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[Michael]

TheDelta in flight selection is surprisingly good! (And better if you bring along some quality headphones.) On my flight last week I finally saw Alex Cox's REPO MAN! That is not one I expected to see amongst the in-flight offerings.

Apologies for the two weeks of radio silence; the overseas vacation I was scheduled to take with my wife in 2020 finally, happily happened in 2023, and without getting too personal about it, let\u2019s just say I have a renewed appreciation for the films of Yorgos Lanthimos and Michael Cacoyannis. In truth, I haven\u2019t watched a blessed thing for the past two weeks \u2013 film critics are allowed a break, too, you know \u2013 although I did scroll through the movie offerings on Delta\u2019s in-flight menu with surprise, expecting the usual studio guff and shocked to find a large and refreshingly varied slate of films, old and new, big and little. Did I stand up and loudly announce to the assembled passengers that they should all watch \u201CPast Lives\u201D? No, I did not (although I thought about it), but I did tell the gentleman in front of me, who was watching the trailer, that it was a really, really good movie. Coming soon on the Watch List: A deep dive into the whole gestalt of experiencing films on a tiny screen in a tin tube flying at 600 miles an hour five miles above the earth, with breakdowns of each major airline\u2019s movie roster and special attention paid to What To Avoid. Because anyone deciding to watch \u201CAvatar: The Way of Water\u201D on an airplane is just asking for trouble. (For the time being, if your plane ride in the coming months includes \u201CPast Lives,\u201D \u201CBlackberry,\u201D or the documentary \u201CBeing Mary Tyler Moore,\u201D I can recommend all three.)

I got back Tuesday night and have been attending to personal matters, so the Watch Listing is still taking a back seat for a few more days. Of the new movies arriving in theaters, \u201CExorcist: Believer\u201D is getting roundly drubbed by critics despite the participation of the original film\u2019s Ellen Burstyn, and I will weigh in on \u201CThe Burial,\u201D with Jamie Foxx and Tommy Lee Jones, when it appears on Amazon Prime next week, along with the four Wes Anderson shorts that went up on Netflix while I was away. Also arriving on that service: \u201CFair Play,\u201D a juicily nasty love-hate story among young corporate climbers that divided Sundance \u201923 audiences into the impressed and the appalled.

Two of this week\u2019s other theatrical releases I\u2019m already familiar with from the festival circuit, and both, interestingly, revolve around ambiguous male toxicity and a woman\u2019s lot in separating danger signals from the static of standard guy idiocy. One film is a queasy black comedy and one\u2019s a suspense thriller, the former a depressing misfire and the latter tricker than it seems. To expand on my Sundance review: \u201CCat Person\u201D (\u2B50 \u2B50) takes Kristen Roupenian\u2019s celebrated/controversial New Yorker short story and does a decent job of adapting it for the first two-thirds, with Emilia Jones (\u201CCODA\u201D) wryly worried as a college student in a sketchy relationship with an older guy (a woebegone Nicholas Braun, Cousin Greg of \u201CSuccession\u201D). The film is often brutally, uncomfortably funny, and it illustrates the perils and paranoia of romance in the social-media age with enough finesse that you may find yourself juggling your sympathies between the two main characters, at least until a sex scene that is every woman\u2019s most-awkward-case-scenario about the gray areas of consent and men who watch too much porn. The problem: The short story was effectively a two-act proposition, and in coming up with the third act that all movies supposedly need, screenwriter Michelle Ashford and director Susanna Fogel have made the worst possible choices \u2013 a climactic turn to violence and fiery disaster that literalizes all the movie\u2019s themes in the name of a Big Finish. I\u2019ve rarely seen a film scuttle itself and sink to the bottom with such determined rapidity \u2013 \u201CCat Person\u201D is a textbook reminder that literature \u201Ctells\u201D and movies \u201Cshow\u201D and that translating one format to the other is too often a proposition for the foolish or the foolhardy. (If you really want to stand your hair on end, read Alexis Nowicki\u2019s Slate article about how Roupenian strip-mined Nowicki\u2019s life for the New Yorker story. It\u2019s a debate in a bottle about the ethics of authorial license.)

Quite a bit more successful is \u201CThe Royal Hotel\u201D (\u2B50 \u2B50 \u2B50), Kitty Green\u2019s ambitious follow-up to \u201CThe Assistant\u201D (2019) and the first of her movies to be filmed in the director\u2019s native Australia. Julia Garner (above), unleashed from her cowed title role in \u201CThe Assistant,\u201D and Jessica Henwick (\u201CGlass Onion: A Knives Out Mystery\u201D) play two American backpackers in the Outback; strapped for cash they sign on as bartenders in an isolated mining town. The men run the gamut from alcoholic wrecks (the great Hugo Weaving as the bar owner) to deceptively charming (Toby Wallace) to shyly protective (James Frecheville) to creepily threatening (a frightening Daniel Henshall), and Green keeps her lead characters and the audience on a taut high-wire of tension. If you\u2019re expecting a \u201CStraw Dogs\u201D-style bloodbath, you\u2019re out of luck, since the director is more interested in subverting revenge-drama cliches and dramatizing the uncertainties of response: As she told Indiewire\u2019s Anne Thompson in a just-published interview, \u201CIt\u2019s about alcohol-fueled aggression, that behavior that when left unchecked, can spiral into something quite terrible. And the film is about what we tolerate, what we permit, what we put up with as women in those situations. And when do we stand up for ourselves, when do we say \u2018no,\u2019 and when do we bring out the ax?\u201D \u201CThe Royal Hotel\u201D is very well-acted \u2013 by the male actors as well as Garner and Henwick \u2013 and extremely suspenseful, but it never quite builds to the boiling point it seems headed toward. In its defense, I\u2019m not sure it wants to. Discuss.

Good VOD bets: Martin Scorsese\u2019s Film Foundation is screening a beautifully restored version of 1964\u2019s \u201CThe Masque of the Red Death\u201D (above), one of the best of Roger Corman\u2019s Edgar Allan Poe cycle and a highlight of Vincent Price\u2019s career. You can sign up to watch the film in a 72-hour window starting Saturday night or watch a live online screening with commentary Monday October 9 at 7 p.m. EST.

Analogue: A Hate Story is a visual novel featuring semi-static manga-style character images, and focused on reading text logs. Using the mouse and keyboard, the player interacts with the Mugunghwa's main computer to read log entries, communicate with the AIs, and occasionally enter commands directly into the vessel's computer system. At any time in the game, the player can save their game, adjust options, etc.

The main user interface allows the player to read through various diaries and letters that reveal the game's backstory and insight into its many (deceased) characters. For the most part, navigating this interface is similar to navigating a basic e-mail system, in that messages are chronologically arranged and searchable. They are grouped in usually numbered "blocks", released to the player by *Hyun-ae or *Mute throughout the game. For the most part, the AIs release blocks "out of order", or do not release all entries in a block, forcing the player to assemble the timeline of events out of what clues they have, and draw certain conclusions independently until (or if) the AIs can be convinced to be more forthcoming. In most cases, the player can, after reading a log entry, show its content to the currently active AI. This is the primary process by which additional information and message blocks are revealed. Players can also type in an entry's alphanumeric ID in the main log menu to obtain it directly, as long as its corresponding block is decrypted.

Due to the branching nature of the story, the game must be played more than once to unlock all logs to complete the game, as it is impossible to reveal all log entries and information from the AIs in one playthrough. A log system separate from the game's save files displays all discovered logs from all playthroughs, effectively tracking the player's overall completion.

Set several thousand years in the future, Analogue revolves around the Mugunghwa (Korean: 무궁화; RR: Mugunghwa), a generation ship that lost contact with Earth some 600 years prior to the events of the game. For reasons initially unclear, society aboard the ship had degraded from that of modern, 21st Century South Korea, to the intensely patriarchal culture of the medieval Joseon Dynasty.[8][9] In the process, the ship's clocks were reset to year 1, and the colonists began using Hanja characters to read and write. The reasons for why such a cultural shift has occurred is lost to time, leaving the player to formulate the cause on their own. Over the three centuries after the shift, the ship's birth rates began to gradually decline, to below the "replacement rate" of noble families.[10] By year 322, the ship inexplicably went dark, falling into a state of severe disrepair.

In Analogue's present, 622 years later, the Mugunghwa is discovered in orbit above Antares B, a star system en route to its destination. A friend of the protagonist's, a dispatch officer, is the one who discovers the ship on their radar; this catches the attention of the Saeju Colony Historical Society (which suggests that humans have established planetary colonies beyond Earth), who sponsors the recovery of any remaining text logs that can explain the ship's disappearance.[2] The dispatch officer gives the unnamed silent protagonist, an independent investigator, this "job" in the introduction message for its isolation from social situations; this implies that the protagonist is somewhat asocial,[2] but beyond this their personality and background is based almost entirely upon the player's decisions. The protagonist encounters two AI cores within the ship's computer. The first, *Hyun-ae (Korean: 현애; RR: Hyeon-ae), is a bright, cheerful girl who loves cosplay, and is highly curious about the player and the future they come from. The other, *Mute,[2] is the ship's security AI and self-proclaimed "social creature", who outranked all but Emperor Ryu, her master and Captain of the ship. The AIs dislike one another intensely, apparently due to the event that led to the ship's demise. The logs the player must recover are written by members of the Imperial Ryu family, the noble Kim and Smith families, and those linked to them. The game relies heavily on this unreliable narrator mechanic, where the AI characters and log entries thematically withhold key information from the player in order to add to the importance of certain elements of the plot (e.g. the administrator password to the ship's computer).

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