The Brutalist (2024) ****
An over-long film that emulates a biopic (similar to Tár) and has many fine moments but never forms a satisfying whole, in part because a lot of backstory goes unexplained and the forays into drug addiction and rape really seem out of place. It's almost like they didn't think the Fountainhead-like story about a visionary architect would be interesting enough. The film also revives 1950's Vistavision, perhaps to give a better impression of the period. It certainly does look nice, and seems to have started a trend.
American Utopia (2020) ****
A delightful middle ground between rock concert and jukebox musical. The bulk of the solo material comes from David Byrne's American Utopia album, and the rest are Talking Heads classics, showing how chained he is to past hits from over 30 years ago, but I guess people would be mad if they went to see David Byrne and didn't hear Burning Down the House. I would have enjoyed a Broadway show that had more of a story or concept to it, but the marching band simplicity, chain curtain set, and inventive choreography made for a unique and energetic concert film that rivals Stop Making Sense.
Attack the Block (2011) *****
I loved this film when it came out, and I think it's improved with age. It dives right into the action and never lets up like John Carpenter at his best. The characters aren't deep but they serve the story and provide ample humor, and John Boyega gains your admiration even while remaining at arm's length. Best of all, the creatures are simple yet effectively alien and formidable. They look fantastic and probably always will.
I'm Still Here (2010) ***
A deeply committed practical joke that's only occasionally funny, mostly because of reactions from the media. It gave me a new admiration for Joachin Phoenix, and it certainly helped turn his career in a new direction if you look at his films before and after.
Shutter Island (2010) ****
Scorsese's idea of mainstream filmmaking is heightened melodrama and a chance to emulate his Hollywood golden age idols (see Cape Fear). I'd probably be more impressed with Shutter Island if there weren't already a string of Beautiful Mind-like twist movies, but Scorsese makes up for the obvious with atmosphere and good performances.
The Bachelor and the Bobby-Soxer (1947) ****
Judge Myrna Loy orders Cary Grant to date her 16-year-old sister Shirley Temple, which sounds much worse on paper than it plays in the film. An entertaining comedy that's mostly about Grant reacting to things and highlighted by an athletic contest at a town picnic. Temple is as plucky and dimpled as she was as a child. Loy holds her own but it's really Grant's show. He plays one of those famous artists where we never see him working or his work.
The Maltese Falcon (1941) ****
It's a very talky movie, which is a blessing and a curse. A blessing because the smart and slangy chatter makes it the prototype for film noir dialogue, but the gab wears on you before the conclusion. At least talky means it translates well to the stage, and I wish they had made a sequel with Greenstreet and Lorre. Spoiler, but I found out who has the real Maltese Falcon.
The Wildcat (1921) ***
A cartoonish Lubitsch film about the clash between a mountain military base and a band of brigands that has wild production design and all kinds of creative framing to get rid of that square screen. The loosey goosey story has plenty of funny moments but I wish it was as creative as the design. Pola Negri is fantastic as the wildcat leading the brigands, but Paul Heidemann is hard to swallow as the great seducer. Perhaps that's the joke?
Attack the Block