Early Wenders muse Rüdiger Vogler drives past Richmond, gets to NYC and sells his car, then goes to Shea Stadium – I like this guy already. He’s a writer/photographer disowned by his editor for wandering the States and ignoring his story and deadlines, but he’s got enough cash to fly home. After he meets a woman and her daughter at the airport then the woman disappears, the movie sneakily adopts my least favorite movie plot of all (aimless adult gets stuck with precocious child), but somehow remains good. Robby Müller did nice work in Goalie, kills it here. Almost Kaurismäkian in its large-heartedness – rare that I watch a movie from the 1970s and think things were better back then. Rüdiger keeps behaving in a very relatable manner (he drops the girl at a police station and goes to a Chuck Berry concert).

Rüdiger on TV: “All these TV images come down to the same common, ugly message: a kind of vicious contempt. No image leaves you in peace. They all want something from you.”

Slice-of-life stuff, a grab bag of childhood memories. Not as egregious as Apollo 10.5, and with better music. The daughter Troy gradually becomes the lead character, things amp up cinematically when she stays with family in Virginia and Spike smooshes the aspect ratio as hard as Troy’s aunt’s dog gets smooshed in the sleeper sofa – and then amp up emotionally when mom Alfre Woodard dies after a very short (screentime-wise) illness.

Zelda Harris didn’t win her Young Artists Award category, but she was up against Kate Winslet and Natalie Portman, and they were all trounced by Anna Chlumsky anyway.

Ensemble movie of intersecting characters around NYC, packs plenty into under 90 minutes. I might’ve mixed up a couple of actors, but… Buddy Duress gets beaten up for attempting to scam record collector Bene Coopersmith… whose roommate George Sample III is in trouble for instructing his computer guy Benny Safdie to publish revenge porn of his recently-ex-girlfriend Marsha Stephanie Blake. Clockmaker Philip Baker Hall unwittingly holds material evidence that widow Michaela Watkins murdered her husband, and cub reporter Abbi Jacobson embarrassedly tries to get the dirt on that case, egged on by her slimy metalhead boss Michael Cera. Short-haired teen Tavi Gevinson hangs out with best friend Olivia Luccardi (who has a boyfriend) speaking pretentiously and acting like she definitely doesn’t want a boyfriend. Movie ends with a dance party, as all movies should.

Also: Isiah Whitlock Jr.:

Hell yeah, Unwound:

Global, less insular Piñeiro universe than Viola, with actors from La Flor (and onscreen drawings like La Flor). Title of the movie comes from the Midsummer Night’s Dream characters played by a couple of minor players in rehearsals that we never see – there was more Shakespeare in the Kids in The Hall sketch I watched the previous day than in this.

Carmen is returning to Argentina from a NY institute and Midsummer translator Camila is taking her place, causing some identity confusion. Camila ends up dating Carmen’s institute guy Keith Poulson and getting visited by Carmen’s America-roaming friend Mati Diop. They’re supposedly at this institute to work but they spend more time worrying over their parting gift. Camila looks up her long-lost father (Sallitt) and her long-lost boyfriend (Dustin Guy Defa), and Ted Fendt is in the credits to round things out. There are strange turns and visits to Argentina and a sudden film-in-a-film and I’m not convinced it all works, but it’s also flirty and pleasant.

On Letterboxd: “Hermann Loves Pauline” by Super Furry Animals

None of my notes are useful (see Goodbye Dragon Inn instead) because I assumed I was going to rewatch it with Katy, and maybe someday I will. The lyrics to “America” and “Gee Officer Krupke” are so great, the actors and camera work are swell, and it’s all a Lincoln Center origin story.

Nov 2023: Watched again with K (who liked it) and M (who did not). Since this came out two years ago, Maria and her boyfriend’s killer Chino have appeared in the Hunger Games prequel, Ariana DeBose has become a Disney/Marvel star, and Riff is doing films with Luca Guadagnino and Jeff Nichols.

The Flea of this movie is Jonathan Richman, who attended many VU shows and analyzed their vibrations. A terrifically assembled doc – instead of making me want to listen to the Velvet Underground at all, it made me feel like watching experimental film.

Treated myself to a new Gena Rowlands movie and… well, I didn’t hate it, but I have no desire to watch the Sharon Stone version. It relies on big acting moments, but instead of Peter Falk we’ve got this ten-year-old kid. I warmed up to the second half, but until then, practically every moment felt phony. Still, it’s Gena as a tough broad capering through 1980 NYC, and that’s a lot.

“I hate kids, especially yours.” Gena inherits the neighbor kid when his family is murdered by gangsters. She happens to know the people responsible, and tries to keep both of them safe long enough to broker a peace agreement, but the baddies insist the entire family must be killed to set an example, and Gena too, since she interfered, so she shoots her way outta there. My people online all liked this, but if I can’t get into a Cassavetes/Rowlands take on the ol’ mismatched adult-child caper movie then I should definitely avoid C’mon C’mon.

Buck Henry, I just saw him in To Die For, which I also complained about:

Anticipating a new wave of Beatlemania on twitter when Get Back dropped, I watched this in early Nov. I always catch a new Yo La Tengo reference when I watch a Beatles movie – last time was in Help!, dreaming ’bout Eleanor Bron, seeing her in the arms of Paul saying “I can say no more.” This one’s got a cameo by New York DJ Murray the K, who must be the inspiration for Ira’s DJ name.

Three girls and two boys experiencing different levels of Beatlemania in Maplewood NJ drive into the city to crash the Beatles’ Ed Sullivan Show appearance in NYC. No actual Beatle involvement, just stand-ins, glimped from below or behind with impersonator accents. Silly idea for a movie, pulled off wonderfully, an ensemble piece with an ever-growing ensemble, an awful lot of Beatles songs and a woozy happy ending.

L-R: Pam, Janice, Grace, Rosie

Rosie’s the emphatic one who wills the trip into action (Wendie Jo Sperber, Marty’s sister in Back to the Future), Pam is her bestie who plans to elope with her boy tomorrow (Nancy Allen’s followup to Carrie), then there’s Photographer Grace (Pesci’s wife in Raging Bull) and Protester Janice (Susan “daughter of Paul” Newman). Tony is basically a stowaway, out to cause trouble (Bobby Di Cicco of The Big Red One). Larry’s the Cameron-in-Ferris-Bueller of the gang (Marc McClure, aka Jimmy Olsen in Superman), borrowing his undertaker dad’s limo to get them all close to the hotel.

The theater has posters for Wild Strawberries and The Cranes are Flying:

In charge of security on the Beatles floor is Dick Miller – Pam gets by him inside a drink cart and spends quality time with the bands’ instruments while they’re out. Grace and Larry fail to raise cash by selling scraps of Beatle bedsheets, then she tries being a call girl but settles for extortionist instead. Janice and Tony befriend a mophead kid whose dad has tickets but will only give them up if the kid gets a haircut. And Rosie capers with a Beatlemaniac nerd called Ringo (Eddie Deezen of Grease the same year).

Miller grabs Grace:

Old Man Yells At Cloud: The Movie. Not tightly assembled, smoothly edited, or well mixed (too much of Marty laughing on the soundtrack). Just a 3+ hour Q&A hangout with comedian Fran Lebowitz. Alec Baldwin and Spike Lee and Olivia Wilde appear as guest interviewers, some archival TV interviews are thrown in. I wanted her quote from episode 6 about only ever being able to understand one’s contemporaries, but don’t have netflix at this location, oh well.

Giving Spike shit about sports: