A couple of folks had recommended The Holdovers (2023) to me, but I didn't have time to go when it came out back in November. It's now streaming on Peacock (an underrated and inexpensive streaming service), so if you can sit through 4 minutes of commercials, you get a new movie to watch.
This fall, it was kind of interesting seeing the trailers for both this movie and Saltburn around the same time, as both were trying to reclaim a kind of movie I hadn't seen produced in a decade or so, and both occurring at elite (as in, rich people tend to go there) educational institutions and were period pieces. I had less interest in Saltburn, and sort of raised an eyebrow at The Holdovers existing at all. I didn't think these kinds of movies would never get made again, but it had been a while.
And, if I'm being honest, I was pretty sure I could guess the big strokes on both movies just by getting the trailer put in front of me. But I'm not always looking for narrative novelty - sometimes execution is more important than seeing something twisted or different from my expectations. One mistake I think we made coming out of the 90's was thinking putting a particularly dark twist on something could make it seem "more realistic" or "more important". *
I don't remember exactly when I became aware of the Star Wars Holiday Special. I vaguely remember hearing Boba Fett had appeared in something on television back in the day, maybe back in high school (pre-1993), but while I was a fan of the 3 movies (and back then, there were only 3), I wasn't someone who read the books or obsessively read about the movies.
Everything that wasn't the movies kind of didn't work out, in my opinion. The Marvel Comics were not great, the live-action Endor movies were a weird combo of depressing and bad, and the Ewoks and Droids cartoons were oddly clunky.
But by college I was well aware of the special existing, and its reputation. And a couple years after college, right after Jamie and I got married, I was at Vulcan Video and they had the bootleg of the Star Wars Holiday Special on the shelf.
We put it on, and for two, long, hours (it included the commercials) we groaned our way through the thing. I've since seen it another time or three, at least once with Rifftrax.
But if you're here, you're at least aware of the Special. If not, here you go. Behold.
This is the first Monsterverse movie that finally understood why people show up for a Godzilla movie. That seems remarkable given the money spent, audience participation in prior films, etc... This was maybe the first one not made for the edgelord 18-24 y.o. market in mind.
On a rewatch, and knowing what I was getting into, it's still a fun watch. I don't know if I'd say "this is a good movie" because it's definitely YMMV territory. It's big and ridiculous, and, arguably, there's way too much continuity in these films and not enough "hey, a new monster for Godzilla to fight". Like, Godzilla existed over at Toho for decades and decades just showing up from time to time, and no one was trying to worry about 10,000 years of Titan history. Godzilla just was, and everyone had to deal with it.
But when I get to see Kong slug Godzilla across the jaw while both are standing on an aircraft carrier, I almost want to stand up and salute these filmmakers for giving me the thing I did not know I needed to see in a movie, but had waited my whole life to see.
no, not Matt Berry. And, no - it's not clear who gave those awards
Watched: 12/24/2023
Format: Amazon
Viewing: First, and, God willing, last
Director: Some asshat
Los Angeles/ Hollywood always strikes me as one of two places in America where dreams don't just go to die, they mutate. (The other is Las Vegas, but that's a completely different thing.)
Folks head out west to get into the motion picture business, and find out that maybe they haven't got the talent, social skills, what-have-you to make it in movies. Sure, you can chalk it up to luck, too, I guess. But, also, some people are just ridiculous. And, so, Hollywood always seems to have this weird underbelly of people looking for their shot. And sometimes they go ahead and make their own shot happen, which - if you believe the Hollywood story - is what you've got to do. But, I watch a lot of not-great movies, and I'm here to say, you really don't have to take that shot.
We watch this movie pretty much every year, and I wasn't feeling great yesterday, so I put it on as something I could kind of half-watch.
I hope you've seen the movie, and if you haven't, I recommend you do watch it. It's a lovely bit of Christmas Magic in convenient movie form that doesn't rely on mid-life crises or devastating the audience in order to work, Frank Capra.
But because the movie is so well known and I've written it up before here and here and here, that's not going to be what I write up here. Instead, we're going to get weird.
I don't think many of you are online on Christmas Eve, and that's a good thing. But if you are online, Jamie and I wish you the very best. May your night be merry and bright.
One exciting bit this Christmas has been the Apple+ special, Hannah Waddingham: Home for Christmas. We're Waddingham fans, and hope you are, too. Anyway, enjoy her belting out "O, Holy Night".
And as we wrap each Christmas Eve here at The Signal Watch, please give Ms. Darlene Love a listen - this year, with Cher!
I'm slowly making my way through Apple+'s Monarch series - more on that in a future post - and was curious how it was matching up to the 2014 Godzilla movie, the foundation of Legendary's Monsterverse franchise. And then I saw the BluRay for the follow up was on sale for cheap when I was looking for Godzilla vs. Kong on disc. And, so it was, that I watched 2019's Godzilla: King of the Monsters.
Here's my theory about this very long and subpar movie:
They started with the title and reverse engineered everything from there.
I have no real evidence to back this up, but it does seem that with the success of 2014's Godzilla, Legendary decided that they would move forward with a "Monsterverse" which would include Kong: Skull Island and then a slate of other films, arriving periodically and nowhere near as aggressively as Marvel. I can imagine the braintrust at Legendary saying "so, the American title for the original Gojira was Godzilla: King of the Monsters. Can we re-use that? And, if so, what does that mean?" Americans love to eliminate ambiguity and poetry in favor of being very on-the-nose.
So, you'd have to have a movie in which Godzilla subjugates the other monsters, and is shown to be their "king". I guess. But Godzilla movies always had this one monster that I think we can agree was the biggest asshole of all the Godzilla monsters, King Ghidorah/ Monster Zero. So now you have two "kings" and you have your fight all set up.
Write in some scenes that will look rad in a trailer, come up with human characters that will crack wise and add the element of human drama, and there you go.
You're remembering this movie a particular way because you haven't seen it in three decades and we've all grown up since then. I hope. But, I am happy to say - for a 1980's movie about Japanese executives coming to revive a Pennsylvania auto-plant, it's far less racist than you're assuming, while also being standard 1980's racist.
All I knew was that last night, Jamie looked at the menu on our TV said "Gung Ho?! Let's watch that." And we did. Like myself, Jamie is often curious about how things hold up, and where they fit as cultural artifacts of the era. And, first and foremost - if I needed to explain mid-80's America and what it was kind of like, especially what people looked like, I'd probably point them in the direction of Gung Ho (1985).
The 1980's are remembered by the people who weren't there as a period of fun and excess. It was Reagan-time, and we were feeling great as a nation! We had action movies and cool pop music. We had an existential threat of nuclear war, so we might as well wear huge clothes and watch shows about super-vehicles.
But, hey, we also had a few recessions. We were coming off of the 1970's recessions/ malaise. Manufacturing in the US was on the downturn and careers people thought would last a lifetime were ended as work went overseas or to Mexico. I sincerely don't think The Kids(tm) know this sometimes.
A few years ago, we covered this movie on the podcast. I think Nathan and I did a lovely job of discussing the impact of the film on us as viewers and why it works.
Re-watching the film this year, I'm once again amazed at how well so much information - both plot and emotional - is conveyed in the movie and it never feels rushed or crammed. It's only after you've seen the movie multiple times that you really process "wow, George had a whole lot happen to him on very specific days of his life", but that's also part of what makes it work. Getting married during the week of October 28, 1929 was just a horrible time for someone in the building and loan business to have such a big event, for example.
And we aren't given a St. George for our George Bailey. He's a normal guy with dreams that he can't pursue, and the only thing keeping him sane is probably Mary. He's holding a lot in and holding a lot back every minute of every day, which all comes spilling out when Uncle Billy loses the money. "Why do we have to have all these kids?" is maybe the craziest line in the movie. But he's also already had it with Billy 15 years ago - he should have been at college if the guy could have taken over for his father. And so-on-and-so-forth.
It's the rare movie that acknowledges that people can break from giving up their dreams - or that they'd be put in an awful place for doing what seems right. Hallmark movies have made a mint off selling the idea of giving up your dreams for small town domesticity - or at least shifting the dream that way. And it's even less so that a movie allows a male character to snap after landing the house, wife and kids, especially in this era.* This was post-war America, and we were winners!
But I think George Bailey is all of us on some level. Unless you're, like, Madonna, and only *think* giving your servants a second thought is magnanimous.** There's a lot more George Baileys walking around out there than those who made it where they'd hoped, who gave up who they thought they were and dreams of where they'd be than any rando living at the top. Even George's little corner of the living room, which goes unmentioned, where he's plugging away at drawings of bridges and buildings, still wanting to be an architect... it's just kind of funny and sad. And, God, that's too real. It's no shock that he smashes it.
But at the end of the day, the movie works because the real message is just, if not *more* true - that all that matters, really, are the folks in your life and how you can help them. It's not to say your dreams don't matter - but we also have to appreciate what we do have, and the people around us, and know that we matter to them, just as much as they matter to us. And believing that we're not replaceable cogs is a very hard thing to process. I imagine it was even more so in 1946, when you saw your friends drafted and shipped off.
Ironically, Stewart was a war hero, but wouldn't ever discuss it or use it in promotion. He'd been drafted well before Pearl Harbor and exited the service as a Brigadier General. During the war, he piloted 20 missions I believe flying B-24's. But he also served as in command, and would remain in reserve until 1959. He was as much Harry Bailey as George Bailey.
*I know - controversial!
**But Madonna gets a pass for whatever she's up to, here at The Signal Watch
Longtime readers know she's one of the patron saints of The Signal Watch - see the image from High Wall in the banner at the blog - and one of the best in noir (and beyond!).
.jpeg)
