by Tony Dayoub
"Have you turned her into a lush yet?" That's the pertinent question Cassidy (Brie Larson) asks her ex-boyfriend, Sutter Keely (Miles Teller) in James Ponsoldt's The Spectacular Now. Cassidy's concern belies the fact that she's referring to Sutter's new girlfriend, Aimee Finecky (Shailene Woodley). Is she trying to protect the naïve Aimee from the perhaps alcoholic Sutter's charming sort of peer pressure? Is Cassidy warning Sutter not to lose his new love the way he lost her, by refusing to look past the present? Or is she mindful of her own unresolved post-breakup feelings over Sutter's inability to simply subsist without an oversized plastic cup full of spiked soft drink in hand to sweeten the day? This unpretentious but loaded line of dialogue is representative of the kind of complexity that makes The Spectacular Now feel like a teen romance with an old soul.
Showing posts with label Jennifer Jason Leigh. Show all posts
Showing posts with label Jennifer Jason Leigh. Show all posts
Friday, August 9, 2013
Sunday, September 12, 2010
Cronenberg Blogathon: eXistenZ (1999)
by Evan Waters
[Evan Waters looks at movies, books and comics at Club Parnassus.]
eXistenZ has a bit of a place in my heart. It was the first David Cronenberg film I saw theatrically, having more or less discovered the man's work on video the year before. That was in 1999, a strange and far-off land, and seeing it in the immediate aftermath of the Columbine shootings—with media violence and video games in particular targeted as influences—made it resonate strongly. A decade later, it holds up in very unusual ways; it's unconventional even for Cronenberg and is a bit awkward in terms of how it's built and put together, but the sheer audacious oddness of it pulls us through and animates it with a unique energy.
[Evan Waters looks at movies, books and comics at Club Parnassus.]
eXistenZ has a bit of a place in my heart. It was the first David Cronenberg film I saw theatrically, having more or less discovered the man's work on video the year before. That was in 1999, a strange and far-off land, and seeing it in the immediate aftermath of the Columbine shootings—with media violence and video games in particular targeted as influences—made it resonate strongly. A decade later, it holds up in very unusual ways; it's unconventional even for Cronenberg and is a bit awkward in terms of how it's built and put together, but the sheer audacious oddness of it pulls us through and animates it with a unique energy.
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