The author of the short story “Cat Person,” which became a viral phenomenon after appearing in The New Yorker this month, has received a seven-figure book deal, according to a person with knowledge of the deal.
A collection from Kristen Roupenian, whose debut story in The New Yorker became the magazine’s second most-read article of 2017 despite being published in the Dec. 11 issue, will be published by Scout Press in 2019.
Roupenian’s story hit just about every meme-worthy topic of the age: Cats, dating, creepy guys, social media, intellectual insecurity masked by blithe confidence. It’s all there.
Every year, the good folks at Publishers Weekly ask all of us lucky writers who review comics for them to put our votes in for what we thought were the best books of the year. The results came out this week in their Annual Graphic Novel Critics Poll.
The winner was Emil Ferris’s My Favorite Thing is Monsters. Some of the runners-up were:
Everything is Flammable by Gabrielle Bell
The Best We Could Do by Thi Bui
My Lesbian Experience with Loneliness by Nagata Kabi
The latest movie from Scott Cooper (Black Mass) is a pitch-black, viciously violent Western starring Christian Bale as a cavalry officer nearing the end of his string and Wes Studi as the Indian chief who Bale has to partner with for survival.
Hostiles is a western that wants to encompass the entire moral history of the Indian Wars into one fell, vengeance-rattled saga. Of course, it doesn’t succeed—that is the fate of westerns that overextend themselves. It doesn’t completely fail, either. There are images here that will bang around in your head with a chilly echo for days afterward, not to mention a nagging sense that one has just witnessed a great and unsolvable crime…
West Wing and The Social Network writer Aaron Sorkin’s directorial debut is a smart and fast-paced fact-based drama about an ex-Olympic skier who ends up running high-stakes poker games only to get taken down by the FBI.
Molly’s Game stars the incomparable pair of Jessica Chastain and Idris Elba (above) and opens on Christmas Day. My review is at PopMatters:
Chances are, we will never see a heartwarming Aaron Sorkin movie about somebody with a learning disability or severe handicap they had to overcome. This is for the best. The most caffeinated major American screenwriter, Sorkin only seems to find his voice when inhabiting a frantically energetic persona whose thoughts outrun their ability to verbalize and emote them. The start of his latest movie, Molly’s Game, is so resolutely Sorkin-esque that it’s almost a self-parody. Only this time, like most of his better work, it’s based on a true story…
Since it’s almost Christmas, that must mean time for a new Star Wars movie. The latest one is directed by Rian Johnson (Brick, Looper) and features a grab-bag of characters newer (Poe, Rey) and older (Luke, Leia, Chewie), plus the odd adorable critter (see above).
My article on The Last Jedi and the whole dang Star Wars universe is over at The Playlist:
Back when George Lucas was that oddball car enthusiast and confederate of Francis Ford Coppola’s with two of the greatest and weirdest movies of the 1970s under his belt — “THX 1138” and “American Graffiti” — he really wanted to make a movie out of “Flash Gordon.” But that didn’t work out, so he moved on to cranking out his own rollicking space opera. Forty years after the first “Star Wars” movie, Lucas’s rag-and-bone shop of cribs from Kurosawa, John Ford, and Joseph Campbellhas now turned into its own self-perpetuating universe with an annual haul that probably beats the GDP of some small nations. The latest installment, “Star Wars: The Last Jedi,” looks likely to keep that cycle going for the foreseeable future…
In Alexander Payne’s new comedy, Downsizing, Matt Damon plays a guy who takes advantage of new technology that shrinks people in order to offset their negative impact on the environment; also, leads to a life of luxury that is not as enjoyable as he initially thinks.
Downsizing opens next Friday. My review is at PopMatters:
No, being the size of a dog’s chew toy might not be to everybody’s taste, but it’s certainly a shortcut to a kind of upper middle-class luxury unobtainable for most of humanity. Around $150k in real-world money translates into $12.5 million in the little planned communities of the downsized. That buys a lot of McMansion. As the indelibly happy Dave (Jason Sudeikis) crows to occupational therapist Paul (Matt Damon), “Cheesecake Factory? We’ve got three of ’em!”…
Launching Friday on Netflix is Errol Morris’s immersive new six-part series Wormwood, which mixes hardboiled investigative documentary filmmaking with David Lynchian recreations. A four-hour theatrical edit is also playing in limited release.
When Eric Olson was still just a child in 1953, his father Frank died while away on business. The official explanation was that Frank fell or possibly jumped out of a hotel room. “At that moment,” Eric says in Errol Morris’ epic new investigation of the mysteries surrounding Frank’s death, “the world stopped making sense entirely.” That burning ember of uncertainty stayed with Eric the rest of his life…
A curious thing happened today at the awards meeting of New York Film Critics Online: We couldn’t agree on a best picture of the year. So we went with a tie (and they’re both great movies, so it’s really no issue): The Florida Project and Mudbound. Here’s the full list of awards:
Picture The Florida Project (A24) and Mudbound (Netflix) (tie)
Dee Rees, Mudbound
Gary Oldman, Darkest Hour
Margot Robbie, I, Tonya
Willem Dafoe, The Florida Project
Allison Janney, I, Tonya
Jordan Peele, Get Out
Timothée Chalamet, Call Me by Your Name
Jordan Peele, Get Out
Ensemble Cast Mudbound (Netflix)
Documentary Bombshell: The Hedy Lamarr Story (Zeitgeist)
Foreign Language In the Fade (Magnolia)
Animated Coco (Disney/Pixar)
Dan Laustsen, The Shape of Water
Use of Music
Steven Price (music by) and Kristen Lane (music supervisor), Baby Driver
Top 10 Films Call Me by Your Name (Sony Pictures Classics) Dunkirk (Warner Bros.) The Florida Project (A24) Get Out (Universal) I, Tonya (Neon) Lady Bird (A24) Mudbound (Netflix) Phantom Thread (Focus) The Post (Fox) The Shape of Water (Fox Searchlight)
In 1976, Joan Didion (born December 5, 1934) lifted a title—one of the best—from Orwell when she penned the essay “Why I Write.” She had a lot to say about writing, particularly about how she doesn’t start with an idea or theme but just a mental picture or two that she is trying to explain.
She also described becoming a writer in part because she was not so great at being a student at Berkeley:
In short I tried to think. I failed. My attention veered inexorably back to the specific, to the tangible, to what was generally considered, by everyone I knew then and for that matter have known since, the peripheral. I would try to contemplate the Hegelian dialectic and would find myself concentrating instead on a flowering pear tree outside my window and the particular way the petals fell on my floor.
Writers have to learn about many things before they can put words on paper: Gardening, missile trajectories, how to steal a car. But the end result of gaining that knowledge is not the thing itself, but making one’s writing as specific as possible. As Didion explains it, a writer is:
…a person whose most absorbed and passionate hours are spent arranging words on pieces of paper.
No, writing isn’t some cloud-borne dream factory, but an arduous and labor-intensive search for precision and clarity. If it wasn’t, then what would be the point?
The new Israeli movie Foxtrot is a masterfully surrealist black comedy that is as confounding as it is fascinating. Calling it a Catch-22 for the era of eternal warfare isn’t far off the mark.
Foxtrot is playing now in limited release. My review is at PopMatters:
There’s no rule that filmmakers need to have served in the military to make movies about war. Some of the greatest war movies were by directors who never spent a minute in basic (Coppola, Malick). Still, a little knowledge of the terrain helps. A filmmaker who has spent time hugging a rifle on watch understands things the civilian never can, no matter how much research they might do. With a director like Samuel Maoz, who was a tank gunner in the Israeli army and has only made two movies in eight years, his experience is critical…
The Shape of Water is ostensibly a love story between a solitary woman and a merman. But the true object of the movie’s affection is its star character, Elisa Esposito (Sally Hawkins), and rightly so. Elisa is just about the fiercest woman on screen right now; a less complicated but no less determined heroine than Frances McDormand’s blowtorch vigilante Mildred in Three Billboards Outside Ebbing, Missouri. A mute cleaning woman who lives above a grand old movie palace, she has a closely-followed a litany of daily habits that are treated more like chiming celebrations than rote compulsiveness…
The year’s big political movie comes with an unlikely cast and director: Tom Hanks and Meryl Streep in Steven Spielberg’s The Post. An all-too-timely thriller about the cacophonous showdown over the publishing of the Pentagon Papers in 1971, it opens in limited release on December 22.
For his most taut and dashing movie since Munich, Steven Spielberg chose an unlikely subject: the publishing of the so-called Pentagon Papers in 1971. It’s not history that Spielberg tends to favor. There are no great battles or monumental court cases; well, there is the latter, but Spielberg whips right past it without pausing for gassy Amistad oratory. The heroes are neither grand orators nor men of action. Instead, they’re mostly disputatious ink-stained wretches in off-the-rack suits…
Rear Window is one of the great movies of the 20th century. Suspenseful, humorous, inventive, and skillfully manipulative; it’s the best of what Alfred Hitchcock had to offer at his height. It is less remembered for the brilliance of its sprightly script by noir master Cornell Woolrich.