Why Do I Like the Chicago Bears this Week?
I always like the Chicago Bears.
But let’s be honest: it’s quite difficult to like the Bears in this spot. The Bucs are inevitably going to score a bunch of points and the way to beat them is to score more. Does anybody believe a Matt Nagy offense can win a shootout, even with a rookie quarterback who looks like he’d thrive in that situation?
The Bucs are scoring 32.5 points per game. A great Bears defensive effort should be able to keep them in the 24-8 range. So the Bears will need 30. Do they have it? Doubtful.
HughesReviews: The Velvet Underground
I’ve always thought the great documentaries fall into two categories. The content docs captivate you with information. Alex Gibney is the master of this form (Enron, Client 9, Going Clear, etc.), but the binge-worthy, true crime doc drug – of which I must admit an addiction – has elevated the medium from high art, coffee shop conversation to pop culture phenomena. (Tiger King felt like the most talked about documentary in the history of the country.)
The form docs are a trickier enterprise. Whether it’s Errol Morris’ interrotron locking into the eyes of Robert McNamara or DA Pennebaker’s fly-on-the-wall witnessing Elaine Stritch’s cast recording breakdown or Barbara Kopple’s penetrating look at the coal miners of Harlan County, the form docs seem to change the way we look at the world by changing the way that world is framed for us, the viewer. (Great recent examples are 2019’s American Factory and Minding the Gap.)
The great music docs almost exclusively fall into this latter group. Sure, The Sparks Brothers was an intriguing look at an intriguing band, and History of The Eagles was endlessly entertaining, but ultimately those films are limited by how much the viewer actually cares about the work the band produced. (In both the aforementioned cases, my level is somewhere near zero.) The great music docs – The Last Waltz, The Devil and Daniel Johnston, Stop Making Sense – captivate you with the originality of their storytelling.
What is so stunning about Todd Haynes’ The Velvet Underground is how intimate the experience feels. (It definitely helps that I saw it in a theater and not on my couch, with the ability to pause and take piss breaks.) The filmmaker’s decision to rest the faces of his subjects on screen for extended periods of time had a near-hypnotic effect. You find yourself studying Lou Reed and John Cale as younger men. You find yourself searching their faces for clues to a puzzle that’s never been solved. And all the while they are mapping out their journeys to the band. It’s thrilling.
I’ll write more about this film in the year-end piece. But I want to use this space to encourage you to see the film. (It is on Apple+ if you can’t find it in a theater near you.) Whether you like the band or not – and I do not – it’s one of the more remarkable documentaries every produced.
