Andrew (![[info]](http://l-stat.livejournal.com/img/userinfo.gif){kind=small} veck) wrote,@ 2008-02-17 15:46:00 |
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Alcohol is not a crutch
Life has been pretty sweet these past few weeks.
Last weekend Laura and I went down to Sunderland/Newcastle to visit Kirsty and Jim and had four days of drunken hilarity. I think Friday night was the only time we weren’t out and I remember very little of the rest due to extreme white wine consumption. The various photos (my set is here) suggest it was awesome, and I’ve learnt that saved text messages are the best way to fill in any blanks caused by alcohol abuse. Again, the 21st Century saves the day by doing all the things my brain is incapable of. We are living in a golden era, I feel.
We came back on Sunday night, greeted by some pretty sinister Scotch mist, and I chilled out for most of Monday, paying a visit to Chris’s where we watched OFFICE SPACE and ate pizza. Tuesday brought Rev at the QMU and yet another night of drinking myself stupid. I vaguely remember taking a leak on the Psychology department when walking home and being very proud of myself. Needless to say, I’ve been taking it easy since – don’t think I’ve been this consistently hardcore since first year. It’s probably time to, y’know, concentrate on my final year university.
This past Friday I went to see MARGOT AT THE WEDDING (Noah Baumbach’s follow up to THE SQUID AND THE WHALE) as apart of the Glasgow Film Festival. It was genuinely as excellent as SatW but for a lot of different reasons. Nicole Kidman’s character Margot was obviously the focus of attention, whereas SatW dedicated more time to its ensemble cast, and most of the awkward realism that Baumbach is known for came from her complicated personality and interpersonal relationships. Kidman’s performance of Margot was completely fantastic, nailing the messy, loaded encounters she has with the various people in her life. The scenes between she and her son are particularly moving, ranging from extremely affectionate and charming to brutally critical and insecure. The other characters were certainly well written and likeable, but they lacked the emotional spectrum of Margot. I didn’t feel as much affection for it as I did with SatW, because it didn’t hit so close to home (the broken variety), but it was as witty and character-rich. Definitely worth a punt if you like your complex, bitterly humourous indie films.
Life has been pretty sweet these past few weeks.
Last weekend Laura and I went down to Sunderland/Newcastle to visit Kirsty and Jim and had four days of drunken hilarity. I think Friday night was the only time we weren’t out and I remember very little of the rest due to extreme white wine consumption. The various photos (my set is here) suggest it was awesome, and I’ve learnt that saved text messages are the best way to fill in any blanks caused by alcohol abuse. Again, the 21st Century saves the day by doing all the things my brain is incapable of. We are living in a golden era, I feel.
We came back on Sunday night, greeted by some pretty sinister Scotch mist, and I chilled out for most of Monday, paying a visit to Chris’s where we watched OFFICE SPACE and ate pizza. Tuesday brought Rev at the QMU and yet another night of drinking myself stupid. I vaguely remember taking a leak on the Psychology department when walking home and being very proud of myself. Needless to say, I’ve been taking it easy since – don’t think I’ve been this consistently hardcore since first year. It’s probably time to, y’know, concentrate on my final year university.
This past Friday I went to see MARGOT AT THE WEDDING (Noah Baumbach’s follow up to THE SQUID AND THE WHALE) as apart of the Glasgow Film Festival. It was genuinely as excellent as SatW but for a lot of different reasons. Nicole Kidman’s character Margot was obviously the focus of attention, whereas SatW dedicated more time to its ensemble cast, and most of the awkward realism that Baumbach is known for came from her complicated personality and interpersonal relationships. Kidman’s performance of Margot was completely fantastic, nailing the messy, loaded encounters she has with the various people in her life. The scenes between she and her son are particularly moving, ranging from extremely affectionate and charming to brutally critical and insecure. The other characters were certainly well written and likeable, but they lacked the emotional spectrum of Margot. I didn’t feel as much affection for it as I did with SatW, because it didn’t hit so close to home (the broken variety), but it was as witty and character-rich. Definitely worth a punt if you like your complex, bitterly humourous indie films.
