All posts tagged: Films

New to Catch-all? Start Here

Social distancing has left me with no excuse for neglecting this blog, so I’m back—for now. If you’ve landed on this page for the first time because you were bored and cruising the internet, well, welcome! And if you’ve been here before, welcome back. Thanks for returning again and again, despite years of inconsistency. I started this blog when I graduated from college in 2013. Since then I’ve had a handful of jobs, moved to another state, went to graduate school, and have done all sorts of other “adult” things. Yet I’m still here working on Catch-all because of what it provides for me. It’s an escape and a place to share my thoughts, but it’s also something more. It’s where I put the things I make that have no other place to go. Where my creative ideas have room to be planted; maybe they’re left there for a few years, maybe they die in the unwatered soil, but at least there’s a place for them. I’ve spent the past decade imagining and then re-imagining …

Favorites of the Decade

HAPPY NEW YEAR! 🎉 Here are a few of my favorite albums, shows, movies, and events—both personal and public—from the last decade. I’m surely missing a lot, but everything I’ve listed below certainly had an impact on shaping the last decade of my life. And while I think it’s important to acknowledge the many bad, strange, and horrifying things that happened (or were made) between 2010 and 2020, I’d rather celebrate the positive. What are some of your favorites from the past 10 years? I Think You Should Leave with Tim Robinson (2019) When marriage equality passed in the U.S.! Days – Real Estate (2011) 20th Century Women (2016) Making it through college and having some of the most fun and exciting experiences of my life. I cherish that time with my friends (and the lack of responsibilities) dearly. Moonlight (2016) Every Beach House album. My time with Hayley—a quirky and loyal rescue dog who I was lucky to have in my life for a number of years. They Came Together (2014) The Tree of …

Representations of Urban Space & Masculinity in “Taxi Driver”

Representations of Urban Space & Masculinity in “Taxi Driver” & the Rise of the American Right-Wing Though Martin Scorsese’s 1976 psychological thriller, Taxi Driver, was released over 40 years ago, one could argue that many layers to the film’s harsh societal critiques are just as relevant in today’s sociopolitical climate. By exploring 1970s New York City through the perspective of Travis Bickle (Robert De Niro), an intense man whose past we know little about other than that he served in the Vietnam War, Scorsese and screenwriter Paul Schrader allow the audience to see the world through a particularly conservative lens. In the film, Bickle’s taxi cab works as a device that carries him through spaces he may not otherwise occupy. In this vehicle he’s shielded from that which fuels his fear and contempt. He sees, though might not necessarily be seen. He’s a vigilante on the edge of sanity, a sort of messiah figure who strives to clean up the city, though his racist and sexist rational for this metaphoric “clean up” is never stated …

What “Lady Bird” Means to Me

When I finally watched Greta Gerwig’s beautiful Lady Bird, I felt so much and still do. Unlike Lady Bird I have a wonderful mom who’s kind and understanding, I was never ashamed of my socio-economic status, and I wouldn’t lie to a peer about the house I live in or who I’m friends with. But like Lady Bird I wanted to go to college in New York City despite never having been there, felt stifled by the mid-sized city I called home, and was sure that there were bigger and better things out there for me – whatever that actually means. Lady Bird somehow brought me back to my undergraduate years, when I felt like the world was this new and exciting place to explore and express myself within. Since then I’ve grown to be more realistic and a bit cynical, but seeing Lady Bird’s struggle to figure herself out reminded me of a part of myself I had forgotten. While I’m much more sure of myself than I was in college, I missed the hopefulness I found within my confusion. I …

Catch-all in 2018

I decided against making resolutions this year, but that doesn’t mean that I shouldn’t put aside a little time to reflect on Catch-all and consider what the future of this blog should – or could – look like. Because blogging is just a hobby for me, I’ve never been particularly strict about narrowing down my focus (it’s called Catch-all for a reason) and I know that going into 2018 my posts will continue to be just as varied. I do, however, plan to put my media studies degree to use and share more work that examines film, TV, pop culture, music, politics, identity, and representation. With more serious work will also come some fun (I think it’s about time to write about Vanderpump Rules) and I’m hoping to maintain that delicate balance between content that reflects both fierce critical engagement, and lighthearted entertainment. Catch-all in 2017 Most popular posts this past year: Fun with Vinyl Resistance Reading List On America, Mobility, & Freedom in “Easy Rider” PHOTOS: Women’s March Los Angeles Riding the Pacific Surfliner Most …

A Few of My Favorite 80’s Movies

Oh the 80’s. It was the decade that came and left just before I was born and bestowed us with vibrant clothes, pop music, and Reagan’s regressive policies. It’s the time that my mom refers to mysteriously and with an air of disdain, telling a curious story from her past and concluding with a sigh, “well it was the 80’s.” And when I watch popular American 80’s movies, I think I catch her drift. Below are five of my favorite off-beat, magical, bizarre, and hilarious movies that are quintessentially of the 80’s. What are a few of yours? Raising Arizona (dir. Joel Coen, Ethan Coen, 1987) Raising Arizona is my favorite Coen brother’s film (followed closely by The Big Lebowski) and a Nic Cage favorite as well. Raising Arizona is charming, hilarious, well written, and perfectly cast and performed. The film’s very particular production design, cinematography, and soundtrack also adds to its magic. And as an Arizonan, I seem to have a warm place in my heart for any movie that takes place there.   The Breakfast Club (dir. John Hughes, 1985) Like …

Brown, Kiddo, & Tarantino

OR: Tarantino’s Leading Ladies: Jackie Brown, Beatrix Kiddo, & Women’s Empowerment On-screen Quentin Tarantino’s body of work – from his feature film debut Reservoir Dogs (1992), to his most recent epic The Hateful Eight (2015) – consists of films that are violent, highly stylized, dialogue-driven, oftentimes problematic, and always provocative. Though each film in Tarantino’s oeuvre is quite different from the one that came before it or followed, numerous qualities of his work remain consistent. In each of his films Tarantino celebrates popular culture by commemorating genres that were once relegated to the margins by Hollywood, such as martial arts cinema, Blaxploitation, and spaghetti westerns. While appropriating genres, Tarantino provides his own authorial stamp by writing dialogue-driven scripts which are benefited by episodic structures. A “Tarantino film,” one can almost always be assured, features revenge at the heart of the narrative and creates pleasure through the irreverent combination of humor and violence. And, with each of Tarantino’s films, the appropriateness of his representations of violence, race, gender, and revisionist history, come into question time and …

Hollywood’s Global Domination

My experience of foreign cinema – or the value that it has provided for me personally – is deeply rooted in my national identity and Hollywood’s history of global dominance. Scholar B. Ruby Rich writes in Subtitles: On the Foreignness of Film, “My guess is that foreign films function as a rebuke for some viewers, offering up evidence that the world is not made in ‘our’ image, and that neither our society nor our language is universal.”[1] While I agree with Rich’s evaluation, I’d like to complicate it just slightly. My argument, instead, is that foreign films function as a rebuke for most American viewers specifically, though not all. In his chapter titled Hollywood’s International Market, from The American Film Industry (ed. Tino Balio), Thomas H. Guback describes how Hollywood began to permeate the global film market after World War I, acting in a moment when numerous countries were economically devastated by the war and left financially indebted to the U.S. As a result, due to the surmounting strength of the American film market, international film …

On America, Mobility, & Freedom in “Easy Rider”

“A man went looking for America, but he couldn’t find it anywhere.” Few taglines remain relevant long after a film’s release, but Easy Rider’s ominous warning (“he couldn’t find it anywhere”) maintains its potency nearly 50 years after its debut. In David Laderman’s Driving Visions, he situates the road film genre within an explicitly American context and characterizes Easy Rider (Dennis Hopper, 1969) as “arguably the quintessential, genre-defining road movie.”[1] Following the cult popularity of low-budget biker exploitation films, Easy Rider seems to have borrowed from the aesthetic and tonal vigor of these works, but extended itself to a broader cultural critique that was relevant for a wider spectrum of Americans falling under the banner of “the counterculture.” While the influence of cinema imported from Europe and Asia facilitated the rise of the American auteur, the explosive socio-political context of late 1960’s could also be credited for cultivating unique works which explored social tensions and questions of identity, and more specifically, what it means to be an American. Easy Rider – in addition to preceding …

“Little Miss Sunshine” Turns 10

Little Miss Sunshine was released 10 years ago today, on July 26, 2006. Though a decade old, the film still resonates as a dark comedy about the complications of life at any age. Little Miss Sunshine seems to pinpoint, especially, the fact that going on a trip with your dysfunctional family can actually be therapeutic. As a film it’s funny, sad, and delightfully honest – much like life itself. I recently posted about six of my favorite road trip films, and of course Little Miss Sunshine made the list! So be sure to check out that post if you want to read a little more about why I love this film. Otherwise, to celebrate its 10th anniversary, here are a few stills from Little Miss Sunshine: