For A Good Time, Call The Twilight Guy

Good Time

It’s fairly odd that I saw Good Time the same day as Columbus, because I can’t think of two more tonally different movies I’ve seen this year. And yet, somehow I think that contrast worked in their favor, since they both present two sides of the same pleasure coin that more adventurous cinema can provide these days. In particular, Good Time feels like a much more down-and-dirty version of Baby Driver, offering the sensation you get when a film aims to grab you by the neck and never let go. Continue reading

Character Architecture

Columbus

It’s strange to see a movie that wears its influences so heavily on its sleeve, and yet seems so completely devoid of cliche. Granted, the two most obvious influences of Columbus, the debut feature from director Kogonada, are in themselves influences that are very good at avoiding cliches. Because when first hearing about this movie upon its arrival at the Seattle International Film Festival (I didn’t catch up with it until last week), the names Ozu and Linklater seemed to naturally come up. Yet somehow, Columbus feels like such a singular little meditation about taking stock in what surrounds us, that it transcends whatever familiarity might be there on the surface. Continue reading

2017 Summer Movie Triple Feature

It’s been kind of a weird summer here at Mildly Pleased, as we had our most post-filled month of 2017 in July, due in no small part to our deep dive into the Criterion catalog. But I think also due to Criterion month, June was kind of a dead zone due to our preparation, while August has also been similarly dead due to us being burned out on talking about movies.

Which is a bit of a shame, because by all accounts 2017 has been one of the best summers for movies that I’ve seen in a while. Sure, there have been some clunkers like the obligatory Transformers or The Emoji Movie, which apparently was underwhelming, even by the extremely low expectations one would set out for a movie called The Emoji Movie. But here I offer a review of three of the better high profile movies I saw this summer, because I’m sure you haven’t already heard people talk about them enough already, right? Continue reading

Love Gun

Sheer Mag – Need To Feel Your Love

Times are tough, shit is rough, and Sheer Mag feel like the perfect band to rock us into the apocalypse. Which isn’t to say there’s anything particularly doomy and gloomy about this band’s bubble-gummy amalgam of both punk and classic rock. And that’s not even to say that I actually think we’re careening towards some sort of global endgame in the near future. Though maybe that’s just the way I feel every time I listen to Need To Feel Your Love, and try to convince myself that the warring factions of the world could be united under the almighty power of rock and roll. Continue reading

Out And About

Waxahatchee – Out In The Storm

Waxahatchee is an artist that I’ve paid just enough attention to write about occasionally on this blog, but without really having a ton to say about. Which is to say that pretty much any album I go to the trouble of reviewing is most likely something I like. But then again, sometimes I just need something to write about, so why not write about a new Waxahatchee record? Well, I’m happy to say this isn’t one of those times, since this is probably my favorite batch of songs from Katie Crutchfield yet, and proof that she’s just a really fantastic songwriter who’s probably gonna be sticking around for a while. Hmmm… actually, that was pretty vague and non-specific, so maybe I won’t have anything insightful to say about Out In The Storm. Continue reading

Criterion Month Day 30: Yi Yi

Yi Yi (2000)

So here we are, at the end of this long journey that was Criterion month, and staring down the barrel of 21st-century filmmaking. Over the course of these 30 days, we ventured through a wide variety of different genres, but I suppose it’s apt that we end with a film entrenched in the kind of stripped down realism often equated with the kinds of art house cinema Criterion has made their name on distributing. The genre I would ascribe Yi Yi to is the “real fucking life” genre, which isn’t really a genre per se. Basically because these kinds of films are inherently anti-genre in their desire to paint an honest picture of how people live their small, modest lives with dignity and grace, which this film is full of. Continue reading