The New Classics: Bridesmaids

By Michael Cusumano 

 

Scene: Food Poisoning
Okay, let’s talk poop jokes.

If I’m hesitant it’s not because I’m squeamish, but because I’ve found dissecting jokes to see how they work to be one of life’s less rewarding endeavors. On the other hand, I’ve noticed Bridesmaids’ uproarious food poisoning sequence seldom gets the respect it deserves. Often it’s acknowledged with some glib and subtly condescending remark along the lines of, “Ladies can be just as gross as the boys!” and I think that significantly undersells the scene. I mean, If we absolutely must make sweeping generalizations along gender lines, we would have to conclude Bridesmaids proves ladies do gross-out with infinitely more wit and sophistication than the boys... 

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The New Classics: First Reformed

Michael Cusumano here with the most recent film I've yet to induct into this series. Despite its newness, it's one of the titles I'm most confident will earn the label of classic in the course of time.

Can you pinpoint the moment someone crosses the line between faith and fanaticism? Is it even possible to fully define the boundaries between the two? Most reasonable people would agree it’s around the moment someone commits an act of violence in the name of God, but an individual crosses that boundary internally long before he straps on a suicide vest. 

That elusive moment of radicalization exists somewhere in the vast gray silences of Paul Schrader’s First Reformed. It passes by so quietly that it is possible to be late into the film and have no inkling of the wild-eyed zealot Ethan Hawke’s Reverend Toller will become in the film’s shocking final movement...

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The New Classics: Kiss Kiss Bang Bang

By Michael Cusumano 

The best genre parodies are so full of affection for their targets that they can’t help but make a superior example of the very thing they aim to satirize. It can be fun to throw tomatoes at a genre’s contrivances and cliches from the outside, but titles such as Young Frankenstein or Down With Love circumvent your ironic detachment to provide the far more satisfying experience of playing with these tropes from inside a story you care about. 

This kind of rare pleasure is one of the reasons Shane Black’s crime caper comedy Kiss Kiss Bang Bang has amassed the following it has since it underperformed in theaters back in 2005. Black’s film actually does double satirical duty, lampooning both the world of Raymond Chandler-esque noir and the world of the hyper-masculine, wise-ass body cop action movies of the 80’s and 90’s, a subcategory Black helped to inflate to absurd levels as the big gun screenwriter behind films like Lethal Weapon and The Last Boy Scout...

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The New Classics: It Follows

By Michael Cusumano

Scene: Explaining The Rules
Every movie with a supernatural horror needs the 'rules' scene. The one where we lay out for the hero exactly what it is they’re up against and why they are in deep, deep trouble. These scenes require the film to strike a tricky balance. You want enough info so we can get a firm grasp on the dynamic, without getting bogged down in minutiae. Share the tape in seven days or die. Got it! Too much and you end up like the heroes of Inception, shouting explanations at each other well into the film’s second hour. Not enough and the threat ends up too vague to be scary. Pennywise the Clown can do anything at any time, and kill kids sometimes but not others based on nothing. Whatever. 

The best modern example of this scene, the one that hits the balance exactly right, is the post-coital explanation scene from David Robert Mitchell’s It Follows (2015)...

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The New Classics: The Master

By Michael Cusumano

The Master refuses to elevate the audience above Freddie Quell.  In the simplistic version of the film Joaquin Phoenix’s wastrel Freddie Quell would be The Sucker and Philip Seymour Hoffman’s Lancaster Dodd would be The Fraud and there would be little ambiguity about it. No doubt this version was what many expected when they bought a ticket for Paul Thomas Anderson’s kaleidoscopic spiritual and psychological odyssey. A dynamic that would allow for them to lean back and smugly cluck that they wouldn’t be so easily taken in by such madness.

What Anderson's fictionalized take on the founding of Scientology delivered was something altogether more twisted and obscure. At no point can we be entirely sure what any of the main characters truly believe...

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