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Weeknotes #732-733

Week 732 saw me spinning a few plates more than usual, with press screenings in the first half (that I still have to write about) plus an impromptu trip to the old neighbourhood for new shoes (there’s a factory store, y’see), then the usual production tasks throughout, plus a whole bunch of InDesign proof corrections and extra freelance subediting towards the latter half. There went my weekend!
Continued…

Here's a cool documentary short on Sarath 'Mikaze' Tan: long-time indie wrestler, Sasha Banks' other half, and seamster to WWE's superstars. [c/o the Voices of Wrestling forum] #video 

My Goodreads review of Pro Wrestling Through The Power Slam Years: 1994-2014 by Findlay Martin

Reblogged from my Goodreads list:

Power Slam is truly missed – I never missed an issue from number 14 till the end last summer – and this compendium of editor/writer Findlay Martin’s insights on what was happening in wrestling’s major (and almost major) leagues over the last two decades beings back all those fond memories of poring over my monthly mag. I’m not sure if it’s appealing to anyone unfamiliar with Power Slam, as Martin also delves a fair amount into the nuts and bolts of production of the mag, but for me it’s like Christmas come early.

My Letterboxd review of Enemy

Reblogged from my Letterboxd list:

Theories abound about this Denis Villeneuve’s Enemy, made concurrently with Prisoners and ultimately the better of the two. It’s a very different beast, of course; Prisoners is a glum, violent mystery with a dodgy sense of morality, whereas Enemy is pretty much Cronenberg homage.

The plot, concerning a wet towel of a college lecturer (Jake Gyllenhaal) who discovers his doppelgänger is a jobbing actor – or is it the other way round? – is straight out of the Cronenberg wheelhouse. The setting is Toronto, ostensibly, but the presentation is as a Ballard-esque modernist nightmare; a brutalist, very Cronenbergian un-place.

And in general there are nods to the great Canadian’s work throughout: the strange fluidity of identity (Dead Ringers), the heart-stopping shock of a car wreck (Crash), the mind-bending visions of impossible creatures (Naked Lunch), even the casting (the magnetic Sarah Gadon is a Cronenberg regular at this stage).

That Villeneuve can bring these all together in a package that feels wholly its own, and not a mere pastiche of those influences, is a credit to him as a filmmaker. That he chooses to end the film on such an uncomfortable, head-spinning note, and that it feel like it works, makes that doubly so.

My Letterboxd review of Dark Summer

Reblogged from my Letterboxd list:

Dark Summer bears the hallmarks of a short blown up to feature length without developing the story to fit the extra minutes. So we spend far too long meandering through dialogue-free scenes that evaporate the atmosphere – as Keir Gilchrist’s (a suspicious lookalike for Alphas’ Ryan Cartwright) house-arrested cyberstalker finds himself being tormented by the subject of his obsession, possibly from beyond the grave – towards a twist climax that’s less effective than it would have been had it come after, say, half an hour. It also would have been better served employing the less-is-more dictum, as the overt supernatural elements in the middle section detract from its less showy, and more appropriate, ending.