question of the day: Why is 1990s nostalgia being ignored by filmmakers?
I think it’s especially mysterious when we think back on how optimistic the 90s were in a many ways, certainly compared to the despair of today.
American Graffiti
Take Me Home Tonight (review)
Hey, I love Duran Duran, too, but 80s nostalgia as a thing is so ten years ago… just about the time that the 33-year-old Topher Grace would have been the right age to play the just-out-of-college, I-dunno-what-to-do-with-myself whiner he plays here…
Superbad (review)
This is why Hollywood mostly sucks: Corporate movies are getting made from scripts written by 13-year-olds who went on to drop out of high school.
Go (review)
So, Go’s three interconnected tales follow a diverse group of Los Angeles twentysomethings as their lives bang up against one another in a scenario that’s the 90s in a nutshell, from the Xer point of view: sex and danger that’s both exciting and terrifying (the clever script uses the word ‘go’ both in the imperative, let’s-get-out-of-here sense and also in the imperative, orgasmic sense, as a synonym for ‘come’). And is if to demonstrate typical Xer cynicism, it all happens while holly jolly Christmas passes by practically unnoticed in the background.
American Graffiti (review)
Made on the cheap, *American Graffiti* has a timeless power that speaks to everyone who was ever a teenager.
