More Than One Lesson

Romantic comedies were once plentiful. A trip to see one at the theater would be accompanied by trailers for six more coming in the following months. But over the past decade or so they’ve become few and far between with most of those going straight to a streaming service. I Want You Back feels like the sort of movie you would have gone to on a date in 1997, but in 2022 you’ll find it on Amazon Prime. In so many other ways though it feels like a movie from 1997, from its story beats to its characters to its music cues. It’s predictable and derivative, yet there’s something cosy and enjoyable about it. It knows what it is, its leads are likable and have great chemistry, and it’s legitimately funny, if not hilarious. It’s a perfectly alright little movie that you’ll forget about but you won’t regret having watched.

It’s that time again, friends! Time for the announcement of the Bob Award nominations. If you’re a newcomer to these, think the Oscar nominations but way better. There are just a few more movies I had been hoping to see first, such as The Worst Person in the World or Drive My Car but if they’re not going to be made available by February then what are we doing here? So with the table set, here are the Bob Award nominations for the movies of 2021. The winners will be announced here soon.

In this episode, Tyler discusses James Mangold’s Ford v Ferrari and Jon Favreau’s Chef.

As a reviewer I obviously watch a lot of films but I really only review a relatively small number of them. Still, I have thoughts on everything I see and I figured I would share some of those here (even this won’t be nearly everything new I watched). I won’t be covering the entire year of 2021. I’ll just be going through the past few months and I won’t be dealing with anything that I wrote full reviews of here already. So as another of Tyler’s friends likes to say, “Let’s get into it, shall we?”

American Night is the kind of movie where you know during the first scene that you’re going to hate your life for the next 2 hours. What begins as a knockoff of other superior knockoff gangster movies with lame attempts at quippy dialogue, pathetic attempts to be cool, and unimaginative soundtrack selections gives way to just becoming painfully dull. There’s nothing interesting or entertaining here. There isn’t a nugget of a potentially fun movie here or even a pretty good performance that deserves to be in a better movie to cling to. It’s just bad and a waste of time and money. Don’t watch it.

While Paul Thomas Anderson has been one of the more celebrated filmmakers of the past quarter century, it’s not often that one might describe his movies as being “fun.” He’s certainly never made anything approaching a mainstream crowd pleaser. The most lighthearted of his first 8 films, 2002’s Punch-Drunk Love, is incredibly divisive. While it remains my personal favorite of his works- and I’ve honestly at least liked all of them- I remember the vitriolic response many people I knew personally had to it. It wasn’t enough for some of them to simply dislike it, they took it upon themselves to be angry with me that I had loved it so much. I can’t remember that happening with any other movie. 

I make no secret that the original Ghostbusters is my favorite movie of all-time. I don’t consider it the best movie of all-time by any means, but it is my favorite. However, I did not go into Ghostbusters: Afterlife with unreasonably high expectations. In fact, among people who love the first Ghostbusters film as much as I do, I’m probably in the minority about continuing the series. I never really wanted a Ghostbusters 3. 1989’s Ghostbusters 2 seemed to make it clear that the first movie was pure lightning in a bottle. If the same creative team couldn’t recapture the magic 5 years later then it was likely best to leave it alone altogether. Funnily enough, though, my friend Sam and I hashed out a Ghostbusters 3 story in the span of about half an hour during a very slow day at work. 

A couple of years ago, Quentin Tarantino’s Once Upon a Time in Hollywood took a loving look at Los Angeles in 1969. It was personal without being at all autobiographical. Now writer-director Kenneth Branagh has made a film that examines the world of his own childhood, also set in 1969. Belfast is the story of a young boy named Buddy (Jude Hill) who is about the age Branagh would have been at that time. The opening scene of the film sees the camera gliding joyfully above the streets on a summer day as the whole neighborhood engages in play and conversation with one another. Everyone knows everyone by their first names and there’s a sense of community that seems hard to imagine for most of us. However, this idyllic scene quickly turns to horror as a massive riot breaks out in which a violent sect of the local Protestant community attacks Catholics and causes destruction.

Tyler’s new horror documentary Valley of the Shadow: The Spiritual Value of Horror is now available on the ReDiscover Television streaming platform and Vimeo on demand!

After honing his skills on the cult comedy television classic Spaced, director Edgar Wright made his brilliant film debut with 2004’s Shaun of the Dead. Working as both a zombie film and a romantic comedy, Wright displayed an uncanny ability to blend genres which he perfected in his follow-up, 2007’s Hot Fuzz, which is easily one of my top 10 personal favorite films of all-time. His next two movies, Scott Pilgrim vs. the World and The World’s End were further illustrations of Wright’s unique comedic and filmmaking talents. He then followed with 2017’s Baby Driver, a film with plenty of humor but the first movie of Wright’s that one wouldn’t primarily classify as a comedy.