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New Escapist Column! On the Myths and Lies of “Barry”…

We’re launching a new column at The Escapist, called Out of Focus. It will publish every Wednesday, and the plan is to use it to look at some film and television that would maybe fall outside the remit of In the Frame, more marginal titles or objects of cult interest. With the end of Barry this week, it seemed like a good opportunity to take a look the show’s final season.

Barry is a show about Hollywood, but it is also a show about America. It is a show about mythmaking and self-delusion, about the stories that people tell themselves to feel better and about the stories that are told about people to make everybody else feel better. It’s a black comedy about a hitman who becomes an actor, but over the course of its four seasons it evolved into something decidedly more complex and compelling. Like Succession, it is a show that speaks perfectly to the current moment, holding a mirror to a nation in crisis.

You can read the piece here, or click the picture below.

New Escapist Column! On the Complicated Seventies Nostalgia of “Poker Face”…

We’re launching a new column at The Escapist, called Out of Focus. It will publish every Wednesday, and the plan is to use it to look at some film and television that would maybe fall outside the remit of In the Frame, more marginal titles or objects of cult interest. With the end of the first season of Poker Face last week, it seemed like a good opportunity to take a look back at the show.

Poker Face is obviously designed as something of a seventies throwback. The show is very obviously a hybrid of classic seventies television like Columbo and Kung-Fu. However, there’s more than simple nostalgia at play within the series. Poker Face is a show about grappling with the memory and legacy of the seventies, of understanding why these stories resonate in the modern world. It has a nuanced and complicated relationship with the era from which it draws, which makes for compelling television.

You can read the piece here, or click the picture below.

New Escapist Column! On How “Scream 4” Took the Franchise’s Self-Awareness to Its Logical Endpoint…

We’re launching a new column at The Escapist, called Out of Focus. It will publish every Wednesday, and the plan is to use it to look at some film and television that would maybe fall outside the remit of In the Frame, more marginal titles or objects of cult interest. With the upcoming release of Scream VI, it seemed like a good opportunity to take a look back at the criminally underrated Scream 4.

The last film in the franchise to be written by Kevin Williamson or directed by Wes Craven, Scream 4 exists in a weird space. It is separated from the two film either side of it by more than a decade, the only point in time where the franchise wasn’t coming out on a regular basis. However, it’s a movie that feels very firmly ahead of its time. It was released years before Star Wars: Episode VII – The Force Awakens and David Gordon Green’s Halloween, but it feels in conversation with a wider culture caught in a feedback loop of Gen X nostalgia.

You can read the piece here, or click the picture below.

New Escapist Column! On Colin Farrell and the Shifting Definition of Movie Stardom…

We’re launching a new column at The Escapist, called Out of Focus. It will publish every Wednesday, and the plan is to use it to look at some film and television that would maybe fall outside the remit of In the Frame, more marginal titles or objects of cult interest. This week, we took a look at the fascinating career of Colin Farrell.

Farrell is in many ways the perfect encapsulation of an interesting trend in post-movie-star Hollywood: a character actor trapped in a leading man’s body. Farrell is an incredibly handsome and charismatic performer, but he seems particularly liberated in smaller projects and stranger roles. He tends towards larger performances and physical transformation, often playing with and subverting his movie star presence to do something more interesting. Farrell is one of the finest examples of a larger movement in modern Hollywood that includes actors as diverse as Jon Hamm, Chris Hemsworth and James Franco.

You can read the piece here, or click the picture below.

 

New Escapist Column! On “Crimes of the Future” as a Movie About David Cronenberg’s Art…

We’re launching a new column at The Escapist, called Out of Focus. It will publish every Wednesday, and the plan is to use it to look at some film and television that would maybe fall outside the remit of In the Frame, more marginal titles or objects of cult interest. This week, we took a look at David Cronenberg’s Crimes of the Future.

This past year saw an explosion in movies by auteur directors exploring their childhood and their relationship to their art: The Fabelmans, Empire of Light, Armageddon Time, and so on. What is really interesting about Crimes of the Future is that arguably fits that template for director David Cronenberg. Cronenberg is a director known for his depictions of body horror and transformation, a unique filmmaker with a very distinctive style. Crimes of the Future feels at times like an attempt by Cronenberg to express where his art comes from: inside.

You can read the piece here, or click the picture below.

New Escapist Column! On “TÁR” as a Gothic Ghost Story About Cancel Culture…

We’re launching a new column at The Escapist, called Out of Focus. It will publish every second Wednesday, and the plan is to use it to look at some film and television that would maybe fall outside the remit of In the Frame, more marginal titles or objects of cult interest. This week, we took a look at Todd Field’s TÁR.

TÁR is an interesting film, and one that embraces an unsettling ambiguity in its exploration of its subject, classical conductor Lydia Tár. Field constructs a fascinating study of a woman literally and metaphorically haunted by the sins of her past, a movie that is very modern in its language but classical in its themes and tones. Tár is a gothic horror story for the digital age, a ghost story about cancel culture, and a nightmare about how conscience is often just the voices of the past refusing to be silenced.

You can read the piece here, or click the picture below.

New Escapist Column! On “The Menu” as a Study of Ethical Production Under Capitalism…

We’re launching a new column at The Escapist, called Out of Focus. It will publish every second Wednesday, and the plan is to use it to look at some film and television that would maybe fall outside the remit of In the Frame, more marginal titles or objects of cult interest. We kicked off the column with a look at The Menu, Mark Mylod’s black comedy.

The Menu has been framed of something an “eat the rich” satire, a companion piece to films like Glass Onion or Triangle of Sadness. However, that perhaps misses the intricacies of what The Menu is doing. The movie is not so much an example of the trend as it is a movie about the trend. In particular, it plays as a commentary on the extremely privileged individuals who make large sums of money producing art about how awful the superrich truly are, and whether that art can ever be truly insightful or engaging. It’s an exploration of how these stories work, where they come from, and the artists who make them.

You can read the piece here, or click the picture below.