Right on the heels of last month's most heavily forwarded web site, "Cool 2B Real", comes the less-beef-more-pork "Pork 4 Kids". If you don't believe me, look at this still from Ratcather that I, in an act of total mental deficiency, captured by photographing my television screen and tell me you can still resist it:
#ZAPF CHANCERY THE OFFICE JOKE MOVIE#
They are my favorites, right alongside Little Nicky and the new Matrix movie that hasn't come out yet. I hate saying a movie that just came out is one of my favorite movies of all time, because it sort of suggests the same denial of history that teenage kids love to exhibit. She's made two films - Ratcatcher and Morvern Callar - and they've each become favorites. If I had the energy I would talk about her for the rest of time. Do you hear me? PROMISE RING! Now that's some sensitive shit. How can they all claim to talk about the same emotions and experiences without laughing at each other? Summer Catch probably had a Smashmouth song on the soundtrack. It's hard to imagine that a movie like All the Real Girls can even inhabit the same medium as shit like Summer Catch and Swimfan. The movie is so pretty and sad and touching that I wish it were out in every city. When the characters mix of their words or prefer to sit a moment out in silence, petting a dog or drinking a beer or dancing alone, you're so close to them that you want to squint into the film's sunlight. It's like the antithesis of Dawson's Creek, in a way. They suffer from the same poor articulation of emotions many of us did when we were young. They're not too smart for their own good. The characters aren't insightful the way scripted characters are. He captures first love and all of its various complications so naturally that it raised all my blood to the surface of my skin. His latest film, All the Real Girls is a small, but big achievement. And the result is not for everyone, but it was for me. A three legged dog is as important to him as a murder. He also spends as much time observing as he does capturing his story. He zooms in for close-ups when actors don't expect it, instead of physically pushing the camera in, and forces them to be the main focus of the scene without making them self-conscious or even remotely aware. Green does the kinds of great things that Terence Malick and Robert Altman did first. It doesn't drive forward will all its fiery pistons-a-poppin' but there's something really beautiful in its refusal to resolve actions in any traditional way. It shuffles wherever it pleases, and is often unwilling to be contained. When I first saw David Gordon Green's George Washington a couple of years ago, I really fell for it.
I've been very lucky recently, because I've caught up with a couple of filmmakers who are so gifted with easy naturalism - something really missing from most films today - that they practically elevate it to a kind of poetry.
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