Mel Brooks: The 99 Year Old Man! (2026): You know, I think Judd Apatow’s Zen Diaries of Garry Shandling is a monumental portrait that deserves a lot more recognition. With Mel Brooks, Apatow and co-director Michael Bonfiglio have someone who is a lot more recognizable around the world, a trans-generational figure of undeniable renown. I don’t think that works in anyone’s favour, because everything is just too mainstream, too safe. The 99 Year Old Man! is made with a lot of love and reverence towards Mel Brooks, who, like John Candy, but to a wider degree, shaped the memories of many childhoods over several decades. The first episode follows his earlier life and his career up to Blazing Saddles (1974) and I felt it played like a well-executed, but frequently prosaic portrait. The second episode, however, shines, as it covers the peaks and the more topsy turvy parts of Brooks’s career, alongside his beautiful relationships with his wife, Anne Bancroft, and his best friend, Carl Reiner. I don’t think the film’s opening question is ever resolved though – do people know the real Mel Brooks? On some level, there is no real Mel Brooks at this point. His persona is and will forever be greater than the mundanity of the day to day person. And that’s perfectly fine. (also, really should have done Young Frankenstein this week, such a missed opportunity) 8
Are We Good (2025): I admit to struggling with documentaries that look at people I like. The subject’s halo effect will usually make me feel the movie was worthwhile. So liking Mike – sorry, Marc Maron is not very helpful here. Director Steven Feinartz covers Maron over a five-ish year period, starting just before the pandemic and heavily centred on the loss of Maron’s partner, Lynn Shelton. If you’ve watched his HBO special “From Bleak to Dark”, you already know a lot about the inner turmoil and the manner in which coping with loss, while remaining creatively engaged has taken up a lot of Maron’s energy. I must relate on some level with the anguished existentialism of a cat parent, probably because I am an anguished existentialist on some level and a cat parent the rest of the time. So, yeah, there was a lot to take in for me while watching AWG. 8
Frankenstein (1931): The original ‘stein is a movie that’s easy to like – as I claimed already six years ago. It happens to pose some questions about pushing the bounds of science and entitlement that sound as valid now as they ever have. Whether it is moral and desirable to do something just because it can be done, to think you can control it and to think control is something that creates a fair society, all these questions come from James Whale’s interpretation of the famed Mary Shelley novel. Some of the editing and reactions will feel from the present day, but this plays as a well acted story, with colourful characters. While the monster won’t instil too much fear, it’s worth remembering what a milestone Boris Karloff’s appearance was in terms of makeup and prosthetics. As for the ambiguity of his moral character, it must have been counter-intuitive to view him as a victim and not a perpetrator, yet it’s easy to feel for his predicament. I also liked Johnny Knoxville’s role in this one (jk, but I did like Colin Clive’s brooding manner). 8
Frankenstein (2025): There are upsides and downsides to Guillermo Del Toro’s latest. The upsides include an in-depth story, with fleshed out characters and a strong central conflict. The downsides are the familiar beats, overbearingly pedantic writing and some dodgy CGI visuals which diminish the overall impact of an altogether solid re-imagining. The movie is also helped by the great performances of its leading duo, Oscar Isaac and Jacob Elordi. I think it’s a shame Del Toro needed to be so unambiguous in his treatment of “the monster”, hammering down on the recreation of the father-son relationship that undermined “the creator’s” own childhood. It really lacks nuance in key moments, painting Frankenstein one-dimensionally, until we reach a finale that’s supposed to be cathartic. It’s emotional, sure, but I’m not convinced Frankenstein redeems his irrational choices that have led up to it. That said, there’s more to get out of this one than, say, the Nosferatu of Eggers, so that, at least, is a relief. And, as a plus, highly quotable! 7
Anaconda (2025): Sometimes you just misfire completely on a reboot. You would have hoped Tom Gormican could follow up on the amusing The Unbearable Weight of Massive Talent (2022), but it’s not great. Not great at all. In spite of the big-name cast, led by Jack Black and Paul Rudd, and the tongue-in-cheek meta-commentary on rebooting Anaconda, the shoddy effects and beyond cheesy plot make this a not fun ride. I think there’s only one legitimately hilarious scene in this, with a couple of chuckles along the way and Selton Mello’s well executed character-type to keep this from absolutely going under. Just cannot recommend, even as a diversion. 4
tributary stu 
Leave a comment