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  • The Week's Saturday Wrap
    Park Chan-wook’s job killer, three stouts to sip on a winter’s night, and the joy of game playing

     
    FILM review

    No Other Choice

    A victim of downsizing turns murderous.

    Park Chan-wook’s “mordantly hilarious” new comedy “skewers capitalism with much of the same wit, sadness, and slapstick buffoonery that made Parasite so resonant,” said David Ehrlich in IndieWire. Squid Game villain Lee Byunghun stars as a laid-off paper company veteran who’s so desperate to preserve his family’s upper-middle-class existence that he schemes to murder the other contenders for his potential bounce-back job. “Plotted with ornate precision but unfolding with the panic of a desperate man,” the latest Korean language feature from the director of Oldboy and The Handmaiden is “a slaphappy movie with a surprisingly powerful sting.” Because Lee’s character is such an incompetent killer, No Other Choice “plays like a vicious episode of Looney Tunes,” said Brian Tallerico in RogerEbert.com. At the same time, “Lee is at his career-best here, deftly walking a tightrope of likability, relatability, and morbid humor” as this brilliantly shot film gradually transforms from “almost silly” to something far darker. Still, despite its fierce anticapitalist message, the movie remains “an amusing caper, not a stern lecture,” said Kyle Smith in The Wall Street Journal. Though it’s “easily half an hour too long,” fattened by “irrelevant asides and digressions,” it “isn’t particularly heavy-handed in its disdain for corporations.” Instead, it’s “a sly slay-fest, with an appropriately mordant ending,” one that will unnerve anyone who’s fearful of what AI and automation will do to the jobs that provide so many of us with our sense of worth and identity. 

     
     
    tv review

    A Knight of the Seven Kingdoms

    Welcome to the lighter side of Westeros—at least as light as George R.R. Martin’s raven-black fantasy world can get. The newest spin-off in the Game of Thrones franchise breaks away from the fight for the Iron Throne to follow the trials of Ser Duncan the Tall, a wandering knight for hire, and Egg, his diminutive young squire. Newcomers Peter Claffey and Dexter Sol Ansell make an entertaining team, and the drama ratchets upward at Duncan’s first tournament when the awkward, honor-obsessed knight confronts a formidable foe in the sadistic Aerion Targaryen. Sunday, Jan. 18, at 10 p.m., HBO and HBO Max

     
     
    FOOD & DRINK

    Stout: American contenders

    Though stout is delicious year-round, “the beer’s toasty flavors make for an especially comforting winter pour,” said Penelope Bass in Imbibe. As sales of Guinness in the U.S. continue rising, many brewers are seeking to catch the wave by dialing back the alcohol content and container sizes of their own stouts. Below, three worth sampling. 

    Left Hand Nitro Milk Stout ($14 per six-pack)
    The smooth texture of this “extra-creamy” Colorado offering “complements the beer’s flavors of coffee, chocolate, and brown sugar.” 

    Bell’s Kalamazoo Stout ($12.50 per six-pack)
    Another stout that comes in at a modest 6% ABV, this Michigan beer “features notes of roasted coffee and dark chocolate, and some complementary complexity from brewer’s licorice.” 

    Lawson’s Finest Nitro Stout ($15 per four-pack) 
    A hit in Lawson’s Vermont taproom for years, this light-bodied, “easy-drinking” 5.4% ABV stout recently went national. Irish malts supply its “toasty, chocolaty notes.”

     
     
    BOOK OF THE WEEK

    The Score: How to Stop Playing Somebody Else’s Game

    by C. Thi Nguyen

    C. Thi Nguyen loves games, said Dan Piepenbring in Harper’s. In his new book, the University of Utah philosophy professor puts himself out on “a long, creaking limb” by suggesting that much of human activity can be explained by two countervailing inclinations of the species: our tendency to gamify life’s purpose and our pursuit of freedom from that chase through, well, less consequential games. If you enjoy board games, fly fishing, or even recreational cooking, you probably appreciate the type of game that Nguyen endorses: an activity whose sometimes arbitrary rules enable us to play more freely and experience different aspects of ourselves. Nguyen worries, however, that our urge to quantify the value of our lives and achievements is soul-sucking, and his worries are less fun to read about than his paeans to play. He writes so beautifully about mastering the yo-yo, in fact, that I’d read a whole book on the subject and “would feel alive at the end.” 

    “The Score is part polemic and part philosophical inquiry,” said Simon Ings in The Telegraph (U.K.). Nguyen is telling us that in our trying to make life more frictionless, our governments, businesses, and individuals too have created metrics that measure the wrong things. “The result is that our civic life has become superficially efficient but fundamentally amoral.” Nguyen mentions a pastor who neglects other needs of his congregation because he’s been told to meet a baptism quota, and The Score also prods us to consider how the ranking of universities discounts schools’ distinctive value systems, how the pursuit of individual wealth steals time from relationships, and how we’ve come to believe we’re healthy as long as each day we each log 10,000 steps. Nguyen’s cautionary tales can get repetitive, but he is forever leading readers toward a particular set of conclusions, and “if we truly want to understand our civic plight, we should read The Score.” 

    At the end of the book, Nguyen offers two possible scenarios for our future, said Stuart Jeffries in the Financial Times. In the “Cynical Sad One,” as he calls it, our values continue to be perverted by misleading metrics as tech companies and other businesses monetize such scoring. But because Nguyen is essentially “an upbeat, hopeful guy,” he throws his heart into a second potential outcome, “advocating a kind of playful rebellion against rules and metrics.” Being more cynical myself, “I suspect the evisceration of our values by scoring systems will continue,” as business interests outweigh human interests. “I would love to be proved wrong,” though, and in the meantime, “I give this excellent book five stars.”

     
     
    OBITUARY

    Brigitte Bardot

    The bombshell who embodied the new France

    Brigitte Bardot was more than just a screen sex kitten. With her tousled blond hair and signature pout, the French actress personified her country’s newfound sexual and social liberation through the ’50s and ’60s. And God Created Woman (1956), in which Bardot played a teenager exulting in her sensuality, shocked censors but became the highest-grossing foreign film of its day and launched a global obsession with French cinema. Simone de Beauvoir proclaimed the actress “the most liberated woman in postwar France,” and Charles de Gaulle chose her as the model of a new sculpture of Marianne, the symbol of the French Republic. But to Bardot—who would retire at 39 and later become known for animal rights activism and anti-Muslim bigotry—her heyday felt like anything but freedom. “My life is like a big prison,” she said in 1960. “A pleasant one, but it’s a prison all the same.” 

    Born Brigitte Anne-Marie Bardot into a very strict, “proper, and prosperous Catholic family” in bourgeois Paris, she was an aspiring ballerina, winning admission to the Paris Conservatory at 13, said The Washington Post. Two years later she’d been hired as a fashion model and quickly caught the eye of aspiring director Roger Vadim, who “became her Svengali” and, once she turned 18, her husband. (He was 24.) Despite not speaking English, Bardot landed her first lead role as a temptress in a 1955 British comedy called Doctor at Sea. After the breakthrough success of And God Created Woman, in which she sunbathes nude, she was generally cast as a sexpot, said The Hollywood Reporter. But at least two “fiery performances” proved her range: The Truth (1960), a riveting courtroom drama, and Jean-Luc Godard’s Contempt (1963), “now considered to be a New Wave classic.” 

    Bardot suffered through bouts of suicidal depression and the “constant, wild harassment” of the paparazzi, said The Guardian. She quit acting in 1973, and on the grounds of her Saint-Tropez villa, she amassed dozens of rescue animals as she campaigned for animal welfare. Her repulsion at halal methods of slaughter led her to condemn the “Islamization” of France by “cruel and barbaric invaders,” and she was convicted six times of inciting racial hatred. She eventually married a bigwig in the far-right National Front party. In her final years, Bardot confessed to disliking all people, not just Muslims. “Humans have hurt me. Deeply,” she wrote in a 2018 memoir. “It is only with animals, with nature, that I found peace.”

     
     

    Sunday Shortlist was written and edited by Susan Caskie, Ryan Devlin, Chris Mitchell, Matt Prigge, and Hallie Stiller.

    Image credits, from top: Neon / Everett; HBO; Getty; Everett
     

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