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The Kim family lives in unremitting poverty in Seoul, South Korea, though it’s not for lack of trying. Still, they subsist on meager wages from a pizza box folding job, and the most exciting part of their day is scoring free Wifi for their phones. That is, until son Ki-woo (Choi Woo-shik) scores a job tutoring for the wealthy Park family. He sees a good opportunity–not only for himself but the rest of the family–and starts plotting to insinuate his parents (Song Kang-ho and Jang Hye-jin) and sister (Park So-dam) into the Park family’s life as well. Complications ensue.
At one point in her life, she was a successful author, writing biographies of famous women like the actress Tallulah Bankhead. She was even on the New York Times Bestseller list.
But that was years ago. Now, she can’t find work and is behind on her rent. The only friend she has is her ailing cat, and nobody will return her phone calls. As far as Lee is concerned, the fact she is now living in poverty and unemployed is a disgrace.
Her longtime agent, though, is less confused about why Lee has been snubbed by the literary world–just because she wrote a bestseller doesn’t mean she’s famous, her proposed new book subject is unmarketable, and Lee herself is just thoroughly unpleasant to deal with. Nobody wants to work with her.
Her agent advises her to seek a different line of work. And that’s just what Lee does. She starts forging letters from famous, deceased authors and selling them to collectors and antique dealers. Needless to say, complications ensue.
I was raised on a steady diet of Clint Eastwood’s iconic 60s and 70s movies. These were mostly his Westerns, both those of the spaghetti and non-spaghetti persuasion, as well as his cop movies. Though Eastwood has gone on to be a noted director for a wide range of acclaimed films–many of which I have enjoyed–I always still think of Clint as, well, The Man with No Name, Dirty Harry, and Josey Wales.
As Eastwood’s career has shifted behind the camera, his own appearances on the other side of the lens have become somewhat rare. Mary-Esther recently suggested I review his latest movie–The Mule (which he stars in, directed, and produced)–and I’m glad I did! It was an interesting change of pace for him that still plays to his strengths as a performer. Thanks for the great suggestion, Mary-Esther!
I usually am up-to-date on my Masterpiece Theater viewing, but I missed this biopic about the Brontë sisters when it first aired a couple of years ago. Fortunately, Mary-Esther suggested it to me, and I’m glad she did! It’s a well-acted, well-made dramatization of one of the most famous literary families in history.
Usually, I try to focus on newer movies and TV shows for my reviews, but while I was researching potential things to write about, I came across last year’s The Predator, a remake of the classic 1980s action/sci fi film Predator.
Now, if I were a fair-minded person, which I often claim to be, I would have given The Predator a chance.
However, I’m not really that fair-minded. Ever since I heard they were working on this remake, I just couldn’t get over the fact that there was no reason to remake the movie. I’d have been much happier if they’d just re-released the original in theater.
Because if you’re looking for a veneer of outrageous, over-the-top 80s action overlaying a far more complex science fiction tale, then you can’t do better than Predator.
So, for that reason, this week I’m reviewing the original (and best) Predator.
During her career as a figure skater, Tonya Harding attracted attention for her impressive athleticism, as well as for her blue collar background and tumultuous life off the ice. But her career ended when her personal life collided with her professional career, and her main rival, Nancy Kerrigan, was assaulted by Harding’s ex-husband’s associates. Last year’s Tonya Harding biopic, I, Tonya, purports to deliver up a black comedy about her life.