The Sundown Spectator #3

Taken by me, of me, on 1/23/2021

Saltburn (2023):

Back in February of 2022, I sat down to watch the finals of the Women’s Figure Skating competition for the Winter Olympics. The judges had made their decision and it should have been a time of celebration. Instead, an unbridled disaster was unfolding onscreen. Kamila Valieva, the favorite to win, had been embroiled in a doping scandal early on into the competition. It is clear that the accompanying stress had caused her to fail to complete her jumps so she missed the podium entirely. On one side of the rink, she is sobbing and being consoled by one half of her corrupt coaching team. On the other side of the rink, Alexandra Trusova is incensed at placing second and is realizing in real-time that her coaching team (that same corrupt coaching team) had never planned for her to win gold, giving her a routine inferior to their favorites. She is currently screaming at the other half of the coaching team, refusing to even do the podium ceremony. The winner, in what should’ve been the happiest moment of her young life, is sitting quietly and alone in the corner. What should have been an exuberant celebration is now a hollow and awkward affair followed by a podium ceremony that felt unearned for everyone involved. An experience that I felt deeply uncomfortable watching. This is also how I felt watching the final scene of Saltburn.

I want to start by saying, this is a gorgeous film. The cinematographic choices made were excellent and it is a feast for the eyes. Especially the use of the color red throughout the film is excellent and works with the themes perfectly. The movie itself is also excellently acted and I always appreciate that. However, this is not a complete movie. In fact, it completely undone by the fact that it thinks its too clever for its own good. In the first 20 minutes the entire plot unfurled before me like a ship’s sail and I could guess the ending immediately. I would venture to say that most people would be able to guess the ending but seeing as how it’s a movie begging you to guess, it should offer some surprise, no? No. The film goes full force ahead with it’s predictable twist and boring conclusion. So when the film finally ends and you’re watching Oliver dance around to what is probably the best needle-drop of the year, you’re left feeling like neither he nor you earned this. Like watching a podium ceremony with predetermined winners and wondering why you even bothered. (5/10)

The Iron Claw (2023):

This film is a triumph of theme. The movie has one very clear thesis statement and sticks to it throughout the film to stunning effect, even down to the naming of the film itself. The Von Erich family was famous for their shared finishing submission move, the Iron Claw. For this move, the face is grabbed in a particular way as to place painful pressure, especially behind the eyes which would then cause an opponent to submit and lose the match. We see the elder Von Erich father do this move to each of his sons so they can learn the move as well. It is in this that the thesis reveals itself. The Von Erich story is one of tragedy due to the toxic masculinity and unrealistic standards placed on young men. In this movie, the father acts as this cudgel, beating vulnerability and healthy expression out of the boys until it is too late. You also come to understand the wider wrestling world also does this to young men. The industry makes you sacrifice your body for entertainment while expecting that body to be unchanged by time or injury. This movie dares to ask whether it’s even worth it to continue in a business like that. Ultimately I think this question is answered as Kevin, the last remaining Von Erich brother played by Zac Efron, leaves wrestling behind entirely, selling off the family business. This film, while devastating, is an important watch for wrestling fans and non-fans alike. (8/10)

Tár (2022):

This movie is just wonderful. Phenomenal actually. I think a story about what is essentially a cancelation (for better or for worse that’s what we call them now) could be so thoughtlessly done but Tár takes pains to make the story as contemplative and honest as possible. Our main character is so full of hot air that she has floated into outer space on the back of her own ego and the dialogue does a great job of communicating that. Her speech is just so lofty and unnecessary, it’s great. Everyone around her is forced to fall into the same speech pattern as well so its no surprise that the women she has been accused of preying upon are talented but down to Earth. Real women she can make as fake as her as she goes about coercing them. She’s even in the process of endearing herself to her next target and is so engrossed that she can’t see her world crumbling around her. By the time she realizes she’s falling, she’s already figuratively and literally hit the ground. The journey down was a joy to watch. (8.5/10)

Gen V, Season 1 (2023):

I couldn’t think of a better concept and execution to a spin-off of a show like The Boys. This writing team continues to amaze me and I’m so excited for what’s next. I have nothing but endless praise for this show but I will say, as someone who is prone to Homelander nightmares, I probably should’ve watched this in a better headspace. (9/10)