The Two Doubles: “Enemy” vs. “The Double”
2014 has been, so far, one of the best years for art film in recent memory. Richard Linklater’s “Boyhood” is the current critical darling of indie cinema, but beyond that film (which I have yet to see unfortunately) we are seeing some really fascinating movies from avant garde directors both new and legendary, including “Under the Skin” dir. Jonathan Glazer, “The Zero Theorem” dir. Terry Gilliam, “Only Lovers Left Alive” dir. Jim Jarmusch, “Noah” dir. Darren Aronofsky, “Snowpiercer” dir. Bong Joon-Ho, “Child of God” dir. James Franco, “Grand Budapest Hotel” dir. Wes Anderson, “Lost River” dir. Ryan Gosling. Still upcoming are “Birdman” dir. Alexander Gonzalez Innaritu, which will apparently be made to seem as if the movie is all one long tracking shot, and what looks to be Cronenberg’s answer to the other master surrealist director named David’s “Mulholland Drive”, “Maps to the Stars” also awaits us.
But today we’re going to look at easily the most interesting part of 2014 in film so far, "The Double", directed by Richard Ayoade, based on the philosophical fiction classic by Fydor Dostoyevsky, and "Enemy", directed by Denis Villeneuve, based on the philosophical fiction classic “The Double”, by Jose Saramago. Both films are startlingly similar, and, if you can’t guess, the primary reason why is that the plot is centered around the presence of a doppelganger whose personality is the direct opposite of our protagonist.
The Big Wedding (2013)
This film is on Netflix, and was universally panned by critics, yet the cast and my sheer lack of desire for artistic or philosophical stimulation led me to watch it. Let’s see if the film is really as bad as people say it is.
The first scene of “The Big Wedding” involves Diane Keaton sneaking into Robert DeNiro’s house and instead of saying hello when DeNiro and Sarandon enter the room and then accidentally interrupts DeNiro feasting on Sarandon’s genitals. Then we get a boner joke.
"Oh, boners! I get it! Ha ha ha ha ha ha ha ha ha!" - Everyone in this picture besides Topher Grace. Because Topher has got class, or dare I say … Grace? Another round of laughter erupts.
Okay. Back to the review.
Did you know I keep a list of words? Now you do.
People have always noted that I have a large vocabulary, and I do. This list of words is not some sort of gambit to embiggen the fuck out of my language bank, but rather they are just words that I know the meaning of that I find funny or useful, and usually require use in subjects that interest me, such as philosophy or art theory or politics, etc. I keep this list with me so that I can occasionally glance at it and remember that these are the words that I like, the ones I would like to speak more. In a natural sense, not in a forced artificial one. To me, if I use these words without a predicated design to do so, then this means I am stimulating my mind to an adequate degree.
Some words are helpful for describing specific ideas. Others I just find funny, or would like to use more whilst insulting someone.
The list is always changing but here are a couple of the words for all those interested. I’ve included dictionary definitions for all you idiots out there:
X-Men: Days of Future Past
There is one trademark of the X-Men franchise that I’ve continuously noticed. The films are never truly horrible, yet they never truly transcend their genre. Of the first six films, the consensus seems to be that “X2: X-Men United” was the best film, though I’d contend it was “X-Men: First Class”. Where the latest installment, “Days of Future Past” stands is currently up in the air, but it certainly has earned a spot as a contender for the X-Men heavyweight world championship.
Like it’s predecessors, “Days of Future Past” has a healthy dose of disappointment in it’s ingredients, but a higher quantity of that essential component, which I like to refer to as “tight shit”, to offset it.
In my opinion, it is absolutely impossible for one to dislike an X-Men film, mostly because the viewer already knows whether they will enjoy the film before seeing it. For some reason, people sometimes go to films that they expect to dislike, so I’ll save everybody some time:
Do you want to see future-Wolverine (Hugh Jackman) time travel back to the 70’s and fuck shit up, while Jennifer Lawrence runs around wearing nothing but blue paint?
“This totally counts as clothes, right?” - Jennifer Lawrence
Hey, Feminist Music Critics
The reason that people don’t like female rappers isn’t because women can’t rap. It’s because most the ones who do fucking suck, and the ones who get successful implode (Lil’ Kim, Rye Rye), disappear (Lauryn Hill) or exchange rapping for sex iconography (Nicky Minaj) or more commercialized pastures (Queen Latifah, Fergie). Of those mentioned, only Lauryn Hill was really anything special, and let’s give credit to Nicky Minaj’s verse on Kanye West’s “Monster”, which is one of the past raps of the best ten years.
So we’re left with two categories:
The buzzed about, hyped up shit shows and the criminally under-appreciated.
The buzzed about, hyped up shit shows include Kreashawn, Chippy Nonstop, Kitty and Sirah. Okay, nobody likes Kreashawn, but let’s agree she had a spotlight moment and probably set back female rappers another ten years with “Gucci Gucci”. For some reason Chippy Nonstop and Kitty are getting accolades and mentions in the alternative, underground circles from which they’re emerging, despite the fact that their flow is astoundingly poor and annoying. None of these rappers have anything interesting to say, and they don’t say it in an interesting way either, which is the saving grace of most rappers anyway.
Listen to this. I have apparently made an EP today.
A “song” I made. Radical sound collage is a better descriptor.