#I used to get interviewed a semi regularly during my activist days

[homoqueerjewhobbit]

Bonus tell us why in the tags!

[because-its-important]

transitions & transformations

i. the rest of my batch at RC

I spent the first six weeks of my batch at Recurse Center in an out-and-out sprint. I learned Python, built and released projects, and wrote blog posts every week. I wasn’t sure where my limits were, but I was determined to find out - preferably by overshooting them, then adjusting after the fact.

A curious thing happened. I kept finding that I was more than capable of starting and finishing projects, especially when I had a firm mental image of the end goal. There were at least as many unexpected good-turns as there were setbacks, and I certainly didn’t come up against any inscrutable barriers. Mostly the challenge was in overcoming the distance between a thing that doesn’t exist and a thing that does, which I was able to sort out pretty handily through a consistent application of effort across time.

Who’d have thought?

A selfie taken on my birthday, which also happened in the last few months and was really great!

The second half of my batch was not so visibly productive - with the exception of The Question Game. The Question Game is a simple game designed to help groups of people get to know each other better IRL. I designed it with my friend Brittany a few years ago as an icebreaker when we found ourselves in a group of folks who knew us but didn’t really know each other. The game only really needs a method of generating random numbers for a small but arbitrary group size, but building it out as a toy webapp was a good excuse to get practice working with a JS-only stack. I learned React, got a lil more familiar with node, and even went as far as to attach an otherwise completely unnecessary PG database and Sequelize ORM. You can see the code for it here. Outside of this project, however, I didn’t publish any code. I didn’t publish any writing, either.

So I’d like to take a moment and shine a bit of light on the work that I did during the rest of my batch.

🌒 🌓 🌔 🌕 🌖 🌗 🌘

First, I made the decision to leave community.lawyer, the social impact startup I co-founded in 2016 following the Blue Ridge Labs Fellowship.

I’m happy to report that I left on the come up, which seems a rare and privileged thing for a founder to be able to say. Gaining traction in a hyper-specialized industry like legal tech takes a gargantuan amount of sustained forward momentum, and I departed just as we began to reap the fruits of our labor. In the last few months community.lawyer has reached final approval on partnerships a year in the making, won federal grants we’d submitted to in 2016, and every day our software is being used to help connect people who have legal needs with credible lawyers. Our first two partners were exactly the types of legal organizations at the heart of our mission: the Justice Entrepreneurs Project and the DC Reduced Fee Lawyer & Mediator Referral Service.1 Based in Chicago and Washington DC respectively, these orgs are specifically chartered to deliver quality services at rates that more Americans can afford. I am so proud. ⚖️

Second, I started my first ever job hunt as a software engineer. Wowee, this was scary! I knew that I had to prepare for interviewing, which meant a) getting my career change narrative straight, b) studying Data Structures & Algorithms 101, and c) learning how to perform my handle on both of these in a live, semi-adversarial environment.

At one point during my batch my laptop broke. I read through this wonderful illustrated book during the two days it was being fixed.

In order to direct my search I also had to craft a set of selection criteria of my own. Foremost: “What good will my work do for the world?”2 Additionally, “What degree of access will I have to supportive mentors?”

Getting started with interview prep was a challenge, at least partly because I had so many options for where to start. But I did get started! I read Cracking the Coding Interview, I did the free trial and weekly free problems on Interview Cake. I attended a few group mock interviews at Recurse Center and signed up for a 1-1 mock interview with an RC alum. Her name is Leah, and she’s amazing - the superbly friendly and encouraging Comp Sci TA I wish I’d had years ago. 💚Brittany also set up mock technical screens for me with her pals, Leaf and Ian. They were the vanguard against my outsized anxiety about programming for an audience and they each took the time to give me solid feedback.

Third, I extended my batch at Recurse Center by another 6 weeks. I had decided early on I wouldn’t extend (for no real reason) and stuck with this decision up until two days before my batch ending. A small group of folks - Lily, Connor, Alicja and I - went to NYX in Union Square to try out lipsticks. We played with different colors and finishes (satin! matte! shimmer!) for half an hour or so. There came a point when I looked up, glanced across the narrow makeup store at my beautiful friends’ beautiful faces and thought, “You know, you don’t have to leave yet, right? What’s the rush?” I’d already accomplished my primary goal, to forcibly rework my identity as an engineer, but it sure seemed that I could stand to reach for a second one. That night I decided to extend my batch, with the intention of sampling a more open method of self-directed learning, i.e. with a little more chill and a lot less panic. Specifically, I wanted to practice connecting meaningfully with my limited supply of social energy.

In my bonus six weeks, I: gave three talks (2 planned, 1 impromptu) under encouragement from Ayla and Lily, learned to juggle thanks to instruction from a fellow RCer, Edward, who also loaned me a book about learning, made it into weekly Feelings Check-in (read as: opt-in support group) fairly regularly, picked my first ever lock, saw a live-coding show and then later attended two live-coding workshops (one on TidalCycles, another on Super Collider), sat in a dark room and played howling wolf clips while Microsoft Sam read grimoires aloud, got my hair braided for the first time in a decade, made dumplings and DJ’d for a dinner party, connected with folks about queer-poly relationships, gave fiery advice, and received compliments so earnest and rational and persistent that it was difficult to refute them.

Zine fair plus Lightning Bolt concert inside a movie theater in Times Square??

I also put my interview prep to use and interviewed with a handful of Recurse Center partner companies. Job searching meant squaring off against impostor syndrome and a ton of related anxieties in rapid succession. I successfully choked most of that down when it mattered, though, and it was only a couple short weeks before I received my first offer.

To that end, I’m super happy to say that I’ll be joining Blink Health as a Fullstack Product Engineer! Blink Health is a healthcare startup in SoHo. They make it easier for people to afford prescription drugs, especially for those with limited insurance plans or none at all. These savings aren’t trivial either: an extra $50 can spare someone from choosing between groceries or medicine that week, and for some folks Blink saves many times that. I’ll be starting at the end of this month. ✌️🤓

The last two years have been a wild ride: participating in a social impact fellowship and accelerator, busting my product chops and learning web dev to get a public benefit company off the ground, then diving into four months of self-directed learning at Recurse Center. I’m really looking forward to having some externally imposed structure again. Real health insurance, too.

ii. some hard truths

I made a few radical life changes in 2016, like getting involved in activist spaces, dating more, biking everywhere, building strong friendships, going capital-B Boogying, programming full-time. As I carried those changes forward through 2017, I began to notice a lot of mental and emotional reconfiguration happening to me.

Did you know that along its way to becoming a butterfly, a caterpillar nearly completely liquifies inside its cocoon?

Psychological growth is confusing, full of false starts, and generally painful. You’ve got the static pain of stretching beyond your limits, the pleasure-pain of feeling an old knot finally release, the frustrating pain of stubbing your toe because some helpful asshole has been rearranging your psychic furniture when you weren’t looking. There’s the more dramatic knife-in-the-gut pain of realizing that just because you’re growing doesn’t mean the people closest to you are, and that now in certain cases what you previoulsy regarded as friendship actually looks a whole lot like run-of-the-mill exploitation or even emotional abuse, if you're being honest, and it's a realization that only hurts more because it’s so irredeemably cliche and boring. And despite all that pain you gotta go ahead and grow anyway, claw your way out of the relative comfort of ignorance. Transcendence may not be the only show in town but afaik it’s the one most worth watching.

Prior to attending Recurse Center I’d spent lots of time exploring my surroundings and cataloguing people and places worth coming back to. My view of myself did change (and positively!) as a consequence. But sooner or later, ya get tired of the taste of low-hanging fruit.

So, armed with the bookshelf of a philosophy grad and a burgeoning psychoanalytic vocabulary begging to be let off leash, I decided to use my time at RC to try confronting a few of my Hard To See truths in addition to becoming a better programmer.

Here’s what I’ve found so far.

Truth #1: People like me a lot. This causes me problems.

I’ve been metabolizing this one for some time. I remember having a conversation with Brittany in January of 2016. I don’t remember what social anxiety I’d been vocalizing, but I must have been worrying that someone “hated me.” Brittany cut me off, exasperated in the way that only a friend can be in the face of utter delusion: “No one hates you Nicole! You’re always worried that people don’t like you and it’s never true!”

I carried that admonishment with me through two years of voracious friendship-building. On the whole, seeing that people do in fact enjoy and seek out my company has curbed the most egregious overreaches of my social anxiety. But reckoning with my anxiety honestly has also meant acknowledging that my compulsive instinct to withdraw from social situations is also a protective (if suboptimal) response to a few very real dangers.

Most acutely: being friendly, generous, and intensely empathetic makes me a ready target for users. I try to give people the benefit of the doubt for as long as I can, which makes me proportionally susceptible to being taken advantage of and then gaslighted about it. A lifetime of socialization as a petite woman don’t help, neither. This leads to a pattern where, semi-regularly, I look up and take stock of how someone has been treating me and realize that the answer is Very Badly, For Quite A While. This in turn leads to rough periods of cutting ties and moving on. Ideally I’d like to be be able to filter bad actors out sooner, but I also want to stay open, giving, and hopeful beyond reason. Those desires are fundamentally at odds with each other - raising vs. lowering one’s defenses - but it’s clear that I need to come up with a strategy that balances both.

More broadly, though, I operate under an ever-present dread of inevitably disappointing everyone who knows me. Whether people project onto me because they already like me or like me more because they project positively onto me, I am extremely sensitive to the fact that when people meet me the conception they form has waaay more to do with what they want to find than what’s actually there. My body is a surface readily projected upon: young, female-shaped, ethnically ambiguous, small, smiling. These well-intended projections cause me the most trouble when people see me interacting socially; they’ll witness fifteen minutes of seemingly effortless extroversion on my part and extrapolate out massively. As far as they’re concerned I’ve got plenty of social energy to spare, and if I don’t spend it hanging out with them, it must be because either my friendliness is fake or I don’t like them.

Pretty much none of this is conducted consciously, of course, but it still creates a lot of unnecessary pressure that I can’t pretend not to feel and resent. I know there are people who dream about attaining this kind of “popularity” - to be assumed Cooler than one truly is - but getting buffeted around by folks’ totally unexamined, unarticulated psychological desires mostly sucks.

Truth #2: I’m non-binary.

I’ve also spent a very long time resisting this one. Two decades on the rack, easy. As such, the story of getting here is long. Perhaps one day I’ll tell it. 😛

The short of it, though, is this: I’m probably at least as much of a boy3 as I am a girl. Outside of where my life has been mutated by the chronic background radiation of sexism, “benevolent” and otherwise, I don’t strongly identify as a woman. Furthermore, I find the two-gender system to be infinitely more alienating than comforting. Gender is a social construction designed to impose order on the natural messiness of sexual experience, and as far as I’m cool with that, I am decidedly Not Cool with the “normal” state of affairs, i.e. aggressively shoving whole human beings into an absurdly reductive false dichotomy.

Between its either-or-ism and its forced assignment, the traditional approach to gender reveals itself to be obviously bullshit to anyone who spends more than a few minutes thinking about it. Its boundaries are arbitrary, inconsistent, and generally ill-fitting at the level of individual experience, which why they require such an outrageous amount of coercion and bodily violence to enforce. As much as other folks want to participate in a system of ritualized violence I guess they are free to? Personally, I’d prefer to see it actively dismantled.

If gender is to be saved it’ll be by subverting it, taking it apart, remaking it into something life-affirming. Not the dehumanizing garbage we’ve got now.

As of yet I don’t have any plans to change my presentation because I don’t fuckin’ gotta!

I do have a preference towards They / Them pronouns, but She / Her is still fine. For most of my friends this isn’t going to be at all surprising nor will it in any way negatively impact our relationship. Anyone who needs me to just-be-a-girl, however, can expect turbulence.

Truth #3: My righteous anger is justified and I am good at using it to help others.

I have felt conflicted about my anger for a long time. Since a very vocal childhood I have been regularly frustrated by prejudices and injustices, and I was frequently the first voice of dissent against them, whether that meant challenging adults or my peers. Unsurprisingly, I became well acquainted with the standard strokes of the backlash.

When you are confronting bigotry in a mixed environment, the voice of the status quo will generally manifest in one of two ways:

Gaslighting, e.g. “you are wrong to have said this at all, obviously I am a Good Person, you are just imagining that what I said sounded like XYZ, honestly how could you even think this, as a matter of fact it is I who is offended!”

Tone policing, e.g. “you’re too upset about this! after all, I, the person who did Fucked Up Thing, am perfectly calm about Fucked Up Thing, so any amount of anger makes you irrational by contrast, and I get a raincheck on whatever this is about!”

I know these responses are repulsive. I know they are merely the signs of a weak and imperiled ego acting out of fear. And yet I still spend an inordinate amount of time second-guessing my own anger. Gaslighting and tone policing are a favored weapon of the status quo because they work, and they work in direct proportion to how agreeable their target wants to be.

content warning: the following segment talks about sexual harassment and assault

About couple weeks ago I had the misfortune of being sexually harassed at a club in Bushwick. After numerous rejections and explicitly telling a creep bothering me, my friends, and other women in the club to get lost, I finally went to get a bouncer to eject him. The bouncer got the creep to leave. When I went to thank him, the bouncer told me a whole story about how the creep was “a harmless guy.” Then he reached down and grabbed my ass. Presumably he felt entitled to do this after helping me get rid of a person I asked him to remove... for unwanted touching.

It Really Sucked.

At every turn during the whole ordeal (and its aftermath) I had to hold onto my anger, convince myself that I wasn’t overreacting, remind myself that anyone who thought this was acceptable to do to me is almost certainly doing worse to more vulnerable people. I kept picturing myself the way this guy, this man in a position of power, must have seen me in order to feel okay doing what he did. That I was young, small, female, too friendly to say No, already indebted anyway; that he was one of the Good Guys, that his behavior was also “harmless” because he had decided it was. I conjured up as much anger as I could, pushed down the nausea of envisioning my own degradation from an attacker’s POV, and got to work. I reached out to the club and was quickly put in contact with the owner. The venue now has a publicly posted zero tolerance sexual harassment policy. The entire staff is going through training with a local org dedicated to creating safer nightlife spaces. And that motherfucker has been fired.

I demonstrably made the world better. I wasn’t alone, but all that happened because of my actions. Me and my anger, we did that.

I wish more people were this fucking angry. 💢

~ end of content warning ~

iii. an opinion

My Saturn return is upon me, y’all. As Frank Ocean serenades, we’ll never be those kids again. I have lived a few of these here nine lives and it seems only prudent to be moving forward with some sort of opinion on the matter.

My opinion is this: us folks with financial and physical security should be spending more time fixing shit around here. Figuring out what needs fixing and how you might help are the first steps.

If you’re operating on a similar scale of privilege as I am, maybe that means changing jobs to do more mission-oriented work. If you can’t swing a change of that magnitude, maybe it means showing up to community events and engaging with, caring for, supporting people you otherwise wouldn’t talk to. Churches, libraries, volunteering, supporting local artists, participating in local politics - this all counts. If you’re already doing this sorta thing, that is awesome! Maybe you also have a friend worth inviting who you sense is just itching for a chance to exercise compassion?

I’m using “fixing” pretty loosely here, too. Fixing, to my mind, means making the world brighter, safer, and sweeter for your fellows, human and otherwise. We’ve all got different ideas about what that looks like, and there are definitely folks - myopic or malevolent or both - who will swear up and down that their fear- and hate-driven behaviors will bring about better world. Ultimately, though, I believe that many hands reaching towards their personal vision of Better will in fact make things Better, especially when that vision is informed by meaningful interaction with the real world and its real sorrows and its real triumphs.

But ya gotta reach. Ya gotta try.

I am so tired of hearing my well-fed, well-homed friends piss and moan about late capitalism4 without lifting a damn finger in service of the communities bearing the brunt of material hardship. Unfettered capitalism sure does have a marked tendency to wreak havoc on organic life! But capitalism is not a monolith, and lamenting the abuses perpetuated by its principle benefactors as unchanging or inevitable only normalizes them. Any investigation into the history of capitalism (or the broader phenomena of how a Few come to subjugate the Many) will very quickly disabuse you of the notion that this shit is going to stop without a great deal of active resistance.5

So unless you are personally doing work to put our current strand of democracy-withering corporatism six-feet-under, seriously, just STFU instead. Your nihilism is boring! You don’t sound woke! Save it for your local DSA working group!

Which isn’t to say that I’m not convinced of the wickedness6 of the problems we’re facing: skyrocketing wealth disparity with no relief in sight; the destruction of most of Earth’s biodiversity via mass extinction; a pernicious climate of racism and xenophobia that scapegoats black and brown folks and then visits misery upon them; the weight of an aging population bearing down on the shittiest healthcare system of any nation in its class; a widely disenfranchised electorate further fragmented and fatigued by hyper-polarization; the gendered terrorism that is inflicted daily on women, trans and non-binary folks, and queer people at large; a rising wave of depressive anxiety as people become more aware of these problems and how thoroughly they’ve been disempowered from changing things for the better.

So yeah, I get it. These are hard problems. I just don’t see any better option than trying anyway. I want to spend my time fixing things around here and encouraging others to try their hand too. You already know the bad news: real change is hard and it can take a very long time. You might work your whole life sowing seeds whose fruit you never get to taste.

The good news, however, is that you can get started whenever and wherever you are. The good news is that a sense of purpose is its own reward.

iv. how to get started

When you’ve got hard work ahead of you, your best bet is to use your beautiful human brain and create some leverage. Ask Archimedes about it.7

Lever systems got two parts:

The lever, which is the tool you use to amplify your effort. The longer your lever is, the easier your job will be.

The fulcrum, which is the wedge the lever rests on. The nearer your fulcrum is to the thing you want to move, the easier your job will be.

If you’re starting from zero - “I want to do more for the world but I don’t know how!” - my advice is to forget about the lever arm for now. A lever ain’t shit without a fulcrum, anyway. Your time is better spent exploring the world, keeping an eye out for problems you’d like to solve, and identifying nearby points of leverage. If you want to get into activism, a fulcrum might be volunteering to fold pamphlets for an organization with a mission you believe in. If want to see more self-expression in the world, it might be might be inviting your friends to a zine-making class or hosting your own arts and craft night.

The best fulcrum is one that makes you Feel Good when you apply any amount of effort against it. Too many people get caught up in a self-defeating belief that if they can’t give 110% of their creative energy to something they might as well not try. I can confidently say that trying is itself a virtue. Every time you try even a little bit you make it easier for yourself to try again later, and more importantly, you make trying easier for others. A bunch of people altering their behavior a smidge in the same direction doesn’t add up to nothing; on the contrary, it’s a sea change.

If you’ve got a decent idea of the types of problems you want to solve, though, and you’ve tested your fulcrums, and you are thinking, “Okay, but is this all I’m capable of giving?” then it’s probably time to work on your lever. Given your own interests and inclinations, what skills can you develop that will increase the good you’re doing 10x, 100x over? This is the long game, but it scales a whole lot better than “keep doing what I’m already doing, but more.”

For me right now this means deepening my technical knowledge, building a resilient support network, and sharing what I’m learning. Helping others has been a powerful motivator for self-improvement, not the least of which because it’s a convenient shortcut through the snarl of self-confidence issues.

I am so grateful that Recurse Center was a stop on lengthening my lever! What a concentrated cluster of helpful, considerate beings.

I’ve spent the last two years wandering around New York City in wide-eyed wonder, asking myself the most ambitious question I could think of: how do you save the world?

Getting older comes with a lot of downsides, but asking yourself big questions and living your life as the answer is the primary pleasure of adulthood. It took a ton of courage to get started and I am still frequently awed to find myself moving in the right direction. I’m humbled by the grace and fortitude of the folks who’ve been at this for way longer.

I’m also a hell of a lot happier. This summer’s gonna be rad. ☀️

There are lots of extraordinarily sexy company names like this in the legal world. ↩︎

Having the choice to direct my energies in this way is a privilege. Working in tech gives me this freedom of motion and I have been drawn to software engineering in part because it is the freest of the free (if you still gotta labor for your living). ↩︎

😱😫😖😬😬😬... 😏 ↩︎

Substitute with whatever modifier is en vogue. As a point of fact, “late capitalism” is a term that’s been floating around for literally over a hundred years. ↩︎

Thankfully, history also clearly demonstrates that the tide can be turned. ↩︎

“The use of the term ‘wicked’ here has come to denote resistance to resolution.” Wikipedia page. ↩︎

“Give me a lever long enough and a fulcrum on which to place it, and I shall move the world,” etc etc. ↩︎

[weekendwarriorblog]

The Weekend Warrior October 2, 2020 – ON THE ROCKS, MANGROVE, SCARE ME, POSSESOR, BOYS IN THE BAND, THE GLORIAS, SAVE YOURSELVES! and More

It’s October, which means we’re finally getting Patty Jenkins’ long-awaited Wonder Woman 1984 after a number of delays from its original June release. Now that it’s finally coming out, maybe we can finally see movie theaters rebound with such an anticipated superhero blockbuster ready to fill those theaters right back up to 100% capacity. What’s that? It’s been moved to Christmas Day? Movie theaters in New York and L.A. are still closed and other movie theaters are only at 25-40% capacity? So we’re not getting Wonder Woman 1984 this week? So what are we working with here… Something like 30 other movies that few people have been chomping on the bit to see? Great… well, then never mind.  We’ll see how far I get through the insane amount of movies being released this week, but I can tell you right now, that it might not be very far.

Possibly the highest profile release this week is the new film from Sofia Coppola, ON THE ROCKS, which is being released theatrically by A24 (where movie theaters are open) before its inevitable Apple TV+ streaming premiere on October 23. I had the opportunity of seeing Coppola’s film as part of my New York Film Festival coverage, where it got a sneak preview last week.

It’s a fantastic film starring Rashida Jones as Laura, a woman who has been married to her husband Dean (Marlon Wayans) for long enough that they have two young daughters, although she’s started to suspect that he’s losing interest in her and maybe sleeping with his assistant. As she gets more paranoid, her lethario art-dealing father (Bill Murray) shows up and tries to help Laura find out the truth about her husband’s fidelity.

Like many, I was a huge fan of Coppola’s earlier films, The Virgin Suicides and Lost in Translation – in fact, interviewing Coppola for the latter was one of my first roundtable experiences ever – and though I liked Marie Antoinette just fine, some of Coppola’s other films in recent years just haven’t connected with me. Maybe it took for her to do a full-on New York City film, as On the Rocks is, for me to return to the film but there’s so much other stuff to like about it.

First of all, it seems like a much more personal film than something like The Beguiling but she also has a fantastically vibrant lead in Jones, who doesn’t often get roles that really shows off her abilities. It’s hard not to think about some of Noah Baumbach’s movies, particularly last year’s Marriage Story, while watching On the Rocks because Coppola uses a similar segmental storytelling format. What sets it apart from just about every other film is Coppola’s ability to acknowledge that the best way to use Bill Murray in your movie is to just let him be Bill Murray and do what he’s going to do. That immediately lends itself to some great moments where father and daughter can go out on the town (and eventually to Mexico!) where Jones essentially acts as the audience for her father’s shenanigans.

But this is very much Jones’ movie even as she’s surrounded by the likes of Jenny Slate as a single mother kvetching about her dating life and Wayans, possibly playing his most serious and dramatic role since Requiem for a Dream.

I really enjoyed On the Rocks more than any of Coppola’s movies maybe going back to Lost in Translation. I think that she does have something to say as a filmmaker in terms of something as personal as this vs. a genre film like The Beguiled, and she does a particularly good job capturing New York City in a way that I really miss right now.

You can also read my more technically-minded review of Coppola’s latest over at Below the Line.

While I haven’t had the time to see as much of the 58th New York Film Festival as I like, I did get to see MANGROVE, the next chapter of Steve McQueen’s “Small Axe Anthology” which also played at the NYFF this past week. In fact, it’s the first chapter of the group of five movies about England’s West Indian community, both chronologically and when it will air on Amazon (November 20). 

This one takes place in 1970, focusing on the Mangrove, a Notting Hill restaurant where the West Indian and black communities regularly congregate, but also, a target for the racist local police who are constantly raiding it and causing misery both for the customers and for the shop owner Frank Crichlow, played by Shaun Parkes. Some of the people who frequent the tiny shop are Black Panther’s Laetitia Wright as (what else?) Black Panther activist Althea Jones, but after a number of police disruptions, the people have had enough and decide to march to protest, which inevitably leads to a conflict with the same police.

Unlike Lovers Rock, which is just over an hour long, Mangrove feels like a real movie with a beginning, middle and end i.e. a simpler three-act structure, but it also runs for over two hours. Honestly, this could have been shown in theaters on its own, and I would have been satisfied, although I’m more than curious how that ties into the other movies.

The first act of the movie is similar to Lovers Rock as you’re allowed to look into this community and how they try to enjoy their lives together but having difficulty doing so due to the violent police raids, much of this part focusing more on Crichlow than the others. The actual protest march is the film’s biggest set piece where a lot of the players come together including the PC Frank Pulley, as played by Sam Spruell. This leads to the third act, which is basically a court trial of about a dozen of the people who frequent the Mangrove, including Crichlow, many of them defending themselves. If there was racism in the way the black people of London are treated by the police, it’s exacerbated when they’re put to trial in a courtroom where the jury only has 2 black members. The judge is so clearly on the side of alleviating the police of any responsibility for what happened that you just get madder and madder as it goes along.

As much as the film is very much Parkes as the lead, the strong support from Wright and the likes of Malachi Kirby as Darcus Howe, who has some amazing courtroom scenes, and Jack Lowden as Ian MacDonald, another one of the barristers. Almost every scene gives McQueen and his crew a chance to show off how well they were able to recreate every aspect of the times, whether it’s the neighborhood or recreating the Old Bailey where the trial takes place. I was just really impressed with everything about the movie from the screenplay, cowritten by McQueen with Alastair Siddons, to the cast and every single performance. All of it comes together so well while telling the very true story of the Mangrove 9 in a way that feels like McQueen doesn’t need to exaggerate anything for the viewer to really feel the injustices in play during that era.

This is an epic film that reminds me a bit of Mike Leigh’s underrated Peterloo last year. Not only did I think Mangrove was better than Lovers Rock, but I also think it’s better than McQueen’s Oscar-winning Best Picture, 12 Years a Slave, so it’s kind of odd that this wasn’t chosen to open the NYFF vs. the far shorter film.

Since it’s October, we might as well start with some scary or semi-scary genre movies, three of which premiered at Sundance earlier this year, at least two in the Midnight Section.

I’ve said before how impressed by the movies that horror streamer Shudder was sharing with its audience and Josh Ruben’s SCARE ME (Shudder), which debuts on Thursday, is no exception. I generally love horror comedies, but this one is more of a comedy horror, mainly being a two-hander as two horror writers hang out in a remote cabin in the middle of winter, trying to scare each other by telling stories. Ruben himself plays Fred Banks, a typical writer/actor/director from Hollywood who really hasn’t written or directed much, but when he meets extremely cynical bestselling horror writer Fanny Addie, as played by Aya Cash (from The Boys), there’s a certain amount of competitive flirtation that you know will lead to a fun movie.

So yeah, I’m not going to say too much about the stories they tell each other or what makes them so riveting and hilarious, but Ruben is not afraid to make things very heightened, whether it’s the performances by the two actors or the use of music or sound FX to really emphasize the horror aspect of the film. It’s hard not to think of something like The Shining or Misery due to the house out in the middle of nowhere, but Ruben also tends to show his horror influences in his script. The movie is working so well as a two-hander before Chris Redd from SNL shows up as the pizza delivery guy Carlo, drugs come out and things start to get even more outrageous and hilarious.

I have to say that I haven’t seen a horror movie this year that I enjoyed quite as much as Scare Me, since it’s so fun even when it starts to get exceedingly more dark in the last act. This is a great deconstruction of the horror genre that manages to create a truly original premise out of a mash-up of horror tropes.

In theaters and drive-ins this Friday and then available digitally next Tuesday, October 6, is Alex Huston Fischer and Eleanor Wilson’s SAVE YOURSELVES! (Bleecker Street), a genre comedy starring John Reynolds and Sunita Mani (GLOW) as a squabbling couple who decided to take a retreat to a cabin in upstate New York to work on their relationship sans any electronics… only to miss the alien invasion that is progressively destroying the rest of the country.

It’s kind of funny seeing this back-to-back with the above Scare Me, because they’re both very funny two-handers, although this one was not quite as funny as I was hoping for, maybe because the main couple are cute, but they’re also quite deliberately clueless. They seem very much like a lot of younger people these days who want to try to better themselves but they’re so addicted to their smartphones, they don’t always realize how bad their behavior looks.

I did like what the filmmakers managed to do with mostly just the two actors and the semi-adorable gas-guzzling furball aliens who show up and terrorize the duo for the second half of the movie. Like with Scare Me, I don’t want to say too much about what happens to them, because that’s more than half the fun of watching the ordeal they end up going through, but it’s a different directorial debut and a great showcase for the talents of Mani (who I’ve seen a few things) and Reynolds (whose work I really didn’t know at all.

Basically, the four of them take a fun concept and do a lot with what is also essentially a two-hander that gets stranger and stranger but never is as outright funny as I was hoping it might be with such a great premise.

Brandon Cronenberg (yes, that Cronenberg) drops his second movie, POSSESSOR UNCUT (NEON), which debuted in the midnight section of Sundance earlier this year. Unfortunately, like the two movies above, it is one where knowing too much might detract from actually enjoying what happens. Essentially, Andrea Riseborough plays Tasya, an assassin who is transplanted into another body via her handler (Jennifer Jason Leigh) but one particular hit, which puts her into the body of Christopher Abbott’s Colin Tate goes horribly wrong.

I think that’s enough of a set-up for a movie that you will probably know immediately whether it will be for you as you watch, particularly after an intensely gory murder which you’ll watch with very little context of what is happening. In fact, you might spend quite a bit of Possessor Uncut unsure of what is going on, and that’s both a plus and a minus towards my overall enjoyment of the movie. Again, I don’t want to give too much away but much of the movie deals with what happens when Tasya is transplanted into the body of a man dealing with his own inner demons (Abbott), leading up to her having to conduct the hit on her target, Tate’s future father-in-law, as played by Sean Bean.

There’s something quite futuristic and other-worldly about all aspects of Possessor Uncut, but Cronenberg handles all the sci-fi elements in the film in such a matter-of-fact way that we never assume this is too far into the future but just watching another version of our own reality. I love Riseborough so much, as she’s easily one of my favorite actors, although I’m a little mixed on Abbott, so mainly seeing him acting like what she might be like controlling his body, it’s a little off-putting to be honest.

What really helps Cronenberg’s bizarre vision more than anything is his second collaboration with his DP Karim Hussain who has grown so much as a cinematographer in the 8 years since Antiviral. Every aspect of the movie’s otherworldliness is enhanced by Hussain’s use of colored filters to keep the viewer off-balance and unsure of what exactly one is watching. But those who are onboard for the type of violence and gore we get early on might be disappointed in how long we have before we get to more of it. In that way, Possessorreminds me of the recent

There’s no denying that Brandon is his father’s son with the type of storytelling he wants to explore, and he brings the same type of auteurish angle to his gore-filled genre filmmaking that is likely to be similarly divisive on who loves and appreciates it vs. those who just won’t get it at all. Either way, Possessor is as daring as it is weird and freaky and your mileage will vary depending on what you’re expecting.

I had never heard of Aaron Starmer’s book SPONTANEOUS (Paramount Pictures), but Brian Duffield, writer of “The Babysitter” movies on Netflix, makes his directorial debut with quite a dark romantic comedy that seems like a great companion to Words on Bathroom Walls from earlier in the year. Katherine Langford from Cursed and Knives Out plays Mara Carlyle, a senior at Covington High School, who is sitting in class one day when one of her classmates explodes, and as others also start exploding, she ends up bonding with Charlie Plummer’s Dylan, as the two young lovers stand together to try to survive.

I generally like coming-of-age and high school movies and I definitely have some favorites, both classics and more recent ones. Let me say right now that this one is VERY dark but also very funny and enjoyable, so it immediately reminds me more of something like Heathers in the fact you’ll just be enjoying some part of the story and then some kid explodes in fully gory glory.  Yeah, it’s something that might be tough for some, because it doesn’t take the typical boy meets girl, lovey-dovey kissy-face movie, although the relationship between Mara and Dylan plays a large part in the movie.

I’ve already been a fan of Plummer’s from some of his previous work, but Langford is really fantastic in this, and this allowed me to see her in a whole new light as much as I thought she played a fine part in Knives Out. It was also great to see unlikely candidates like Rob Huebel and Piper Perabo playing her parents, and I also dug Haley Law as Mara’s best friend Tess.

The movie starts out as one thing but by the second half, it’s turning into something more akin to George Romero’s 1973 The Crazies where all of Covington’s seniors are locked up in a facility being tested with drugs that hopefully will keep them from exploding.  The only real problem is that it does get very dark including one plot point that might lose a lot of those that have enjoyed watching the Senior Class of Whenever spontaneously exploding.

In a week where we have a truly dreadful high school movie about heroin addiction (see below), who would have imagined that a far better movie would be the one where high school kids are randomly blowing up as they frequently do in Spontaneous? This is a pretty fantastic directorial debut by Duffield, a devilishly funny take on an overused genre but one that also stands up with the best of them. Here’s hoping Duffield gets to direct another movie because from this and “The Babysitter” movies, it’s clear he has very distinct voice and style ala Election-era Alexander Payne that would could lead to some great stuff in the future.

Next up, we have one for the boys and one for the girls…sorry. Ladies.

The Ryan Murphy-produced based on Matt Crowley’s 1968 stageplay THE BOYS IN THE BAND hits Netflix on Wednesday. Directed by Joe Mantello, who also directed the recent Broadway revival, it’s an ensemble piece featuring  Jim Parsons, Zachary Quinto and Matt Bomer as three of seven gay friends who congregate the Upper East Side apartment of Michael (Parsons) to celebrate the birthday of Harold (Quinto), his birthday party including a number of surprise guests including Michael’s married college friend Alan (Brian Hutchison) and a stripper known as “Cowboy.”

I’ve never seen the stageplay on which this is based, although I know a lot about it, including the fact that it takes place on a single night all on one set. Mantello’s movie includes the entire cast from the recent 2018 Broadway revival which he also directed, so you just know everyone will be bringing their A-game. While there are some big names from the screen in the cast, there are just as many amazing moments from some of the other characters, including Robin De Jesus’ Emory, Larry (Andrew Rannels), Bernard (Michael Benjamin Washington), Hank (Tuc Watkins), as well as Bomer playing Michael’s good-looking boyfriend Donald.

That obviously well-rehearsed cast brought a lot to my first experience with  Crowley’s beloved play, their hilarious patter and interaction making the first part of the movie so light and entertaining, particularly a campy dance number to the song “Heawave.” But the film also gets quite serious by the second half, and that’s despite taking place over a decade before AIDS reared its ugly head.

Much of that drama arrives at the same time as Michael’s homophobic college friend Alan shows up without ever saying why he needed to talk to Michael so urgently – we definitely can put two and two together but it’s never confirmed out loud. When Harold finally shows up, he acts like a complete asshole to everyone, but it’s quite an amazing and standout performance by Quinto, although he becomes more of a spectator as the night goes on.

But the entire cast is amazing and they’re all given moments to shine. Parsons really blew me away with his performance, and De Jesus is absolutely at first but handles the drama just as well, and I can go on and on about what a tight ensemble producer Murphy brought from stage to screen.

Boys in the Band doesn’t just deal with homophobia in the late ’60s, as it also allows these very different gay men to come to terms with their sexuality, talking about how they first realized they were gay, as well as talking about monogamy and fidelity. It would certainly be interesting to see an updated version of this set in present day, but the 1968 text and context still works just fine.

If you’ve never seen any other iteration of this play, Mantello and his cast have done a pretty fantastic job turning a one-location play into something that’s far more cinematic. I think we can expect Boys in the Band to be included in a number of Emmy categories next year.

If Boys in the Band is too much of a sausage factory for you, then there’s THE GLORIAS (LD Entertainment, Roadside Attractions), hitting digital and Amazon Prime on Wednesday i.e. today. I can’t think of any filmmaker better than Julie Taymor to tell the story of Gloria Steinem, because this is in fact a biopic about the feminist activist, as played by Julianne Moore, Alicia Vikander and two talented young actresses during the earlier scenes.

I have to be honest that I never really knew much about Steinem except for her role in the Women’s Movement and trying to get the Equal Rights Act passed in the ‘70s and her involvement in so many important women’s movements in recent years, including #MeToo. As with much of her work, Taymor takes a very different approach to the classic biopic, switching between as a little girl in the past, her time spent in India seeing women there struggling with equality, to her fierce fight for women’s rights to have autonomy over their own bodies, which includes getting abortions.

I feel like I need to go back to her childhood where her eccentric father Leo (played by a barely recognizable Timothy Hutton) is always taking her family from one place to another to Steinem as a young woman (as played by Vikander) in India. There’s no question that when Moore enters the picture of the older Steinem where it starts to get interesting. She’s also far better than the generally good Vikander, whose accent doesn’t match up with any of the other actors playing Steinem.

I was a little disappointed that we really didn’t get to see very much of Steinem’s relationship with Dorothy Pitman Hughes, as played by Janelle Monae, who basically appears for two scenes and is gone. Fortunately, it gets more into her affinity for Native Americans, particularly Kimberly Guerrero’s Wilma Mankiller.  Other supporting roles of note include Bette Midler as Bella Abzug and Lorraine Toussaint as Flo Kennedy.

It takes a little time to adjust to the jumps in time and not everyone is going to like the rather pretentious decision to have Steinems from different time periods having conversations on a bus together. On the other hand, Taymor’s recreation of the 1977 Womens Conference is quite impressive, and the movie includes a fun fantasy sequence. The movie essentially does what it’s meant to do, which is to instruct and educate about why Steinem’s place in history is so important, and Taymor does a good job shaking off most of the usual biopic tropes, sometimes to success and other times not so much.

Darren Lynn Bousman, director of a bunch of the “Saw” movies including next year’s Spiral, helms DEATH OF ME (Saban Films), a psychological thriller starring Maggie Q and Luke Hemsworth as married couple, Christine and Neil Oliver, who find themselves stranded on a remote island near Thailand where the couple are trapped when a typhoon hits. The couple wake up confused about what happened over the previous 12 hours until they find a video of Neil killing and burying Christine. Hilarity ensues. (No, not really. This is in fact a deadly serious psychological thriller.)

Listen, I love Maggie Q, and I’m so happy to see her in a third movie this year, even if it’s a little strange that this one is set in a similar island paradise as the generally superior Blumhouse’s Fantasy Island from earlier in the year. This one is also similarly high concept, even borrowing a bit from The Hangover (still, not a comedy), except that the premise gets so diluted by vague and esoteric nightmarish scenes used to keep Christine (and the viewer) in a constant state of confusion.

This feels like such a different type of movie for Bousman, maybe because of the environment or the lush look created by that location which informs the film. In some ways, it reminded me of Wes Craven’s The Serpent and the Rainbow, and I usually like this type of mind-fuck type movie, but Death of Me just goes too far down that rabbit hole, and the only answer it gives in terms of what is happening is a fairly lame twist near the end. There’s no question this might have been worse in the hands of a less adept filmmaker, because the movie does look good, but I had a hard time connecting with any of it. You’ll notice that I didn’t have much to say about Luke Hemsworth’s character and that’s because he has so little personality when he mysteriously vanishes midway through the movie, you just don’t miss him at all.

At times, Death of Me comes across like a Southeast Asian Midsommar, and Maggie Q generally gives a terrific performance to help sell the terror her character must endure. Unfortunately, that effort and her talent is wasted, because the movie frequently goes so far overboard it’s impossible to get back once it begins to go too far off the rails.

Going from psychological thriller right into futuristic sci-fi with Seth Lamey’s 2067 (RLJEFilms), starring Kodi Smith-McPhee as Ethan Whyte, a young man living during a time when the earth has been disabled by the lack of oxygen. Ethan works in the mines with his older brother (Ryan Kwanten) but he’s suddenly called upon as the potential savior of earth, as he’s sent 400 years into the future to bring back a cure for earth’s woes.

Where do I even begin with a movie that generally should be something I like, but it takes so long to get even remotely interesting? This one had me vacillating between enjoying what was going on and generally being annoyed by everything. I’m not even sure where to begin except for the central premise of all plant life being dead meaning there’s no oxygen for humans. It’s a decent idea for sure but one that’s quickly lost when you realize that this is going to be another well-intentioned movie that isn’t executed very well.

The entire set-up for the movie doesn’t particularly work, but when Ethan is shot 400 years into the future via something called “The Chronicle,” he’s suddenly on an earth full of lush vegetation and no way of getting back. The movie does get slightly better at that point, because it doesn’t rely on people walking around in gas masks – cause there’s no oxygen, get it? – but Smit-McPhee really struggles to carry this section, frequently leaning on Kwanten once Ethan’s older brother shows up. I just don’t think Smit-McPhee has aged well nor has he improved much as an actor, so making him the lead is already questionable, especially when you put Kwanten into more of a supporting role, and that’s really just the tip of the iceberg for the movie’s problems.

Unfortunately, 2067 is harder to follow than most time travel movies but mainly because it chooses to jump back and forth in time, frequently stealing liberally from Blade Runner’s futuristic noir and other movies.  The writing is pretty bad, and the weak cast does little to elevate it with way too much over-emoting in almost every scene.

Even the score, which would have been great if used to embellish a better movie, tends to overpower everything, essentially used as a crutch to instill emotion for characters that are hard to care about. On top of that, the storytelling is all over the place to the point where few will be focused enough to care.

Sure, there’s some nice production design at work despite substandard VFX, and otherwise, 2067 is mostly bland and highly derivative sci-fi that comes off like a bad low-budget episode of Doctor Who with little of that show’s entertainment value.

Where do I even begin with SNO BABIES (Better Noise Films), a heavy-handed PSA about drug addiction written by Michael Walsh and directed by Bridget Smith that’s available via VOD right now. It stars Katie Kelly as Kristen McCusker, a Princeton-bound high school senior who has turned her first taste of oxy into a full-blown heroin addiction as we see her dragged down a rabbit hole of absolutely every possibly awful thing that could happen to her over the course of two hours, just so that…  well, I won’t spoil what happens.

There are times while watching a movie when you’re not too far into it, and you quickly realize that you’re watching a very bad movie. I certainly didn’t have to go that far into Sno Babies before seeing Kelly’s character being put through so much awfulness that it made my skin crawl more than any sort of torture porn. Whether it’s watching her or her awful friend Hannah (Paula Andino) sticking a hypodermic full of heroin into her tongue or seeing her getting raped at a party because she’s in a heroin-fueled stupor. And that’s just the first 15 minutes of the movie!

Instead of staying focused on Kristen’s journey, which is like a cross between Mean Girls and Requiem for a dream, the filmmakers also introduce a young couple, Matt and Anna (Michael Lombardi, Jane Stiles), who are trying to have a baby, Matt’s sister Mary, Kristen’s mother Clare and her real estate business, as well as a problematic coyote that takes up much of Matt’s time. Yes, this coyote ends up playing as larger and larger role in the plot and how it comes together that even if you think you know where things are going (and are probably partially right), you will be left incredulous by everything that happens over the course of the movie until it’s absolutely ludicrous last act.

So yeah, the writing is not good, the actors are very bad and every aspect of the film is so poorly made and directed, it’s impossible to even appreciate it as what it’s intended – to make a PSA for teenagers to try to keep them off of … heroin.  (Yes, there are lots of other drugs that are far easier to get in the suburbs, but for whatever reason, they decided to go with heroin.) Except that the movie is so bad few teenagers will be able to get past the first 15 minutes, which means it’s a failed effort from jump.

Kelly is certainly put through a lot, including a lot of bad FX make-up, but in many ways, Andino plays a far more interesting character with a better arc, but there’s no way of realizing that until the very end, which just makes the whole thing even more bonkers.

The filmmakers behind Sno Babies must have some sort of sadistic streak to make viewers endure everything various characters are put through, but especially Kristen and Hannah. Listen, I’m never been one to get so mad at a movie that I ever actually yelled at my laptop… until Sno Babies.  Let me just say that it’s a good thing I don’t have direct neighbors because they would start thinking they live next door to a psycho who keeps yelling odd things out of the blue. 

Sno Babies is like an Afterschool Special on heroin, in other words, it’s unwatchable trash. Your brain would have to be on drugs to stick with it through the end. As the worst movie I’ve seen this year, it would be an understatement if I were to say that the people who made this movie should never be allowed to make another movie again.

And then we get to all the movies I wish I could get to but just didn’t have time due to my insanely busy schedule right now. I hope to get to watch some of them later but didn’t want to hold up this week’s column too much.

Lydia Dean Pilcher’s A CALL TO SPY (IFC Films) seems like my kind of movie I might like, a WWII drama about how Churchill started recruiting and training women as spies for his Special Operations Executive (SOE) in order to conduct sabotage and rebuild the resistance. Stana Katic plays Vera Atkins, who recruits two such candidates, Sarah Megan Thomas’ Virginia Hall, an American with a wooden leg, and Radhika Atpe’s Noor Inayat Khan, a Muslim pacifist, as the three women infiltrate Nazi-occupied France. The film is based on true stories, and hopefully I’ll get a chance to see it.

Streaming on Netflix this Friday is Kristen (Cameraperson) Johnson’s new doc DICK JOHNSON IS DEAD, which won a Special Jury Award at Sundance earlier this year. This one is about her 86-year-old stuntman father and how she deals with the fact that he’s eventually going to die, but literally staging all sorts of cinematic ways of killing him. This one I actually did get a chance to watch before finishing the column, and it was pretty tough to watch, mainly since I’m dealing with my own coming to terms that my slightly older mother may not be around for much longer. This is such a strange and only mildly entertaining movie, because it is so personal for Johnson, but I’m kind of shocked by how many people in her life would go along with making such a morbid and macabre film.  This definitely won’t be for everyone, and I’m not quite sure how I’d feel about it if my mother died – my father’s been dead for 11 years, incidentally – but I’m not quite sure to whom this movie would appeal. Either way, it’s on Netflix so you can throw it on if you have nothing else to watch.

Other stuff streaming on Netflix this week includes the kid-friendly horror film Vampires vs the Bronx and the streamer’s latest true crime docuseries American Murder: The Family Next Door.

Another music doc that I’ll have to check out is Herb Alpert Is… (Abramorama), the latest from John Scheinfeld (Chasing Trane: The John Coltrane Documentary), and it will get a live world premiere on Thursday night at 5PM PST/8PM PST featuring a Q&A with Alpert himself via Facebook, Youtube, and Twitter and www.herbalpertis.com.  On Friday, it will be available via Amazon, iTunes and other platforms as well as via DVD… and lots of other formats, including “LP format featuring a coffee table book and a five-piece 180 gram vinyl set.” Wow. I’ve always been interested in Alpert from his amazing career as a musician to his equally fantastic career running A&M Records, which discovered some of the biggest artists over the decades that followed. I can guarantee that I’ll be watching this movie very soon.

Also, Daniel Traub’s Ursula Von Ryingvard: Into her Own from Icarus Films, an innocuous title about a woman of whom I’ve never heard, will open via Virtual Cinema. Apparently, she’s a sculptor, and that doesn’t do much to pique my interest, although the fact it’s only an hour long might mean I watch it soon, as well.

Also wasn’t able to get to Marcus H. Rosenmüller’s The Keeper (Menemsha Films), which will stream on Kino Lorber’s Virtual Cinema.It’s a biopic about Bert Traumann, as played by David Kross, about a German soldier and prisoner of war who becomes Manchester City’s goalkeeper, much to the consternation of the soccer team’s thousands of Jewish fans. It leads up to the team’s victory at the 1956 FA Cup Final that finally gets him fans. I’m also kind of interested in the historic epic The Legend of Tomiris (Well GO USA), which seems to be getting a digital only release, but I honestly haven’t heard peep about the movie’s release other than the fact it’s opening. That’s not good.

Another movie I was hoping to catch but there were JUST TOO MANY DAMN MOVIES! was Brea Grant’s 12 Hour Shift (Magnet Releasing), which stars Angela Bettis, and it’s a 1998 thriller set in an Arkansas hospital where a junkie nurse, her scheming cousin and a group of black market organ-trading criminals get caught up in heist that goes wrong.

To be honest, I really just didn’t have much interest in Adriana Trigiani’s Then Came You (Vertical), which actually received Fathom Events screenings before it’s On Demand/Digital release on Friday. It stars daytime talk show host Kathie Lee Gifford (who wrote the screenplay!) with Craig Ferguson, Gifford playing a widow who is travelling the world with her husband’s ashes before meeting Ferguson’s innkeeper.  Gee, why on earth would Ed be dubious of a movie starring a daytime talk show host and a former late night television host? Gee, I wonder. I didn’t see it. Maybe it’s great, but nothing less than being paid to watch this movie would get me to watch it, so there we are.

Other movies out this week in some form or another include Rising Hawk (Shout! Studios), The Antenna (Dark Star Pictures), Eternal Beauty (Samuel Goldwyn Films), Tar (1091), Do Not Reply (Gravitas Ventures), The Great American Lie (Vertical), Honey Lauren’s Wives of the Skies (Hewes Pictures) on Amazon Prime on Tuesday, The Call (Cinedigm), Chasing the Present (1091), Haroula Rose’s adaptation of Bonnie Jo Campbell’s Once Upon a River, The Devil to Pay (Dark Star Pictures/Uncork’D Entertainment), and something called Alien Addiction (Gravitas Ventures). I’m sure there’s some good stuff in there, and congrats to the filmmaker for finishing a movie and getting it released but… and you may have heard this before… THERE ARE TOO MANY FUCKING MOVIES!!!!

A couple festivals starting this week includes the 43rd Asian American International Film Festival, which runs from October 1 through 11, and it seems to include a pretty impressive line-up of features and shorts, and though I haven’t seen many, the one I’m highly recommending again (as I have when it played other festivals) is the doc Far East Deep South.

Also, American Cinematique’s Beyond Fest starts this Friday at the Mission Tiki Drive-In in Montclair, California, running from October 2 though October 8. It begins with a double feature of the upcoming The Wolf of Snow Hollow (out next week!) paired with The ‘Burbs, then goes into a David Lynch triple feature of Blue Velvet, Mulholland Drive and Lost Highway on Saturday and Saint Maud (a chronically delayed theatrical release) with the classic Misery on Sunday. Monday gets a double feature of new movies in Synchronic and Bad Hair.

Also, the Woodstock Film Festival begins this week, running from Weds. through Sunday, with screenings at the Greenville Drive-In, Overlook Drive-In and Woodstock Drive-In as well as an online component. Highlights include The Father (Opening Night on Thursday, October 1) and the Closing Night film is Chloe Zhao’s Nomadland, starring Frances McDormand on Sunday night. You can get tickets and more information on Eventive.

What it comes down to is that there are just too many fucking movies. I’ve said it before, and I’ll say it again. This shit has gotta stop, because there’s no way any single movie can get any attention when so many are being dumped to digital/streaming/VOD/virtual cinema each week.

Next week, more movies not in New York City theaters, which will probably never reopen the way things are going.

By the way, if you read this week’s column and have bothered to read this far down, feel free to drop me some thoughts at Edward dot Douglas at Gmail dot Com or drop me a note or tweet on Twitter. I love hearing from readers … honest!