I read Walden first when I was a teenager and assumed that because it was written in this elaborate, if occasionally beautiful, way there must have been something insightful in there. You know, minimalism, simplicity, getting in touch with our roots. Society is square anyway, to hell with all the people who tell you what to do. This hermit knew how to live!
I remember a point in my life when I were sure of things. Then I remember a point where I weren’t sure of anything. Then I think I realised that in an atmosphere of uncertainty, I could choose my own truths and in the acknowledgement of those the world had the possibility to become a far stranger and more liberating place. Everything seems to be going to hell pretty just about everywhere, but in creating a meaning for myself outside of that I unmoor myself.
I am in awe of Brad Bird. I mean he’s made mistakes: Tomorrowland, his support of Colin Trevorrow – but anybody who can make a film like this is on some sort of next level shit. The film picks up where the pervious one left off. The Parr family, under their guise as The Incredibles, defeated the robot terrorising the city. Pro superhero sentiment is on the rise again, but their vocation is still illegal and when they choose to go after the Underminer the law forces them back underground.
I think You Were Never Really Here kinda holds up even better on the rewatch. Not to say that the first time viewing is bad in any way, but a mid-production budget cut the necessitated the excision of some fifteen pages of screenplay means that the sense of this adaptation is pushed within an inch of its life. There’s a late game revelation of the real villain of the piece that comes out sorta clunkily, split between some murmured exposition and an incredibly manipulative edit that the film has to then snap freeze for five minutes to allow some tone drama to play out.
There’s mess in the life of Christine “Lady Bird” McPherson. Nothing quite adds up for her in the way it’s supposed to, or maybe she’s just getting the sums wrong. It’s telling in a way that the character is bad at maths and you ever really find out what she’s good at. Aside from making a scene, or trying to be about as alive as she can be in any given moment. Her impulses rarely serve her well but they’re hers.
I think I habitually overrate Marvel movies. I mean, I’m pretty sincere when I consider them just about the most important contemporary releases. A decade seems to have been the right amount of time for these movies to mutate, a hybrid combination of pap and prestige. They are the most honest reflection of our culture and politics that is being created right now. You can feel it in the struggles, the barbs present in these films’ souls. What they see in society, what they want to be seen, and what remains conspicuously absent from their tapestries.
It’s immaculate. Always is, always was going to be.