Category: Longform
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Austin Powers: International Man of Mystery, 1997 - ★★
I first heard of Mike Myers in 1985 or so, at the Edinburgh Fringe. Someone was giving out flyers for a comedy show (I know, at the Fringe, right?) If I remember correctly it was the opening night that evening, at St John’s on Prince’s Street.
A comedy duo called Mullarkey and Myers. We had probably heard of Neil Mullarkey, and there was an added incentive: a free bottle of Moosehead beer (owing to the Canadian nature of one of the performers) if you turned up with the flyer.
I don't remember anything about the show, but the name and its existence stuck. Years later came Shrek, in which the same Mike Myers did a Scottish accent for no very obvious reason. I assumed he had learned it that year in Edinburgh.
Somewhere along the way he made this, too. It's fine, but I already watched Our Man Flint this year, so…
In fact, if I’m not mistaken, the ringtone from Powers’s communication device is lifted from the presidential phone in Flint.
Films, Books, Blogging, and Giving Up
I’m realising I need to get back into the habit of putting things on the blog. More than film notes from Letterboxd and book notes. There won’t be another book note for a while because I’m reading Daniel Deronda by George Eliot. It’s 800 pages and I’m around the 200 mark.
I started reading something else after Eastercon — did I mention I went to Eastercon this year? Oh, yes, I did, but only briefly. it was in Birmingham, but not in the heart of the city with its many curry restaurants. It was at the Hilton Metropole, out near the airport and NEC.
Anyway, one of the guests of honour was Adrian Tchaikovsky, who I’ve been aware of but never read for lo! this several years. He seemed personable and interesting, and my friend Simon recommended his Children of Time. Turned out I already had that on my Kindle from some offer, so I started it.
And I stopped after about a third. I just wasn’t really enjoying it. The spider characters were kind of interesting, and the human ones much less so, and I just didn’t care that much about the plot.
Then I discovered that it’s the start of a series (or at least that it has sequels, which is not necessarily the same thing). That just put me off more, because if I’m not that interested in 400 pages or whatever, how much less interested am I going to be in three times that?
I’m not in the business of reading things because I “should”, either because they’re in some way classic, or just because I’ve started them. Sorry Adrian, sorry Simon.
The Matrix Resurrections, 2021 - ★★★½
Forgot to log this when I watched it a month or so ago. I know I expressed high enthusiasm for this when it was announced in 2021 (that long ago?), but when it came out… actually, who knows?
Anyway, I finally watched it, and it's OK. It's fine, it was good to see some of the old gang back together. The references to the original and the expansion of the story were coherent (at least as coherent as the originals).
But it didn't wow me, which I suppose is kind of inevitable. The first film is one of my all-time favourites.
Far from essential.
Blue Jean, 2022 - ★★½
In the 1980s, under the fear of the Tory government's Clause 28, a teacher has to keep her sexuality hidden if she wants to keep her job. The arrival of a new student throws things up in the air.
It's pretty good, gives a real sense of how much fear the terrible legislation caused, while also showing how women can support each other — and sometimes fail to do so.
Pain and Glory, 2019 - ★★★
Or Dolor y gloria, to give it its Spanish title.
Pedro Almodóvar's latest, and filled with his colourful imagery. Especially red. Man, that guy loves a bright red. And why not?
As I was watching, I remember thinking, 'This is the most pro-heroin film I've seen since Pulp Fiction.' Which is not to say that's what it's about, at all.
Antonio Banderas plays a successful film director who has mostly retired, largely due to his health problems. He has pain from back problems, and various other things.
In flashbacks (or are they?) we're told of his young life. In the current time, he meets an old colleague who introduces him to heroin, which doesn't seem to help much with his pain, and then an old lover, who had been an addict himself.
Not the most consequential of stories, maybe, but worth a watch.
Punk Publishing: A DIY Guide, by Andy Conway & David Wake (Books 2023, 8) 📚
I bought this on my recent visit to Eastercon, from one of the authors, David Wake.
I hadn’t really thought about the possibility of self-publishing before this, but Wake was on a panel about what to watch out for when you first get a publishing contract (his point: nothing, if you self-publish). He made some good points about the advantages of doing it yourself versus the traditional publishing route. For example, you don’t send your sample chapters and synopsis in then wait two years for someone to decide. And even if they say yes, it could be another two years before your book is published.
I don’t know which way I’ll go with my recently-finished draft, but I thought it was worth spending a fiver on this to check out the possibilities. And it seems a decent guide to how you can approach publishing both ebooks and paperbacks, for minimal outlay.
It doesn’t go into things like cover design and marketing, which, of course, are some of the things that traditional publishers handle.
I might give it a spin, though, with a novella that I’ve got sitting around. We shall see.
Anyway, take a look at this if you’re interested in the possibilities. Their website is here.
Everything Everywhere All at Once, 2022 - ★★★★½
Saw this in Paris on a recent trip. In English, with French subtitles.
The only problem: it's not all in English. So there were a number of scenes where I was relying purely on the visuals and a very hazy understanding of a very few French words.
But I think I got the gist of most of those parts, and I'd have wanted to watch it again anyway.
It is, of course, totally brilliant.