No filmmaker wants to be lumped in with the Mumblecore movement anymore, and for good reason: The problem with the pictures made by the likes of Joe Swanberg, Andrew Bujalski and the Duplass brothers in the early to mid-2000s wasn’t that they were made on tiny budgets; it was that they were aimless and peopled with characters who were supposedly like “real people,” even though they weren’t anyone you’d particularly care to watch in a movie. (Typical plot: So a guy goes here, and then he walks down the street, and then he meets this girl, and they talk about stuff, and then maybe they go to bed or maybe not.) What’s more, they were punishment to look at. This was low-budget filmmaking made by people who seemed to think innovation and cleverness on a shoestring were bourgeois.
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REVIEW: Aaron Katz’s Cold Weather Wants to Have a Plot, and Almost Does
