Random Factoid #571

30 12 2014

2014, for me, was the year of the typo correction.  For whatever reason, I felt emboldened to act as copywriter for the world.  (Just not for my own work, which I often find full of errors upon reexamination.)  Much of my Larry David-esque perceived need to correct other people’s harmless mistakes or typos stems from an empowering NPR segment about a book called “The Great Typo Hunt.”  Yes, I am enough of a nerd to call an NPR story about grammar “empowering.”  Get at me, world!

It began as early as January, when IndieWire ran a story called “The 20 Best Films of 2014 We’ve Already Seen.”  This highlighted festival films from the previous year due for release in the upcoming calendar year, and the original list inexplicably omitted “The Immigrant.”  Foreshadowing (or stemming from) my being a warrior for this film, I commented about this egregious exclusion.

IndieWINNING

The post is now called “The 21 Best Films of 2014 We’ve Already Seen,” but the URL still says “20.”  Point, Marshall.

It continued with the website for “Obvious Child.”  I was trying to find a poster to add to my PowerPoint aggregating all the films I saw in a year (as chronicled in Random Factoid #200) on the website when I noticed a pretty egregious typo.  I emailed the admin listed on the Tumblr, and I wound up getting a personal response from the film’s producer, Elisabeth Holm.  The correction can be seen below.

Obvious Child Email

Then, as I am often prone to do, I was scouring the pre-order section of iTunes to see when I might be able to rent certain titles I missed.  I noticed that “Laggies” was up – and that its star, Keira Knightley, had her name misspelled on the cover.  I sent the studio a quick email and, sure enough, the cover changed!

A24 Laggies

 

And the gentle, metaphorical red pen did not limit itself to spelling errors.  I also tackled factual inaccuracies, such as one that I found in a piece by Scott Feinberg, the lead awards analyst at The Hollywood Reporter.

Feinberg

Now, just so we’re clear, I am far from perfect and actually made plenty a pretty embarrassing error while thinking I was correcting someone else’s error.  See that comment from The Dissolve?  It was in reply to a comment that I deleted, which was calling them out for misspelling “Slave” when it was referencing the video’s misspelling.  Had I watched the video, I would have known that.  Had I really been paying attention, I would have also noticed that they also “misspelled” Brad Pitt’s name.

Salve

I decided not to let the comment live on and shame me, like a coward.  Perhaps in the new year, I will limit myself in my quest to make the world a safer place for proofreading to only correcting errors which I am completely certain are wrong.  Or, rather, I can just shake my head in dismay at every typo I see online (cough, IndieWire – you’re the worst offender) and hope they feel the same shame that I experience when I realize a similar gaffe in my own work.

P.S. – How can I tell AT&T about this bad typo?

Gaurdians





REVIEW: Laggies

15 11 2014

LaggiesTwo years ago, I placed my money on Lynn Shelton to lead the charge of brining the mumblecore movement to the mainstream.  After seeing “Laggies,” however, I may want to switch my bet to Joe Swanberg.

That is not to imply Shelton’s latest feature indicates a decline in the quality of her output; “Laggies” is certainly a recovery since she sputtered last year with the deservedly little-seen “Touchy Feely.”  Moreover, it is probably her most accessible (or marketable) film to date.  But in order to achieve that, Shelton has not adapted or modified the movement from which she arose.  She has essentially dispersed of it all together.

The only part of “Laggies” that remains in the mumblecore tradition is its protagonist, Keira Knightley’s Megan.  She’s a spiritual cousin of Greta Gerwig’s Frances Ha and Lena Dunham’s Aura from “Tiny Furniture,” a confused and commitment-phobic upper-middle-class millennial twentysomething ambling haplessly through the best years of her life.  She clearly does not love her boyfriend (Mark Webber, yet she lacks the decisiveness to reject his advances towards marriage.  She invested in post-graduate education, but she prefers the lack of responsibility that comes from sign-twirling for her father (Jeff Garlin).

Knightley nails the generational milieu of indirection and indecision, so it is too bad that the rest of “Laggies” could not be nearly as interesting as her.  Shelton, working from a screenplay by Andrea Seigel, steers the film quickly into the realm of standard-issue chick flicks and rom-coms.  Once she lays the cards on the table, it becomes pretty clear where the film will go – although I did hold out hope that there might be a subversive or original twist to spruce things up a bit.

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