Irrelevant But Awesome

Chris:  A pendulum can swing one of two ways and in this episode, we see Sam swing back to the Sam we grew to love at the end of season one once a creative fire was rekindled and found out about Ruth’s unfortunate encounter with the studio exec. Sam seems to only be motivated if he’s got something to prove and he’s got it once again with the show being given a death knell time slot for petty reasons and being told that the male wrestling show is better. Suddenly, making the show better is sticking it to those execs which is something that motivates Sam more than anything. And now a pendulum swinging further is one direction is Debbie and her descent into unmanageable depression which now involves drug use prior to a match. Unfortunately, drug use and wrestling have gone hand-in-hand, especially in the 80s and 90s. Thankfully, the mindset of trying to keep your opponent safe in the ring has caused a decrease in drug use before a match but it still happens every now and then and it’

Chris:  This is an uneasy episode but a necessary one to have especially in the day we live in today where sexual harassment is becoming an issue that’s being gradually spotlighted and rightfully demonized in comparison to when this show took place, where a blind eye was turned or it was excused for whatever reason. The heartbreaking part was when Ruth talked to Betty about it and Betty responded with anger towards Ruth instead of sympathy and support and it furthers the divide that has been displayed in the previous episodes this year. This episode continues the theme of the second season where the struggle of getting the show started had been conquered but the process of making the show and continuing it is just as much of a struggle if not greater. And yes, wrestling fans are weird and sometimes obsessive just as much as obsessive fans of anything. Just think how bad the fan interactions/obsessions would be if GLOW had the social media of today’s society, that’s what modern wre

Alexa:  I loved “Ex Machina” when I first saw it a couple of years ago, but if anything it’s even more compelling upon a second viewing. Writer/director Alex Garland crafts a truly masterful exploration of consciousness and control. The film is bound to receive a lot of comparisons to “Westworld” now because of the subject matter, but as much as I enjoy that series, the subtlety and nuance of “Ex Machina” is a far more effective critique. The script is sharp and the three lead performances are all exceptional, particularly Alicia Vikander’s work. She makes Ava so vulnerable and empathetic that it’s easy to forget she’s AI, much like Caleb does. And yet she infuses every look, every gesture, every word with undertones of something not quite human, which only adds to the suspense and discomfort that burns slowly beneath the film’s surface. Garland’s masterful direction and the movie’s expert lighting, production design and sound elevate “Ex Machina” into something beautifully haunti

Alexa: “Real Genius” is so very 80s, and I mean that as both a compliment and critique. It’s pure camp, which provides a lot of fun moments but also some truly cringe-worthy ones (like when a grown woman sneaks into a dorm room to try to sleep with a 15-year-old and no one finds this remotely concerning?!). And sure, the technology is as dated as the film’s tone, but the camaraderie among the students is timeless and easily the best part of the movie. Going into “Real Genius” I wasn’t too sure about Val Kilmer playing one of the country’s most brilliant young minds, but he effortlessly leans into his character’s eccentricity and steals the whole movie. Whenever Kilmer wasn’t on screen, I was waiting impatiently for him to come back. His performance is a delight. But for a movie about genius teens, I wish the story had been a bit cleverer. I wasn’t nearly as invested in the plot as I was in the characters. The military weapon angle pales in comparison to the characters’ interactio

Alexa:  In researching Spanish horror film “Veronica” after watching it, I came across a few articles that dubbed it the scariest movie of all time. I wouldn’t go that far, but it is damn scary and definitely worth a watch for any horror fan. I’m pretty selective about the horror movies I actually enjoy, but I found “Veronica” to be unsettling and deeply compelling. It’s not exactly the most original premise, even if it is very loosely inspired by real events. There’s a ouija board, demonic possession, doors flinging open on their own, a creepy yet wise blind nun, an old school Simon game that starts eerily flashing and beeping when evil is near, the works. But the casting and direction elevate it above similar horror fare. All of the actors are great in their roles, particularly Sandra Escacena as the titular character. The movie doesn’t beat you over the head with cheap scares but builds suspense then delivers its thrills at a measured and effective pace. And in between is a thr

Alexa:  I chose “Obvious Child” as this week’s movie because I remember hearing a lot of buzz about it when it premiered a few years ago and I love Jenny Slate. She’s so often a scene-stealing supporting player and I was curious to see her anchor a movie, and I was not disappointed. She’s still funny and charming as usual but also exhibits a sense of depth she hasn’t been afforded the opportunity to explore in other projects. The movie boasts some solid supporting performances from Donna’s parents and friends. Jake Lacy is affable enough as the romantic lead, if a bit underdeveloped as a character. But perhaps what makes “Obvious Child” stand out more than anything else is how deftly and honestly it handles a sensitive and divisive issue. I wouldn’t say the movie tackles abortion in an objective way necessarily, but it doesn’t delve into any moral or political opinions about it. The movie doesn’t sugarcoat it by any means. It’s clear that even though Donna thinks this is ultimate

Alexa:  “Heat” is a good movie that could have been a great movie with some tighter editing. The things the film does well, it does really well. Michael Mann’s artful direction instills the movie with an almost noirish mood, and he creates an impeccable sense of place with his careful crafting of the LA crime scene. Al Pacino and Robert De Niro give outstanding performances in their own right, but there is something magical about watching these two greats act opposite each other. During the scene when Hanna and McCauley confront each other in the coffee shop, I couldn’t look away. These are two men who are more alike than not but they’re consumed by divergent paths, and Pacino and De Niro truly mold them into complex characters. The action sequences are expertly choreographed and shot, with the climactic bank heist an exceptionally visceral experience. But between all of these compelling moments are long slogs of relationship building and character development that drag the film d