Chipmunk Waffle Waffle Chipmunk

 All relationships - immediate family or friends or with your significant other - all have their own language, developed organically over time. Janet and I will often ask each other, "So, are you getting in the box?", which is a reference to the classic Italian film Mafioso. It essentially means, are you in or not? - or have you been drawn into something against your will? If you're not in on the formation of the linguistic shorthand it sounds like gibberish. Back in college my friends, when discussing beautiful women, would say, "She's some of it," which eventually evolved into "She's most of it," or "She's a remarkably high percentage of it." I don't think any of us remember who came up with the phrase - or, for that matter, exactly what "it" was. For years my Champlain friends and I would always say "phrasing" whenever anyone said something, unintentionally, which could be interpreted sexually. This was a direct reference to the TV show Archer, and we used the term faithfully, even folks who had never seen an episode. Recently, on one of my Thursday sleepovers at Kevin's, we were talking about the Minnesota radio station that Kevin loves (the one that has the They Might Be Giants marathon, that Kevin fixes his schedule around - like a true fan, he takes the day off from work to listen). Kevin will email them quite a bit, and they sometimes respond online, and I'm always telling him that I can foresee this as his post-retirement gig. Anyway, he was telling me about the teenage daughter of one of the station's biggest supporters, who will share emoticons as reviews of restaurants and movies (probably trying to help the terminally uncool older folks become slightly more cool). One of them was to type in Chipmunk Waffle Waffle Chipmunk, which was, at least at that moment, the highest ranking you could get. This quickly became shorthand between us on a text chain to affirm our support for a proposed plan.

This picture could stan in for a lot of the Thursday night excellence - watching the Phillies or CFL or listening to music. I can't tell you how much I'm going to miss this guy.

I have no idea why Chipmunk Waffle Waffle Chipmunk equates with highest approval rating, but it has become a standard means of communication - at least between two old dudes.

Movies in 2026 237

 

The Red Balloon (Albert Lamorisse, 1956)

For years I've heard of Albert Lamorisse's The Red Balloon but had somehow never seen it. Thankfully, the Criterion Channel never gives up on the exhausting chore of educating me (again, growing up in Indiana is hard to overcome). Last night I was finally able to watch it, and what a treasure it is. It tells the story of a young boy (played Lamorisse's son Pascal) who discovers a beautiful red balloon, who follows him around Paris. So many adults and other jealous children try to take the balloon away, and in the end finally destroy it. This leads to all the other balloons in Paris arriving and flying Pascal away. It's an extraordinary allegory of a child's innocence and hope and attraction to beauty, in the face of a cold materialistic world. There's also definitely a spiritual theme playing itself out. Essential viewing.

Movies in 2026 236

 

Pauline at the Beach (Eric Rohmer, 1983)

I know I've admitted before that I'm not that huge of a fan of French New Wave, which is probably more of a testament to my total lack of sophistication. The significance of the French New Wave is undeniable, but I simply go back and forth of so many of the films - loving some films from Jean-Luc Godard and Agnes Varda and Francois Truffaut and Jacques Demy and Alain Resnais, but also being left quite cold by others. Essentially, maybe I'll just fall back on the tried and true, I respect their work immense, but I just don't consistently like it. Similarly, I've been slow to come to the works of Eric Rohmer, and he, I think more than the others, is almost a day to day reflection of what kind of mood I'm in. Sometimes I think, "Please, for the love of god, will you just stop talking," and other days I'll think, "He's really sharing some essential truth here." Last night I re-watched his 1983 film Pauline at the Beach, which I liked a lot more than my first viewing. It focuses on fifteen year old Pauline (played by Amanda Langlet) who tries to figure out life and love and sex, and also why all of the actual adults in the film are such assholes. I would definitely recommend it.

Movies in 2026 235

 

They Were Five (Julien Duvivier, 1936)

I'm definitely enjoying the Criterion Channel's Julien Duvivier collection this month, although I've already seen several of his films. The other night I watched his 1936 film They Were Five, starring Jean Gabin (playing Jeannot), Charles Vanel (as Charlot), and Raymond Aimos (as Tintin). It's a story of five friends, down on their luck, who win some money and decide to open a restaurant on an island, both to make some money but especially as a symbol of their friendship. I think it's a bit too easy to read the film as misogynistic today, mainly because their plans and friendship is torn asunder by the women in their lives, but I think it's more of a statement on the strength and fragility of male friendship - that is, the flaw is within them. Plus, there's a whole deeper allegory going on here abut the rise and fall of the Popular Front, although a failure to take it to that allegorical depth will not damage your enjoyment of the film. Gabin is, as always, fantastic. I didn't know much about Raymond Aimos, who sounds like a very interesting character, who never forgot his friends, organized food drives, and opened up a restaurant to feed hungry children. Nevertheless, he was shot and killed, maybe just accidentally, by a Resistance fighter during the chaos of Paris being liberated. They Were Five is definitely recommended.

The Actual Last Trip to the Whammy Bar

 Last week I posted on what I feared was going to be our last trip to the Whammy Bar, our Friday night tradition. As it turns out, there was one last trip (we're flying out Wednesday, inshallah) as my great friends Kevin and Kerry came out. 

There have been so many goodbyes, which has been both good and bad for my heart. Kerry asked me what I was most looking forward to, and what I should have said is, "An end to all the goodbyes." The ones with Gary and Ali may kill me.

Movies in 2026 234

 

The Last Temptation of Christ (Martin Scorsese, 1988)

I know this is a blasphemous statement, but I'm not really that big of a Martin Scorsese fan. I appreciate his films, but I don't know if I actually love any of them. I've never made a list, but I'm not certain he would make my list of top five greatest American directors. However, this may simply be an issue of a purely personal subjective taste, because I do respect him quite a bit. I especially appreciate his attempts to break away and try different things, such as his adaption of The Age of Innocence. Another example of this was his ambitious attempt to  tackle Nikos Kazantzakis's The Last Temptation of Christ. I had not seen it since the year it came out, and my re-watch the other night left me feeling much the same way: it's both an over-criticized but also over-praised film. The people who criticized it for being blasphemous (and probably never saw it, for that matter) clearly missed the point of the film. It's a spiritual reflection on the unique nature of Jesus's nature and also of faith itself. At the same time, I think it misses far more than it hits, and I suspect that a lot of the critical praise was a response to the criticism from religious fanatics. It's worth watching, and it has some lovely moments.

Movies in 2026 233

 

Zabriskie Point (Michelangelo Antonioni, 1970)

I took a flyer on a film the other night that doesn't have a particularly good reputation (which has never stopped me in the past): Michelangelo Antonioni's Zabriskie Point. I've seen it described as the worst film ever from a director of genius. I don't know if I'd go that far, although it was pretty dreadful, long and mainly pointless. It's hard to reconcile this film with absolute classics like L'Avventura, La Notte, L'Eclisse, Red Desert, and Blowup. It's full of no name actors giving no name performances of uninspired lines. I'd give it a pass if I were you, although it's received a little more love the last few years from critics.