Memoir of a Snail (2024) **
90 minutes of unrelenting misery glossed over by charmingly grotesque animation. Even the feeble attempt at a happy ending can't overcome the downbeat story, which is basically an illustrated memoir of the filmmaker.
Jim Henson: Idea Man (2024) ***
I don't want to advocate for these long, multi-part Hollywood documentaries, but the latter half of Henson's career is largely overlooked in this and I wish there was more to it. It's hard to encapsulate a whole life into two hours. Then again, you could make a whole documentary or two just about Sesame Street.
Light and Magic (2022) ****
A terrific history of Industrial Light and Magic and all its industry-transforming innovations from Star Wars to today. Each episode follows a familiar pattern of George Lucas asking the impossible, the artists saying it's impossible, and then everyone figures out how to do it. It fumbles in the sixth episode trying to cram Jurassic Park, the Star Wars prequels, and the last 30 years into one hour, and it seems like they realized their mistake and created a second three episode season to cover that period.
The Disaster Artist (2017) ****
Following in the footsteps of Ed Wood, the story centers on the friendship of two incompetent filmmakers and is really just a chance for James Franco to do his spot on impersonation of Tommy Wiseau. He presents Wiseau as a social outcast with a mysterious background who chases the movie star dreams of his only friend. Seeing The Room first is a must.
The Room (2003) *
There's no reason to see this without an audience, because the audience is the show. The film itself is complete incompetence, although Tommy Wiseau is a fascinating personality. Seeing it in a sold out screening at Screenland, however, was a real hoot.
Angelus (2000) ***
A small cult of light worshipers believe a ray from Saturn will destroy the world unless a virgin is sacrificed. I guess this is what you'd call a Soviet comedy but it's heavy and grim humor. Each character has a peculiar personality, and it's gorgeously photographed and narrated like a Wes Anderson movie.
Paris Blues (1961) ***
Paul Newman and Sidney Poitier are expatriate jazz musicians living in Paris who hook up with American tourists Joanne Woodward and Diahann Carroll. It's filmed in the hip, neo-realist style of the time and it's bold and progressive compared to Hollywood fare, but it's also light on plot and not terribly interesting. The dual romance is too heavy and serious for the few days they are together, with both women trying to lure the men back to the States. The highlight is a lively jazz duel with Dizzie Gillespie.
From the Terrace (1960) ***
Like a lot of movies of the 50s adapted from novels, Ernest Lehman's script just seems to go on and on as the years pile up and it meanders from romance to romance. The very similar Young Philadelphians was the same way, but at least it had Billie Burke and Robert Vaughn to kick some life into the story. From the Terrace is even duller, but it's nice to see Myrna Loy. Hollywood still hasn't figured out what to do with Paul Newman. He started as a discount Brando, then they tried Southern bad boy rebel, and now self-centered social climber - all without nailing down a likable character.
The Lost Weekend (1945) ****
I remembered this as the famous film about alcoholism, but I didn't realize that's all it was about. Every scene is about Ray Milland trying to get a drink. It's handled well as arguably the first "issue" movie. The dialogue is clever and the flashback structure contains it all into one weekend. Milland's obsessive focus is terrific, although his appeal to Jane Wyman is questionable because he rarely shows his charming side.
