Ken and Robin Consume Media: I Saw the TV Glow, September 5th, The Brutalist
February 11th, 2025 | Robin
Ken and Robin Consume Media is brought to you by the discriminating and good-looking backers of the Ken and Robin Talk About Stuff Patreon. Each week we provide capsule reviews of the books, movies, TV seasons and more we cram into our hyper-analytical sensoriums. Join the Patreon to help pick the items we’ll talk about in greater depth on a little podcast segment we like to call Tell Me More.
Recommended
Becky (Film, US, Jonathan Milott & Cary Murnion, 2020) Sullen, grief-numbed teen (Lulu Wilson) awakens a talent for vengeance when a neo-Nazi prison escapee (Kevin James) and his confederates invade the family cottage. James makes a convincing heel turn in an economically drawn piece of elevated neo-exploitation.—RDL
Chasing Chasing Amy (Film, US, Sav Rodgers, 2023) Young queer filmmaker who credits the 1997 Kevin Smith film Chasing Amy as a literal life-saver from the effects of high school bullying examines its creation and the complicated position it holds as a work of LGBT+ representation. What could be simply a critical essay documentary with interviews and a personal perspective takes a couple of surprising, deeply emotional turns.—RDL
I Saw the TV Glow (Film, US, Jane Schoenbrun, 2024) In 1996, socially isolated teen Owen (Justice Smith) bonds with slightly older Maddy (Brigette Lundy-Paine) over YA supernatural show The Pink Opaque. Absolutely crippling emotional realism grounds creeping reality horror; special shout-outs to Eric Yue’s cinematography, which looks far better than the budget allows, and the soundtrack of 2020s artists recording imaginary 90s songs.—KH
Mischief (Fiction, Charlotte Armstrong, 1950) Out of town hotel guests readying themselves for a prestigious banquet leave their 9 year old daughter with the wrong last-minute babysitter. Tense psychological thriller makes masterful use of incisively drawn multiple perspectives.—RDL
Red Rooms (Film, Canada, Pascal Plante, 2023) Techie fashion model Kelly-Anne (Juliette Gariépy) becomes obsessed with the trial of a man accused of livestreaming the torture-murder of three girls to dark web “red rooms.” Plante shows us neither the gruesome murders nor Kelly-Anne’s motivation, depicting both by inference. The result is a film about obsession as obsession; Gariépy’s chilly control gives nothing away to the viewer but something to obsess about.—KH
September 5 (Film, Germany/US, Tim Fehlbaum, 2024) Greenhorn producer Geoffrey Mason (John Magaro) takes over the ABC Sports control room on a slow day during the Munich Olympics of 1972, only to be the man on the button when terrorists kidnap the Israeli Olympic team. This news-process thriller revels in period analog technology, going so far as to rough up its own digital footage to look like 16mm film. Magaro anchors the movie with his harried performance, backed up by a superb Peter Sarsgaard as Roone Arledge and Leonie Benesch as a German office assistant pressed into increasingly critical roles.—KH
Sleep (Film, South Korea, Jason Yu, 2023) Expectant mother (Jung Yu-mi) seeks an extreme explanation when medical treatment fails to fix her actor husband’s (Lee Sun-kyun) dangerous, sudden onset sleepwalking. The pursuit of marital perfection becomes a nightmare of released repression in this claustrophobic ghost horror.—RDL
Terra Formars (Film, Japan, Takashi Miike, 2016) Crew of convicts and outsiders lands on a terraformed Mars to battle its population of giant humanoid cockroaches with their own bizarre bioengineered insect powers. In what might be blurbed as “body horror Power Rangers,” Miike maintains his commitment to heightening the absurdity of his manga adaptations.—RDL
Good
The Policeman’s Lineage (Film, South Korea, Lee Kyu-maan) Young officer (Choi Woo-sik), whose cop father warned him to avoid the family business, accepts an Internal Affairs undercover assignment to investigate the apparently corrupt head of an organized crime squad (Cho Jin-woong.) Well executed treatment of familiar material.—RDL
Ire-Inspiring
The Brutalist (Film, US, Brady Corbet, 2024) Arriving in America after surviving Europe’s horrors, a Bauhaus-trained Hungarian architect (Adrien Brody) accepts a commission from an overbearing, mercurial shipping magnate (Guy Pearce) to build a monumental community center in small town Pennsylvania. Miserabilist Vistavision drama of a tormented artist battling the Man to realize his vision continually asserts its importance, features a third act turn that literalizes its theme in the most trite and puerile manner possible, and finally uses the Holocaust to aggrandize its suffering Mary Sue protagonist.—RDL
