Gobbledygeek episode 341, “A Quiet Place: STFU (feat. Nate Curtiss),” is available for listening or download right here and on iTunes here.
Shh. Keep it down or you’ll miss the latest episode of Gobbledygeek, wherein Paul and Arlo are joined by their pal Nate Curtiss for a discussion of John Krasinski’s horror-thriller A Quiet Place. The nearly wordless film, which makes extensive use of subtitled American Sign Language, presents a unique theatergoing experience; every gulp of soda and crunch of popcorn reverberates throughout the auditorium. The gang talks about their different theater experiences, and how the film reveals the true heart of an audience; why it’s important Krasinski cast deaf actress Millicent Simmonds; how Krasinski’s lack of horror experience proves to be a strength; and more. Plus, Paul digs on TV sci-fi: Final Space, Lost in Space, The Expanse, and Legion.
Next: this year’s superheroic Four-Color Flashback continues with a discussion of the original, non-Nazi-fied Captain America and the Falcon: Secret Empire. Wanna Cook? co-author (and Cap superfan) Ensley F. Guffey drops by.
(Show notes for “STFU.”)
Last week, we discussed our favorite TV series of the last year. This week, we turn to the big screen.
PAUL: 10. DJANGO UNCHAINED (dir. Quentin Tarantino)
With Django Unchained, director Quentin Tarantino takes us once more back to a terrible moment in our history, and once again asks us to indulge him his little anachronisms and revisionist revenge fantasies. This time, instead of Nazis and baseball-bat-wielding Jews, we get slavers and bounty-hunting dentists. Set in the pre-Civil War Deep South, Unchained is Tarantino’s homage to the Spaghetti Westerns of Leone and Corbucci, which he prefers to call his Spaghetti Southern. I’ll say that the absence of editor Sally Menke is sharply felt here, though. If I, of all people, notice the nearly three-hour runtime, then there could’ve been some tightening. The cast is great across the board, including a list of hidden cameos longer than my arm (among others, original Django Franco Nero makes an appearance). Jamie Foxx is great in the title role, though I imagine what Will Smith could’ve done with the part, as was the original intent. Leo DiCaprio, Samuel L. Jackson, and Walton Goggins all shine in their respective roles. Kerry Washington was reduced to little more than the damsel in distress, however, which is unusual for a Tarantino picture. But the standout here is Christoph Waltz. He is every bit as charmingly heroic and admirable this time as he was charmingly repulsive and hateful in Basterds.
AJ: 10. MOONRISE KINGDOM (dir. Wes Anderson)
Wes Anderson’s films often have a childlike quality about them, whether it be his colorful storybook compositions or the petulance of many of his characters. So it’s fitting that he’s finally made a film about children, one in which the kids are on the run from what’s expected of them and their adult guardians are forced to accept the roles they’ve played in their children’s abandonment of them. Newcomers Jared Gilman and Kara Hayward, both in their first screen acting roles, give perfectly awkward performances. Anderson regulars Bill Murray and Jason Schwartzman are in their element here, while Frances McDormand and Tilda Swinton join the auteur’s troupe with ease. Perhaps most encouragingly, Moonrise Kingdom is the first sign of life in years from Bruce Willis–who, with a movie soon to appear on our lists, proved later in the year that he’s most definitely still kicking–and Edward Norton, two actors who really needed a movie like this.
THE ADJUSTMENT BUREAU (DVD/Blu-ray, DVD & Digital Combo)
Taken from a short story by Philip K. Dick, The Adjustment Bureau has a great premise: there is a bureaucratic agency governing every decision you make, and if you stray from The Plan, they will step in and adjust your life. What could have been a Truman Show or an Eternal Sunshine instead becomes a mediocre time-waster, as the adjusters’ arbitrary rules and the silly chase scenes get in the way of real chemistry between forbidden lovers Matt Damon and Emily Blunt. It’s a shame to see Anthony Mackie, who was good in The Hurt Locker, turn in a stupefyingly dull performance, but it’s worse to see Richard Slattery, who unloads at least two dozen savagely memorable remarks on each episode of Mad Men, reduced to shouting things like, “Can’t I get a break in this case?!” Under the anonymous, visionless direction of George Nolfi, the film is a cosmic farce as a bunch of old white dudes attempt to cock-block Damon on an epic scale. The spark between Damon and Blunt makes things mildly entertaining. Extras include audio commentary from Nolfi, deleted and extended scenes, and three featurettes.
(Originally reviewed by me, and much more favorably by Paul, in “Secret Origins.”)