One movie that came out on May 6, 2005 was Ridley Scott’s crusades epic KINGDOM OF HEAVEN. It was poorly received in the U.S. at the time but later had a widely-considered-superior director’s cut, which I have reviewed. Today I’ll consider a different May 6th release that has not yet had its director’s cut re-evaluation moment.
I don’t remember if I knew about JIMINY GLICK IN LALAWOOD when it came out in its limited release, during which according to Box Office Mojo it collected $36,039. (I assume they rounded to the nearest dollar – the real total could be as much as 49 cents higher.) But there was no chance I would’ve gone to see it then. I confess that as much as I’d loved THREE AMIGOS and Ed Grimley growing up, in the aughts I did not think Martin Short was funny anymore. I was also instantly turned off by fat suits (which I wasn’t really wrong about), so I turned my nose up to Primetime Glick, the Comedy Central show where this hack entertainment journalist character did sort of Space Ghost Coast to Coast style awkward improvised celebrity interviews.
But let me point you to a historical note. Two weeks before JIMINY GLICK IN LALAWOOD came out, the first ever Youtube video, Me at the zoo, was uploaded. During the intervening two decades, through the medium of Youtube clips, I have become aware that Jiminy Glick does in fact make me laugh, so I was actually excited to watch the movie version.
Well, the character is still funny. And it seems like a great idea for an improvised movie: he goes to the Toronto International Film Festival. They were able to improvise scenes with actors attending the actual festival, and debut the movie there the following year. There is a plot and new characters and what not, but most of the laughs come just from Jiminy saying ridiculous things to real celebrities. They take advantage of the setting to interview actors on the red carpet (Kiefer Sutherland, Sharon Stone, Jake Gyllenhaal, Forest Whitaker, Susan Sarandon) and even film some bits with Jiminy at parties (annoying Kevin Cline by following him around, thinking Whoopi Goldberg is Oprah Winfrey). They also cheat by having in-studio interviews like the show, including Steve Martin, Kurt Russell and Rob Lowe. All of these people get the joke, but some are better at playing along. (read the rest of this shit…)
Summer is headed our way, there’s actually a slate of incoming would-be blockbusters I’m excited for this year, and this is also the season when I like to look back thoughtfully and/or nostalgically at memorable summers of the past. As with so many things I get in the habit of doing annually, I’ve painted myself into a corner – I’ve already written about so many movies and so many specific years that it becomes harder to find fresh ground. But on the positive side I’ve been reviewing movies for so god damn long that I can look back at a summer from during my career and realize that enough time has passed that I really could look at most of those movies with new eyes.
Would you believe Robert Rodriguez & Frank Miller’s SIN CITY had its twentieth anniversary last month? I mean yes it kinda seems like a long time ago, but 20 years ago? That’s a bunch of years. I’m against it.
LAST BULLET is the third movie in the 
Some are saying that THUNDERBOLTS* is a return to form for the troubled MCU (Marvel Comics UnendingMoviesandTVshows). That might be overstating things. I wouldn’t say it feels as exciting as the best Marvel movies have, it is not a drastically new twist on the series, it only really introduces one major new character to share the screen with a bunch of old ones, it’s clearly following a 
I knew the name Denys Arcand as a famous Canadian director. I remember the title JESUS OF MONTREAL as a movie that was advertised when I was a teenager, and later THE BARBARIAN INVASIONS won the Oscar for Best Foreign Language Film. I have not seen or really paid attention to these, but I did perk up a little when some of his early films were released on blu-ray by Canadian International Pictures, a Vinegar-Syndrome-affiliated label “devoted to resurrecting vital, distinctive, and overlooked triumphs of Canadian and Québécois cinema.” And I remembered that when Miguel Hombre recommended them (and Arcand in general) in a discussion of Canadian cinema in the comments to my 
COMPANION, which played in theaters a couple months ago and is now on disc and streaming, features certain genre elements that are strategically withheld for a while. For almost a third of its 97 minutes we can tell there’s something we’re missing about the main character because of some of the weird things people say to her, so we’re very intrigued. I don’t include myself in “we” though because I knew the premise of the movie, controversially (but understandably, I think) included in the second trailer and other promotions. There is good reason to go in blind, but I can confirm that the movie is still fun without being surprised by that part. And I’m not gonna write a review on eggshells, so I’m gonna get into it a couple paragraphs from now.
I’ve enjoyed David Cronenberg’s movies for most of my life, and he’s been highly respected for as long as I can remember, especially in horror circles, but also elsewhere. I was still a kid when 
THE LEGEND OF OCHI is a beautiful and imaginative PG-rated fantasy from A24. Since the number of friends I recommended it to this week that had never heard of it is higher than the number of people at the Saturday matinee I went to, I’m thinking there are limits to that company’s marketing powers. But future adults who remember seeing it in a theater will know they had cool parents. This one is special.
