peteg's blog

Some fantastic visual composition from co-writer/director Tarsem Singh, who clearly learnt all the right things from directing music videos. (This is presented by David Fincher and Spike Jonze.) The model is a two-track adult fairytale in the magical realism that Guillermo del Toro mines: somewhat romantic, like The Shape of Water, a little graphic like Pan's Labyrinth (also from 2006) and sharing the latter's juxtaposition of childish innocence and worldliness against learned hopelessness.

The main flaw is that neither story is particularly satisfying. Putting that aside the acting from lead Lee Pace and child/foil Catinca Untaru serves the movie well. Her grasp of English is shaky as one might expect of a child of Mexican migrants to California in the 1920s, and this mostly helps with her engagement with Lee's fatalistic silent-era stunt man as they both recuperate in hospital. His stories draw on the deep well of classic lore but it would seem that the visual imaginarium is hers, the scenes being populated with people he has not met. (She has no experience of Native Americans and so the "Indian" in the troupe is an actual Indian.) Both stories are uneven and neither has much of a moral; the stunt man survives it all and walks away, the child rejoins her kin in the orange groves. But the stakes weren't this low.

Roger Ebert: four stars. No CGI! Dave Kehr on the making of. Less forgivingly, Nathan Lee at the New York Times: a remake of the Bulgarian Yo ho ho. Excess details at Wikipedia.

More Errol Flynn. I hadn't realised how funny and deft he was; his performance here as the heavyweight boxer James J. Corbett is timeless. The accent is pure Hobart throughout, and the hair is always on his mind. In glorious black-and-white. Directed by Raoul Walsh.

The story is about the rise of professional boxing in the last decades of the nineteenth century in San Francisco. There are some great scenes of the underground fights of the time and also the cultural strata. Later we even get a training montage! Overall there are a few moments but mostly it's formulaic hagiography, from the Irish fondness for spirits, the duffer of a Dad, the mother's concern, the biffing brothers, right on down to the bloke getting the girl (Alexis Smith) who puts up a fight as she was taught to do.

Thomas M. Pryor at the time.

Kindle. A pointer from Jennifer Szalai's review of Becker's More Everything Forever (2025) which I won't be reading now.

Notionally Becker aims to dispel any lingering belief that the Copenhagen interpretation is a viable account of how quantum mechanics relates to reality. The key difficulty, as Becker admits semi-regularly, is that this interpretation is too ill-defined to wrestle with. That Becker proceeds to do a poor job with the wrestling does not help us understand why so many big-brained physicists let it ride. (Sure, this is a matter for philosophy, not physics, but even so.) Alloyed with too much assertion and insufficient argumentation, the bulk of the text is an attack on strawmen and a championing of the multiverse and pilot waves. The prose often gets bogged in short-order repetition; a hefty edit was in order. I mostly didn't feel like I was thinking. It's never made clear what might count as real. The major historical figures were drawn more incisively by Labatut (2021).

I wasn't impressed with his take on the philosophy of science, especially his sinking the boot into the Vienna Circle; this is particularly tiresome when fecund philosophers like Rudolf Carnap are name-dropped without any discussion of their contributions. Yes, verificationism, logical positivism, whatever are long bankrupt but it's not so easy to dispense with conceptual analysis and Popperian falsification (to me a necessary but not sufficient quality of a scientific theory), especially on the basis that we can never figure out the specific parts of a theory that deserve revision; Ehud Shapiro showed how to operationalise falsificationalism back in the 1980s (see MIS) and of course this problem is most of what training an AI has always been about. Perhaps Becker needed to peruse Chalmers's classic.

Broadly reviewed. James Gleick for the New York Times. Goodreads. Yes, the appendix is the best part of the book. If I'd read Peter Woit's take ahead of time I would've read something else, or maybe put my big-boy pants on and dug into the SEP articles.

Perhaps prompted by Daniel Soar's retrospective on Jean Tinguely which lead to the rabbit hole of useless kinematic machines. Lovingly constructed by Peter Fischli and David Weiss. A brief, strangely fascinating and kinda fun assembly of things causing other things to move, burn, explode, amuse.

More Olivia de Havilland completism, lazily responding to Amor Towles's prompting. Classic matinee fare in glorious Technicolor. Once again Errol Flynn delivered a very enjoyable performance in the lead. Things get a bit epic at times but her entrancement by him is too abrupt. I never realised that Claude Rains was once young. Directed by Michael Curtiz and William Keighley.

Roger Ebert: four stars as a "great movie" in 2003 and a lengthy retrospective. de Havilland's enrapture is gradual! Frank S. Nugent at the time.

The things Tony Leung makes me watch. I'm not totally surprised to see him pop up the in MCU, rueful and bemused, especially in what is basically a smoodgery of things he's done before: obviously there's some In the Mood for Love and The Grandmaster but co-writer/director Destin Daniel Cretton also needed to mash in Michelle Yeoh's back catalogue, specifically Crouching Tiger, Hidden Dragon and Everything Everywhere All At Once, squashing the lot into some distant realm of a Star Wars-adjacent universe. Oh, and lethal daughter Meng'er Zhang gets her own private Fight Club.

The plot goes in the traditional way: a bloke who has lived too long encounters a femme fatale (Fala Chen) and decides to become mortal. Things go well until they don't, and when they don't there's way too much CGI and pointless twirling from the big friendly dragon, much like the women in many of Terrence Malick's features. The mythos is more ridiculous than Highlander and so much less fun. Awkwafina has some moments driving a bus in San Francisco, reheating those classic SF street scenes. Things are sometimes a little entertaining but always entirely formulaic.

Maya Phillips: Simu Liu is totally squandered in the lead.