In the spirit of Welcome Week, Festifall and all things post-Labor-Day, The Michigan Daily Film section has written a collection of blurbs celebrating our favorite “Openings” to movies. Here’s to another year of learning, changing, trying, failing, crying, smiling, passing, movie-watching and (most importantly) a-best-picture-awarded-to-a-film-that-surpasses-the-low-bar-of-not-being-problematic-at-best-and-severly-discouraging-as-to-the-current-state-of-the-conversation-on-racial-equality-in-America-at-worst.
No matter the extent of your own cynicism regarding the future of representation in Western media, “Blinded by the Light” still registers as a product of this regime, so it fails to reinvigorate a genre, merely propping up a new story with the old tricks.
I’ve come of age in the days of Spotify and other digital streaming services. I don’t tend to look at the past in a way that lends itself to longing, so I quickly adapted to an increasingly intangible experience with music.
“Yesterday” does very little harm, but also little notable good, taking few risks, aside from building a movie around a world where the Beatles didn’t record their own songs. You’re probably better off queuing up Abbey Road and asking yourself what your life would be like without those songs, than seeing this film’s minimally inventive take on that question.
Never have I seen those imprecise feelings — the ill-ease that comes with revisiting our bygone work, the floating sensation you experience when a musician just moves you — so precisely captured on screen.
Flash some shocking graphics, prop up the images with recycled critiques, pepper it with opaque, self-indulgent tidbits and you’ve got yourself a work of art. What about the audience? What do we have to gain from that?