of teenagers, culminating in a face-off between the killer and the final girl. Laurie Strode fended off Michael Myers and launched a thousand imitators.

The slasher movie’s peak, both creatively and in popularity, is also when it was most reviled critically. In the 1970s and 1980s, slasher movies were considered the bottom of the barrel, barely inching out pornography in artistic merit (and second only to pornography in VHS rentals). Critics Gene Siskel and Roger Ebert were so disgusted by the original Friday the 13th that they told their viewers to write letters of complaint to its producers and star Betsy Palmer. It’s only in the subsequent decades that slashers have been taken seriously enough to recognize that great slasher movies are great movies, period. Yet simultaneously, the genre has gone into decline.

I wrote about Christopher Landon’s recent run of slasher movies, Happy Death Day, Happy Death Day 2U and Freaky, for Fangoria! (Fangoria!!!) You can read it here.