Still half a meal!
When I was growing up, we didn’t have much money, but we were always blessed with food on the table, a place to sleep, and a roof over us. I have no complaints — nor even a sense — my life lacked luxury. It never lacked what was needed, and it never lacked love. That’s a pretty golden childhood.
But money was tight, and our ethic was “waste not, want not!” Two of the more grievous sins in our family were waste and inequitable distribution (everyone got a fair share of what there was). I heard a lot about those “starving children in India.”
Which is why it annoys me when characters waste food.
Well I have at long last finally seen Marvel’s The Avengers (2012) and Thor (2011) — two of the early films in the long-running Infinity Saga (the series has 23 films out so far; more are coming). The short version is I thought The Avengers had some good bits, but overall I found them both fairly underwhelming (but I’m so not the audience for these).
Unfortunately, I was also a little underwhelmed this week by Stargate: Universe, which I tried binge watching because John Scalzi (whose book Redshirts I really liked) was the creative consultant on the show. I quit after three episodes. It wasn’t that it was bad so much as it (as with these comic book movies) just seems like the same old stuff I’ve seen many, many times.
Ah well, you can’t win them all.
I’ve said before that I’m kind of bored with the high-calorie low-nutrition CGI spectacles Hollywood cranks out. Some of that is on me; I was into movies long before all that started, so very much a case of ‘been there, seen that, bought the DVDs.’
I’m just weary of the same old thing, which is all many bigger movies are. They cost so much to make and have to earn that back, so producers stay with formulas and formats they know. It tends to turn movies into commodities, like burgers or pizzas.
Which is fine, but I find I really prefer the smaller, non-mainstream, artisan-oriented movies. Today, for Sci-Fi Saturday, I want to tell you about two very tasty treats.
Art, famously, is a matter of taste, and as a general rule of thumb, you have it while others often don’t. Just goes to say. Because you know what you like, even if you don’t know anything about art. Simply put: taste is personal.
With commodity art like most films, many people weigh in, and opinions are often split, but sometimes, even with, or perhaps because of, so many, a consensus grows — thumbs up, thumbs down. Everyone, or nearly so, seems to agree one way or the other. In particular for today, there are the films everyone hated.
I’ve found some of those despised films are underrated gems — or at least are not as bad as popular vote makes them out to be.
Judy, Judy, Judy!
I’ve been a fan of science fiction since the early 1960s. I was already an avid fan and ready audience for Lost in Space (1966–68; Judy was one of my earliest childhood crushes), It’s About Time (1966–67), and I was glued to the TV set enthralled when Kirk, Spock, and the rest, first boldly went in 1966.
By then I’d already consumed all I could of Asimov, Clarke, Heinlein, along with Verne, Wells, and Burroughs (I didn’t discover Tolkien or Howard until high school a few years later).
Movies like The Day the Earth Stood Still (1951), 20,000 Leagues Under the Sea (1954), and Forbidden Planet (1956), all had me avid for 2001: A Space Odyssey (1968).
It’s been a whole lot of years, and a whole lot of science fiction, is my point.
It’s always nice when reality pats you on the back and says, “You got this one right.” Sometimes that doesn’t happen as often as we’d like. Reality seems to enjoy confounding us. For me that seems especially true when it comes to taste in entertainment.
So I was delighted and gratified to see The Happytime Murders, Holmes & Watson, and Robin Hood, all nominated for Worst Picture for this year’s Annual Razzie Awards. They share the honor with Gotti and Winchester. (See the full list at razzies.com.)
It’s so nice to know I’m not alone in boggling that someone actually made these movies!
My disdain for reboots means that, out of the gate I’m not inclined to have much anticipation for Mary Poppins Returns. Factor in that it’s a musical fantasy for and about children, and there is even less to attract me. It’s just not my cup of tea, Earl Grey (hot) or otherwise.
I have a sister, younger by a few years, so the original Mary Poppins, with Julie Andrews, was an annual fixture in our house. Along with The Wizard of Oz and that excruciating Rudolf the Red-Nosed Reindeer claymation. I was already a hard-core science fiction fan by then; these family-friendly fantasies bored me silly even as a kid.
I think even then I was just too aware of the implicit psychopathy behind it all.
Nope. Never liked’m.
Watching the Thanksgiving episode of the rebooted Murphy Brown on CBS, where Murphy decides to cook dinner with easily anticipated and well-worn results, it struck me exactly why I don’t find the show very funny. And why I really don’t find any of the CBS comedies since the 1990s very funny: Idiot Clowns.
In general, it’s why I don’t find a lot of comedy very funny. Idiot Clown comedy requires an idiot clown — someone so stupid they are unaware of basic reality, a blindness forced on them to enable a (typically) lame joke. I find it cheap and easy and without much value.
More to the point, I just don’t like idiots or clowns in my entertainment.
As someone whose high school and college education focused on writing and storytelling (through stage, film, and video), I’ve long been askance at how much culture reveres actors while not paying as much attention to the writers who provide their words or the directors who control much of what they do.
I do not at all mean to suggest actors aren’t also artists who bring important skills to the table. In college, I had to find people willing to act (for free!) in my productions — I couldn’t tell my stories without them — so I’m well acquainted with their importance and skills.
My point is only that the stories we love owe as much, if not more, to the writers and directors who create them in the first place.