Something has been bothering me about Her for a while. When I put together my list of the 10 best movies of 2013, I called Her too speculative to be useful. (Her wasn’t on the list, but I mentioned it in relation to Before Midnight, another movie about love and relationships that did make the list. More on that later.) What I meant is that the movie feels hollow. Obviously Her isn’t really about a human dating an operating system. Obviously it’s using near-future technology to hold a mirror up to the present. Obviously its point is that, surprise, humans need other humans. But why? If all Her really adds up to is the last two minutes of Annie Hall, why bother making it? It’s a fresh coat of paint on a well-worn subject, but the most interesting thing about it—its premise—is abandoned at the end when the AIs leave. I wanted Her to really dig into that premise. Since it didn’t, let’s do so now. Continue reading “‘Her’ Revisited: Why Does an AI Need Love Anyway?” »
Judith Butler may have famously said that gender is performed, but what Gone Girl tackles so emphatically is that, these days, almost everything is performed, but most especially and most oppressively, femininity. It is not merely that modern day women are expected to look good, but that they are expected to be cupcake-baking, soccer-game-cheering mothers while also being suit-wearing, boardroom-leading businesswomen. Women are expected to do everything and look good doing it—and, worst of all, they are supposed to make it look easy. Continue reading “What’s Really Missing in “Gone Girl”” »
Note: This article is written based on one viewing of the film Gone Girl (2014), and it contains spoilers of both the book and the film. Commenters are welcome to contribute to this conversation with their own observations or, if the case may be, correct observations that I have remembered incorrectly.
Director David Fincher and screenwriter Gillian Flynn’s new film, Gone Girl, has already produced fervent discourse about its gender politics. Its depiction of men and women doing terrible things to each other has garnered critiques of misogyny (a friend scathingly called it a poster child for Men’s Rights Activist paranoia) and misanthropy. It’s arguably one of Fincher’s bleakest—and oddly, funniest—movies, one that revels in the nastiness of relationships gone awry. Continue reading “On “Gone Girl”’s Margins and the Dissonance of Economic Crisis” »
“This is 2014!” sister Wendy Altman (Tina Fey) admonishes brother Judd (Jason Bateman), when Judd thoughtlessly starts to light up in the car in the dramedy This Is Where I Leave You. A similar chronological admonition could be directed at Shawn Levy’s adaptation of Jonathan Tropper’s novel, whose conspicuously post-Jewish consciousness is betrayed by a rabbinic blind spot. Continue reading “Rabbis Get the Short End of the Shtick in “This Is Where I Leave You”” »