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I Saw the TV Glow (2024) Review | The Film Magazine

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I Saw the TV Glow (2024) Review | The Film Magazine

I Saw the TV Glow (2024)
Director: Jane Schoenbrun
Screenwriter: Jane Schoenbrun
Starring: Justice Smith, Brigette Lundy-Paine, Ian Foreman, Helena Howard, Lindsey Jordan, Danielle Deadwyler, Fred Durst

Do you like girls?
I don’t know.
Boys?
I- I- I think that, I like TV shows.

Psychological thriller, coming-of-age story, spacey sci-fi – all categories that general audiences will try to fit I Saw the TV Glow into. In truth, the film embodies elements of these genres while also defying them. Through what many will consider a convoluted plot line overflowing with time jumps and interdimensional travel, director Jane Schoenbrun forces audiences to question their own perception of reality. On the surface, I Saw the TV Glow boasts a distinctive visual and sonic aesthetic that shuts down any notion of “less is more” in contemporary independent filmmaking. The film plays with visuals that evoke the look of 90s tube televisions, alternating between this compressed, distorted aesthetic to symbolize the seepage of TV fiction into reality. Fans of ‘Twin Peaks’ will resonate with the film’s Lynchian style of world building, where environments, artifacts, and inanimate features transcend their roles to become essential characters. From the bright white glow of a 90s television set to a haunting depiction of a suburban ice cream truck engulfed in neon smoke, the film allows us to enter what can only be described as an alluringly nostalgic nightmare.

We first meet the film’s protagonist, Owen (Justice Smith), with their eyes glued to the TV – an awkward child who yearns for the seemingly unattainable utopias on the other side of the screen. It is through this screen that Owen first discovers ‘The Pink Opaque’, a popular children’s television show similar to ‘Goosebumps’ and ‘Buffy the Vampire Slayer‘. Due to their parents’ strict (and rather ridiculous) rules around bedtime, Owen finds themself unable to watch the show when it airs. By chance or fate, Owen discovers a sense of companionship through his new friend Maddie, whose tumultuous home life provides the freedom to explore everything ‘The Pink Opaque’ has to offer. As Owen and Maddie deal with the harsh realities of their lives, their perceptions of what is real and what is fantasy begin to fuse, setting the tone for the film’s jarring pacing and often leaving you to question whether or not to believe what is unfolding on screen.

One thing that is for certain, although seldom addressed outright, is the emergence of Owen’s transgender identity throughout their life. As with many queer youth, Owen finds solace in the fantasy that comes along with immersing oneself in fictional worlds, almost as if they feel more comfortable existing in an episode of ‘The Pink Opaque’ than in their own body. The bottling up of these feelings, to the point of mere combustion, drives the film to its rather heartbreaking yet equivocal ending.

To contextualize I Saw the TV Glow in contemporary filmmaking may prove a challenge, but it certainly lends itself as a natural follow-up to Schoenbrun’s directorial debut We’re All Going to the World’s Fair, an equally queer story that is similarly immersed in the digital world but doesn’t match the distinct identity and emotional resonance of its successor. The film’s horror elements walk a fine line, presenting an almost quirky mix of the childlike wonder reminiscent of the villains in Mighty Morphin Power Rangers: The Movie (1995), all the while maintaining an overarching atmosphere of dread and suspense comparable to queer horror cinema such as Stranger by the Lake and Climax. While it may not have a long run at the box office, the film is bound to carve out a special place in the hearts of the queer cinema community, particularly among the vibrant community of trans cinephiles and horror fanatics.

A story that favors metaphor and surrealism over narrative, I Saw the TV Glow is the type of movie that demands a rewatch. It is clear that Schoenbrun had no intention of ensuring their viewers felt satisfied when watching the credits roll, a sentiment that is present throughout the sporadically paced and often ambiguous script. Like rediscovering a beloved childhood show, rewatching I Saw the TV Glow invites the possibility of uncovering new insights and subtle nuances that enrich the viewing experience.

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Score: 20/24


























Rating: 4 out of 5.

Written by Jake Fittipaldi


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Instagram: @jakefittipaldi
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Movie Reviews

Movie review: “The Watchers”

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Movie review: “The Watchers”
“The Watchers” is a horror/thriller movie that is Isha Night Shyamalan’s directorial debut, released in 2024. It is based on the book The Watchers by A.M. Shine. There is a hint of fantastical elements throughout the movie and lore that would have made for a great overall story, but unfortunately,…
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Movie Reviews

Movie Review: ‘Summer Camp’ is an entertaining disappointment

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Movie Review: ‘Summer Camp’ is an entertaining disappointment

Nothing forges a friendship like treating an arrow wound. For Ginny, Mary and Nora, an ill-fated archery lesson and an injured classmate are just the beginning of the lifetime of trouble they’re about to start.

Ginny is a year above the other two, more experienced in both summer camp and girlhood, and takes it upon herself to somewhat forcefully guide her younger friends. Mary cowers in the bathroom away from her bunkmates, spouting medical facts, while Nora hangs back, out of place. When their camp counselor plucks them out of their cabin groups to place them in the new “Sassafras” cabin, they feel like they fit in somewhere for the first time.

50 years later, “Summer Camp” sees the three girls, now women, reunite for the anniversary reunion of the very same camp at which they met. Although they’ve been in touch on-and-off in the preceding decades, this will be the first time the women have seen each other in 15 years.

Between old camp crushes, childhood nemeses and the newer trials of adulthood, the three learn to understand each other, and themselves, in a way that has eluded them the entirety of their friendship.

I really wanted to like “Summer Camp.”

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The opening scene, a glimpse at the girls’ first year together at Camp Pinnacle, does a good job at establishing Ginny, Mary and Nora’s dynamic. It’s sweet, funny and feels true to the experience of many adolescent girls’ friendships.

On top of that, this movie’s star-studded cast and heartwarming concept endeared me to it the moment I saw the trailer. Unfortunately, an enticing trailer is about the most “Summer Camp” has to offer.

As soon as we meet our trio as adults, things start to fall apart. It really feels like the whole movie was made to be cut into a trailer — the music is generic, shots cut abruptly between poses, places and scenes, and at one point two of the three separate shots of each woman exiting Ginny’s tour bus are repeated.

The main character and sometimes narrator, Ginny Moon, is a self-help writer who uses “therapy speak” liberally and preaches a tough-love approach to self improvement. This sometimes works perfectly for the movie’s themes but is often used to thwop the viewer over the head with a mallet labeled “WHAT THE CHARACTERS ARE THINKING” rather than letting us figure it out for ourselves.

There are glimpses of a better script — like when Mary’s husband asks her whether she was actually having fun or just being bullied, presumably by Ginny. This added some depth to her relationship with him, implying he actually does listen to her sometimes, and acknowledged the nagging feeling I’d been getting in the back of my head: “Hey, isn’t Ginny kind of mean?”

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Despite all my annoyance with “Summer Camp,” there were a few things I really liked about it. I’m a lot younger than the main characters of this movie, but there were multiple points where I found myself thinking, “Hey, my aunt talks like that!” or, “Wow, he sounds just like my dad.”

The dynamic of the three main characters felt very true to life, I’ve known and been each of them at one point or another. It felt especially accurate to the relationships of girls and women, and seeing our protagonists reconcile at the end was, for me, genuinely heartwarming.

“Summer Camp” is not a movie I can recommend for quality, but if you’re looking for a lighthearted, somewhat silly romp to help you get into the summer spirit, this one will do just fine.

Other stories by Caroline

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Caroline Julstrom, intern, may be reached at 218-855-5851 or cjulstrom@brainerddispatch.com.

Caroline Julstrom finished her second year at the University of Minnesota in May 2024, and started working as a summer intern for the Brainerd Dispatch in June.

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The Garfield Movie

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The Garfield Movie

⭐️ ⭐️ ⭐️ ( out of 5)

He looks pretty good for being 45 years old and having a solid diet of the four basic food groups: lasagna, lasagna, lasagna, and lasagna. Garfield (Chris Pratt) has graced newspapers, cinemas, toy stores and has been a window ornament in cars worldwide. As one of the world’s most recognised cats, it is no wonder that he would get a new animated franchise to honour his four decades of lounging around in our lives.

This unlikely adventure takes audiences back to the origins of his life with Odie the beagle and their owner, Jon Arbuckle (Nicholas Hoult). As he does all he can to avoid Mondays and any form of exercise and finds new levels of leisure, the orange cat is suddenly confronted by his past as he is reintroduced to his long-lost father, Vic (Samuel L. Jackson). Their sudden family reunion is tainted by the unexpected need for his father to rectify a wrong with one of his former feline friends, the Persian cat – Vinx (Hannah Waddingham). The two cats and a friendly beagle must reacquaint themselves with one another as they work with Odie to fulfil the order from the criminal kitty who needs them to deliver a milk order that would rub any cat the wrong way. Along the way, they must befriend a wise bull named Otto (Ving Rhames) to stay ahead of dairy security officer Marge (Cecily Strong) as they hope to achieve their mission and get home to their life of lasagna and leisure.

When reviewing a film about a lazy, pasta-eating cat, one must manage expectations. To expect this to be groundbreaking cinema might be a bit of a stretch. Also, considering that there is little for families to enjoy in cinemas, The Garfield Movie might be the best snack food option for parents for the season. The tone goes from ridiculous to sentimental and back to farcical as if the source material is based on a classic cartoon, which, of course, it is. A consideration as you continue with this review and realise that the film will do exactly what it is meant to do, entertain families with the fun, ridiculous actions of the cat with little motivation to do much with his life except eat his favourite Italian food and spend time with his owner. Chris Pratt and the rest of the cast come along for the ride to complement this tale of friendship, family and food.

What should parents know about The Garfield Movie? Suppose your children loved the antics of the Super Mario Brothers or liked the humour delivered by the Minions. In that case, this film will provide laughs and a hankering for Italian food afterwards. Most of the laughs for parents will fly over the heads of the little ones and will provide something for the adults in the audience. There is little to object to outside the gluttonous tendencies of this legendary cat. The discussion opportunities after the film include the three Fs of family, friendship and forgiveness.

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