{"id":129143,"date":"2025-03-12T20:25:41","date_gmt":"2025-03-12T20:25:41","guid":{"rendered":"https:\/\/peraltafinancing.com\/anime\/winter-2025-week-11-in-review\/"},"modified":"2025-03-12T20:25:41","modified_gmt":"2025-03-12T20:25:41","slug":"winter-2025-week-11-in-review","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=129143","title":{"rendered":"Winter 2025 \u2013 Week 11 in Review"},"content":{"rendered":"


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Hello folks, and welcome back to Wrong Every Time. Today my apartment is undergoing some impromptu spring cleaning owing to last week\u2019s house fire, the <\/span>second<\/span><\/i> house fire we\u2019ve suffered in roughly eighteen months. Fortunately the damage wasn\u2019t nearly so severe this time, and our landlord is paying for the service, so hey: free apartment cleaning! You gotta take the victories where you can find them in this world of apparently perpetual house fires, and for me those victories tend to come in the form of unexpected new media treasures, films or series that totally catch me by surprise. Let\u2019s pan for gold once more as we break down the Week in Review!<\/span><\/p>\n

First up this week was <\/span>A Night at the Roxbury<\/b>, an SNL alumni project starring Will Ferrell and Chris Kattan as Steve and Doug Butabi: plastic flower salesmen in their dad\u2019s shop by day, club-cruising playboys by night. Or at least, so they\u2019d like to be; in truth, they mostly drive around bobbing their heads to \u201cWhat is Love,\u201d get shut down by women who rightly clock them as manchildren, and get blocked from entering the fabled Roxbury by its long-suffering bouncer. However, when a chance encounter with a celebrity opens the doors for our boys, they swiftly find themselves soaring towards the glamorous nightlife they\u2019ve always dreamed of.<\/span><\/p>\n

Like many SNL films, A Night at the Roxbury\u2019s core joke doesn\u2019t really have the stamina to rise from a three-minute skit into a feature-length production. The film wanders through narrative developments without much purpose or momentum, but there\u2019s nonetheless a core comic appeal to watching two Johnny Bravos attempt to be genuinely cool guys, bobbing their heads at women like angry ostriches and perpetually retelling the story of how Doug ran into Emilio Estivez that one time. Ferrell is such a natural comedian that even this weak tea is mostly tolerable; I imagine fully paying attention to this movie would be burdening it with expectations it cannot possibly satisfy, but as a second-screen watch revealing the origin story of the \u201cWhat is Love\u201d meme, it\u2019s a fine enough time-passer.<\/span><\/p>\n

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We then screened <\/span>Life<\/b>, a 2017 science fiction feature taking place largely aboard the International Space Station, which has just received a sample of dirt and debris from the surface of Mars. Investigating the sample, the six-member crew are elated to discover it contains dormant cells, which they soon motivate into a living multicellular organism they name \u201cCalvin.\u201d Unfortunately, both the creature\u2019s rate of mutation and sheer malice prove too much for our poor scientists, and they swiftly find themselves in a fight for their life against their newest crewmate.<\/span><\/p>\n

Life is a straight-up old-fashioned creature feature that knows precisely what it\u2019s about, elevated through both its distinctive creature and its exemplary cast. Seriously, we\u2019ve got Jake Gyllenhaal, Rebecca Ferguson, Hiroyuki Sanada, Aariyon Bakare\u2026 even Ryan Reynolds is here, and actually fitting into the drama rather than snarkily commenting from above it. I\u2019ve said a number of negative things about Reynolds in the past, but I\u2019ll give him credit here: he absolutely sells having an alien lifeform consume his organs from the inside out, and I was personally delighted to see it.<\/span><\/p>\n

Gruesome Reynolds death aside, Life is well-paced and tightly focused, rapidly establishing a sympathetic team and clear field of battle, and then letting Calvin run wild across the intricately designed yet agonizingly fragile space station. Both Calvin\u2019s bids for survival and the crew\u2019s counterplays feel natural and intelligent \u2013 the escalation of threat builds with uncommon grace, and the evolving destruction of the space station ensures Calvin\u2019s menace doesn\u2019t have to carry all of the dramatic weight. An altogether handsome little horror feature that understands its objectives and pursues them with energetic professionalism.<\/span><\/p>\n

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Our next feature was <\/span>Melancholia<\/b>, Lars von Trier\u2019s mercurial meditation on depression and apocalypse. Kirsten Dunst and Charlotte Gainsbourg star as sisters muddling through the end of the human race, as the heretofore hidden planet Melancholia threatens either a close fly-by or a genuine collision with earth. How do we grapple with simply living, and how do we contend with the <\/span>end<\/span><\/i> of life \u2013 these are the twin questions raised by Melancholia, each centered in one of the film\u2019s two acts.<\/span><\/p>\n

The film\u2019s first act is a pure, unfiltered nightmare of socializing through depression, as Kirsten Dunst attempts to survive her own wedding reception while contending with the stark, overwhelming fact that getting married did not fix her. She\u2019s not happier, she\u2019s not more assured of her direction, she\u2019s not even able to savor having fulfilled her family\u2019s expectations \u2013 she\u2019s as much of a depressed wreck as ever, only now having to contend with a party who all expect a glowing aurora of marital bliss, something she is utterly unprepared to offer. It\u2019s ugly, it\u2019s claustrophobic, and it\u2019s undoubtedly one of the best articulations of living with depression while fending off the expectations of your well-adjusted peers that I\u2019ve ever seen.<\/span><\/p>\n

After that absolute nightmare, the second half\u2019s slow march towards oblivion actually comes as a relief. <\/span>Here<\/span><\/i> is something Dunst\u2019s character can contend with: after all, when has her life ever <\/span>not<\/span><\/i> been defined by shame and horror, by regrets and self-hatred and an understanding that things will never, ever get better? As Gainsbourg crumbles under the encroaching certainty of earth\u2019s destruction, Dunst blooms into an even-handed oracle of apocalypse, at last existing in a world where everyone else feels the same overwhelming pressure she does. I do hope it would take less than the imminent death of humanity to make others understand quite how heavy life is when your brain chemistry refuses to let you see light in the world, but as an articulation of what such a long-sought unity of understanding might look like, Melancholia is a vivid character study, sumptuous visual experience, and altogether phenomenal film.<\/span><\/p>\n

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Last up for the week was <\/span>The Kid With The Golden Arm<\/b>, another Shaw Brothers classic by the reliable Chang Cheh. The film\u2019s plot is as simple as can be: a group of accomplished heroes are tasked with shepherding gold to an impoverished region, a crew of bandits with distinctive specialties are determined to steal the gold, brutal martial arts exhibitions ensue. Featuring much of Chang Cheh\u2019s consistent \u201cVenom Gang,\u201d Golden Arm is straightforward and savage, demonstrating a purity of intent that seems to reverberate across modern shonen, sentai, and general action cinema.<\/span><\/p>\n

Golden Arm actually feels much like a bridge between Seven Samurai or The Wild Bunch and modern action features \u2013 which, given Cheh\u2019s stated affinity for directors like Kurosawa and Peckinpah, is no great surprise. While maintaining the historical grounding and scope of his predecessors, Cheh leans heavily into the distinct pleasures of action as storytelling, crafting larger-than-life martial artists whose execution of their craft is its own vivid reward.<\/span><\/p>\n

What results is a film as generous as a sprawling shonen epic, yet somehow packed neatly into a tight eighty-six minute package. There\u2019s a drunken sheriff with the swagger and skills of Spike Spiegel, a self-declared hero who is saved from poisoning only to declare he must fight his <\/span>savior<\/span><\/i> in order to restore his honor, and a ranked collection of evil officers who each possess their own distinct signature weapon. There\u2019s a contest between ax and spear that counts among the best-choreographed fights I\u2019ve ever witnessed, and a forest path replete with poisoned needles and other nefarious trickery. There are secret doppelgangers and blind masters and daring escape plots, all granted an unexpected dramatic weight via the film\u2019s effortlessly iconic characters. The Kid With The Golden Arm is golden age kung fu in all its glory, an accomplished riff by an absolute master of the genre.<\/span><\/p>\n

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Hello folks, and welcome back to Wrong Every Time. Today my apartment is undergoing some impromptu spring cleaning owing to last week\u2019s house fire, the second house fire we\u2019ve suffered in roughly eighteen months. 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