I just awoke from a dream in which I was having a conversation with Stephen Colbert in his traditional home theater, by which I mean a large white room with stage. I encouraged Colbert, who is currently between jobs, to go into puppetry "to make puppets cool again." He responded: "The Muppets already did that."

That Dream Stephen is a smart guy.

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30/2600. Angels in the Outfield (1951)
What's best about this cliched sports romcom isn't the heavy-handed treatment of religious freedom in America, but the fantasy concept that a young girl is so innocent that she can see angels and everyone else being so jaded that they cannot believe her. Won't someone please think of the children.

31/2601. The Super Mario Bros. Movie (2023)
What this movie lacks in narrative plot, it makes up for in nostalgic references. Of course it was a blockbuster.

32/2602. Project Hail Mary (2026)
Having read the book, Dad really wanted to see this on the big screen, so I took him to the only theater in town even though I really don't like it. Dad loved the movie, but I was lukewarm. I got hung up on the choices made by the directors: too many of the "science" decisions were really just blatant plot manipulation, and Gosling's character is too poorly developed, depriving the character of a more satisfying arc as he discovers humanity through his relationship with a magical alien. (I know Gosling is a good enough actor to play anti-social without being unlikeable. He can do anything.) Most people are (probably rightly) less critical of those sorts of nits, and I don't begrudge them their enjoyment of this.

33/2603. From Headquarters (1933)
A lightweight murder mystery staring George Brent. I really can't say as I remember any more about it than that, so there you go.

34/2604. Chicago (2002)
I had avoided this for years because I had a preconceived notion that none of the characters were likable. And they're not. But the musical numbers are pretty good, and the whole thing doesn't run on too long. Is it really Best Picture worthy? Well, looking back at movies released in 2002, I can only say there were pretty slim pickings that year.

More to come.

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Here at Wriphe.com, I don't actually keep track of every movie I watch, just new-to-me movies. I also frequently rewatch old-to-me movies, and sometimes I spot the Pause that Refreshes. These are some of those I spotted in the past year (in chronological order of release):

Bye Bye Birdie (1963)

A Hard Day's Night (1964)

The Sting (1973)

Ghostbusters (1984)

Pee Wee's Big Adventure (1985)

Waiting for Guffman (1996)

Zoolander (2001)

Scott Pilgrim vs. The World (2010)

Yes, I know that's not a great screenshot of the original black Coke Zero can, especially considering that the product gets a better showcase when Scott intentionally overturns the Coke Zero that Gideon Graves offers him at the Chaos Theater. However, that black can really didn't photograph well in the dim light of the club. So this is what you get. But by all means, go watch Scott Pilgrim vs. The World to see if you think I made the right choice. I love that film, and so should you.

As always, a complete archive of my Coca-Cola movie screenshots can be found here.

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127/2559. Honey Don't! (2025)
Reminiscent of the earliest Coen brothers noirs like Blood Simple with the subversive comedy of Fargo, this movie has no particular message but a wryly amusing story of messed up people trying to make their way through a terribly fucked up world. I liked it.

128/2560. The Last Station (2009)
What a cast! The film aims to present the final days of Leo Tolstoy, which is probably best described as a story of messed up people trying to make their way through a terribly fucked up world.

129/2561. The Dark Angel (1935)
A British melodrama (based on a play) probably best described as a story of messed up people in love. At least in this case, it was the horrors of The Great War that messed them up. I thought the two male leads looked and behaved too similarly and got really confused in the third act if only because I'd already seen Love Affair and Sleepless in Seattle so it was too easy to anticipate the finale.

130/2562. Hey There, It's Yogi Bear (1964)
This was the first feature length Hanna-Barbera animated movie, and it was distributed to theaters by Columbia Pictures. I didn't know there were any, and I was surprised to find it's actually quite entertaining, especially the jaunty musical numbers, especially "St. Louis."

131/2563. The Man Called Flintstone (1966)
The Flinstones meets Get Smart in a movie that is slightly worse than either of those shows, mainly a fault of the need to maintain a single silly and dull plot for over an hour. Audiences must have agreed, because this was the last (of two) feature length Hanna-Barbera animated movie released by Columbia Pictures.

More to come.

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One last word on this Christmas season: this year, I attended a 2025 community theater loose adaptation of A Christmas Carol as a play, watched the 1938 MGM film version on TCM, and then read Charles Dickens' original 1843 book on Project Gutenberg to check how the others deviate.

137/2569. A Christmas Carol (1938)

Mostly, the key differences are the heavier emphasis on Bob Cratchit and Fred and the costume design of the spirits, but also the visual adaptations tend to leave out Scrooge meeting his own corpse. (The Ghost of Christmas Future goes hard.) These days, corpses aren't very Christmas-y.

I have never cared for Scrooge's abrupt change of heart, but Dickens clearly isn't much interested in how Scrooge became a miser or why he suddenly gave a shit about Tiny Tim so much as he's selling that kindness and charity are the only way for a society to become a community. "Some people laughed to see the alteration in him, but he let them laugh, and little heeded them; for he was wise enough to know that nothing ever happened on this globe, for good, at which some people did not have their fill of laughter in the outset." I do not personally enjoy the Christmas season, but I don't think Dickens is wrong.

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105/2537. Downton Abbey: The Grand Finale (2025)
I don't like the only movie theater in my town, so Mom and I drove up to Peachtree City to catch the third Downton Abbey movie. Again, the stakes are delightfully small (Is Mary to be a social pariah... again? Will they have to consider selling the Abbey... again?) I liked this more than the second, especially because it took such great pains to tie up every possible loose end. Sure, it was a bit weird to spend so much time in London without visiting Lady Rosamund, but it is a big cast and some sacrifices had to be made, I suppose. (Look at me mentioning relatively minor characters when my introduction to the whole ensemble was the short primer that ran in theaters before the first movie. As usual: late converts are the most zealous.)

106/2538. The Wonderful Story of Henry Sugar and Three More (2024)
This Netflix-exclusive Wes Anderson quadrilogy was the whole reason I wanted access to Netflix in the first place. Essentially monologue recitations of Roald Dahl's writing (like an incredibly elaborate staging of Peter and the Wolf), it is neither Anderson's best nor most engrossing work, though I admit that I'm not a particular fan of Dahl. However, Anderson fan that I am, I considered it an elaborate tech demo of what he might try in a bigger, better production.

107/2539. Wet Hot American Summer (2001)
It takes about thirty minutes for this spoof of 70s/80s camp movies (a la Meatballs) to reveal its truly lunatic, absurdist heart, but once it does, it becomes immediately obvious why it has reached such cult success. (And what a cast!)

108/2540. Eurovision Song Contest: The Story of Fire Saga (2020)
"Play Jaja Ding Dong!" The ABBA is strong with this one. What was most striking to me while watching was how almost every character, even Will Ferrell's selfish protagonist, meant well from their own point of view. Even the secret murderous antagonist. Even the romantic cad played by Downton Abbey's Dan Stevens! Great music and endearing performances from people who clearly have a soft spot for the real Eurovision made for a great time.

109/2541. Pee-Wee's Big Holiday (2016)
The last Pee-Wee movie was clearly made with a smaller budget and a lot of CGI, but Paul Reubens still makes it work by evoking the good natured manchild Pee-Wee Herman of years past. (Have I ever mentioned that Pee-Wee's Big Adventure was the first DVD I ever bought? I have? Well, I'm mentioning it again. It's that good.) What a great character he was.

More to come.

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Today, Friends Ken and James dragged me to a movie theater to watch

78/2510. Superman (2025)

It's the first time I've seen Superman in a theater since Superman Returns (which I really, strongly dislike). And I have to say... it's okay.

To explain why my rating is more-or-less "meh," may I remind you that a few years ago, there was a then-new movie adaptation of the book Emma (which I really, strongly love). But the reviewers for that movie kept harping on how accurate to the Jane Austen source material it was, which, in hindsight, only proved that they themselves weren't particularly familiar with the source material. Maybe they read the Cliff's Notes version.

This Superman is kind of like that.

Sure, it's got a lot of silly comic-booky elements, but it really is a typically James Gunn script that isn't particularly interested in being accurate to any characterizations, stories, or even costumes that have ever appeared in the pages of any DC Comics. (Particularly Krypto. I just couldn't get past Krypto being a shaggy, simple-minded dog. In the comics, he is neither, and, as much as I love dogs, this movie never gives me a reason to forget that. And don't even get me started on the character assassination of Supergirl in service to what must have been a Superboy and the Ravers fanboy in-joke.)

All the reviews for the movie, both good and bad, praise both Lois Lane and Krypto. I certainly agree about Rachel Brosnahan, who was as underused as Lois always is, but I find it surprising that more aren't singling out Mister Terrific being terrific (in a modern take of a blaxploitation superhero). There are several moments where it actually feels like his movie and I am there for it.

But I recognize that all of the things I have to complain about are more a feature than a bug of these sorts of blockbuster movies, especially in the superhero genre. Gunn's muddled plot moves real fast and hopes you wont notice that nothing really lines up, a fact that Gunn himself lampoons with a final post-credit scene. If that sort of tongue-in-cheek metafictional humor floats your boat, this is definitely for you.

Even though Superman often seems superfluous in his own movie, it still is the best live-action Superman film in 40 years. Take that however you will.

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'Tis but thy name that is my enemy;
Thou art thyself, though not a Montague.
What's Montague? It is nor hand, nor foot,
Nor arm, nor face, nor any other part
Belonging to a man. O, be some other name!
What's in a name? That which we call a rose,
By any other word would smell as sweet.

Shakespeare wrote those lines in 1597,^[1] by which time Greenland had been called "Greenland" for 611 years,^[2] which I mention only to give perspective to the following bill introduced this week into the United States Congress,^[3] itself founded 173 years after Shakespeare died.

---

119th CONGRESS
1st Session
H. R. 1161

IN THE HOUSE OF REPRESENTATIVES
February 10, 2025

Mr. [Earl L. "Buddy"] Carter of Georgia introduced the following bill; which was referred to the Committee on Foreign Affairs, and in addition to the Committee on Natural Resources, for a period to be subsequently determined by the Speaker, in each case for consideration of such provisions as fall within the jurisdiction of the committee concerned

A BILL

To authorize the President to enter into negotiations to acquire Greenland and to rename Greenland as “Red, White, and Blueland”.

Be it enacted by the Senate and House of Representatives of the United States of America in Congress assembled,

SECTION 1. Short title.

This Act may be cited as the “Red, White, and Blueland Act of 2025”.

SEC. 2. Purchase or other acquisition of Greenland.

The President is authorized to enter into negotiations with the Government of Denmark to purchase or otherwise acquire Greenland.

SEC. 3. Renaming of Greenland as “Red, White, and Blueland”.

(a) Renaming.—Greenland shall be known as “Red, White, and Blueland”.

(b) References.—Any reference in a law, map, regulation, document, paper, or other record of the United States to Greenland shall be deemed to be a reference to “Red, White, and Blueland”.

(c) Implementation.—

(1) IN GENERAL.—The Secretary of the Interior, acting through the Chairman of the Board on Geographic Names, shall oversee the implementation of the renaming described in subsection (a) with respect to each Federal document and map.

(2) REQUIREMENT.—Not later than 180 days after the date of the enactment of this section, the head of each Federal agency shall update each document and map of the Federal agency in accordance with the renaming described in subsection (a).

---

I wish I could say that this bill is the dumbest thing we will see in 2025, but we all know better.^[4]

We are now living in a theater of the absurd. It's only a matter of time before someone actually makes their horse a senator.

Here's drink. I drink to thee.

^[1] Source: Romeo and Juliet, Act 2, Scene 2, lines 38-44. (You know, the balcony scene.)

^[2] "Grœnland" is the name given by tenth century Norse colonizers, but there is no record of what the previous inhabitants called it, and the current "natives" are actually newer settlers than the Vikings. At what point does the colonizer become the native? As an American who can trace my ancestry back to the American Revolution, I can only say that I don't know.

^[3] Source: www.congress.gov/bill/119th-congress/house-bill/1161/text

^[4] I mean, for one thing, a man convicted of 34 state felonies, found guilty of sexual abuse and defamation, and charged with fomenting rebellion against the federal government and stealing classified documents from the federal government has been sworn-in as president, and in just the past six weeks we've witnessed, in no particular order, the United States under his direction withdrawing from the World Health Organization; sanctioning the International Criminal Court; starting trade wars with Canada, Mexico, and Columbia; threatening Panama, Greenland, and Denmark; buying-out the contracts of an estimated 75,000 government employees without the funding to do so; ending the corruption prosecution of the mayor of New York City accused of taking bribes from Turkey; ordering the Army Corp of Engineers to fight future fires in Los Angeles by releasing water from California dams into streams that do not reach Los Angeles; blaming an airliner crash in Washington DC on handicapped people; re-renaming Mount McKinley and Fort Bragg; firing 17 Inspectors General in the Executive branch; pledging to permanently displace all Palestinians so that Gaza can be turned into "the Riviera of the Middle East"; banning Constitutionally-granted birthright citizenship; eradicating "anti-Christian bias in government" before demanding an apology from a bishop for suggesting the president show mercy to marginalized communities; ending the "weaponization of the federal government" by appointing a man with an enemies list of "conspirators" to be FBI Director, blocking all transgendered people from the military; ordering colleges to give medals to non-transgendered athletes; refusing to enforce the anti-bribery Foreign Corrupt Practices Act because its bad for business; selling meme coins; restarting Ronald Regan's Star Wars missile defense project; removing any reference to climate change from the Department of Agriculture; freezing Congress-allotted funding agencies including FEMA, USAID, EPA, CDC, NIH, CFPB, NOAA and others; axing any mention of "Diversity," "Equity," and "Inclusion" from government websites and databases (with sometimes hilarious results); ignoring election pledges to take action on inflated grocery prices; assuring Russia that Ukraine will never join NATO; replacing the board of the Kennedy Center with loyalists so that the president could be elected chair in order to stop "wokey" productions; appointing an accused statutory rapist to Attorney General, an anti-vaxxer to lead Health and Human Services, a conspiracy-theorist to lead National Intelligence, an avowed dog-killer to lead Homeland Security, an accused alcoholic to lead Defense, and the world's richest man to lead deregulation efforts in the name of "Government Efficiency"; and, of course, pardoning everyone involved in the January 6 riot. Note that I did not mention getting rid of the penny; it is well past time for the penny to go (although the president doesn't actually have the power to do that). At least he hasn't gassed any protesters again... yet. It's going to be a very long four years.

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118/2429. The Losers (2010)
Sure, it's a big, dumb action movie, but it's a big, dumb action movie based on a DC comic book, and the influence shows maybe a little too much. Actually, it puts me in mind of some video games I've played in the past decade. "Pop Will Eat Itself," said the band in the 1980s, and it remains a true statement. Meh.

119/2430. From Darkness to Light (2024)
This is a so-so documentary with little insight into its subjects, but that's okay because the whole thing is really an excuse to rescue large parts of Jerry Lewis's legendary long-lost The Day The Clown Cried for curious cinephiles who seem reluctant to accept that it was just a bad film that became an unfortunate casualty of wrongheaded (and possibly malicious) decisions in the movie business. As a bit of a movie nut, I loved it.

120/2431. Dear Santa (2024)
Speaking of wrongheaded decisions in the movie business, Jack Black stars as a demon pretending to be Santa Claus. The core of the film is what you might expect from a 90s black comedy aimed at mallrat teens over Christmas break, but it is badly underbaked. Looking at the dates of release and production, it seems to me that Paramount just gave up on this without trying to make it good and dumped its barely cobbled-together carcass into the wasteland of back-catalog streaming services filler. Too bad. There's a lot of talent involved, and with the right script doctor and editor (and more money than Paramount obviously wanted to spend), maybe this could have become a cult classic.

121/2432. Uptown Saturday Night (1974)
Speaking of cult classics, Sidney Poitier and Bill Cosby hunt down a lottery ticket unwittingly stolen by gangsters in a blaxploitation film which was not particularly interested in exploitation. It's not great cinema, but it's not trying to be. It just wants to be a good excuse to see something lighthearted at the movies with friends, and on that level, it works.

Truth in Advertising Disclaimer: The setting in this screencap is neither uptown, Saturday, nor night.

And that's a wrap on movies watched in 2024. If you're keeping score at home, 121 is the fewest new-to-me movies I've seen in a year since 2016. I'm not entirely sure why the number is so low, but I did have a bit of a hard time with depression this year and watched far more familiar-to-me movies than usual, so that certainly cut into my movie watching time. The complete lack of must-see cinema in theaters couldn't have helped. Better luck next year, Hollywood!

More to come.

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102/2413. Targets (1968)
Peter Bogdanovich eventually became something of a punching bag for being such a prima dona auteur writer/director — for example, see the character of the pompous director in Burt Reynold's Hooper — but his early movies have stood the test of time remarkably well, even this, his first (for Roger Corman). Largely based on the then-shocking 1966 University of Texas tower shooter, this story of a mentally-ill man who just starts shooting people in a drive-in movie theater could be a below-the-fold newspaper headline today (minus the "drive-in" part, and, well, assuming anyone reads their news on paper anymore). The director does a great job of overcoming the limitations of a low budget to deliver some very effective storytelling. Kudos.

103/2414. Lincoln (2012)
On the other end of the budget spectrum, Steven Spielberg just cannot resist some of his sentimentalist tricks in what really should be a much drier portrait of a man willing to stoop low while doing the best he can to improve American society despite its worst urges. It's a great story, but there's no compelling reason it shouldn't have ended at the amendment's passage instead of watching the great man die. (Not knowing when to end a movie is a recurring problem for Spielberg. See Schindler's List or A.I. Artificial Intelligence among many others.)

104/2415. Lawyer Man (1932)
William Powell stars in a morality tale about a well-intentioned man from the streets taking a great fall because of his tragic flaw: loose women. The charismatic Powell and equally charismatic co-star Joan Blondell are handcuffed by a script featuring the broadest of caricatures. (Powell plays this same character archetype much better the following year in Manhattan Melodrama and Blondell defines the comedic suffering secretary in 1933's Footlight Parade, a personal favorite.) Oh, well. They can't all be classics.

105/2416. Bicycle Thieves (1948)
Maybe they can't all be classics, but this one can. To borrow a quote from Griffin Mill, the protagonist of The Player, "Great movie, huh?" I'd always heard this called The Bicycle Thief (which is what they call it in The Player), but I agree that the more literal translation of the original Italian title (Ladri di biciclette) is really more appropriate to the plot and darkly cynical theme of a man in danger of becoming what he hates. It truly is deserving of its sterling reputation.

106/2417. Synecdoche, New York (2008)
There's a key scene in 1977's The Mouse and His Child (which I watched way too young) in which the title pair are trapped in the bottom of a pond and find a can of Bonzo's dog food with a label that depicts itself inside a label that depicts itself et cetera ad infinitum (aka the Droste Effect). You know the scene. And that is what Scynecdohe, New York is: a movie's (or, as the case may be, a play's) depiction of an infinite recursion of the reality occupied (created?) by one navel-gazing playwright incapable (unwilling?) of getting out of his own head. Equal parts hysterical and depressing, it's brilliant (and occasionally frustratingly opaque) filmmaking from the unique voice of writer/director, Charlie Kaufman.

More to come.

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