Well, hey there!

It certainly has been a while since I wrote one of these. I apologize sincerely for the delay. I spent the entire summer without internet; fortunately, though, there were only a few movies that interested me enough to want to write about them. Don’t get your hopes up - I didn’t write anything. All you have to look forward to in this blog is a brief overview of the movies you might have missed already during this Season’s Cinema 10 Line-up. To be honest, it’s looking better than ever to me, and I can’t wait to see the other selected movies.

The first movie offered for our viewing pleasure was John C. Reilly’s new film, “Cyrus (2010).” The comedy revolves around the budding relationship he pursues with a single mom played by Marissa Tomei, and her son’s (played by Jonah Hill) passive-aggressive attempts to keep them apart. From the introduction of Reilly’s character, who is caught by his ex-wife as he’s masturbating, the film becomes the definition of an indie-Comedy. The humor is unapologetic and frequently touches on how real sexual encounters are a lot less glamorous than Hollywood would suggest. Reilly and Hill are a fantastic pair, exchanging awkward glances and hushed threats not unlike those in “Step Brothers (2008),” though this film more often takes the high-road. It maintains the typical “happy ending” that would appear in any other comedy, distancing itself from a lot of the expectations put forth at the outset; it is a surprising and sophisticated film by the relatively unknown directors, Jay and Mark Duplass.



The film that followed trumps their efforts by far, however. “GasLand (2010)” made me lose any remaining faith I had in the powers-that-be. The film is director Josh Fox’s open letter to gas companies and the politicians that keep them in control; it is his attempt to expose the consequences of the “natural” and “better” solution; it is his plea for a god-damn good reason. He wants to know why his home, and those of countless others, is being destroyed for the gas that sits under his feet. More importantly, he asks why people have to get sick on tap water that is so toxic that it can be lit on fire. Told through Fox’s strikingly unsettling monotone, the documentary feels more like a horror movie than a depiction of facts. Perhaps it is that the landscape he shoots feels barren and dry, burnt even. Maybe it is the pacing or the mystery. Whatever the cause, I could not help but feel scared for the people that were interviewed. It’s like they’re being stalked down some alleyway, with the glaring exception that the villain isn’t some digitally imbedded figure, but rather is something very real and capable. It is a given that every documentary film-maker means to get across a point; he has an agenda. With all that the public is already aware of, however, this seems to be more proof that we are seen not as people, but as numbers and obstacles. We are either meant to be bought or to be run down. It is one of the most successful documentaries I can recall seeing in my life, in the sense that I was hurt and angry as I left the theater. I’m not promoting piracy, but do whatever you can to get your hands on this film.




And then there was “Looking for Eric (2010),” which I didn’t see. Heard good things, though. Oh well.

Verdict: So Far So Stoked. Glad to be writing again. Thank you, dear reader(s).