American Fiction (2023): The winner of the best adapted screenplay at the Oscars, Cord Jefferson’s movie about a black writer struggling with the stereotypical depiction of black lives in popular writings works very well and also finds pockets of humour to entertain. It feels like an old-school movie, cleverly assembled and written, with multiple layers of interpretation and a creative finale, as well as strong characters driving the action. Jeffrey Wright makes for a captivating lead with his interpretation of a complex character, even as Sterling K. Brown’s flashier performance has drawn more awards love. I can easily say that I enjoyed American Fiction for all that it is. 8
Next Goal Wins (2014): If there’s one really good thing I can say about last year’s Taika Waititi movie with the same title, it’s that it brough my attention to this documentary. Superior to the movie in almost all ways possible, Next Goal Wins tells the story of American Samoa’s quest for their first competitive win in international football. It all works so well with no evident embellishments that I honestly don’t see why it needed a fictional retelling, as directors Mike Brett and Steve Jamison manage to frame the story as well as any mainstream underdog tale. With easily likable characters and truly fateful sporting moments, this is a testament to the joy of amateur sports and competitions, touching and compelling, even if it doesn’t revolutionize anything. As with all good underdog stories though, it didn’t need to. 8
Streets of Fire (1984): Carrying over from last week in a way – Walter Hill set out to create a definitive 80s movie experience, it’s just a shame that he didn’t really bother in putting together a workable script. Or is that supposed to be part of its charm? Streets of Fire thunders off with an electric concerto scene introducing a young Diane Lane who quickly gets, erm, kidnapped by a biker gang led by Willem Dafoe. The cast is nicely rounded out by Rick Moranis, Lane’s manager and boyfriend, Michael Paré, Lane’s ex-boyfriend and all around cool baritone, and Amy Madigan, ex-military gal who ends up helping Paré in recovering Lane (+ a small part for Bill Paxton). Other than the thin plot and painful dialogue, there’s some curious editing and transitions happening, but the overall look and feel of the movie are not as bad. If anything, they are the reason why Streets of Fire has gathered a bit of a cult following. I didn’t love it, but I loved the musical performances and some of the aesthetics and at just over ninety minutes, it’s an easy enough watch to find some enjoyment. 6
Taylor Tomlinson: Have It All (2024): Can anyone say anything useful about dating in the modern world any more? Is it still funny and relatable? Taylor Tomlinson tries to find out, on the precipice of the new decade in her life, after a year on the dating bench. The result is somewhat below her previous two shows, with material that lacks a distinctive freshness and a bit of audience engagement that feels like filler. That said, I still enjoyed most of it, which probably is more of an indictment of my state of mind than anything else. 6
Drive-Away Dolls (2024): Seeing broken-up Coens sure is a strange idea to get behind of. Seeing a broken-up Coen fail is just sad. Ethan’s Drive-Away Dolls has the, erm, fingerprint of a Coens movie, with some of the panache, but it never comes together to achieve consistent entertainment. Starring Geraldine Viswanthan and Margaret Qualley as queer friends on different ends of the personality spectrum, the movie tries to ship a mistaken identity, bumbling criminals kind of story. It’s only somewhat good at it when Colman Domingo is on screen and gets the occasional breath of air (fresh or not) through Viswanthan’s deadpan performance; I found Qualley’s over-the-top interpretation more irritating than amusing. The problem, ultimately, is that these characters feel like they are neither real, nor a good pastiche, with questionable chemistry between the leads and some sensual lovemaking that plays unimaginatively bland also undermining the whole thing. So, takeaway – a constipated movie that might only provide some delayed satisfaction. 5
tributary stu 