A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

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Monday, August 3, 2026

Buzzard (Joel Potrykus, 2014)

Joshua Burge in Buzzard

Cast: Joshua Burge, Joel Potrykus, Teri Ann Nelson, Jason Roth, Joe Anderson, Alan Longstreet. Screenplay: Joel Potrykus. Cinematography: Adam J. Minnick. Film editing: Joel Potrykus. 

Marty Jackitansky (Joshua Burge), the hangdog protagonist of Joel Potrykus's Buzzard, is the consummate slacker, a temp worker fueled by junk food, energized by video games and horror movies, and sustained by petty scams. He's not the typical loner who lives in his parents' basement: He lives in his friend Derek's parent's basement -- or at least he does after pulling a scam that's likely to get him jail time. Eventually, even that hideout becomes too perilous, and he hits the streets of Detroit where, in one possible interpretation of the film's trick ending, he vanishes from sight after taking his scam a step too far. Potrykus, who wrote, directed, edited, and acted in the film (as Derek), gives us a pungent sketch of contemporary life that blends itchy black comedy with  keen satire of the fringes of finance that include mortgage companies and payday loan operations, along with a touch of actuality where the comedy and satire sour into something more disturbing. If it occasionally gives way to independent film self-indulgence -- an overlong scene of Marty eating spaghetti and meatballs in bed -- it succeeds largely on the strength of Burge's performance and Potrykus's keen eye and ear.