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Everything posted by SDG

  1. SDG

    Family games

    A search of the games forum finds only two posts by me, including this one from 5 years ago in the "Favorite Board Games" thread: Since I wrote that, our family took up poker, which we played assiduously for quite awhile. We bought a nice set of 500 chips and everything. We've played all kinds of poker, most often 7-card stud and Texas Hold 'Em, but also Ohama Hi-Lo and a truly odd variant called Oxford Stud. We even had a match against another poker-playing family whom we totally dominated. (We divided into teams, and the final championship round was all Greydanuses.) So I like poker a lot. Lately, though, one or two of the kids has soured a bit on the game, and I'm in the market for something new. So, I'm not necessarily just interested in board games, although I'd be open to suggestions. As always, I'm interested in games for large number of players accessible to younger kids (potentially including kids too young to read) but also interesting to older kids, and preferably games that don't take forever to play. Thoughts/Suggestions?
  2. SDG

    Dr Seuss' The Grinch (2018)

    It’s certainly true that a bad film, or bad things in one film, can highlight or make one more appreciative of a good film, or of good things in another film.
  3. SDG

    Dr Seuss' The Grinch (2018)

    My latest review … in Seussian rhyming anapestic tetrameter.
  4. SDG

    Dr Seuss' The Grinch (2018)

    So, I liked it better than you did, Ken. Caveat: I confess I don’t have quite the same attachment as you to the original story, although I certainly remember my parents reading it to me and I have certainly read it to my own kids. You’re right, of course, that this Grinch isn’t nearly as villainous as the Seuss character or the Chuck Jones version. That did occur to me as a potential problem while I was watching it. In the end, though, I decided I’m okay with it. I kind of like the little hints of conflict we see throughout as he struggles with his attraction to the thing he wants to hate. I’m reminded, too, of G.K. Chesterton’s revisionist take on Scrooge, whom Chesterton maintains was never such a scrooge as he purported to be. I especially appreciate the fact that when the Grinch comes riding back into Who-ville on Christmas morning, he doesn’t arrive expecting a hero’s welcome just for undoing the damage he did. He’s apologetic, expecting nothing. He goes back to his lair on Mount Crumpet. He doesn’t presume to join in the Who-celebration: He’s invited, against all expectations, out of the charity and goodness of the Whos, especially Cindy-Lou Who and her mom. In this election week, confronted with the unavoidable evidence that so many Americans are kind of okay with racism and misogyny and hostility to immigrants, it would be easy to feel that the welcoming, accommodating world of Who-ville — here depicted as a multiracial utopia in which everyone is accepted, even the creepy green outsider up on the mountain — lets us off the hook too easily. (MZS on Twitter the other day: “Hot take: everybody in IT’S A WONDERFUL LIFE would’ve voted for Trump, except for Mary and Clarence. Even George is a tossup.”) But of course that raises the specter of the Ron Howard version, which subjected Who-ville to another gleeful Hollywood send-up of The Hell That Is American Suburbia, a world of enforced conformity, materialism, bullying, and even sexual decadence (the key-party game). But this Who-ville shows us not what we are but what we ought to be. What’s wrong with that?
  5. SDG

    Dr Seuss' The Grinch (2018)

    I have some thoughts I will post in a couple of hours when I am no longer under embargo.
  6. SDG

    Examples of "Cinematic Parables"?

    Practically everything I think of fails to meet one of your criteria. Some chapters of The Decalogue would qualify, but that’s not exactly popular cinema. The Truman Show is parable-like, but not realistic in the way I think you want. How about Calvary? Is that popular enough?
  7. SDG

    Jeannette: The Childhood of Joan of Arc

    After the first half, I said to Suz, “If the second half is that good, this might be my favorite film of the year.” It wasn’t, unfortunately, but it’s still an amazing film that I can’t wait to see again.
  8. Okay, it's a little pretentious to put this under "Visual Art," but FWIW here's this year's jack o'lantern: an homage to the "Night on Bald Mountain" sequence from Fantasia. It was taken with an iPhone, which is not the greatest camera for close-ups in the dark. I'll try to get a better picture tonight. I carved Chernobog at the moment that the church bells start ringing, signaling the coming dawn and the start of the "Ave Maria." Chernobog is half-cringing from the holy sound of the bell and the white light that flashes when the bell rings. FWIW, here's the image I used for reference. I learned a lot doing this year's jack o'lantern, and I think I could do it a lot better given a second shot. Last year I did Kiki from Kiki's Delivery Service, but I can't find an image from that one right now. I'll see if I can find it later. Below is a design I did about 11 years ago. It is not actually a photo of my jack o'lantern, but a down-and-dirty Photoshop mockup made after the fact (since I can't find the photos of this one either). You will have to take my word for it that this is a pretty fair representation of what I actually carved. This one is called "The Hierarchy of Hell." It depicts four heads devouring one another, representing the depiction of infernal order of things depicted in The Screwtape Letters and similar sources. After carving "The Hierarchy of Hell," I discovered that my jack o'lantern had an unexpected but eerily fitting "performance art" aspect: As the pumpkin began to shrivel and decompose, the #2 head slowly began to withdraw into the maw of the largest head, while the mouth of the largest head slowly began to "close" on the other heads! By the time I finally went to throw the thing away, it had collapsed into a mouldering heap -- and when I went to pick it up, it fell apart completely -- and there on the ground where the base of the pumpkin had been was the clearly recognizable ruins of the three inner faces, long since fallen back against the floor of the pumpkin, grimacing up at me. I felt I had come a lot closer to portraying the reality of hell than I ever meant to! Finally, here's a jack o'lantern I decorated (as opposed to carving) five years ago for a company picnic. (Media notes: The horns and nose are hand-carved carrots, stuck on with toothpicks. Eyes are grapes, stuck on with pins (the pinheads are the irises). Facepaint by Sharpie & Wite-Out. Arms by Mr. Potato Head. Lightsaber by Tinker Toys.
  9. This year's Jack-o-lantern, "Jack O'rlock"
  10. I will do one blurb for any of the following: Spirited Away Arrival This is Martin Bonner The Truman Show
  11. SDG

    Best of 2016?

    Somewhat belatedly, my top films list (there are 10 runners-up and 10 honorable mentions): Paterson Cameraperson Silence The Red Turtle O.J.: Made in America Love & Friendship April and the Extraordinary World The Witch Arrival Queen of Katwe I also did my usual round-up of top 10s from Christian cinephile friends and peers… and the top picks look strangely familiar…
  12. SDG

    Lego Batman Movie

    I admit I don't know anything about Lego Batman outside these two movies, but is Lego Batman a rocker / recording artist anywhere else? My impression was that this was introduced in The Lego Movie and taken up here. If that's true, that's a pretty notable connection. Also, all the cross-franchise villains — Sauron, Daleks, King Kong, etc. — certainly resonated with the first film putting Star Wars characters and DC superheroes in the same story, etc.
  13. SDG

    Lego Batman Movie

    Eek. If I'm reading this correctly, that strikes me as a harsh thing to say. I hope I'm misreading. Toward the DC Extended Universe movies to date, I certainly have animus, yes. And while that's not entirely irrelevant to this review, I don't think it's relevant in the direct way this seems to suggest. I have no animus regarding DC characters per se. If anything, my animus toward the DC Extended Universe movies to date inclines me favorably to a project like The Lego Batman Movie. The tack taken by a number of reviewers that Lego Batman Movie is "one of the best Batman movies ever" or "the best Batman movie since The Dark Knight" appeals to me, in part precisely because of my DC EU animus. I would love to write something like that; going in, I was hoping to. Also, while I did mention my disappointment that LBM missed an opportunity to make a joke about the discrepancy between Zod's fate in the two movies, this was a mere parenthesis compared to my larger, systemic disappointment that the film passes on making fun of "superhero movie culture" and the audience thereof — which most emphatically includes, indeed is predominantly defined by, the Marvel Cinematic Universe (of which I am somewhat passive-aggressively a fan, and of whose characters I am more straightforwardly a fan). IOW, what I most wanted to see "trashed" here, if that's the right word, was not superhero-universe specific. I wanted to see the nervy wit of TLM making fun of itself and its own corporate culture and its own audience turned on superhero-movie culture generally. I wanted LBM to make fun of its own superfluity, of the inevitability of sequels, of the dominance of superheroes in contemporary culture. Instead, we got a little bit of making fun of the whole concept of lawless vigilantes and some pointed questions about Batman's effectiveness as well as his emotional maturity, which is great as far as it goes, but I wish it went further. By the same token, I think Jeffrey is barking up the wrong tree when he suggests that perhaps my more negative reaction is due to my being more "invested in the Batman legacy" than he. On the contrary, the things I most appreciate about LBM — as I think is pretty clear from my review — is precisely that it makes fun of the character who more than other embodies superhero cool, whose aura of invincibility far surpasses Superman's in spite of the almost archetypal power gap between them, whose very name is practically an explanation for invincibility ("Because He's Batman"). I'm a Batman fan, but again, in the passive-aggressive sense that I think Batman is too cool, too iconic, his invincibility played up too much out of fan service to the Batman cult. I want to see Batman taken down a few pegs, and that LBM does this is, again, what I like about it. Another factor that favorably disposed me to LBM is that it's a superhero movie that is family-friendly. The default hard-edged PG-13 milieu of all superhero movies has long been a bugaboo of mine; I've ranted about it on Twitter repeatedly. Plus, it's a sequel to TLM, which I pretty much loved, and who doesn't want to love the sequel to a movie they loved? P.S. Reminder that my Man of Steel rating is C+. I have issues with the film, but I don't advocate "trashing" it.
  14. SDG

    Silence (2016)

    My follow-up piece on "Apostasy, ambiguity and Silence":
  15. SDG

    Lego Batman Movie

    I was entertained but not thrilled. The Lego Batman Movie is about par for what I was expecting from The Lego Movie. It's frenetic, it's pretty funny, lots of jokes, very silly. What it doesn't have, pretty much at all, is The Lego Movie's subversive, daring humor. To wit:
  16. SDG

    Paterson (2016)

    This is my no. 1 film of 2016. (My 2016 year-end write-up, with 10 runners-up and 10 honorable mentions.) Apparently I am a sucker for films that fit this pattern: My review talks about the "Ecstatic Quotidian" (which is related, though I don't say this, to Thomas Howard's "Bravo the Humdrum"), and why Golshifteh Farahani's character is not a Manic Pixie Dreamgirl, and how Paterson offers a welcome alternative screen image of masculinity — with the capacity of rising to physical heroism if needed. "Taxi Driver reimagined by Fred Rogers," in the memorable phrase of Jeffrey Overstreet, in his final (sniff) Viewer Discussion Advised column for CT on the film. Adam Driver and Andrew Garfield: MVPs of 2016.
  17. SDG

    Sing Street

    I see nothing unbitter in the portrayal of Catholicism. If the final musical number — with the Brother Baxter masks! — isn't a middle finger to the Church, I'm not sure what would be. Note that Catholic sexual morality is blamed for the breakup of the family, or rather for their ill-advised wedding, since they didn't love each other and only wanted to have sex.
  18. SDG

    Sing Street

    I suspected that this was the case. I am curious whether Carney would say he knows or suspects that Brother Byrne was a sex offender. Artists shape their work in a particular way for particular reasons. Saying that there was a real-life basis for Brother Baxter doesn't change the fact that the film comes off as lapsed-Catholic bitter — and that this interferes with my enjoyment of the film's more winsome elements. I would be surprised if Carney wouldn't self-identify as a bitter lapsed Catholic. (I admit I could be surprised. But I don't think I would be. That's why it would surprise me.)
  19. SDG

    Sing Street

    Also, significantly, the angry bully trope is subverted: The bullying skinhead character is ultimately redeemed. So is the seemingly-unattainable love interest trope (subverted, I mean); Raphina turns out to be considerably more vulnerable and broken than most teen-movie fantasy love interests. The self-absorbed/clueless parents trope isn't necessarily subverted, but the movie doesn't end by giving them a middle finger either.
  20. SDG

    Sing Street

    You notice that the priest isn't just angry/physically abusive, but probably a sex offender as well. He specifically admires Conor's "pretty" features, gives him a pat on the cheek — and then calls him into his private washroom to wash off his makeup. And Conor may know it — it may not be merely youthful rebellion that prompts Conor to walk out of his office at that moment. (Nor is it merely anger at Conor's defiance that prompts the priest to chase after him and violently half-drown him washing off his makeup.)
  21. SDG

    Sing Street

    So…I'm the only one so far who finds the physically abusive, probably-child-molester priest and the overall Catholic-negativity to be even a caveat in a "feel-good" film?
  22. I'm starting this topic for a specific reason: I want to know if anyone, particularly literary Catholics hereabouts, are aware of any good, in-depth critiques of this book. I also have a secondary reason relating to dragons as they have been portrayed specifically in the literature of Western Christendom. A Landscape With Dragons is a conservative Catholic examination of good and evil and imagery in children's literature and entertainment. O'Brien's basic thesis is that in contemporary post-Christian culture images and themes of good and evil are often highly muddled, compromised by pagan or Gnostic impulses. I wouldn't disagree with this basic premise, but I disagree with many of the particular applications he makes. Among other things, O'Brien is concerned with good or friendly portrayals of dragons and other monsters, which he sees as a symptom of a Jungian impulse to embrace or befriend our dark side, to tame evil and turn it into good. He is aware of good or mixed portrayals of dragons in Eastern and classical mythology, but chalks that up to blurring of lines between good and evil in dualistic cultures. In Western Christendom, informed by the New Testament, he says, the dragon received its definitive imaginative form as an embodiment of evil, a stealer and hoarder of treasure, a killer of innocents, etc. I've critiqued O'Brien's thesis in the past, but I'd like to write more about this. First, though, I'd like to know what if anything has been written. I am aware of some critiques of O'Brien, many of which focus on his anti-Harry-Potter writings, but I don't know of any critiques specifically of A Landscape With Dragons or of this argument that dragons ought to be images of evil. Beyond the question of specific critiques of O'Brien, I'm obviously interested in cases in the literature of Western Christendom that complicate O'Brien's narrative. The draconian associations of Wales and King Arthur Pendragon are obviously one example. Anything else come to mind?
  23. SDG

    Star Wars: Rogue One

    Four interrelated articles on moral and spiritual issues in Rogue One: First, Jeffrey wrote a piece for CT called "Will the Force Be Strong with Rogue One?" Jeff's central contention: I quoted from this passage in my own recent critique of Rogue One's moral murkiness, "What we lose when Star Wars goes to the Dark Side": Yesterday I learned that a professor of theology and culture at John Paul the Great Catholic University had written a rebuttal of my article for Catholic World Report, defending Rogue One (and interacting with Jeff's original piece), "On the Dark and the Light in Star Wars": My reply, which I just blogged ("John Paul the Great professor defends Rogue One"), begins on a note of agreement… …and ends with one of the stronger statements of disagreement:
  24. I think it's damned unfortunate that Silence has been so inaccessible to so many so far. I also think it's the film to beat for this jury. On the one hand, I don't like the idea of pushing back the vote. On the other hand, I understand why Greg is tempted. If we don't push back the voting this year, would the film be eligible for 2017? If not, then I would say absolutely, push the vote back. We can't just let this film fall between the cracks. I don't know which is the better solution.