The Ringer

Mostly dead. I so wanted this to be a sly, subversively funny dismantling of disability tropes which employs–and then implodes–cultural stereotypes. Instead, it was not so sly, rarely funny, even if still nicely subversive of said tropes.

For those interested, it’s about a loser-wimp type (the ingratiating Johnny Knoxville) who tries to make some needed money by playing “disabled” so that he and a scurrilous uncle (the game Brian Cox) can rig bets on the Special Olympics. What’s kind of neat is that the film’s producers (the Farrelly Brothers, who have I think an *excellent* track record in upsetting disability tropes) engaged with the Olympics and it was filmed on site, with in-jokes and inside humor (sidestepping the frequent criticism of “laughing at”) and with performers with variously different abilities. One of the good jokes is that the other athletes recognize how bad Knoxville’s mimicry is, while the “norms” all get suckered. What’s less good is that the filmmakers employ a mix of actors, some of whom are playing disabled, and doing so generously but not persuasively (i.e., the movie’s central gimmick is itself replicated by the movie, inartfully).

I wanted it to be funnier, or even just funny. Nope. I recommend instead the under-appreciated Stuck on You and the brilliant documentary How’s Your News?.

incredible beauty, incredible sadness

i want to write about two beautiful films i just saw. they are, among other things, about children, a subject that lends itself to sentimentalism. i generally avoid films about kids, and i was tempted to avoid these too, had they not been by directors i like very much. one is deepa mehta’s water, the other is hirokazu koreeda nobody knows (koreeda made the sublime afterlife). i think that, for the most part, the directors do a good job at staying away from sentimentalism. nobody knows is hardly sentimental at all, though the beautiful face of the protagonist, young Yûya Yagira (who won best actor at cannes), is tremendously captivating and sweet. deepa mehta’s young protagonist is not a “cute” child (i at least didn’t find her so), but the film does get a bit sentimental at points. i suspect this may be due to the genre, i.e. that fact that water is an indian film that is certainly indebted to bollywood esthetics. since i know absolutely nothing about bollywood, whose beauty i don’t quite get (sorrysorrysorry), i will leave it at this, hoping someone can fill in this specific connection for me. Continue reading incredible beauty, incredible sadness