REEL WORLD

Small-screen signposts

More streaming and dreaming with CN&R film critic

t almost goes without saying that ways top “10” list—not as a list of I moviegoing in this highly fraught recommendations but rather as a set year continues to be mostly a mat- of signposts along the improvised ter of “streaming in place.” Be that pathways of my own viewing in as it may, per- 2020: haps a little more Cat Videos: I’ve been hooked on by could be said, and ‘em for a long time, but I only see Juan-Carlos maybe should be the ones that my sister in Seattle Selznick said, about some sends me. There’s so much comic of the rewards and inventiveness in so much of what benefits, large and she sends me that I’ve begun to small, emerging from the altered think of the videos as tiny film circumstances of contemporary comedies, a thriving movie genre film experience. in its own right. I miss watching movies on a big Ready for some football, Mr. screen in a theater with an audience DeMille? I watch a lot of NFL Rhys) makes almost no real Aimee Semple McPherson (Sister Tatiana Maslany as Sister Alice McKeegannearly in HBO’s . as much as anybody, but I’ve also games, especially the 49ers and sense as a character study, but as Alice McKeegannearly, played by been enjoying the increased access other West Coast teams. I especial- a somewhat gruesome tabloid- Tatiana Maslany) steals the picture to the front rows of the audience, to cinematic benefits provided by ly enjoy the rich visual spectacle style period piece (Los Angeles from Mason. Absurd, but also very and what follows is not only the video for many years now. Those of games played on turf in autumn between the first and second hard to resist. story the songs tell, but also the benefits have been both expanded sunshine, and more often than not World Wars), it’s often fascinat- We just jammin’ here! There’s story of the band’s performance and magnified in this year of I put the nattering of broadcasters ing. Mason’s loyal secretary Della an 11-minute YouTube segment (including a guest cameo from lockdowns and confinements. For on mute. And in recent times, the Street (Juliet Rylance) is here a from the film of a 1984 George Elvin Bishop) complete with run- me that has meant, among other multifaceted camerawork and on- feminist/crimefighter; investiga- Thorogood concert in New Jersey. ning commentary from Thorogood things, more freedom and variety the-fly editing often give the live tor Paul Drake (Chris Chalk) It has Thorogood doing his signa- and explicit nods to the musical in the viewing choices I make, as broadcast a near-cinematic dimen- turns up as a black cop who’s too ture cover of John Lee Hooker’s history that walks alongside this well as the increased urgency and sion. honest for the era’s LAPD; gusts paired talkin’ blues, with “House blues genre. It’s a straight-up music heightened sensitivity in the actual Perry Mason, re-imagined? of corrupt atmosphere blow in Rent Blues” sliding into “One video, but filmed and edited with viewing. HBO’s prequel/revisionist tale from Chinatown and other clas- Bourbon, One Scotch, One Beer.” such intelligence and wit that it One way of showing what I of the early career of fictional sic hits; a lurid version of the The opening lyric, “I’m gonna tell also comes to life as a festive short mean might take the form of a side- legend (played here by Matthew real-life, glamorous evangelist you a story,” is directly addressed story in movie form. Ω

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NOVEMBER 12, 2020 CN&R 25