Quick Posts

I thought I had it in me to expand a few of these to full posts, but I’m feeling lazy. Not sure if I mentioned it yet, but I’m now back to a normal 5 day workweek, 2 day weekend schedule. I’m already freaking out on how I”ll get all my chill time, exercise, and chores into two days once movie trips and Disney are back in play, but that’s a problem for future Dawn (much much future Dawn by the looks of it ). Anyways, I thought I had it in me to make full posts outta some of these, but this morning I’m feeling lazy. I’m allowed to be lazy in a pandemic right?

A Man Apart – I’d brought this one up when talking about The Grinch. For the most part, it’s a pretty unremarkable and bland crime “thriller”. I was already struggling to get thru it. Then we get to the end bit, and Vin Diesel is supposta be somewhere in Latin America I think. Except, he was actually at Universal Studios. There’s a part on the tour where you stop in this Latin looking area (I forget its actual name) and they tell you about using water effects to create weather. Sprinklers turn on (I’ve been unfortunately positioned for that before) and then a flash flood rages out alongside you. Then they show you a clip from Big Fat Liar that uses that flood and we move on to The Good Place sets. That’s the exact spot where this was shot. Vin was walking down the flash flood path. Normally, I think it’s kinda cool when I recognize the Universal backlot in a film, but this time it was too much. The final strike against a terrible film.

Somewhere – I think this is the only Sophia Coppola film I really connect to, despite sincerely trying very very hard. I’d been contemplating putting this in the watch pile because I remembered enjoying it and little else, but I also seemed to recall it being rather simple. That simplicity serves it well. Elle Fanning, who I typically don’t care much for, is so sweet and engaging. Stephen Dorff turns a character who could be very unlikeable into someone you truly root for. It’s just a happy place of a movie, even if not all the characters are in a happy place.

Charlie and the Chocolate Factory – I prolly could stretch this into an entire post, but again laziness wins. I just wanted to give this film (we’re talking the 2005 Tim Burton) a quick defense. Yes, the first movie is the definitive one, but I like this because it’s overall more true to the book (except for the Wonka family backstory and the ending). There’s no fizzy lifting drink controversy, the Oompa Loompas have their original lyrics, squirrels not geese, and my favorite scene (the kids leaving the factory) is included. We’ll skip over the creepy Johnny Depp Wonka for now.

Big Fish – Speaking of book adaptations, this is one of two films where I can easily say that the movie is far superior (Forrest Gump being the other). All of the magic of the film comes from Tim Burton. The book is bland an dry and very boring, with none of the fantasy elements. While other Burton films are more quintessentially him, this one is the clearest showcase for how he can improve on a subject with his signature flair.

Housesitter – I was watching Father of the Bride the other day, which is a total comfort movie for me, and I realized that I didn’t have too much more from Steve Martin on the wall. I corrected that by getting a DVD 4 pack and this was the first I started with. I absolutely adore him and Goldie Hawn, but the movie didn’t work for me. Similar to my criticism of The Money Pit recently, it was just too implausible how deeper and deeper they kept digging themselves. I don’t like this kinda elaborate deception story because I just don’t buy it. Happy to see those two leads share the screen tho

How The Grinch Stole Christmas (2000)

If I haven’t explicitly said it, I think it should be clear that the one thing I’m missing most in this lockdown is going to the movies. That shouldn’t be hard to get. And I’ve posted about how I miss Disneyland. That one comes in waves for me. I’ll be mostly okay with it (saving all that money sure helps) and then something will make me really wanna go there. Yesterday it was a little stretch of highway in the morning sun that make me wanna just keep going south. But also yesterday (as of writing) I started missing something I didn’t think I would: Universal Studios.

In four years living in LA, I’ve had a Universal pass for half of that time. I generally have mixed feelings about the park. Their rides are pretty cool, but there’s only a handful of them and they’ve always got long lines. You can do everything in the park in less than a day, and you’ll likely spend half that time in hour long lines. And most of their rides all follow the same basic format. You watch something on a screen while you’re jostling around. Just depends on what you’re jostling in. All as opposed to Disney, where there’s so much to do, if something’s got a long line you skip it and hit something else. Maybe next time, the line will be shorter. Either way, there’s always more options and there’s always something new. A busy day at Universal can get frustrating. If you’re not feeling like waiting in a super long line to ride the exact same thing for the millionth time, there’s really not many other options. And yet, I still started missing it yesterday.

Actually earlier in the week I’d been watching a movie that was clearly filmed on the backlot. I’ll save the details for a quickpost later, but in that case it made an already bad movie worse, recognizing the set I’ve driven by in a tram so many times on the studio tour. That same tram tour drives by another set I was watching yesterday: Whoville. Or at least it did drive by. Word on the street is they’re taking Whoville out because it hasn’t been well maintained (another +1 for Disney, who keep on top of such things). But anyways, the main route of the tram does take you past a couple of Who houses that look like they’re made of foam. If the tour guide cares to talk about such things, they’ll tell you that the majority of the film was shot instead of 4 of their biggest sound stages. Then the tour continues and the very next thing you see is my favorite part: the Bates Motel. Yes, Norman Bates and the Grinch are back to back neighbors. Kinda wild.

Now another +1 for Disney is that they really do up their holidays pretty big, not just decor but changing up rides and seasonal characters and different food. Besides stringing some Christmas lights on things, Universal doesn’t do all that much, but they do have one thing going: Grinchmas. The first year I went for Grinchmas, when you got to Whoville on the tour, some Who’s came out of the house and sang with The Grinch. That was gone by the time I went two years later. So really all it is at this point is the center part of the park, the one thing that gets switched out seasonally, is redone for the holiday. There’s a few photo ops, a bunch of random Who’s wandering around and interacting, and a chance to meet Max and The Grinch.

I met the Grinch the first time. Was an hour long line and totally worth it. The second time, I didn’t wanna wait and was kinda bummed at my lack of patience. I got him to take a picture with Marty Martian, whom he referred to as my weird husband, before throwing him over his shoulder to get rid of him. I don’t even think I took a picture with the Who myself (regretting that now). Character interactions at Universal aren’t as good as Disney, but this one is the exception that proves the rule.

Anyways, this is a blog about movies, not about theme parks. I watched Jim Carrey’s Grinch movie last night. I’d previously dismissed it because for me it doesn’t top the old Boris Karloff cartoon. It still doesn’t, but I do appreciate the Jim Carrey-ness of this interpretation. I think part of what throws me is how much filler is added in to make this feature length. The new animated Bennedict Cumberbatch one had the same problem. Sometimes you just can’t improve on something that’s already great.

The Karate Kid (2010)

I worked my way thru the Karate Kid movies the past few weeks. I realized that if I’m gonna attack a franchise, unless it’s a continuous story (like Hunger Games) it’s best if I split it up instead of trying to get ’em all in at once. I’d also realized that I didn’t own (and likely hadn’t seen) KKid II thru Next, so I had to do some purchasing in there.

The first is an absolute untouchable classic, and one that I should know better than I do. The sequels are good fun, maybe not quite as magical just due to the usual diminishing returns. It’s the 2010 reboot with Jaden Smith and Jackie Chan that I wanna focus on tho.

First of all, representation matters, so major points for having a black Karate Kid. For me, that’s reason enough for this movie, and I wish the films woulda continued. I know at the time, it mostly got dismissed as an unnecessary reboot, and to some extent it kinda is. I’ve been going back and forth on my feelings towards the rebootness, and I think I’ve mostly concluded that the film shoulda been its own thing. I get the need for name recognition, but I feel like it hurt more than it helped.

The original Karate Kid sees Ralph Macchio’s Daniel move to a new town with his single mom, where he has trouble making friends other than the building’s handman Mr Miagi. Mr Miagi trains Daniel in Karate so that he can earn respect by taking on his bullies in a karate tournament. Now replace Ralph Macchio with Jaden Smith, Pat Morita’s Miagi with Jackie Chan’s Mr Han, and move the setting to China. Oh and replace karate with kung fu. So shouldn’t he be the kung fu kid? That’s my tipping point for why this shoulda tried to be its own film.

The bones of the story are the same, and the third act plays out with the same beats. So again, totally get why this wasn’t taken seriously. I very much enjoyed it tho. I found it fun and engaging (not unlike the original) and I liked what was added by moving the setting to China. Also bonus points for Taraji P Hensen as the Mama. This version is also a bit more kid friendly. Jaden is younger than Ralph, and as someone pointed out to me on Stardust, his initial whining is much more age appropriate. Speaking of attitude, that boy is very much his father’s son. I could see so many of Will Smith’s expressions and mannerisms in Jaden’s face, it was really tripping me out. But the boy inherited the charm and charisma to carry a film, so I was rooting for him the whole way. I just wish a little more care was put in to making this stand out instead of relying so much on the original. I get it, reboot, you’re supposta rely on it. Not to get all broken record about it, but I think that reliance ended up being a bit of a crutch. I wanted this karate, or kung fu, kid to soar

Quick Posts

This past week was the most stressful and anxiety inducing I’ve had in this post-Covid world. There were a lot of unknowns and variables (a general source of anxiety for me), but by the end of the week everything fell into place. I physically felt relief (like literally, felt my chest loosen up and my body relax like it hadn’t in months) once it was all over. Still, not much mental capacity left for blogging this weekend. I wanted to just take the time to recharge before resuming my normal schedule (no more three day weekends) and finding out what my new normal is. Long story short, still speaking in vague terms, everything is looking okay and stable for now.

Arkansas – Last week’s rental from Alamo. Kinda unremarkable crime thriller. Vince Vaughn and Liam Hemsworth were great (I do love Vaughn’s turn towards dark and serious). Clark Duke looks too much like an ex I don’t wanna be reminded up, so that was offputting. Just predictable enough that the fresher storylines weren’t very impressive, but still engaging to watch. I think I’m gonna slow down on the rentals going forward tho. I’ve pretty much seen all the MUST movies, and the technology is still a little lacking. I still wanna support the theater tho, so I’ll try to figure out some alternatives.

But I’m a Cheerleader – Very long overdue first time watch, and I didn’t care for it. I recognize why it’s a cult classic, and I absolutely support that this film exists, especially when it was released during such a dearth of queer films (not that we’re doing all that much better). It was just too absurdist and ridiculous for my taste. Partly because that humor is not my style and partly because so much of the absurdity was rooted in truth, it was a little unnerving for me. Still, props for LGBTQ+ stories being told.

Birdman – You ever watch a movie and the only thought running thru your head is “This is AMAZING” on loop, over and over. I’ve seen this before (hell, three times in theaters), but it had been long enough that it was almost a new experience. The acting, the writing, the symbolism, the cinematography, the directing, all of it is truly truly a masterpiece.

The Crying Game – I wrote the other day about the documentary Disclosure, which focused on the portrayal of the transgender community in film, and I talked at length about how The Crying Game fit into that. I rewatched it the other day, with that new context, and it’s like a whole different movie from me. On previous views, I was just so excited to see LGBTQ+ represenation, I didn’t think about the bigger picture. Jaye Davidson gives such a moving performance, but this time it was even more heartbreaking. I was paying more attention to Dil’s story, and the way that she accepts so much abuse because she thinks it’s all she can get is devastating. Plus knowing the affect that this film had on Davidson and his reception and ultimate rejection in Hollywood, it hurts so much more watching him give everything to this role. He deserved better.

Airheads – I’ve been in need of really good laughs lately, and this movie provided. It’s one of those dumb comedies that’s actually much smarter than you’d expect. And I don’t even know which of our trio I love most. Fraser, Buscemi, and Sandler give such endearing performances, all a bit against type, I just can’t get enough.

Boiler Room – TIL (actually yesterday) that this is based on the same source material as Wolf of Wall Street. It just takes a different approach to it, sees it from a different angle. It has a little less bite tho, more like the stray dog of wall street. Ben Affleck steals the film, Giovanni Ribisi is fantastic, and I’m still undecided on if I either really like Vin Diesel or just can’t buy him. It’s worth checking out the alternate ending on the DVD extras too. The theatrical ending feels like proper closure, but the alternate is far less expected (albeit maybe too subtle in its execution). Still, a good choice for when I was in the mood for a talky and dark drama since my pile had way too much light fare in it (I’d taken the positivity rule so far, I was getting numb)

Meet the Parents

Okay if I’m having to implement a positivity rule for my movie watching, it’s only fair I implement it for my blog posting. Cause oof they’ve been heavy lately. It’s been well over a month since I’ve watched this, so we’ll see if I can pull out a full post for it.

But yeah, a few weeks ago, I had to call in an emergency comedy. I don’t know what was going on that day or why my anxiety was high and my mood was low, but if there’s anything I’ve learned in quarantine it’s to recognize those feels and remedy them with a happy movie. I wanted something that would guarantee a rise in spirits, but that I hadn’t seen so many times I would be numb to it. Lord only knows the last time I had seen this one, but sure, it was worth a shot. Turned out to be exactly what the doctor ordered.

Ben Stiller is typically known more for his over the top characters, in films like Zoolander or Dodgeball or Tropic Thunder. Generally speaking, I prefer my comedians in more grounded roles and I adored him as Greg Focker. It toes the line between realism and extreme silliness just right. Yeah some of the situations are a little tough to suspend disbelief, but his reactions to them are very human, so it keeps it in balance. And he’s not afraid to let himself be humiliated. He takes every gag in stride and carries the film with grace.

I would also list this as one of Robert DeNiro’s best performances. Yes, he’s known almost exclusively for serious roles, particularly tough guys. No one ever talks about his comedy skillz, but man he’s got chops. It’s a travesty that he doesn’t take advantage of it more often.

Ultimately this film works so well, and has lasted so long, because it’s all well intentioned. Nobody is out to get anyone else or use its comedy in a disparaging way. It’s a very heartfelt story with relatable (if somewhat extreme) characters, and it’s genuinely funny. The sequels sorta drop off in quality, but who’d blame ya for wanting to spend more time with the extended Focker family

Quick Posts

Oh man, now I’m really wishing I had started this at the beginning of quarantine. So much easier to write and I’ve been watching upwards of 15 movies a week. Despite all that content, I’m still struggling to bring myself to post regularly. Anyways, what are some highlights from this week?

Jack Goes Boating – I was on a bit of a Philip Seymour Hoffman kick, grabbing any of his films that I didn’t know well. This one is his only directorial credit. It’s a sweet story of two relationships, one beginning and one ending. He and Amy Ryan are absolutely adorable, and this movie will make you fall in love with PSH like never before.

My Friend Dahmer – Last week’s Alamo rental. It’d been on my watchlist for a while (we know I love my serial killers, all the better if they’re IRL). I found it kinda bland. He did come off slightly better adjusted than you would expect given where his life would turn, by which I mostly mean he actually had friends. But there wasn’t anything particularly exciting. We Need To Talk About Kevin does the teenage psychopath thing much better, esp since this leaves off right as Dahmer goes in for his first kill

Happiness – I wouldn’t say that I like this movie. I very much like that it exists. It deals with some heavy subject matter, but in a way that’s not heavy and difficult to watch. Uncomfortable yes, but you’re not left wondering if it’s even worth living in a world where these things happen. I’ve said this before, but given how many movies I watch, I want something that ‘s different, that goes places other movies don’t. On that front, this movie wins.

Friday – I was having a socially distanced picnic with a couple friends last week, and one was giving the other shit for not having seen this movie. I sat there quietly because I hadn’t either. I picked up the 3 film set for 7 bucks. And watching it confirmed why I hadn’t seen it yet, but also why I’m absolutely supportive that this movie exists: it’s just not for me. But that’s cool, because it is for the Black community (who love and embrace this movie) and we need more of those. Not every movie should be for me. Diversity in film gives everyone a chance to be represented.

Love and Basketball – Continuing to catch up on classic Black films. This one I did very much enjoy. I’d avoided it before because I don’t do romances, and having “Love” in the title is a big stop sign for me. But I liked it because while the romance was the central storyline, it wasn’t what most drove the characters. No one was sitting around waiting for the love of their life. They were living for their passion (in this case basketball) and trying to see how the love fits in with it. I can dig it. I also just really like basketball. And I enjoyed watching Omar Epps in something other than House (which I’ve been rewatching lately).

All That Jazz – Mixed feelings. It’s Bob Fosse, so I should love it. And the musical numbers were fantastic (I particularly loved the mother/daughter one). The storyline from the theater’s perspective was interesting to me, getting to see behind the scenes of how producer types think. My problem was our lead character, the lothario director who was supposta be a stand in for Fosse. He was too much of a sleazy womanizer for my tastes, I could not get behind him. And I think that’s why I couldn’t maintain much interest in the film outside a few dance sequences.

Gran Torino

I’ve learned a lot recently about the “white savior” trope. I’d first heard the term when Matt Damon’s The Great Wall was released, and it came up a lot during Green Book discussions. Simply put, it’s when a white character rescues a non-white character (or often an entire community) from some dire circumstances. The Great Wall is a pretty cut and dry example, but Green Book is a little more complicated. It throws in the protagonist learning about and overcoming his own racist ideals, so the film comes off with a seemingly positive message. It’s a trope that I’ve been fairly blind do, but I’m now more able to recognize and understand some of the harm that it can cause. I recognized it immediately in Gran Torino.

Disclaimer: I’m not trying to be an expert on the subject. I’m merely trying to process my thoughts watching this film with the new information I’ve learned in recent years. I identify as Hispanic, but am half white (and mostly pass as such) and recognize that I have benefited from lots of white privilege.

Clint Eastwood directs and stars in this film as the angry old white guy in a quickly diversifying neighborhood. Most of his neighbors are now Hmong, who have immigrated from southeast Asia. You know how people use the “get off my lawn” phrase a lot nowadays? Yeah that started with this movie. Anyways Eastwood is super racist towards his neighbors, but then things happen (like they do in movies) and he befriends the two teens next door. He takes a particular interest in the teenage boy, and takes him under his wing, teaching him all sorts of life skills as well as how to be a man (at least by his uber macho definitions).

To fully go into the themes, I’ll hafta spoil it a bit, but it’s a 12 year old movie, so deal. Eventually the boy and his sister’s lives are in danger, after several growing attacks from neighborhood gangs. Eastwood sets his affairs in order, and confronts the bullies in full view of a neighborhood full of witnesses. The thugs kill him, but there’s enough evidence to send them to jail for a long time.

On its surface, and on my initial viewings, I thought it was a beautiful story about a man overcoming his own racist ideas and accepting his fellow man. To some extent, it still is. But the danger of the white savior trope is thinking that’s enough. (My go to joke about Green Book is saying that it solved racism completely. ) The other danger is in showing POC as victims who need a white person to save them. I also recognized this time that a lot of what Eastwood is teaching the boy is rooted in toxic masculinity, which is a whole other beast to tackle.

Still, despite its flaws, I think it’s a very moving film. I was in tears on this recent view. Why? Something else I was taught, this time since childhood: Greater love has no man than this, that he lay down his life for his friends. That very Christian ideal is illustrated to its full extent in this movie. And it is beautiful to see. But what I’ve learned is to not get complacent with that, but rather to recognize that films like this are complex, and there’s still a lot more work to do.


Sometime back, I saw an article that mentioned that Quentin Tarantino highly regarded Unstoppable as one of his favorite films of the past ten years. Srsly, that movie? Isn’t it kinda basic? I added it to my watch pile anyways. In Tarantino we trust.

There’s a runaway train, loaded with hazardous materials, and headed for population. A couple good guys on a second train try to catch it. Even with Chris Pine and Denzel Washington in the lead roles, I’d skipped it in theaters. It just seemed to simplistic, and I couldn’t believe there’d be anything great about it. I eventually got it as part of a Black Friday haul, and very much enjoyed watching it. Then I mostly forgot about it. Tarantino’s comments made me remember that this was a good movie, I just didn’t remember how good.

Yes, the story is straight forward and simple. It’s also very real and grounded, in a way that few Hollywood movies are. On top of that, it’s hella suspenseful. As in one of the best thrill rides of my quarantine viewing. You don’t get that combination of realism and suspense in too many films. Maybe my boy QT was on to something.

I’d even argue that this film fits the positivity rule. Yes I was stressed watching it, but it was a good stress. And there was no existential crisis or bad guys that make me question my faith in humanity. It was very human, and showed the good in people (mostly, cause there were some less than good ones). It was true escapism at its best, with just about everything I’d want in a film, even if it came in a rather unassuming package. I’ll hafta remember this one as a go-to recommendation in the future


How have I not written up this movie before? Hell, I coulda prolly written it up cold, without a rewatch, but the rewatch this week made it required. Why is this movie such a big deal? Because it’s the one that most captures (not necessarily best captures) MIT. Yeah moreso than Good Will Hunting, which really only mentions it in passing. 21 actually got to shoot some scenes around campus, and it was about real life MIT kids. And it was filmed while I was in school there. Me and the bestie even went down to the casting office to try and get on as extras (word on the street was they were taking any MIT kids that came in) but we were too late and most shooting was wrapped.

21 is about some real life MIT kids who figured out a card counting scheme and took Vegas for all it was worth–on the weekends, when they weren’t in class. The events were written down in a book called Bringing Down the House. I never got around to reading it, but you couldn’t go more than a couple days on campus without seeing it in someone’s possessions. The movie heavily fictionalizes the story. Or at least I assume it’s heavily fictionalized, because my rewatch came off as really Hollywood-ized–contrived and over the top with drama.

Not long after graduating, I showed this at a movie night with my fellow Beavers (yes that’s MIT’s mascot). The game was “Take a drink every time there’s something wrong about MIT”. Things like how in the opening scene he rides his bike in one direction across the Mass Ave bridge, then rides it in the same direction across the BU bridge that runs parallel. Or how they keep referring to THE 2.09 (there’s no “the” when you mention course numbers), and treat it like it’s this big deal on campus (it’s not, and I kept thinking they meant 2.007 which is more of a competition), and they even have banners up advertising it (there never were). Oh and while exterior shots were on campus, all interiors were at BU.

Some stuff is right. The math prof is in building 2. The clothing store where our lead works really exists in nearby Harvard Square, and even had a movie poster in the window for years after. The little details that you’d have to have gone there to know are there, but the bigger details that everyone else will notice are mostly off. No matter. It’s still a fun game.

I remember really enjoying the thrill of the game before, but now as I’d said before, it does feel so overdone. Manufactured drama and extreme situations. I mean of course you gotta jazz things up, but it just feels so fake now. The cast doesn’t really help. Jim Sturgess is out of his depth. Kate Bosworth doesn’t sell the smarts. And Kevin Spacey has too much baggage to ever enjoy a film with him again. I do like Liza Lapira, and am always happy to see her pop up in other small roles.

So yeah, maybe other films capture the spirit of my alma matter better than this one. Hell, half of the movie takes place in a different state. But given that I was there when it came together, it’s the one that makes me most nostalgic for my old home.

Quick Posts

Just figured out I should have taken this quick post approach to lockdown. At least it’s worth trying. I’m watching LOTS of movies (around 15 a week) but only a handful warrant a full post. But there’s still lots of thoughts I have on the others. So let’s give this a go?

St Elmo’s Fire – The least loved of all the 80s brat pack movies, and for good reason. It’s just not as interesting. I for one have a really hard time buying these characters. You’ve got 3 Breakfast Club actors in a film that was released the same year, but they’re meant to be about ten years older. Sure, they’re acting their real age, but their high school characters are so iconic, I can’t help but see them as babies. Babies doing adult things, because adulting as a twenty something was different then than it is now. Hell, I still haven’t done half of what they attempt (and fail at).

Pump Up the Volume – I saw someone tweet in defense of physical media the other day, saying that this movie wasn’t on streaming anywhere and the scarce DVD’s were pretty limited. This had been on my watch list for a while, so in a panic I quickly ordered it off Ebay. I didn’t notice that it was an import copy, so all the text on the box was in Korean. All good though, it still played. In English. I very much enjoyed it, but I get how it can get lost in the shuffle of all the great 80’s and early 90’s teen comedies. Still, I love me some Christian Slater. Between this and Heathers and Interview, I think I’m officially declaring him my favorite heartthrob of the era. Throw in today’s Mr Robot for good measure too

Real Genius – If MIT had a favorite movie, it would be Sneakers. But Real Genius is pretty high on the list too. A DVD permanently sat by the tv in my hall’s lounge, although I don’t know that I saw it used that often. The early scenes where the new kid is touring the dorm brought back so many feels. That craziness of smart kids running around building things and experimenting and having fun is exactly the vibe of my undergrad, at least at East Campus, my dorm which was known for its free spirited craziness. I was talking with another friend recently about dorm things, and his frat boy self was shaking his head at my stories. So maybe it wasn’t all of MIT, but it was my home.

Scarface – I only made it about forty minutes into this movie. Actually, I was ready to turn it off after less than ten, but this is one of those movies that I SHOULD know. I fell asleep at that 40 mark, snuggling with my cat, and was awakened by a phone call a little later. I opted not to continue the movie. Why was I so quick to turn it off? The whole thing was just glorifying toxic masculinity. It shouldn’t have come as quite a shock, but Tony Montana’s machismo was unbearable. And then I started thinking about how many IRL guys idolize him and aspire to be him, and I literally started to feel sick. It was so uncomfortable to watch thru that lens, I just couldn’t take it. I had to reinstate the positivity rule for the rest of the night