September Journals
All the films I watched in September & thoughts on Guts.
It’s very quickly warming up here in Sydney, and I’m scared to say the least. I’m not built for this. I just know my Scottish ancestors mock me every time I lather myself in SPF 50 to buy my morning coffee. Which reminds me, the other morning, my barista asked me if I had any fun plans for the day, like going to the beach. I was too shy to admit that buying the coffee he was making for me was, in fact, my fun plan for the day. My hot take is that the beach sucks. When Lorde sang in Green Light “She thinks you love the beach, you’re such a damn liar” — I really felt that. It’s the crowds. The feeling of seaweed on the bottom of the ocean. The travelling back on the train with wet hair and sandy feet. The sunburn and dehydration. The flashbacks from Bondi Rescue of people drowning in the ocean you’re dipping your toes into. It’s losing your wallet at Bondi Beach in 2012, and having to use all the coins at the bottom of your bag to buy your little sister a cheeseburger. Wait, I don’t think that was a universal experience. Anyway, some of us are accustomed to rotting in our bedrooms over the summer months. My fondest summer memory is over the Christmas break in 2005, when my Dad knocked on my bedroom door and said “Woah, it’s hot in here, Kayla. Come downstairs, I got you a milkshake from McDonalds.” Considering I grew up in the early 2000s, accepting I’m not a beach babe has not been easy. I so desperately wanted to be a Roxy and Billabong girl, but that just wasn’t on the cards for me. Lock me in my air conditioned apartment, with a milkshake, and give me a film or album to obsess over for the day. I’m good. All of that to say, I’m planning on giving the beach another chance this summer, and I’m sharing it here to hold myself accountable. As much as I hate it, I also kind of love it, and still have aspirations to be Kate Bosworth in Blue Crush (I’ve never seen Blue Crush). Without further ado, here are all the films I watched while you were probably at the beach, and my review of Guts by Olivia Rodrigo that nobody asked for.
Legally Blonde (2001): My favourite Coppola film is ‘Elle Woods’ Harvard Admissions Essay’ — it’s feminist, hot, and shows Elle (Reese Witherspoon) using legal jargon in everyday life! A movie for all the girlies who have been underestimated and bullied for being hot. Pray for us. No, but really, rising above people’s expectations is hard, and Elle is the feminist icon we all needed in 2001. To be honest, I still need her, and it was such a treat rewatching this classic. The film follows Elle Woods, a sorority girl who attends Harvard Law School in hopes of winning her ex-boyfriend back. Her motivation shifts throughout the film. It starts with wanting to get Warner back, to fighting Vivian (Selma Blair) for him, to then wanting to prove people wrong and realising her true potential. Legally Blonde walked so Barbie could run… except Legally Blonde is funner. It is the perfect balance of heart and comedy, and doesn’t take itself too seriously. If you’re ever feeling unmotivated or weighed down by other people’s opinions of you, watch the sequence after Elle says “I’ll show you how valuable Elle Woods can be!” with Watch Me Shine by Joanna Pacitti playing in the background. It will get you off your ass, over your pity party, and prepared to do whatever it takes to achieve your dreams. It will also make you want a vintage orange MacBook. Wait a minute… I thought whoever said orange was the new pink was seriously disturbed? Anyway, this film is the perfect reminder that other peoples expectations and opinions of you ultimately don’t matter. You get to decide what you’re capable of, and what is possible for your life. I think the heart of the film is captured when Emmet says “What if you’re trying to be something that you are?” when Elle is ready to give up on law school. If I’m ever on trial for murder, Elle Woods is the only lawyer I’d trust. This film also dismantles a lot of internalised misogyny relating to femininity and beauty, and celebrates women who are resourceful, resilient, and multifaceted. It also explores how a woman can still be strong and powerful, but also kind, bubbly and a girls girl. I mean duh, any Cosmo girl would’ve known! I’m so glad Elle realised how capable she was, and that Warner was a total bonehead. I don’t need Lexapro, just tell me again how Warner graduated without honours, without a girlfriend and without any job offers. Watch at your own risk of saying “I like your costume too, except when I dress up as a frigid bitch, I try not to look so constipated” to your nemesis this Halloween.
Serendipity (2001): This film was unrealistic, silly, chaotic, insane, but omg so cute! It’s about infidelity, but let’s call it serendipity because ew logistics! I actually loved this film, and will be watching it again the next time I need to escape reality for a bit. I aspire to trust the universe so much that I meet a young John Cusack and write my phone number on the front page of a book, sell it to a secondhand bookstore, and trust that we will meet again. Jokes aside, I love this shit, and I live my life in accordance to serendipity more than I care to admit. I feel sad for Halley (Bridget Moynahan) and Lars (John Corbett) because they were both victims of the Carrie and Big affair in season 3 of Sex and the City, and now this shit. They can’t catch a break! Who really cares though, because this film has everything we need — it’s got Christmas, snow, New York City, Kate Beckinsale’s pretty face. It got me thinking about how behind every successful couple is one grounded and practical person, partnered with a dreamer who equates every life event to fate and destiny. I think I’m the latter, because I still low-key believe Santa exists, and think him not being real is just a lie they tell adults to break our spirits. Thankfully I have Tim and his grounded perspective to balance me out, and I encourage him to believe in a little magic once in a while. Watch at your own risk of attempting to interrupt a wedding for a guy you ate an ice cream sundae with four years ago.
Mother (1996): A hilarious and clever film, which explores the complexity of mother-son relationships, and how they affect one into adulthood. It’s not a film you want to be relatable, but I don’t doubt it is relatable for many. I related to the film because I know the dread of visiting home as a vegan. The heightened stress of returning home, only amplified by hunger and exhaustion. The humour in this film is in its subtlety. The weird food in the fridge, the family shame, the secrets, the fancy jam. Albert Brooks (John) doesn’t hold your hand throughout the film, we are merely observers, and are allowed to have empathy for all characters. I liked how on his quest to understand why his mother (Debbie Reynolds) resented him, he uncovers why he never should have personalised her behaviour. He doesn’t need details or further explanation, he is unburdened and free (“For the first time, I don't see you as my mother. I see you as a failure, and it's wonderful!"). I also loved the exploration of the seemingly well-adjusted brother (Rob Marrow). He had always received the unconditional love and validation he needed from his mother, therefore couldn’t understand why John was so unsettled and depressed. Then, as the mother shifts her focus to John, he is triggered and starts acting out. I thought it was interesting because no one is above needing their mother’s approval. I loved how as the film progressed, we see the mother’s character develop, and we learn she is far more self-aware and charming than John ever gave her credit for. I actually shed a tear at the end when we saw her writing again. Watch at your own risk of saying “It’s fancy jam time!” next time you’re grocery shopping.
Maggie’s Plan (2015): It is clear this film was written by a woman, for women. No one in this movie is living on planet earth, except Tony (Bill Hader). The plot isn’t very realistic, but there was enough heart, and chemistry amongst the actors, to keep you invested. My favourite scene in the whole film is when Maggie (Greta Gerwig) and John (Ethan Hawke) are in bed together. She’s holding a NPR coffee mug, and he is reading an edition of The Paris Review. Maggie asks if John wants her to read him his horoscope, and he unemotionally responds with a simple no. The camera cuts to Maggie, whose face screams feelings of abandonment, fury, hatred. It was then, and only then, that Maggie decided she needed to give her husband back to his ex-wife. John is self-absorbed and clueless, but he looks great in a cozy sweater, and says things like “I don’t want you to have a baby with the pickle man” which is the new “Our love is like the wind, I can’t see it, but I can feel it”.
Greta is adorable, and was a great example of how women rise to the challenge of parenting, whereas a lot of men think babysitting their own children is something they should be applauded for. Julianne Moore’s accent in this was a…choice. It is probably the worst accent I’ve heard since her Boston accent in 30 Rock. I think her accent is exaggerated for comic effect, right? Right!? The opening shot of Greta’s back, drawing you to focus on her autumn coat and blonde ponytail, was reminiscent of Taylor Swift’s Evermore album cover. I put it down to a coincidence, but when John calls Maggie a mastermind, shedding light on her scheming and controlling ways, I knew that Taylor had seen this film during quarantine with Joe Alwyn, and voila, Mastermind was written. Watch at your own risk of letting a man fall to his knees to tell you he loves you, and make you forget all about the pickle man.
Stand By Me (1986): This film really made me feel something. It was magical. I felt sadness, nostalgia, comfort. The film is the purest celebration of boyhood, youthful curiosity and friendship. It also shed light on the parenting styles of the 1950s era, and how children from that time weren’t often protected and nurtured in the ways that they needed. I wanted to protect all of these kids. I wanted so much for all of them. I couldn’t help but see glimpses of old classmates in all of them. The friendship between Gordie (Will Wheaton) and Chris (River Phoenix) was my favourite thing about the film. They helped each other realise their own true potential, and were each other’s comfort and support system when the adults in their lives failed them. It got me thinking about how are all in a hurry to grow up, but when we do, we see how the seemingly ordinary people and moments of our childhood, were actually the most formative and important. I loved the end scene where the adult Gordie is seen playing with his kid and his kid’s friend, showing that he broke the cycle, and was a better father than his own. Watch at your own risk of wanting to sit by a campfire and tell weird stories.
Booksmart (2019): Coming of age movies usually make me sad because I tend to feel like I missed out on the high school experience, which I have come to learn is in fact, the high school experience. I think at times I purposely excluded myself because I thought I was above it all, which is why I loved the premise for this film. After spending all of their high school experience studying and avoiding parties, Amy (Kaitlyn Dever) and Molly (Beanie Feldstein) decide to attend a graduation party and cram four years of fun into one night. I had avoided watching this film for so long because I assumed I was too good for it as well. Well, considered me humbled, because I genuinely loved it. There was great chemistry amongst all of the actors, and the dialogue was clever and made me laugh out loud. They managed to have an inclusive cast and story, without that being the driving force behind the film. All of the characters had depth, and felt like real people. The theatre kids were the stars of the show, because, well, we always are! It was beautifully shot, and Olivia Wilde did a great job directing it. An instant classic. Does this mean I need to watch Don’t Worry Darling? Watch at your own risk of saying “Barthelona” after your 7 day Contiki Tour.
Enough Said (2013) + You Hurt My Feelings (2023):
I’m too lazy to write any more reviews, but I watched two amazing films starring Julia Louis-Dreyfus this month, and both were written by Nicole Holofcener. Both films are centred around people in midlife, and explore themes such as dating after divorce, and struggling with finding purpose in your second act. You Hurt My Feelings is about the little hurts than consume our daily lives, and while they’re insignificant in the scheme of things, they’re still valid. If I heard my husband talking shit about my book? Divorce babe, divorce. No, but really, the whole plot is so simple, but it touches on something so real. The lies we tell those we love, because we love them. Enough Said is hilarious, and so clever and meaningful. Tim and I laughed out loud while watching this. There were so many Seinfeld moments. Eva (Julia Louis-Dreyfus) is a masseuse and she meets a new client named Marianne (Catherine Keener) at a party, and they form a friendship over Marianne talking shit about her ex-husband. Things get complicated when Eva realises Marianne’s ex-husband is her current boyfriend. You can sense what is about to happen for the most part, but it’s so fun and authentic that you still want to watch it unfold.
Guts — Olivia Rodrigo (2023)
I was scrolling through Reels the other day, and I saw a video of Olivia Rodrigo sharing that the music video for I’m with You by Avril Lavigne, was playing on a TV, while her mother gave birth to her in hospital in 2003. My initial reaction was that I felt like the old lady in the Titanic, and I wanted to throw all my old neckties into the ocean. Are you telling me that when I was writing fan letters to Avril pleading to be her friend, and wearing baggy khaki pants, Olivia Rodrigo wasn’t even born yet? And now she’s the Olivia Rodrigo? My second thought was that it is almost as though Avril was passing the baton to Olivia, while she sang I’m with You over Olivia’s baby cries in that hospital room.
After the success of Sour, Olivia’s sophomore album Guts has solidified her status as a teen idol, and is an indication that she’ll have a long career in music. Olivia is the epitome of the teenage dream, which makes it funny to me that she sang “Where’s my fucking teenage dream?” in brutal from her debut album Sour — girl, you’re rich, famous, beautiful and talented! What are you worried you’re missing out on? Normalcy, chores, joining the debate team in year 7 and unknowingly agreeing to 6 years of social exclusion!? Let me tell you, Liv, being the average teenage girl is overrated. In teenage dream on Guts, Olivia acknowledges that she is, in fact, the teenage dream, but upon turning 20, is scared to step into adulthood, and worries that she may not be able to recapture the success she had in her teens (“I’m sorry I couldn’t always be your teenage dream”). Olivia captures teen angst so well — lyrics like “I want to meet his mom, to tell her her son sucks” (get him back!) partnered with grungy production, perfect for the opening track to a 90s coming of age movie.
Olivia was an actress first, and she plays the role of the unpolished teen idol well, with enough authenticity that allows her connect with her audience. Olivia is one of them, and they’re growing up and making mistakes together. I’ve always had a hard time believing she’s truly punk, given that she was in the High School Musical reboot, but as a fellow recovering theatre kid, I’m all for a rebrand. Olivia is still finding her own voice as a songwriter, given how much she leans into her influences on each song, but that doesn’t take away from her own talent and artistry. Sour had nods to Elvis Costello (brutal), Paramore (good 4 u) and Taylor Swift (deja vu, 1 step forward, 3 steps back). Guts has obvious influences, but it is done so well that you don’t even care. bad idea right? could easily be a Wet Leg song. pretty isn’t pretty sounds like an Alvvays song, and has a similar melody to Ghost by Katy Perry. all-american bitch feels lyrically similar to Bubblegum Bitch by Marina and the Diamonds, and sonically reminiscent of Calypso by Spiderbait. It also references Pretty When You Cry by Lana Del Rey.
I personally don’t see the problem with being noticeably influenced by other artists. You can’t copyright a chord progression, or a cadence, and even Elvis Costello has said "It's how rock & roll works. You take the broken pieces of another thrill and make a brand new toy”. It is rumoured that the grudge is about her feud with Taylor Swift. I think Taylor demanding writing credits on Olivia’s songs somewhat discredits Olivia’s own originality and artistry, and it must be disheartening to have legal issues with an artist you grew up idolising. The most obvious lyrics addressing the feud to me are “You built me up to watch me fall, you have everything, and you still want more”. Taylor was very supportive of Olivia early in her career, when driver’s licence came out, and even gifted Olivia a ring similar to the one she wore while she wrote Red. Olivia seems tortured and confused that this person (ahem, Taylor) could turn on her. The repetition of “I’ve tried, I’ve tried, I’ve tried” in the grudge also reminds me of mirrorball by Taylor (“I’ve never been a natural, all I do is try, try, try”). Obviously Taylor and I go waaay back, and I respect Taylor is very passionate about artists owning their work, and being credited for their contributions.
Anyway, I really love this album, and have had it on constant rotation since it came out. I can look beyond any feuds because I survived the Bad Blood fiasco with Taylor Swift and Katy Perry back in 2015, despite loving them both, so I can survive anything! I can’t wait to scream-sing all these songs when Olivia (hopefully) comes to Sydney on tour.
The cheeseburger 😭