Abraham Lincoln

Ken and Robin Consume Media: Sapient Dogs and a Vanishing Toyshop

September 26th, 2017 | Robin

The Pinnacle

Master of None Season 2 (Television, US, Netflix, Aziz Ansari & Alan Yang, 2017) Dev falls for an engaged friend and moves up in the food television world. The show leans even further into its innovative format, telling a story arc through episodes structured as individual short films. Its focus on representation has been widely praised already, so let’s note its phenomenal cinemascope-ratio cinematography, which gives it a visual weight rarely attempted in the comedy-drama genre.—RDL


Fifteen Dogs (Fiction, Andre Alexis, 2015) Apollo and Hermes make a wager, granting human intelligence to a group of dogs at a downtown Toronto veterinary hospital. Works both as a fable about the relationship between awareness and happiness, and a compelling extrapolation of what the world might look like to sapient canines.–RDL

Jerry Before Seinfeld (Stand-up, Jerry Seinfeld, Netflix, 2017) Jerry Seinfeld performs his pre-1981 material in the West Side comedy dive he started out in, the Comic Strip, punctuated with (thankfully brief) reminiscences. As with virtually everything he’s done this millennium, this special shows Seinfeld’s work ethic and deep sense of his art form’s traditions while still being playful and, yes, funny. –KH

A Light Affliction: A History of Film Preservation and Restoration (Nonfiction, Michael Binder, 2014) Informed and accessible look at the field from the Lumieres to DCPs focuses as much on the quirky founding personalities of the preservation movement as on the technical challenges of keeping films alive. Fun fact: Hollywood resisted the switch from nitrate because its ultra-dangerous nature required highly trained operators, thus discouraging pirate screenings.—RDL

The Moving Toyshop (Fiction, Edmund Crispin, 1946) Poet Richard Cadogan stumbles onto a murder upstairs from a toyshop — which vanishes the next morning. Good thing he’s in Oxford, and friends with the detective don Gervase Fen. This assured mystery shifts between grim crime, classic detection, and giddy nigh-Wodehousian humor between breaths, while remaining tightly plotted and consistently characterized. P.D. James considered it a Pinnacle, which should tell you something. –KH

Queenpin (Fiction, Megan Abbott, 2007) Young woman groomed by a classy older mentor as a mob courier puts the mentorship in peril when she succumbs to the brutal charms of a degenerate gambler. Unlike most modern shots at period noir, Abbott gets the voice right, avoiding the competing shoals of parody and anachronism.—RDL

The Woman on the Beach (Film, US, Jean Renoir, 1947) Soon-to-retire, PTSD-haunted Coast Guard officer (Robert Ryan) falls for the restless wife (Joan Bennett) of a tormented, blind ex-painter (Charles Bickford.) Reskinned gothic in which the great French director absorbs a touch of Val Lewton strangeness from next door on the RKO backlot.—RDL


The Greatest Show on Earth (Film, US, Cecil B. DeMille, 1952) Circus manager Brad (Charlton Heston) has to deal with lovestruck trapeze artist Holly (Betty Hutton), her rival (and his) The Great Sebastian (Cornel Wilde), and the criminal element (Lawrence Tierney) while keeping the Ringling Brothers Barnum & Bailey circus in the black. Betty Hutton is the weak link here, but you also get the wonderful Gloria Grahame as an elephant trainer, and Jimmy Stewart as an enigmatic clown. Unfairly lambasted for beating High Noon for the Best Picture Oscar — it’s no High Noon, but it’s no Crash, either — this final DeMille spectacle movie provides ample circus spectacle, a magnificent train crash, and even some intermittently excellent tension on and off the high wire. If you’re pro-circus I’d call it Recommended. For extra fun play “spot the Spielberg engrams,” as this was the first movie Spielberg remembers seeing. –KH

mother! (Film, US, Darren Aronofsky, 2017) Dutiful wife (Jennifer Lawrence) to a blocked poet (Javier Bardem) spirals into hallucinatory nightmare when he invites oddball strangers (Ed Harris, Michelle Pfeiffer) into the home she’s painstakingly renovating. Becomes less interesting as the allegory fully clunks into view, but still worth seeing for its disorienting use of sound design and handheld extreme close-ups.—RDL

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