Guilty Pleasure No. 123: Old School (dir. by Todd Phillips)


Old School is one of those comedies that feels like it was made in a lab to be the perfect guilty pleasure, a film that knows exactly what it is and doesn’t apologize for a second of it. Directed by Todd Phillips in 2003, it’s a raucous, often ridiculous ode to arrested development, where three thirtysomething men decide the solution to their midlife crises is to start a fraternity and relive their college glory days. On paper, it sounds like the kind of premise that could either be hilariously relatable or painfully cringe-inducing. In execution, it somehow manages to be both, which is exactly why it works as well as it does.

The story centers around Mitch, Frank, and Beanie, played by Luke Wilson, Will Ferrell, and Vince Vaughn, respectively. Mitch is a mild-mannered attorney whose world implodes when he walks in on his girlfriend, Heidi (Juliette Lewis), mid-orgy in his own bathroom. Frank, a former legendary party animal known as “Frank the Tank,” is about to get married but can’t seem to let go of his wild past. Beanie, the most level-headed of the trio, is a family man who still feels the pull of his youth. When Mitch impulsively buys a house near a college campus, Beanie suggests they turn it into a fraternity, and thus, the most chaotic midlife crisis in cinematic history begins. The premise is thin, but the film doesn’t need much more than an excuse to string together a series of increasingly absurd set pieces.

What makes Old School so much fun is the chemistry between its three leads. Wilson plays the straight man to Ferrell and Vaughn’s antics, grounding the film with a relatable everyman quality. Vaughn, with his rapid-fire delivery and sharp wit, is the glue that holds the trio together, while Ferrell steals every scene he’s in as the unhinged, beer-chugging, streaking force of nature that is Frank the Tank. Ferrell’s performance is a masterclass in commitment to the bit, whether he’s chugging beers in his underwear, delivering a motivational speech about the importance of “earning” respect, or streaking through a neighborhood in one of the most iconic comedy scenes of the 2000s. His energy is infectious, and it’s hard not to laugh at the sheer audacity of his character, even when the humor leans into the absurd or the juvenile.

The supporting cast is packed with familiar faces who add texture to the film’s world. Jeremy Piven is delightfully slimy as Dean Pritchard, the smug, power-tripping dean of students who holds a grudge against the trio from their own college days. Ellen Pompeo, pre-Grey’s Anatomy, plays Nicole, Mitch’s high school crush, who re-enters his life at Frank’s wedding and becomes a romantic subplot that feels both sweet and slightly out of place in a movie this committed to chaos. Leah Remini, Juliette Lewis, and Elisha Cuthbert round out the cast, each bringing their own flavor to the proceedings. The film also features a slew of cameos, from Snoop Dogg as himself to James Carville, which adds to its anything-goes vibe.

Todd Phillips’ direction leans heavily into the film’s frat-house aesthetic, with a loose, improvisational feel that mirrors the energy of its characters. The movie doesn’t bother with subtlety or nuance; it’s a series of escalating gags and set pieces designed to elicit laughs, and for the most part, it succeeds. The humor is often crude, sometimes dumb, but always delivered with a sense of enthusiasm that’s hard to resist. The film’s pacing is brisk, jumping from one ridiculous scenario to the next without much time to breathe, which works in its favor. There’s no pretension here—Old School isn’t trying to be a smart comedy or a biting satire. It’s a beer-soaked, testosterone-fueled romp, and it owns that identity with pride.

One of the film’s most memorable sequences is the “Mitch-A-Palooza” party, a rager that cements the trio’s status as campus legends. The party is a microcosm of everything Old School does well: it’s loud, it’s messy, and it’s filled with the kind of over-the-top antics that make you laugh even as you shake your head in disbelief. The scene where Frank the Tank rallies the troops with a speech about the importance of “earning your letters” before chugging a beer in his underwear is a perfect example of the film’s brand of humor. It’s stupid, it’s juvenile, but it’s also undeniably funny, thanks in large part to Ferrell’s commitment to the bit.

That said, Old School isn’t without its flaws. The film’s humor often relies on shock value and crude jokes, which won’t land for everyone. Some of the gags feel dated, and the film’s treatment of women is, at times, simplistic. The female characters are often relegated to the roles of either love interests or obstacles, and the movie’s worldview is unapologetically male-centric. It’s a product of its time, and while that doesn’t excuse some of its more problematic elements, it does explain them. The film also suffers from a lack of depth in its storytelling. The plot is thin, and the character arcs are minimal, but that’s almost beside the point. Old School isn’t trying to be a deep or meaningful film—it’s trying to be a fun, raucous comedy, and on that front, it largely delivers.

What makes Old School such a great guilty pleasure is its sheer unapologetic joy in its own ridiculousness. The film doesn’t pretend to be anything other than what it is: a celebration of immaturity, friendship, and the kind of chaos that can only come from a group of grown men trying to relive their youth. There’s something oddly endearing about the way Mitch, Frank, and Beanie cling to their college days, as if they’re afraid of what comes next. It’s a theme that resonates with anyone who’s ever felt a pang of nostalgia for a time when life felt simpler, even if that time was also filled with questionable decisions and questionable haircuts.

The film’s soundtrack is another standout element, packed with a mix of classic rock, hip-hop, and pop hits that perfectly complement its vibe. From Whitesnake’s “Here I Go Again” to Metallica’s “Master of Puppets,” the music adds an extra layer of energy to the film’s already high-octane proceedings. The soundtrack isn’t just background noise—it’s a character in its own right, helping to set the tone for each scene and amplifying the film’s sense of fun.

In the years since its release, Old School has only grown in stature as a cult classic, a film that’s frequently quoted, referenced, and revisited by fans. Lines like “You’re my boy, Blue!” and “Frank the Tank” have entered the comedic lexicon, and the film’s influence can be seen in the wave of bro comedies that followed in its wake. It’s a testament to the film’s enduring appeal that it still feels fresh and funny, even as some of its jokes and sensibilities have aged less gracefully.

At its core, Old School is a movie about friendship and the lengths we’ll go to hold onto the past. Mitch, Frank, and Beanie may be thirtysomethings, but their hearts are still stuck in their college days, and their journey is as much about reconnecting with each other as it is about reliving their youth. The film’s message isn’t exactly profound—sometimes, you just need to let loose and have fun—but it’s delivered with such enthusiasm and charm that it’s hard not to get swept up in it. And if that message comes wrapped in a package of crude jokes, ridiculous antics, and a healthy dose of nostalgia, well, that’s just part of the charm.

Ultimately, Old School is the kind of movie that you don’t so much watch as you experience. It’s a film that demands to be seen with friends, preferably with a few beers in hand and a willingness to embrace the chaos. It’s not perfect, and it’s certainly not for everyone, but for those who are willing to go along for the ride, it’s a wildly entertaining, laugh-out-loud romp that never fails to deliver on its promise of fun. It’s a guilty pleasure, sure, but sometimes, the best kind of movies are the ones that don’t take themselves too seriously. Old School is a reminder that it’s okay to be a little immature, to embrace the chaos, and to never stop chasing the things that make you happy—even if those things involve starting a fraternity in your 30s.

Previous Guilty Pleasures

  1. Half-Baked
  2. Save The Last Dance
  3. Every Rose Has Its Thorns
  4. The Jeremy Kyle Show
  5. Invasion USA
  6. The Golden Child
  7. Final Destination 2
  8. Paparazzi
  9. The Principal
  10. The Substitute
  11. Terror In The Family
  12. Pandorum
  13. Lambada
  14. Fear
  15. Cocktail
  16. Keep Off The Grass
  17. Girls, Girls, Girls
  18. Class
  19. Tart
  20. King Kong vs. Godzilla
  21. Hawk the Slayer
  22. Battle Beyond the Stars
  23. Meridian
  24. Walk of Shame
  25. From Justin To Kelly
  26. Project Greenlight
  27. Sex Decoy: Love Stings
  28. Swimfan
  29. On the Line
  30. Wolfen
  31. Hail Caesar!
  32. It’s So Cold In The D
  33. In the Mix
  34. Healed By Grace
  35. Valley of the Dolls
  36. The Legend of Billie Jean
  37. Death Wish
  38. Shipping Wars
  39. Ghost Whisperer
  40. Parking Wars
  41. The Dead Are After Me
  42. Harper’s Island
  43. The Resurrection of Gavin Stone
  44. Paranormal State
  45. Utopia
  46. Bar Rescue
  47. The Powers of Matthew Star
  48. Spiker
  49. Heavenly Bodies
  50. Maid in Manhattan
  51. Rage and Honor
  52. Saved By The Bell 3. 21 “No Hope With Dope”
  53. Happy Gilmore
  54. Solarbabies
  55. The Dawn of Correction
  56. Once You Understand
  57. The Voyeurs 
  58. Robot Jox
  59. Teen Wolf
  60. The Running Man
  61. Double Dragon
  62. Backtrack
  63. Julie and Jack
  64. Karate Warrior
  65. Invaders From Mars
  66. Cloverfield
  67. Aerobicide 
  68. Blood Harvest
  69. Shocking Dark
  70. Face The Truth
  71. Submerged
  72. The Canyons
  73. Days of Thunder
  74. Van Helsing
  75. The Night Comes for Us
  76. Code of Silence
  77. Captain Ron
  78. Armageddon
  79. Kate’s Secret
  80. Point Break
  81. The Replacements
  82. The Shadow
  83. Meteor
  84. Last Action Hero
  85. Attack of the Killer Tomatoes
  86. The Horror at 37,000 Feet
  87. The ‘Burbs
  88. Lifeforce
  89. Highschool of the Dead
  90. Ice Station Zebra
  91. No One Lives
  92. Brewster’s Millions
  93. Porky’s
  94. Revenge of the Nerds
  95. The Delta Force
  96. The Hidden
  97. Roller Boogie
  98. Raw Deal
  99. Death Merchant Series
  100. Ski Patrol
  101. The Executioner Series
  102. The Destroyer Series
  103. Private Teacher
  104. The Parker Series
  105. Ramba
  106. The Troubles of Janice
  107. Ironwood
  108. Interspecies Reviewers
  109. SST — Death Flight
  110. Undercover Brother
  111. Out for Justice
  112. Food Wars!
  113. Cherry
  114. Death Race
  115. The Beast Within
  116. Girl Series
  117. Gone in 60 Seconds
  118. Swordfish
  119. Marked For Death
  120. The Internship
  121. The Angry Red Planet
  122. 2012

Brad reviews SMOKE SIGNALS (1998), starring Adam Beach!


There’s a scene early in SMOKE SIGNALS where Victor Joseph, played by Adam Beach, tries to teach Thomas Builds-the-Fire (Evan Adams) how to be a real Indian. He ends the scene with “This ain’t Dances-with-Salmon you know?!” It’s a funny exchange, but it also clues the audience in on the fact that this isn’t going to be your typical Hollywood movie about Indians. Directed by Chris Eyre and written by Sherman Alexie, it’s the first feature-length film written, directed, and produced by Native Americans to reach a wide audience both in the United States and beyond. As such, we get a story that feels fresh while tackling a variety of difficult subjects with humor and optimism.

The story focuses on Victor as he travels from the Coeur d’Alene Indian Reservation in Idaho to Phoenix, Arizona to retrieve his father’s possessions after learning that he’s passed away. His father abandoned him and his mother when he was just a boy, and he’s clearly been scarred by the situation. Along for the ride, mainly because he can afford to pay their bus fare, is Thomas Builds-the-Fire, his nerdy and talkative friend. From this point, the film becomes a road trip, and we follow along as they make it to Arizona and back. While there is funny stuff along the way, the movie is mostly interested in observing Victor as he comes to terms with the trauma and pain left behind when his dad went away.

I’ve always liked Adam Beach, and he’s very good here as Victor. His character spends a lot of the movie angry at the world, but from time to time, he’ll flash this big, wonderful smile. It’s a nice inside-out performance as he seems to be simmering on the inside and just trying not to explode. And then there’s Evan Adams, whose Thomas is awkward and optimistic, and who loves to tell big stories about Victor’s dad. For example, they have this awesome exchange where Thomas tells Victor that his dad looks like Charles Bronson. As Bronson’s biggest fan, I can tell you that Victor’s dad, played by Gary Farmer, looks nothing like Charles Bronson. The scene has a nice punchline as Thomas tells him that he doesn’t mean the Charles Bronson from the first DEATH WISH, but more like the Charles Bronson of DEATH WISH 5! The movie has several unexpected scenes like this, and the genuine chemistry between these two guys is what makes the movie work for me. I believe it when their characters begin to understand and appreciate each other, and it’s their emotional connection that gives the film some staying power even after the credits roll.

There are some additional performances that I enjoyed. I mentioned Gary Farmer, who plays Victor’s dad. His Arnold Joseph is not the most sympathetic character in the world, as he chooses to run away from a guilt that he can never deal with. Somehow, by the end, we have some understanding of his actions. And then there’s Irene Bedard as Suzy Song, the young lady who befriends Victor’s dad and calls his mom when he passes away. Best known for being the voice of Pocahontas in the Disney animated classic, she conveys kindness and compassion in her relatively small role. Tantoo Cardinal is good as Victor’s mom, and Tom Skerritt even shows up in a cameo as a police chief in Arizona. Sherman Alexie’s screenplay, based on his book “The Lone Ranger and Tonto Fistfight in Heaven,” is simple, yet full of depth, and it’s brought to life by an excellent cast.        

Even though SMOKE SIGNALS was made almost thirty years ago, it’s still a very relevant film to this day. It’s funny, it tackles difficult subjects that are universal to all of us, and it’s told from a Native American perspective that we seldom see. In other words, it feels like we’re dealing with real people, not the romantic caricatures or noble victims that Hollywood still tries to push on us in movies about Indians. It’s not a flashy film in any way, and that’s okay. It’s one of those movies that understands its characters and trusts the audience enough to just hang out and observe them. Anchored by an excellent performance from Adam Beach, it’s a perfect example of how movies can be a lot better when Hollywood gets out of the way and let’s genuine, talented people tell their stories.  

I watched SMOKE SIGNALS on the Paramount Plus streaming service.

2020 In Review: The Best of Lifetime


As chaotic as 2020 may have been, one thing remained unchanged!  Lifetime provided me with a lot of entertainment!  Below, you’ll find my picks for the best Lifetime films and performances of the past year!

(For my previous best of Lifetime picks, click on the links: 2014201520162017, 2018, and 2019!)

Best Picture:

  1. Mile High Escorts
  2. Escaping My Stalker
  3. Sleeping With Danger
  4. Beware of Mom
  5. Abducted On Air
  6. Killer Competition
  7. Remember Me, Mommy?
  8. A Predator’s Obsession: Stalker’s Prey 2
  9. Cheer Squad Secrets
  10. Deadly Mile High Club

Best Director:

  1. Jeff Hare for Beware of Mom
  2. Sam Irvin for Mile High Escorts
  3. David Weaver for Sleeping With Danger
  4. Linden Ashby for Escaping My Stalker
  5. Colin Theys for A Predator’s Obsession: Stalker’s Prey 2
  6. Doug Campbell for Deadly Mile High Club

Best Actress:

  1. Wendie Malick in Deranged Granny
  2. Elisabeth Rohm in Sleeping With Danger
  3. Sydney Myer in Remember Me, Mommy?
  4. Ezmie Garcia in Escaping My Stalker
  5. Anita Brown in Cheer Squad Secrets
  6. Crystal Allen in Beware of Mom

Best Actor:

  1. Houston Stevenson in A Predator’s Obsession: Stalker’s Prey 2
  2. Antonio Cupo in Sleeping With Danger
  3. Panos Vlahos in Psycho Yoga Instructor
  4. Nick Ballard in Psycho Escort
  5. Andrew James Allen in Escaping My Stalker
  6. T.C. Matherne in A Murder to Remember

Best Supporting Actor

  1. Damon K. Sperber in Deadly Mile High Club
  2. Jim Klock in Secrets in the Woods
  3. Gord Rand in Abducted on Air
  4. Brandon Howell in Beware of Mom
  5. Mark Jude Sullivan in Sinfidelity
  6. Jeff Schine in A Mother Knows Worst

Best Supporting Actress

  1. Cristine Prosperi in Killer Competition
  2. Perrey Reeves in Abducted on Air
  3. Mariette Hartley in Escaping My Stalker
  4. Christina Moore in Mile High Escorts
  5. Christie Burson in Ruthless Realtor
  6. Cristina Rosato in No Good Dead Goes Unpunished

Best Screenplay:

  1. Stephen Romano for Escaping My Stalker
  2. Richard Blaney and Gregory Small for Sleeping with Danger
  3. S.L. Heath for Beware of Mom
  4. Barbara Kymlicka for Abducted on Air
  5. Daniel West for Killer Competition
  6. Adam Rockoff and Zachary Valenti for Remember Me Mommy

Best Score:

  1. Andrew Morgan Smith for Sinfidelity 
  2. David Findlay for Revenge For Daddy 
  3. Christopher Cano for The Pom Pom Murders
  4. Fantom for Mile High Escorts

Best Editing:

  1. Maxime Chalifoux for Abducted on Air
  2. Seth Johnson for The Pom Pom Murders
  3. Bryan Capri for A Predator’s Obsession: Stalker’s Prey 2
  4. Kelly Herron for Sleeping With Danger

Best Cinematography:

  1. Branden James Maxham for A Predator’s Obsession: Stalker’s Prey 2
  2. Nate Spicer for Mile High Escorts
  3. Thomas M. Harting for Sleeping With Danger
  4. David Dolnik for Deadly Mile High Club

Coming up next (tomorrow at the latest — maybe sooner, depending on how much time I can devote to watching 6 movie today): My picks for the best films of 2020!  Finally!

TSL Looks Back at 2020:

  1. 12 Good Things I Saw On Television in 2020 (Lisa Marie Bowman)
  2. Lisa Marie’s Top 8 Novels of 2020 (Lisa Marie Bowman)
  3. Lisa Marie’s Top 8 Non-Fiction Books of 2020 (Lisa Marie Bowman)
  4. Lisa Marie’s 20 Favorite Songs of 2020 (Lisa Marie Bowman)
  5. Lisa Marie’s 16 Worst Films of 2020 (Lisa Marie Bowman)
  6. My Top 20 Albums of 2020 (Necromoonyeti)
  7. 25 Best, Worst, and Gems That I Saw In 2020 (Valerie Troutman)
  8. Top 10 Vintage Collections (Ryan C)
  9. Top 10 Contemporary Collections (Ryan C)
  10. Top 10 Original Graphic Novels (Ryan C)
  11. Top 10 Ongoing Series (Ryan C.)
  12. Top 10 Special Mentions (Ryan C.)
  13. Top Ten Single Issues (Ryan C)

 

Insomnia File No. 17: The Suburbans (dir by Donal Lardner Ward)


What’s an Insomnia File? You know how some times you just can’t get any sleep and, at about three in the morning, you’ll find yourself watching whatever you can find on cable? This feature is all about those insomnia-inspired discoveries!

sub

Last night, if you were still awake at 3:45 in the morning, you could have turned over to Starz and watched the 1999 comedy, The Suburbans!

And, in all probability, you would have fallen asleep before it was over.

This film tells the story of four guys who used to be in a band.  The name of the band was The Suburbans and, in 1980, they had a hit with a song called … wait … what the Hell was that song called?  See, this is an example of how slapdash The Suburbans was.  The whole point of the film is that they had a hit song but the movie goes off in some many different and random tangents that I can’t even remember what the name of this very important song was.  All I remember is that the song didn’t really sound like it would ever be a hit (no, not even in the 80s) and that the four guys really didn’t seem like they would ever be rock stars.

Anyway, The Suburbans only had that one hit and now, nearly twenty years later, all the band members are leading conventional lives in the suburbs.  Oddly, they all appear to live in the same suburb and they’re all still best friends.  Craig Bierko is the former lead guitarist, who is now a doctor of some sort.  Will Ferrell (yes, that Will Ferrell) is the former bass player who now works with computers.  Tony Guma is the overweight drummer who is at the center of a lot of scenes, presumably because Guma co-wrote the script.  Donal Lardner Ward is the former lead singer.  Along with starring in the film, Ward also directed it.  That might explain why, despite not being a very interesting character, everyone in the film is portrayed as being in love with him.

The Suburbans briefly reunite to play at Ferrell’s wedding.  A music executive (Jennifer Love Hewitt) happens to be at the wedding.  It turns out that she used to love The Suburbans and their one hit!  (The problem is that Jennifer Love Hewitt was only 20 when this film was made, which means that, when the Suburbans were famous, she would have only been a year old.)  She arranges for The Suburbans to reunite for a pay-per-view special and…

…and then a lot of stuff happens.  And I do mean a lot of stuff.  But what’s odd is none of that stuff adds up to anything.  Ward’s girlfriend (played by Amy Brenneman) is briefly threatened by Hewitt but, fear not — Donal Lardner Ward is the world’s greatest guy!  Occasionally, one member of the Suburbans might argue with another member of the Suburbans but fear not — they’re all great guys!

What’s funny is that, after spending 81 minutes with these characters and listening to their oppressively relentless quippy dialogue, you still don’t feel like you know a damn thing about any of them.  You never even find out how The Suburbans first got together or what inspired them to write their one hit in the first place.  Nor do you find out why they broke up.  They’re just sort of there and we’re supposed to care.

I guess I should mention that Ben and Jerry Stiller are both in the film.  They play Hewitt’s bosses and it’s painful to watch both of them.  Apparently, the director just said, “Ben, say something funny!” and the result was an endless scene of Ben Stiller saying whatever popped into his head.

(I should also probably mention that J.J. Abrams produced this movie.  Yes, that J.J. Abrams…)

If you track down the Suburbans on DVD, you’ll notice that the cover art is pretty much centered around Jennifer Love Hewitt and Will Ferrell.  What’s funny is that neither Hewitt nor Ferrel really get to do much in the movie.  (That said, Ferrell’s performance is enjoyably odd, even if it does feel totally out of the place.)  The entire movie is centered around Tony Guma and Donal Lardner Ward.  After all, they wrote and directed the damn thing.  So, I guess if you’re a Tony Guma fan, The Suburbans is the movie for you!

Previous Insomnia Files:

  1. Story of Mankind
  2. Stag
  3. Love Is A Gun
  4. Nina Takes A Lover
  5. Black Ice
  6. Frogs For Snakes
  7. Fair Game
  8. From The Hip
  9. Born Killers
  10. Eye For An Eye
  11. Summer Catch
  12. Beyond the Law
  13. Spring Broke
  14. Promise
  15. George Wallace
  16. Kill The Messenger

What Lisa Watched This Afternoon #114: Babysitter’s Black Book (dir by Lee Friedlander)


Earlier today, I watched last night’s Lifetime original movie, Babysitter’s Black Book!

babysitters-black-book-lifetime

Why Was I Watching It?

I love Lifetime movies about out-of-control teenagers.

What Was It About?

Ashley (Spencer Locke) wants to go to a good college and is terrified of getting stuck at a community college.  She’s even started a babysitting service in order to help pay for school.  However, she soon finds herself having an affair with one of her clients (Ryan McPartin).  Meanwhile, one of her employees has turned the babysitting service into a prostitution ring.

And while that may seem extreme to some, never underestimate the lengths people will go to avoid having to enroll in a community college…

What Worked?

Before I watched this film, I thought there was a very good chance that either Sugar Daddies or Back to School Mom would be the best Lifetime film of 2015.  But then I watched Babysitter’s Black Book and oh my God!  Babysitter’s Black Book is one of the best Lifetime films that I have ever seen.  How good was it?  It’s almost as good as Confessions of a Go Go Girl!

(And that’s pretty freaking good…)

Babysitter’s Black Book features everything that you could possibly want from a Lifetime film.  Melodrama, comedy, pretty clothes, sordid happenings in artfully decorated settings, and wonderfully over-the-top dialogue.  When Rachel tries to convince her friends to have sex for money, she very reasonably says, “Use it before you lose it.”  When Mark offers Ashley something to eat, he tells her, “Try it and you’ll never want to have another thing in your mouth.”  How can you not love this film?

The film was also remarkably well-directed and acted.  In the role of the greedily pragmatic Rachel, Angeline Appel stole every scene that she appeared in.  Another scene stealer was an actor named Jeff L. Williams.  Playing the role of the decadent Walker, Williams only appeared in a handful of scenes but he definitely made an impression.  The minute he smirked and said, “Let’s take some real pictures,” you just knew that bad things were going to happen.

This was exactly the type of film that we watch Lifetime to see.

What Did Not Work?

It all worked.  This was a perfect Lifetime movie.

“Oh my God!  Just like me!” Moments

Not that we ever would but, if for some reason we did decided to start a prostitution business, I would hope that my best friends and I would be as cheerful, giggly, and supportive about it as the girls in this film.  And I really do think we would be.  That’s one of the best things about Babysitter’s Black Book.  It’s a film that — much like Sofia Coppola’s Bling Ring — is honest about the fact that sometimes it’s fun to be bad.  (Especially when you’re still too sheltered and naive to understand the consequences…)

Babysitter’s Black Book perfectly captured the feeling of just how exhilarating and scary it can be to have your entire future in front of you.  Whenever Ashley dreaded the prospect of having to stay home and attend a community college, I found myself nodding and thinking, “Oh my God.  Just like me….”

Lessons Learned

Actions have consequences but it’s still fun to have money.

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Shattered Politics #82: An American Affair (dir by William Olsson)


American_affair

Though the names may have been changed, the 2008 film An American Affair is clearly based on the true story of Mary Pinchot Meyer.

In the early 60s, Mary Pinchot Meyer was a celebrated member of the Washington D.C. social scene.  A talented painter, Meyer was also the ex-wife of CIA officer Cord Meyer and was an early proponent of LSD.  She also happened to the mistress of John F. Kennedy and reportedly use to smoke weed with him in the Oval Office.  It’s also been reported that she kept a diary, which mysteriously disappeared after Mary’s still unsolved murder in 1964.  Needless to say, many a JFK assassination conspiracy theory has featured Mary Pinchot Meyer as a supporting character.

In An American Affair, Meyer is renamed Catherine Caswell (Gretchen Mol) and she lives across the street from 13 year-old Adam Stafford (Cameron Bright).  While Catherine has secret meetings with the President and deals with her alcoholic ex-husband (played, quite well, by Mark Pellegrino), Adam watches from his bedroom window.  Eventually, Adam goes across the street and offers to work in Catherine’s garden.  Realizing that Adam has a crush on her, an amused Catherine agrees.  While the future of America is being determined all around him, Adam learns about life, love, and art from Catherine.

An American Affair is an odd mix of conspiracy film and coming-of-age dramedy but it actually work pretty well.  Gretchen Mol gives a good performance as the poignantly unstable Catherine and, despite the fact that Adam is kind of a creep at times, Cameron Bright manages to make the character sympathetic.  However, the film’s best performances come from James Rebhorn and Pellegrino, playing two menacing figures who always seem to hovering in the shadows.

An American Affair is a surprisingly good film.  I saw it on Netflix and so should you.