Movie of the Week: ‘Gray’s Anatomy’ Talks Life Neurosis Medically through a Raconteur

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How do you discuss a film that is nothing more than a microphone and a man telling a story? I’m not quite certain. I’m used to – even though I’ve tried desperately to ignore this type of formatting – having a few different elements to talk about but this movie is so simple that it seems difficult to not view it in binary as opposed to in some sort of multi-faceted thing where I can break it apart and tick of some checkboxes or not.

This film however, really isn’t just a man telling a story. It exists in a weird subspace of genre specific filmmaking. It isn’t necessarily a fully formed fictional film as we sit there listening to Spalding Gray tell us about the journey he went on after discovering a medical issue he began to have with one of his eyes. Being a neurotic New Yorker, very much in the vain of Woody Allen, with a fear of hospitals his journey involves him not just worrying about the fact that there is a problem but his requirement to discover a solution that isn’t tied to medical science. This can’t be anything other than great can it? Continue reading

Movie of the Week: ‘The Fisher King’ or When Terry G. Finally Answered The ‘Love Conquers All’ Subtitle


Movie of the week is a feature where each week I will discuss a film outside of the general new releases and limited VOD films of the year that is now. It will give me a chance to keep diving into older and more niche aspects of cinema and also allow me more freedom in which films I discuss on the site. Expect a lot more content here on the site as of today. This is a new Andrew writing and I hope you guys will enjoy it.

If there’s one story all Terry Gilliam fans are very familiar with it’s the tale of his continued struggle with the studio production of his films. More specifically the tale of the studio production of his most infamous work, Brazil. The film apparently – as I admit to having never actually seen this shorter cut — upon initial theatrical release was reportedly cut by the studio executives to have “happier ending” which mean’t that the final 40 or so mins were missing. This ended up being in the papers as Gilliam took out an ad to publish a letter to the studio executive asking a very important question… Continue reading

Review Capsules: Priest Cops, A Dancing Corazon & Spelling Disaster


So it was May 28th when I posted the first of the Review Capsules, which means it’s been a full 6 weeks since I said I’d do these regularly and I hope to be better (as I keep promising). However, while these will be all encompasing in films of then and now I’m going to take minute to do some 2014 discussions as I’ve started to hit up my local cinema a lot more these days – since I’m working again — and there’s a lot to talk about, but sadly this edition isn’t that inspiring.

As always if you want to keep up with every film day to day that I’m watching just follow me on Letterboxd.

Here’s this edition of Capsules: Continue reading

Review Capsules: Mental Instability & Futuristic Gladiators

If you’ve listened to my most recent recording of the Movies You Love Podcast, which if you haven’t you should subscribe to, where I talked about all my current feelings about writing and how it tied into me not working and generally feeling a little bit lethargic and distracted in being proactive about this website, then yay you. Wow that’s a long sentence. All those things still remain true, but damn me if I don’t try to keep chugging along nonetheless.

I’ve been doing this weekly update of just listing the films I’ve been watching with a running total of what’s been happening in my film discoveries for the last couple years that I’ve dubbed What I’ve Been Watching – guys… I’m really bad at coming up with names for stuff — which was mainly inspired by Mr. McNeil (or the man that runs movie blogging I believe) and helped suffice for a post to fill in a Saturday while I was trying to remain a post-a-day kind of guy. Well a post-a-day guy I am not any longer. I’ll still be updating the site as time goes by, but with my tenacity at keeping my Letterboxd up to date on a daily basis when I do watch films I find it almost useless to do the weekly update. Continue reading

‘Enemy’ Is As Ambiguous As Doppelgangers Get

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Enemy is a film that I feel is something that requires many viewings in order to walk away from it with more than a feeling. Many people are going to go into this movie hoping for either The Double fun of the doppelganger or Fight Club level of crazed uncertainty that is clearly defined somewhere later down the like; however we are forced to reside somewhere between these two variations of this story and it’ll lose people. It lost me a few times.

I’ve written previously on my evolution of thought on the idea of knowing what the meaning of film is; and here is the movie that starts the mental debate all over again for me. As I sit there entranced by Villeneuve‘s style and focus on Adam and Anthony’s (Jake Gyllenhaal) reaction to this doppelganger, I find myself searching for that meaning and becoming even more interested Enemy -2as it doesn’t appear to me after the credits begin to roll. I start to demand myself to find a meaning for the film, to understand what it wanted to say about how we perceive ourselves or something else.

This has led me to a further point in the discussion of understanding movies that I don’t quite always get. It’s one thing for a film to mean something, and it’s another thing entirely for the film not to care whether you know that or not. Enemy is a film that feels unwilling to share itself with us just as Anthony is unwilling to truly admit anything about himself to Adam that’s anything other than on the surface. He doesn’t walk up to Adam with open arms telling him tales of when he was young looking for meaning, as much as Adam when he finally meets Anthony (what he was pushing to happen) immediately shuts down and walks away from it all. It’s distant in a way that many films can’t quite pull off; but it does.

As the film reaches it’s climax the film throws more than the odd wrench in the middle of it all. The film continues along the line of refusing to stay within one definitely decision as to whether what we’re seeing is true in any sense and asks us to question everything as such. The film however doesn’t truly aide us in asking the correct questions.

If you’re in the mood for some dark moody filmmaking that draws you in regardless of how you’ll feel at the end then Enemy is the film for you. Otherwise stay far and trying not to get addicted to the every lasting Kool-Aid that will be consumed on forums and other places with this latest piece of weird.

What do you think of Enemy?