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Happy Feet (2006)
Happy Feet (2006)
2006 | Animation, Comedy, Family
Gets a pass exclusively on how weird it is - seriously, this thing is bananas. In fact, it's theoretically amazing: a cutesy dancing penguin movie gradually morphs into a surreal trek through racism, religion, existentialism, and environmentalism where Robin Williams has a thick Mexican accent and I'm still not sure how I feel about them giving the lady penguins those pseudo-titty mounds. For all intents and purposes this should be something I sing the praises of as a great, underappreciated freakish gem... but its oddness is all it has, since there's approximately zero emotional thrust to anything else here. Elijah Wood is totally nondescript as Mumble and I don't really care about any of the other characters either; not to mention it has no sense of pacing so the last act comes and goes in an anticlimactic flash. Miller's signature visual kinetic energy is cool as hell at least, but then the story is also utterly naïve - I'm pretty sure a viral video of a bunch of penguins dancing isn't going to stop humans from pillaging their ecosystem. And at this point I know I'm looking too deeply into this shit but in this happy penguin world where singing makes them who they are and keeps them alive or whatever that was all about, is it so hard to fathom that these things should be way less bigoted towards dancing? Like you're all out here jamming to Fat Joe but then tap dancing is where you draw the line? Okay I'm done now, still a nice movie for what is essentially the more eccentric 𝘚𝘪𝘯𝘨 (2016) with not-as-good animation (but better cinematography).
  
Starfish on the Beach by Terry Jacks
Starfish on the Beach by Terry Jacks
2015 | Pop
4.0 (1 Ratings)
Album Favorite

"Continuing the otherworldly theme, as we’re looking chronologically at our lives and youth, this is the next song that hit me as a young person, at the age of seven or eight. The reason it hit me so hard, so young, was because it was one of the first songs that I understood was about death. “I grew up in the Catskill Mountains and Grasshopper grew up in Lake Erie, so we were well away from New York, punk rock or anything that was happening in the ‘70s, we were out in the hinterland. All that I could listen to was AM radio and ‘Seasons in the Sun’ was a massive hit, but lyrically its dealing with death, ‘Goodbye to you my trusted friend.’ He’s dying and I’m a young kid thinking ‘Why’s this guy dying on the radio? What’s he dying from?’ It was so much more than the syrupy, ‘I’ve got love in my tummy’ stuff that had come out of the ‘60s. “And this mystery, I was old enough to know what dying meant, but too young to understand that you could sing about it. Yet here was Terry Jacks singing this very sad, almost suicidal song and it hit me like a ton of bricks. now I started not only having to process music that I was deeply in love with, but also processing lyrics at seven or eight. The idea of the mystery within the song, that there were not only unanswered questions, but the biggest question, death. That’s what rang my bell, it was existentialism in a three-and-a-half-minute pop song. “I didn’t have all the tools to process it artistically at my young age but I knew it was deep, it was important and it was really, really sad. It was almost like a traumatic moment in early childhood that you didn’t experience directly, but indirectly it shook your bones, like the death of a relative you’ve barely met. You can tell everyone around you is ringing like a brass bell from it and that was something I got from that song."

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