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Movie Review – I’m Still Here

I’m Still Here is an intimate, subtle film about the emotional toll parents absorb on behalf of their children—especially in times of danger and violence. Fernanda Torres’ performance as Eunice, the wife of a former congressman murdered by Brazil’s military dictatorship, is the best I’ve seen this year. It’s a performance that combines passion with restraint: when the news of her character’s husband’s death inevitably arrives, she doesn’t fall into hysterics; after all, the kids are right around the corner. And when she announces that the family must move to Sao Paulo—a signal to the older children that their father may never come home—she continues with a heroic, “Pass the salt.” Sheltering her kids from horrible realities, though, has its price: later scenes reveal that, while they’ve grown up to be successful and well-adjusted, Eunice will never move past her husband’s disappearance—that it was, tragically, the central event of her life. People are not replaceable; families are not rebuildable. It’s apolitical messages like these that often make the most powerful political statements—in this case, a timely reminder to oppose those who would devalue human life from perches of leadership.

–Jim Andersen

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Movie Review – Anora

Anora is a resonant, thought-provoking satire of modern relationships. I interpret it as an endgame case of the transactional approach to romance: Ivan, a young man of boundless wealth, marries Ani, his sexy escort, forging the shallowest marriage imaginable: neither has anything to offer the other beyond surface appeals. As Ivan’s handlers scramble to undo the misguided pairing, the ugly qualities of both newlyweds surge to the forefront—a fast-forwarded version, perhaps, of what would have, in less dramatic circumstances, gradually devolved into Real Housewives-type turmoil. Some may find such a story difficult to love, since none of the main characters appear capable of that emotion: Ivan and his family are evil menaces, and Ani is a gold digger, plain and simple. But wait. After Ivan returns to Russia, too ensconced by riches to learn any real lessons, Ani, forced by her humble situation to confront the events, reaches a different final note as the credits roll to the sound of windshield wipers—wiping away, perhaps, her old self, her old identity, clearing the way, as all great stories do, for someone new.

–Jim Andersen

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Movie Review – Nickel Boys

Nickel Boys is an unusual adaptation with some bold directorial decisions. Not all of them worked for me, but originality is hard to come by, and this film about an atypical subject—friendship between young boys—told in atypical fashion—via first-person camerawork, as usually reserved for the likes of Michael Myers—stands as a welcome curiosity among the Best Picture field. My appreciation for it has grown in the two days since I watched it. In one scene, for example, the protagonist readies to receive a vicious beating, but the movie, instead of depicting it, cuts to a series of old photos of beaten boys, emphasizing the shared rather than the personal nature of his experience. I didn’t like that choice while I was watching, but now, I see that it was correct: this isn’t a story about violence, like 12 Years a Slave; it’s a story about memories: how the traumatic ones hold us down, and how the good ones—the ones about the people we love—lift us up. The film leaves things out, yes, but only because we’ve forgotten them. Even poor Turner, excavating his damaged mind, can only uncover, when it comes to the worst horrors, those cold, clinical photographs.

–Jim Andersen

 

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Movie Review – A Complete Unknown

In February 2024, I wrote in my review of Maestro: “Every year, I watch all ten nominees for the Best Picture Oscar, which means that every year, I have to spend a whole evening watching somebody impersonate a musician.” Well, here we are again. A Complete Unknown takes us to the 1960’s folk scene to teach us…nothing too interesting. That Bob Dylan was a very good musician, I suppose. And that Timothée Chalamet is a good actor (although this latter statement lands, in my opinion, less convincingly). If you’re a devoted fan of either person, you’ll probably enjoy this movie, but even then, idol worship only goes so far toward dramatic entertainment: the movie climaxes with Dylan’s decision to use an electric guitar at a concert—a watershed moment, apparently, for the music industry, but a pretty humdrum one as far as cinematic payoffs go. These types of movies are made for people who don’t like movies, and I do, so I’ll never be their intended audience.  Contextualize my thoughts accordingly.

–Jim Andersen

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Movie Review – The Brutalist

The Brutalist, a bold study of immigration’s unforgiving delirium, is one of the year’s best and most challenging films. When Laszlo Toth (Adrien Brody) arrives to Ellis Island, he sees the Statue of Liberty upside-down, then sideways. It foreshadows his ensuing struggle with the American dream: there will be liberty, yes, but it will always be crooked, askew, off-kilter: nothing will ever come straightforwardly. For the next three-and-a-half hours, Toth labors for a capricious America, which first disparages him, then lauds him, then stymies him, then helps him, then abuses him, and on and on—until he emigrates out of sheer exhaustion. In one sequence exemplifying this madcap saga, his osteoporotic wife wakes up screaming in pain; to soothe her, he doses her with secretly-stashed heroin; then, the two have passionate sex; soon after, she nearly dies by overdose; later, the two reconcile in a hospital. All in one night. Was his life really, then—as a peppy epilogue suggests—about the destination, not the journey? Which part of the film would you rather watch?

–Jim Andersen

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Movie Review – Wicked

I’ve now encountered the story of Wicked in its book, stage, and movie iterations, and none of them have made any sense to me. I can admire the new film for its set design, choreography, musical performances, and CGI visuals; unfortunately, these achievements are shackled to the latest rendition of the bizarre narrative that reimagines the hag from The Wizard of Oz as a bullied-teen-turned-leftist-freedom-fighter. In some scenes, a theme of intolerance emerges, suggesting serious designs. But the bulk of the runtime instead bops between random spectacles, finally hardening into an inscrutable mishmash of Harry Potter, High School Musical, and Jim Carrey’s How the Grinch Stole Christmas! An intriguing opening, for example, promises a philosophical examination into whether wickedness is inborn or the result of one’s environment. But no such thing materializes: major ensuing sequences include two narcissists falling in love, a bookish girl receiving a lesson in attracting boys, and the casting of an ancient spell that makes monkeys fly. So…it was environment, I guess?

–Jim Andersen

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Movie Review – Emilia Pérez

I’m tough on movies, and I’ve criticized plenty that have had their merits. The utterly wrongheaded Emilia Pérez, though, has none. It enters catastrophic waters as early as its second full musical number: surely mine isn’t the only mouth from which an involuntary “oh, no” escaped when a lawyer began sauntering through a sex change clinic, ordering major surgeries like groceries. As a bandaged ensemble joined in, harmonizing cheerily from operating tables and wheelchairs, I realized with growing dread that the Academy had brought something unholy into the light: an experiment from the lab of political correctness gone horribly, intrinsically wrong; a landmark of faulty acclaim; Crash but worse, much worse. This tale of a mass murderer who gets off scot-free (nay, becomes a hero) after transitioning to a woman is every bit as problematic, reductive, and ethically unserious as it sounds, and even its music makes Joker: Folie a Deux sound melodiously lively. Watch it, and enjoy the surefire privilege, next year, of saying about an undeserving nominee: “At least it was no Emilia Pérez!”

–Jim Andersen

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Movie Review – The Substance

The Substance isn’t, I suppose, very good—but dammit, I liked it anyway. A fable about the perils of remaking oneself to meet the wants of others, it aims to be a feminist Being John Malkovich, and in a smattering of memorable scenes, it succeeds. Unfortunately, the bulk of the film lacks discipline, judgment, and the basic plausibility that even sci-fi and horror movies are expected to provide. (Does this woman have any family, friends, or acquaintances?) I wish, too, that it would have opened itself up more broadly as a relatable tale for media-pressured women (and men) everywhere; instead, as its ill-advised finale makes disturbingly clear, its true interest is in the singular experience of aging Hollywood starlets. The Substance will therefore be remembered best in bits: my memory is already filtering the overlong narrative into a few compelling YouTube clips, generously forgetting the plentiful mistakes that douse the complete work’s Kaufman-esque aspirations and leave it an ugly, graceless, zombified resurrection of classics like Sunset Boulevard and, especially, All About Eve. But hey: it has those bits, doesn’t it?

–Jim Andersen

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Movie Review – Conclave

Conclave is a screenplay-driven film that, while smart, disappears into an unfortunate valley between realism and zaniness. Cardinals don’t behave like this; no one seriously believes that they do. Yet director Edward Berger and screenwriter Peter Straughan won’t quite relinquish the premise that, yes, actually, they do—so their creation has neither credibility nor artistic flourish. Had they freed themselves of the constraints of accuracy, we might have had something as fun as Yorgos Lanthimos’ The Favourite; had they doubled down on realism, we might have had the majesty that the subject matter demanded—think Kubrick’s Barry Lyndon. But they’ve done neither: they’ve given us The West Wing with popes. Indeed, this movie’s true Holy Spirit may be Aaron Sorkin, whose influence suffuses characters, wondrously, miraculously, with liberalist speeches so rhetorically sound as to ensure, even for an otherwise unremarkable tale, access to the kingdom of award season success.

–Jim Andersen

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The Sexually Frustrated Heart of MAGA

Until now, all political attempts to undermine the MAGA movement have failed. To the confusion of both political experts and casual observers, MAGA’s supporters have remained undeterred by unshakeable evidence of the movement’s disregard for morality, patriotism, and even conservativism. This is because none of these principles actually relate to the main premise of MAGA. Its true guiding theme is not a value or principle at all, but the dark spirit of male sexual frustration.

From the beginning, MAGA has invoked sex as a central rhetorical focus. Donald Trump launched his presidential campaign by referring to Mexican immigrants as “rapists” and has never trailed in GOP primary polls for three election cycles afterward. Since his ascendency, Republicans have largely ignored traditional politics and have instead focused bizarrely on instances of perceived sexual perversion. They accuse their opponents without evidence of sex trafficking and pedophilia. They viciously and persistently attack transgender people, a tiny group with little representation in powerful circles. They embrace QAnon, an online conspiracy that theorizes that pedophiles control the government and Hollywood.

And their preoccupation with sex always carries overtones of rage and resentment. Consider MAGA supporters’ most infamous and identifying insult: deriding non-MAGA men as “cucks”—short for cuckolds. Such language conveys that MAGA men view mainstream culture and politics as not only emasculating but as sexual dead ends, as routes to celibacy. For them, MAGA is the solution to a sexual problem, not a political one. Its actual political stances (where they can be found) lie downstream from this. Take its push to restrict abortion rights, a thinly veiled effort to restrict young women’s sexual behavior. Or its notorious animosity toward illegal immigration: as Trump’s original “rapists” comment indicates, MAGA perceives immigration as a sexual threat—or, more accurately, a scapegoat for lived sexual dissatisfaction. Conservative media outlets regularly parrot dubious claims about immigrants raping and attacking young women. Never do they run stories about immigrants usurping low wage jobs. Thus, the mantra that immigrants are “stealing American jobs,” already factually questionable, can and should be interpreted as a euphemism for sex. Even if taken generously at face value, sexual paranoia looms large: women prefer men with jobs.

The rise of MAGA coincides with the dual explosions of internet pornography and Instagram. The media has highlighted the negative impacts of these developments on female body image and self esteem. However, it has not yet appreciated the corresponding impact on men, for whom the gap between sexual ambitions and reality has now become, for much of the population, outrageously wide. Some coverage has been dedicated to “incels” and violent offenders who lament sexual failure, such as school shooters. This coverage has characterized such individuals as belonging to a fringe. Perhaps. But a fringe of what?

Trump himself is the perfect avatar of sexual frustration. He regularly degrades women. He has been divorced several times and has been credibly linked to embarrassing affairs, all of which have the flavor (if not the formality) of prostitution. His wife shows him no affection, let alone desire, and she is rarely present at his events. Her frostiness toward him passes with no comment from pundits, who consider the subject out of bounds, but their courteousness blinds them to the crucial dynamic at play. That his wife detests him is the secret ingredient to his popularity. And it helps explain the failure of his copycats, who unknowingly torpedo their own appeals by flaunting (or at least feigning) healthy relationships with their wives.

Beyond the rhetorical and aesthetic evidence, simple intuition can easily discern the true heart of MAGA. Any outsider can recognize its atmosphere as dysfunctionally male. Trump and his acolytes are boorish, tense, and insecure. Few young women would wish to find themselves alone with one. In fact, several MAGA leaders including Trump have been accused or even convicted of sexual assault, which, far from disqualifying them, serves as a stamp of authenticity. At Trump’s rallies, to his supporters’ delight, he jeers powerful women and their male enablers. These events have an increasingly ritualistic feel: missing only are the witches burning at the stake.

A subset of women, of course, identify with MAGA, but their devotion is zealous, cultish, and unrelated to its premise. They revel in the cultural fervor of MAGA, not its ideas. MAGA men allow women to participate so long as they reject femininity, either by masculinizing themselves (a la Marjorie Taylor Greene) or playing the prostitute (a la Lauren Boebert). A relatively healthy female role model has no place in MAGA, as Ivanka Trump’s departure and Nikki Haley’s political flop exemplify. Indeed, to date, Ivanka’s main contribution to MAGA has been her role in resurfaced old videos in which her father awkwardly expresses unfulfilled sexual desire towards her. These clips, despite heavy play from Democrats, did not dampen the enthusiasm of his supporters. It is at least possible that they boosted it.

Eight years after Trump’s unexpected presidential victory, the Democratic Party may finally be coming around to the true nature of its opposition. Vice Presidential candidate Tim Walz has characterized MAGA as “creepy” and “weird,” and this branding has resonated across the political spectrum. Far from being shallow or reductive, it pegs the movement more accurately than anything before it. When footage emerged of Walz’s counterpart, JD Vance, deriding childless women as selfish and miserable “cat ladies”—a rant soaked in MAGA sexual rage—Walz’s labels afforded Democrats the appropriate shorthand they had previously lacked. Vance has been accordingly helpless to stop the media shellacking. Trump, seeing this, has uncharacteristically reduced his profile, possibly hoping that Vance will discover a counterattack for him to borrow before being similarly tarnished. But the hope is futile: Vance, dumbfounded, can only double down on his angry, judgmental persona, the only political posture he has ever known. With every appearance he digs himself deeper into the hole that Walz has made for him.

Is this the end for MAGA? Not quite. The social trends that fueled its rise remain active, and the potential antidote—a mainstream, non-moralizing confrontation of men’s mental health struggles in an increasingly digital world—is not on the horizon. Black men, a longtime Democratic bastion, have begun to drift rightward, to the puzzlement of pundits who had theorized racism as the main pillar of MAGA. Trump himself may be fading, but one worries about his replacement. He has always been limited by his deficiencies and failures as a man—which, paradoxically, comprised his qualifications to lead the movement. But what if his successor is less limited? What if the next Trump, blood-related or otherwise, not only embodies sexual frustration but has the ability to marshal it towards its natural conclusion?

It could well again be time again for the witches to burn at the stake.

 

–Jim Andersen