Panzer Kunist is, as I’m sure I need not tell a cinephile and aesthete as refined and discerning and educated as you are, an ancient cyborg martial art that has largely died out by the mid-26th century. More importantly, Panzer Kunst has the satisfying hard consonants of words that were forbidden on 20th century television. It seems like it could work as any part of speech, which makes it especially panzer to kunst as kunst as possible. Panzer Kunst!
On the new Alita: Battle Angel. My review is here.
Something old, something new, something borrowed, something… something. In this week’s Washington City Paper, I review Kleptocracy, an imperfect but intriguingVladimir Putin origin story by Kenneth Lin at Arena Stage, starring the guy in the cast who looks the second-most Putinlike as Putin. Plus a puzzling new production of Twelve Angry Men at Ford’s.
Serenity is a soapy, dopey thriller from Steven Knight, who’s made some very good ones. Nolanesque ambition, Shyamalanesque skill. With Matthew McConaughey as Baker Dill, a fisherman/tour guide/gigolo who lives in a shipping container and dreams of tuna. Here’s my review.
I am chuffed to be back on the iHeartRadio Podcast Award-nominated Pop Culture Happy Hour this week to discuss Glass, fallen auteur M. Night Shyamalan’s joint sequel to 2000’s Unbreakable and 2017’s Split. It isn’t very good, but the movie has an anachronistic quality that’s sort of… sweet. While it’s made explicitly clear—every damn thing in this movie is explained and re-re-re-explained—that Glass is set 19 years after Unbreakable, Shyamalan acts as though superhero comics haven’t become Hollywood’s No. 1 source of grist during the back half of that period. (In the years since Unbreakable, we’ve seen three different A-list actors play The Incredible Hulk, for chrissakes.)
A goodly portion of those films have featured Samuel L. Jackson, who, to be fair, looks like he’s having at least as much fun sitting in a wheelchair staring into the middle distance in Glass as he does when he’s cashing another check as Nick Fury. After his brief return to acting in both Wes Anderson’sMoonrise Kingdom and Rian Johnson’sLooper back in 2012, I’d hoped maybe Bruce Willis would deign to open his eyes again, but no such luck. And the movie’s top-billed star continues to perform his solo show Scares Ahoy with James McAvoy.
I was moved by Peter Jackson’s World War I documentary They Shall Not Grow Old, which uses digital wizardry to conjure empathy, not spectacle. I didn’t have space to go into it in my NPR review, but I wondered how J.R.R. Tolkien’s experience of the war might’ve shaped Jackson’s sense of it. Jackson did spend a sizable chunk of his career adapting Tolkien’s novels, for better and for worse.
Here’s a rainy New Year’s Eve bonus for you, merrymakers: Side D of Blue Wave Christmas, the yule-mitzvah edition of my longstanding Yuletunes Eclectic & Inexplicable series, has arrived, marking the conclusion of the most ambitious mixtape I’ve yet made. It’s long on merriment, long on obscurity, and long on length. That’s why I had to serve it to you incrementally. With this vestigal-tail chapter, some of the familiar voices from prior iterations have returned after mostly keeping mum so far this year. There are by my reckoning at least seven days of Christmas remaining, so I’ll leave you to it. You can find all four sides on this page. I wish for all of us a better 2019.