Glass is a misfire, and it’s the kind of depressing misfire that hurts even more given what it could have been.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
A review of Miles Joris-Peyrafitte's "As You Are."
View image Those plucky, sympathetic teens of yesteryear.
You know what? "Sex and the City" was for girls! Yes, it's true. First it was for (and about) gay boys, but eventually it revolved around a certain brand of perfume-insert, fashion-magazine womankind: rich, white, co-dependent, status-obsessed, desperate for a man to complete her.
Know what else? Judd Apatow makes movies about guys -- and heterosexual relationships with women, but mainly about what used to be known as "male bonding." (The fashionable term now is "bro-mance," which is cuter and invoked largely by what used to be called "metrosexuals.") The Apatow guy tends to be underemployed, white, Jewish (or Canadian), slobby, geeky, smelly, childish (not just "childlike") and more or less happy, unaware that he's desperate for a woman to complete him. Then, once he becomes aware, he's not entirely sure that's possible, or desirable.
This, I submit, is a minor breakthrough in romantic comedy. OK, perhaps I am single and bitter, but I'm also right.
In the New York Sun (also known as "the conservative New York Sun"), Steve Dollar mentions that Catherine Keener's character in "The 40-Year-Old Virgin" "pretty much takes the blame for making the poor guy sell all his collectible model toys (but whose side is Apatow on?), and spends much of her screen time mothering her infantile boyfriend."
Is that what happens? Even if so, whose side is Mr. Dollar on? (And who said it was necessary to divine and choose "sides"?)