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Recent Theatrical Reviews
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Edinburgh International Film Festival 2024: *smiles and kisses you*, by Simon Read
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Edinburgh International Film Festival 2024: Steppenwolf, by Simon Read
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Edinburgh International Film Festival 2024: Timestalker, by Simon Read
My dad and I rented Orgazmo when I was about 14. We loved it.
Fun episode!
The mental image of a kid watching the Shining because of nudity is highly amusing. Reminds me of the Simpsons’ “Barton Fink! Barton Fink!” joke.
Katie Walsh was great, as have been many of the recent guests. You’re on a hot streak.
Where’s Fadem.
Oh, and the conversation about hyperbole reminded me of this blurb on the back of a book:
Very rarely, a few times in a lifetime, you open a book and when you close it again nothing can ever be the same. Walls have been pulled down, barriers broken, a dimension of feeling, of existence itself, has opened in you that was not there before. To the End of the Land is a book of this magnitude. David Grossman may be the most gifted writer I’ve ever read; gifted not just because of his imagination, his energy, his originality, but because he has access to the unutterable, because he can look inside a person and discover the unique essence of her humanity. For twenty-six years he has been writing novels about what it means to defend this essence, this unique light, against a world designed to extinguish it. To the End of the Land is his most powerful, shattering, and unflinching story of this defense. To read it is to have yourself taken apart, undone, touched at the place of your own essence; it is to be turned back, as if after a long absence, into a human being.
That’s Nicole Krauss writing about David Grossman’s TO THE END OF THE LAND, which has a 3.9/5 on GoodReads.
From Edelstein’s review: “While this Wonder Woman is still into ropes (Diana’s lasso both catches bad guys and squeezes the truth out of them), fans might be disappointed that there’s no trace of the comic’s well-documented S&M kinkiness. With a female director, Patty Jenkins, at the helm, Diana isn’t even photographed to elicit slobbers.”
I don’t read this as complaining at all. His observation about the kinkiness of the comics (which links off to an article about that subject) seems to me to be included because Edelstein thought it was a fun/interesting fact that he just wanted to mention. His comment about WW not being filmed “to elicit slobbers” reads to me like a positive or a neutral statement – certainly not a complaint. The imagine Edelstein paints of a ‘slobbering’ fan isn’t exactly dignified.
Oh and Matthias Schoenaerts is not Scandinavian. That may not be a big deal for Americans, but to a European listener, calling a Belgian actor Scandinavian sounds like you’re saying Missouri is on the West coast.
Sorry if that last comment was pedantic or dickish. It just surprised me to hear David refer to Schoenaerts as Scandinavian.
Not at all! Thanks for the heads up!
– David
The creator of Wonder Woman was not in a cult. They were all well respected psycologists. They were in a polyamorous relation. The two women actually continued living together and raising each others children after his death. They did practice bdsm and it was a major subtext in the orginal comics but has been ignored in more recent years.
It’s hard to be sure, but I feel like I’ve seen more random/inappropriate comments about people’s voices than their appearances. The topic also reminds me of arguments I’ve seen around character design, and how far you are “allowed” to alter a person’s appearance in ways that makes them less attractive. I love the makeup challenge show Face Off, but some of the judges make weird comments about not doing anything to the female models that makes them less “feminine,” such as giving someone with an adventurous back-story a scar on her face. The commenter was female too, which made it extra strange for me.