{"id":18698,"date":"2023-10-12T10:17:50","date_gmt":"2023-10-12T09:17:50","guid":{"rendered":"http:\/\/gamefootballmobileanimeiphone.com\/?guid=35cd764a6be931a1a6e3d1cd21b674d2"},"modified":"2023-10-12T10:17:50","modified_gmt":"2023-10-12T09:17:50","slug":"chasing-chasing-amy-first-look-review","status":"publish","type":"post","link":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/2023\/10\/12\/chasing-chasing-amy-first-look-review\/","title":{"rendered":"Chasing Chasing Amy \u2013 first-look review"},"content":{"rendered":"
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I<\/span>t\u2019s a truth universally acknowledged that the least gay sport is ice hockey and the least gay ‘gay’ movie is Kevin Smith’s loved and hated 1997 indie rom-com Chasing Amy. Take this pivotal scene: in an ice hockey stadium parking lot, a man with a goatee, sporting a plaid-shirt-over-white-tee combo is slut-shaming a woman with a pinned-up blow-dry and a leather jacket. Today, this couple seem to have no erotic chemistry or date-appropriate clothing. But this was the 90s \u2013 when representations of \u2018youth\u2019 were dominated by the super-clean fantasies of Friends and Sex And The City.<\/p>\n

During this lovers\u2019 row, cis-het Holden (Ben Affleck) harangues queer Amy (Joey Lauren Adams) over her past threesomes with men and women until she cries out that she was \u201can experimental girl\u201d until he \u201csated\u201d her. This is one of many lines marking Chasing Amy as written by a cis-het man with a saviour-dick complex. Watching it, you wonder what Smith (who also made the 1994 cult film Clerks), a trailblazer of mumblecore, stoner comedy, could have been thinking. In a new documentary superfan Sav Rodgers \u2013 a trans male filmmaker \u2013 tries to find out. Or rather, he tries to try. As Sav examines the original movie\u2019s controversial power over his life, Chasing Chasing Amy emerges as a baggy, amiable yet frustrating film, with a sting in its limp tail.<\/p>\n

The form of Chasing Chasing Amy \u2013 memoir meets fan film meets cultural history \u2013 is promisingly novel, but suffers from too much artless truth on the one hand (Sav\u2019s love story with girlfriend Riley) and Kevin Smith\u2019s disingenuous \u2018I\u2019m just a bro\u2019 act on the other. The problem lies partly in its premise, for Sav was saved by watching Chasing Amy, back when he was a suicidal teenage girl, and partly it lies in the decision by Sav, a bright, gentle person \u2013 but not a scintillating character per se \u2013 to put his own life on film. The talking head interviewees can\u2019t pull apart Chasing Amy without seeming to give Sav a kicking. This is a film that suffers from too much sensitivity and no attack \u2013 until it explodes from an unexpected quarter.<\/p>\n

Everyone in the film appears gagged by anxiety around LGBTQ representation, except Sav\u2019s hero, Smith. One claim Smith makes is that he wanted to \u201cwhip in some gay content for my [gay] brother\u201d – casually betraying his sense of entitlement. The mouthy, chaotic charm of Chasing Amy places it alongside Spike Lee\u2019s Do The Right Thing and the lesbian Go Fish \u2013 films famed for voicing alternatives to dominant white and straight culture. But scenes like the one where Holden and Amy compare dick versus tongue penetration, and Amy demonstrates a bizarre, spread-fingered form of fisting, are written from a profoundly hetero imagination. Sav, however, is far too awed to query Smith\u2019s prurient ham-fisting of the queer experience. Nor does he offer nuanced, detailed insight into why Amy\u2019s fluid sexuality offered him a framework for his identity.<\/p>\n

The only eloquent and critical voice, here, is Go Fish writer Guinevere Turner, whose \u201cemotional romance\u201d with Kevin Smith\u2019s creative partner, Scott Mosier, inspired Chasing Amy. Turner is a gem and a highlight is listening to her talk about the beginnings of lesbian indie movie-making, but Turner\u2019s closeness to Mosier and Smith appears to have dampened her \u201cdecades of dyke rage\u201d against the film. However, all is not lost, for, finally, in true indie spirit, the very hesitancy of Sav\u2019s interview technique allows an ugly truth to emerge.<\/p>\n

Subtext has a funny way of insinuating itself into a gap. Much of the film\u2019s unintentional entertainment comes from watching Smith\u2019s friends stepping around the turd of Smith\u2019s icky immaturities. But it\u2019s with the arrival of \u2018Amy\u2019 \u2013 Joey Lauren Adams \u2013 that we slide beneath Smith\u2019s baseball cap-wearing, puppy-eyed mea culpa schtick.<\/p>\n

Once Adams is seated beside Smith, tilted away from him, her mistrustful body language tells a different story to the one she once spouted for the original movie\u2019s publicity about him loving women. Without spoiling anything, it\u2019s sufficient to say that \u2018Amy\u2019 herself exposes the sickness of the straight white male \u2018chase\u2019. Hers is the flaming torch that any non-cis-het person might be expected to take up. Instead, Sav switches focus to Harvey Weinstein, who selected Chasing Amy as a Miramax film. Weinstein becomes a convenient monstrous shadow, dwarfing revelations about Smith\u2019s behaviour. He is the b\u00eate noir that allows Rodgers\u2019 film to end in a vaguely victim-y, vaguely hopeful space.<\/p>\n

By making this film about his identity, Sav Rodgers is obliged to dish the truth. There\u2019s no one definitive queer person or queer movie, but an LGBTQ perspective can include humour, irony, empathy and rage against hypocrisy, heteronormative or otherwise. It\u2019s hard to take down your heroes, but it\u2019s disappointing that Rodgers never once raises his fist.<\/p>\n<\/div>\n<\/div>\n

The post Chasing Chasing Amy \u2013 first-look review<\/a> appeared first on Little White Lies<\/a>.<\/p>\n\n

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Sav Rodgers weaves personal and pop culture history together as he unpacks the legacy of Kevin Smith’s 1997 romantic comedy.<\/p>\n

The post Chasing Chasing Amy \u2013 first-look review<\/a> appeared first on Little White 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