...And most definitely too cool for you... as well as just about everybody else in the world.
This quirky oddment of a movie, was, as I vaguely recall, part of a spate (I may be overstating the case) of adaptations of graphic novels / comics of the more everyday / unusual variety that occurred about this time...
(I think, Napoleon Dynamite, and perhaps that roller skating thing with (now) Elliot Page (might have been one?) among others)
It is a basic portrait of the kind of teen girl you may well have encountered, or may well know, for whom the whole world is just lame, and pathetic, as is everyone in it, and largely exists to be mocked and regarded as some kind of freak show wildlife documentary, simply there for her amusement, and to be the objects of her disdain.
...Such is Enid, who, along with her friend and observational ally Rebecca in this walk through laboratory / human zoo of life, is about to graduate from school and step into the adult world (also, indeed, especially lame), and move into an apartment together, and get their big plans in motion.
Everyone around them seems to be just drifting, like ghosts, going nowhere in particular, and doing nothing of any importance, in this nowhere town, unlike them, who have it all weighed off nicely.
...Which, of course, consistent with life's delightful way, is proven to them, well, in particular, Enid, they most certainly do not.
Enid faces changes at home, with her single father dating someone new (very threatening). Rebecca seeems to be taking the step a little more seriously than Enid - having a job etc. and so seems to be beginning to drift away from Enid a little, as well as a superflake art teacher (Veronica Cartwright giving one of her career best performances in deadpan comedic genius mode) getting her into trouble due to a picture she cynically entered into an exhibition and which she lifted form new found acquaintance / friend Seymour.
Seymour being a particular object of amusement that Enid decides to mess about with one day, being, as he is, a super - geek, as well as a collector of rare and valuable blues 78s (So particular interest for users of this site! :)...
...But as life seems to be getting away from her, and friends and people drift away, Seymour unconsciously becomes her only remaining friend... over time, and quite against her original intentions, a real friend.
Enid may not be so very cool, and aloof after all, as she discovers she may be the only real ghost in her world, lonely, and dislocated, while everyone else is getting on with living life.
This movie has that indie vibe, very much in the Clerks (with a budget) style, as we follow these two girls (primarily Enid) as they drift around town, chatting, and going nowhere in particular.
One or two things may not make the cut for the modern cancel crowd, or at the very least, raise an eyebrow, which in itself is shocking, given how relatively recently this movie was made, but if you go a little deeper in it's intentions, it's humour and sensibility, beyond the superficial, and see how these things serve the story, and plot, you find a very sharply written, minor cult classic wihch is a great watch.
Could also be re-titled:
The Disabuse-ment of Certain Erroneous Notions Of Life As Held By Enid, The Girl Who (Thought She) Was Better Than Everyone Else.
(But that's quite a mouthful, so Ghost World, will do :)
Just upgraded my rating of this to a flat out 10 out of 10...
...After watching (yet!) again, I have concluded this film is...
Perfect.
Perfect runtime, pacing, acting, story, atmosphere (which it has in spades, so as to have the feel of something like: John Caprenter does Vanishing Point. Low-fi Electronica score: perfect, signature lead song, which really lends this some heart: perfect... The two most central characters (including the excellent Carey Mulligan) who talk the least, but say the most: perfect.
This, is one I feel I'm going to naturally gravitate back to on a "more than is healthy for me" basis...
...very regularly, possibly bordering on the obsessive :)
(Haven't felt a movie captivate me this much, in this way since Blade Runner!)
It used to be on TV all the time, and was one of the staples of Billy Crystal’s filmography... now, all but vanished from existence!
…Even a cursory look on Amazon and eBay shows the DVD seems to be quite rare, and with a somewhat marked up price as a result.
I haven’t seen it for a fair while, but remember it being quite a fun movie…did it not age well, such as modern sensibilities might not approve of…or are there background rights issues or something?
I always felt this was over-rated... more of a cult movie due to a basic concept, and reputed for one notorious scene, rather than being an especially good film.
Rated 6/10Another movie who's reputation and even who's title, has become a part of modern cultural reference...
...But having finally watched it, I was somewhat disappointed.
Of course, there's the great central performance by Meryl Streep, and a strong, sympathetic supporting role by Peter MacNicol, but Kevin Kline over does it somewhat, albeit, playing a deeply disturbed individual (He's giving an almost Fish Called Wanda skit, at the very least, it's very... theatre).
But this aside, it's two things that underwhelm, and detract from this tale of an immigrant with a dark and horrific secret from her past:
Firstly, it feels like a made for TV movie (Was it?), which may be forgivable, if it was, but it feels cheaper in the production than the subject and it's aspirations require.
...And secondly, it's feels oddly structured, like two separate movies tacked sequentially onto each other: The first section being like The Great Gatsby, a very jazz age tale of American urban life shared between three friends and their difficulties, then it goes back to world war two Europe, and is a Holocaust movie... The contrast in styles, and tones is jarring.
I wonder if perhaps, this was made today, an editor or director might intersperse some of the latter element in the first American section, and vice versa, in order to foreshadow, suggest, or intimate the real underlying story, and even the tone, and indeed, even out the movie itself.
Maybe it would be possible to re-edit, and restructure the existing film in that way?
Doing this, might even elevate the whole experience to something more worthy of the film's reputation.
Rated 9/10A tough watch, but ultimately rewarding.
What begins as a very civilized lifestyle for a gifted pianist turns, by degrees into Schindler's list, and finally something akin to the Tom Hanks movie: Castaway, as the Nazis invade, take over, then the entire city is bombed flat, to resemble a post-apocalyptic moonscape, the ruins among which, Brody's character: Władysław Szpilman, must scrape and hide to survive, all the while, avoiding being blown to bits, or captured by the Nazis.
It's essentially the story of one man's adapting to survive, and in so doing, having the layers of civilization stripped systematically from him.
Rated 8/10It's strange, watching this at a distance of some years now, in that we are as far from the date of release, as the date of release was from the events depicted in this movie...
...And yet the background mood of reactionary conservative repression created by the "squares" of the time, flinching in moral panic at the licentiousness of the sixties and seventies, and seeking to squash it out at all costs, and who's puritanical, narrow lines of social acceptability seemed positively absurd to me back then... as if the world could be so ridiculously straight, and judgemental, certainly not in the comparatively liberal and enlightened nineties...
...Thank God we're over that, I thought (!)
Indeed, it seemed such repressive society almost demanded a semi-psychotic anti-hero (and his attorney :) brandishing his wildly crazed, relentlessly drug fuelled Gonzo journalism like a wrecking ball, to smash, head-long through the social mores of the times, and break almost every taboo they could find as they went. In order that the human spirit should not entirely succumb to such impositions.
(Well, it's a fine excuse, anyway!)
Be that as it may, it seems further away from the nutty, hilariously cartoonish picture of wild exaggerated, mythologised excess, or a depraved "psyche" movie that seemed to be the culmination of the nineties style of off the wall movie that I used to watch it as entertainment, but now, rather a bench mark of just how far we seem to have fallen into the seventh circle of moral hell since that time... so much so, this new millennium at times seems to make the fifties seem like a very liberal, open minded time by comparison!
Watch this then, for all the social commentary and pjilosphophy an old fart like me might ramble on about, or watch to see a movie that you would simply sit and think: "Well, they couldn't get away with making this kind of thing anymore!", or sit and watch the brilliantly funny characterisations Johnny Depp and Benicio Del Toro give of two of the most improbable human beings ever to walk the earth, or just put aside the trendy wokery for a spell, and bean-bag that old brain of yours Google boy, and just have fun watching an excessive, degenerate thrill ride that will have you laughing all the way through...
Yes, every major actor ought to have a couple of lo-fi, slow burner, cult type films in their resume like this.
This was one of those that I grew up seeing every now and then parked on one of the lesser stations, late at night, and which totally beguiled me, and really informed, and formed by taste in movies...
... Very much moviedrome fodder!
(For those in the UK, who may remember that :)
Can't believe some of the stuff my parents let me watch at that age.
(It's a wonder I'm not completely screwed up! (Twitch, twitch.... Shudder.... Twitch... "Arse!"... Twitch :)
I think it's movies like this that make me really appreciate others of more modern vintage like Drive, You were never really here, and the works of Michael Mann...
... All about the atmosphere and mood.
(Also why I prefer to watch movies on my phone now, as opposed to all that home cinema lark... More intimate, personal, and immersive, like when all I used to have was a small 14" colour TV by my bed, which would illuminate my room as the only source of light, and draw me in, in a way all that modern CGI 3D pizzazz never could)