Watching Movies 2024
Reviews of the 212 movies I saw in 2024
The Adventures of Mark Twain (1985) ***
Mark Twain goes on a balloon voyage to Halley's comet and tells stories to Tom Sawyer and Huck Finn along the way. The first feature-length Claymation movie starts out like a kids film but gradually gets weirder and more surreal with some bizarre depictions of Heaven and Hell, but an extended bit with Adam and Eve is never as funny as it wants to be. The animation is painstakingly elaborate and that helps get through the duller spots, but I sure wish it had more Injun Joe. He was terrifying.
Mark Twain goes on a balloon voyage to Halley's comet and tells stories to Tom Sawyer and Huck Finn along the way. The first feature-length Claymation movie starts out like a kids film but gradually gets weirder and more surreal with some bizarre depictions of Heaven and Hell, but an extended bit with Adam and Eve is never as funny as it wants to be. The animation is painstakingly elaborate and that helps get through the duller spots, but I sure wish it had more Injun Joe. He was terrifying.
Alan Partridge: Alpha Papa (2013) ****
Revisiting the one Alan Partridge feature film and it's delightfully funny. Set almost entirely in a radio station, it's only slightly more ambitious than his many TV series. You kind of hope for more to justify making a feature, but at least you get Colm Meaney.
Revisiting the one Alan Partridge feature film and it's delightfully funny. Set almost entirely in a radio station, it's only slightly more ambitious than his many TV series. You kind of hope for more to justify making a feature, but at least you get Colm Meaney.
All Fall Down (1962) ****
Whatever you do, don't name your main character Berry-Berry. And if you do, don't have everyone in the movie say his name over and over and over. I've never seen a film nearly ruined just from a character's name. Frankenheimer's third best film from 1962 (wow what a year!) is a classic sexual-repression-in-the-Midwest drama with a stellar cast - America's version of kitchen-sink realism. Young Warren Beatty is magnetic, but not-old-enough-to-be-his-mother Angela Lansbury carries the show. The Key West locations at the beginning are the most interesting parts of the film before it switches to characterless Cleveland suburbs. Adapted by William Inge, it's a decent if disjointed script, but there are so many similar dramas from this period that are more compelling, including Inge's other films, that it's easy to see how this could get lost to history. You won't forget the name Berry-Berry though.
Whatever you do, don't name your main character Berry-Berry. And if you do, don't have everyone in the movie say his name over and over and over. I've never seen a film nearly ruined just from a character's name. Frankenheimer's third best film from 1962 (wow what a year!) is a classic sexual-repression-in-the-Midwest drama with a stellar cast - America's version of kitchen-sink realism. Young Warren Beatty is magnetic, but not-old-enough-to-be-his-mother Angela Lansbury carries the show. The Key West locations at the beginning are the most interesting parts of the film before it switches to characterless Cleveland suburbs. Adapted by William Inge, it's a decent if disjointed script, but there are so many similar dramas from this period that are more compelling, including Inge's other films, that it's easy to see how this could get lost to history. You won't forget the name Berry-Berry though.
All My Sons (1948) ***
A heavy drama adapted from an Arthur Miller play that's weighed down by a ton of backstory that kills the momentum. Edward G. Robinson is great in a fatherly role where he's slowly backed into a corner, but Burt Lancaster is too old and imposing to be his son and plays it a bit too stoic.
A heavy drama adapted from an Arthur Miller play that's weighed down by a ton of backstory that kills the momentum. Edward G. Robinson is great in a fatherly role where he's slowly backed into a corner, but Burt Lancaster is too old and imposing to be his son and plays it a bit too stoic.
All of Us Strangers (2023) ****
A small and introspective drama about memories, family, grief, and love with the intimacy and character focus of a stageplay. Simple and touching.
A small and introspective drama about memories, family, grief, and love with the intimacy and character focus of a stageplay. Simple and touching.
Amazing Grace (2006) ****
Thoughtful drama about the prolonged effort to end the slave trade in England, with a standout performance by Rufus Sewell. Toby Jones plays George IV before he was king, and he's one of the baddies. Would pair well with Amistad.
Thoughtful drama about the prolonged effort to end the slave trade in England, with a standout performance by Rufus Sewell. Toby Jones plays George IV before he was king, and he's one of the baddies. Would pair well with Amistad.
The American Astronaut (2001) ***
A lo-fi sci-fi no-budget indie musical about a space pirate pursued by an insane birthday boy. It's one of those weird film festival finds that you would tell everyone about but they would have no way of ever seeing it. Unfortunately, like many surreal films, it gets bogged down when it tries to develop a plot and it feels padded to make it feature length. I would have preferred if that time was filled with more developed musical numbers, but it certainly has plenty of wacky weirdness, esp. in the first act.
A lo-fi sci-fi no-budget indie musical about a space pirate pursued by an insane birthday boy. It's one of those weird film festival finds that you would tell everyone about but they would have no way of ever seeing it. Unfortunately, like many surreal films, it gets bogged down when it tries to develop a plot and it feels padded to make it feature length. I would have preferred if that time was filled with more developed musical numbers, but it certainly has plenty of wacky weirdness, esp. in the first act.
Androcles and the Lion (1952) **
Starts out as a light comedy for kids, but then there's a whole lot of "Christians are great" before Caesar shows up and tries to kill them. Surprisingly simplistic and preachy from George Bernard Shaw and mostly dull. This is the third film with a pious Jean Simmons. I guess that was her niche.
Starts out as a light comedy for kids, but then there's a whole lot of "Christians are great" before Caesar shows up and tries to kill them. Surprisingly simplistic and preachy from George Bernard Shaw and mostly dull. This is the third film with a pious Jean Simmons. I guess that was her niche.
The Apartment (1960) ****
I haven't seen this one in decades. It's not my favorite Billy Wilder, but it's a splendid script with a defining role for Jack Lemmon and Shirley MacClaine brings a ton of humanity. There does seem to be something missing in the third act though - something about how the suicide note is handled or a scene that brings all three main characters together so that the ending really packs more of a punch.
I haven't seen this one in decades. It's not my favorite Billy Wilder, but it's a splendid script with a defining role for Jack Lemmon and Shirley MacClaine brings a ton of humanity. There does seem to be something missing in the third act though - something about how the suicide note is handled or a scene that brings all three main characters together so that the ending really packs more of a punch.
Argylle (2024) ***
The plot is just one ridiculous twist after another. I'm sure it all makes sense to the writer, but I couldn't bother to keep up, and it doesn't matter anyway. Matthew Vaughn doesn't ask you to take any of this seriously, but he does think this nonsense can sustain itself for almost two and half hours, and he wants to connect it to his Kingsmen films and make two more sequels, but there's just not enough meat here for that kind of self indulgence. I just want to enjoy a goofy action movie without having a franchise forced upon me.
The plot is just one ridiculous twist after another. I'm sure it all makes sense to the writer, but I couldn't bother to keep up, and it doesn't matter anyway. Matthew Vaughn doesn't ask you to take any of this seriously, but he does think this nonsense can sustain itself for almost two and half hours, and he wants to connect it to his Kingsmen films and make two more sequels, but there's just not enough meat here for that kind of self indulgence. I just want to enjoy a goofy action movie without having a franchise forced upon me.
Asteroid City (2023) ****
I guess this counts as a sci-fi film from Wes Anderson. Thanks to the sun bleached color palette, this looks more like a Roy Andersson film than anything Wes has made before. There are a multitude of Anderson regulars here, but several do little more than make an appearance. Yeah, Bob Balaban is there sitting in a chair. Jeff Goldblum gets one line. Tom Hanks fills in for Bill Murray but is upstaged by his loud pants. The Wes Anderson family reunion is getting kind of ridiculous. Where The French Dispatch was more of a series of short stories, Asteroid City throws everyone together as an ensemble, but Anderson isn't able to bring the ensemble together and make it all work. It is still just a series of short, disconnected bits that are plenty amusing on their own, but with no bigger story to tell. If he wants to embrace the trappings of the stage, it might have tied everything together if he made it a musical. We know Scarlett Johansson can sing, and he already has the band there, but they're seriously underutilized. In the end it feels more like an empty exercise in style than his previous films, which isn't really a bad thing with Anderson, but you hope for something more adventurous from such a talented and creative person.
I guess this counts as a sci-fi film from Wes Anderson. Thanks to the sun bleached color palette, this looks more like a Roy Andersson film than anything Wes has made before. There are a multitude of Anderson regulars here, but several do little more than make an appearance. Yeah, Bob Balaban is there sitting in a chair. Jeff Goldblum gets one line. Tom Hanks fills in for Bill Murray but is upstaged by his loud pants. The Wes Anderson family reunion is getting kind of ridiculous. Where The French Dispatch was more of a series of short stories, Asteroid City throws everyone together as an ensemble, but Anderson isn't able to bring the ensemble together and make it all work. It is still just a series of short, disconnected bits that are plenty amusing on their own, but with no bigger story to tell. If he wants to embrace the trappings of the stage, it might have tied everything together if he made it a musical. We know Scarlett Johansson can sing, and he already has the band there, but they're seriously underutilized. In the end it feels more like an empty exercise in style than his previous films, which isn't really a bad thing with Anderson, but you hope for something more adventurous from such a talented and creative person.
Avatar: The Way of Water (2022) *
I turned this off after 20 minutes because it was so appallingly bad. The story setup was clunky, the dialogue was loaded with contemporary vernacular, and it all looked like a videogame cutscene with terrible acting behind digital masks. I don't care how much money it made - the king has fallen and Cameron is wasting his old age making bad kids movies.
I turned this off after 20 minutes because it was so appallingly bad. The story setup was clunky, the dialogue was loaded with contemporary vernacular, and it all looked like a videogame cutscene with terrible acting behind digital masks. I don't care how much money it made - the king has fallen and Cameron is wasting his old age making bad kids movies.
The Ballad of Narayama (1958) ***
A highly theatrical telling of an ancient fable that's weird and creepy, but not weird and creepy enough to push it into the crazy bonkers category. It's just creepy enough to make you question everything about the situation of these people living on the brink of starvation and all those awful, ancient customs. It's also practically a musical, so you have to tolerate a lot of Japanese folk music.
A highly theatrical telling of an ancient fable that's weird and creepy, but not weird and creepy enough to push it into the crazy bonkers category. It's just creepy enough to make you question everything about the situation of these people living on the brink of starvation and all those awful, ancient customs. It's also practically a musical, so you have to tolerate a lot of Japanese folk music.
Barbie (2023) ***
A messy but entertaining movie that keeps the cynical humor and sight gags going despite the heavy-handed, simplistic and muddled feminist message. It's like Baumbach and Gerwig wanted to spoof Hollywood commercialism but found out crafting a good story out of a toy is actually a challenge. For example, it doesn't know what to do with Michael Cera's character and a subplot with Mattel executives goes nowhere. Thanks to Robbie and Gosling and a lot of charm the sloppy storytelling isn't a deal breaker, but it's not as tight or as fun as that other toy movie with Will Farrell.
A messy but entertaining movie that keeps the cynical humor and sight gags going despite the heavy-handed, simplistic and muddled feminist message. It's like Baumbach and Gerwig wanted to spoof Hollywood commercialism but found out crafting a good story out of a toy is actually a challenge. For example, it doesn't know what to do with Michael Cera's character and a subplot with Mattel executives goes nowhere. Thanks to Robbie and Gosling and a lot of charm the sloppy storytelling isn't a deal breaker, but it's not as tight or as fun as that other toy movie with Will Farrell.
The Beatles: Get Back (2021) *****
Will I ever tire of Beatles documentaries? This is an amazing look into the creative process - watching the Beatles try to figure out all these songs we know by heart. I could watch that for hours. Well, I did watch that for hours. The group dynamics is fascinating as well. Paul dominates the band to the point where George gets irritated and leaves (in the most mild-mannered way), and it's clear what the band needs is a father-figure manager to mitigate things after Brian Epstein's death (George Martin is not that man). John loosens up after George returns, and Yoko is always there at his side like a loyal pet. Ringo plays drums, and Billy Preston is welcomed into the band with open arms. Despite The Beatles' pending dissolution, they are playful and fun and there's a lot of goofing off and jamming old favorites. They are at a creative peak, and these guys are all in their 20s.
Will I ever tire of Beatles documentaries? This is an amazing look into the creative process - watching the Beatles try to figure out all these songs we know by heart. I could watch that for hours. Well, I did watch that for hours. The group dynamics is fascinating as well. Paul dominates the band to the point where George gets irritated and leaves (in the most mild-mannered way), and it's clear what the band needs is a father-figure manager to mitigate things after Brian Epstein's death (George Martin is not that man). John loosens up after George returns, and Yoko is always there at his side like a loyal pet. Ringo plays drums, and Billy Preston is welcomed into the band with open arms. Despite The Beatles' pending dissolution, they are playful and fun and there's a lot of goofing off and jamming old favorites. They are at a creative peak, and these guys are all in their 20s.
Beau Is Afraid (2023) *****
An ambitious, surreal and hilarious bit of Kaufmanesque and Kafkaesque paranoia with a constantly bewildered Joaquin Phoenix. It goes from outright crazy to slow drama, and I wish it was reversed (more like Mother!) because the first hour is the best part. It helped considerably that I watched this in two sittings, because it's a very long film and the two halves are like different movies (I stopped when he hit his head on a tree, which was the perfect spot). I can imagine the three hour runtime feels like a slog all in one go.
An ambitious, surreal and hilarious bit of Kaufmanesque and Kafkaesque paranoia with a constantly bewildered Joaquin Phoenix. It goes from outright crazy to slow drama, and I wish it was reversed (more like Mother!) because the first hour is the best part. It helped considerably that I watched this in two sittings, because it's a very long film and the two halves are like different movies (I stopped when he hit his head on a tree, which was the perfect spot). I can imagine the three hour runtime feels like a slog all in one go.
Ben (1972) *
Changing the tone to straight horror and lacking any good characters or performances, Ben is the bad version of Willard, and the ending in the sewers is interminable. The only interesting thing is the showbiz kid and his enviable playhouse. Unfortunately, this one has the hit Michael Jackson song, which might make people think it's worth watching.
Changing the tone to straight horror and lacking any good characters or performances, Ben is the bad version of Willard, and the ending in the sewers is interminable. The only interesting thing is the showbiz kid and his enviable playhouse. Unfortunately, this one has the hit Michael Jackson song, which might make people think it's worth watching.
Between Showers (1914) *
A man steals an umbrella and then becomes a rival love interest with Chaplin. A weak premise with weaker development and some terrible overacting even by silent film standards.
A man steals an umbrella and then becomes a rival love interest with Chaplin. A weak premise with weaker development and some terrible overacting even by silent film standards.
Bottoms (2023) ****
This might be the funniest high school comedy I've seen since Election, but I wish the direction were sharper and it didn't feel so loose and improvy. There's some cutting satire about the state of education today that isn't being fully exploited.
This might be the funniest high school comedy I've seen since Election, but I wish the direction were sharper and it didn't feel so loose and improvy. There's some cutting satire about the state of education today that isn't being fully exploited.
Boys State (2020) ****
A fascinating look at a mock election held for teenagers that shows the nitty gritty of politicking and how their politically naive views are already shaped by their environment (the boys sure do love guns and make it their political dividing line). It's unfortunate that both docs couldn't have been made at the same time. Boy's State is in Texas and the boys are isolated and focused on campaigning. Girls State is in St. Louis with a simultaneous male event going on, and the stark difference between the two events are a major part of the story, so that both docs end up being about the boys.
A fascinating look at a mock election held for teenagers that shows the nitty gritty of politicking and how their politically naive views are already shaped by their environment (the boys sure do love guns and make it their political dividing line). It's unfortunate that both docs couldn't have been made at the same time. Boy's State is in Texas and the boys are isolated and focused on campaigning. Girls State is in St. Louis with a simultaneous male event going on, and the stark difference between the two events are a major part of the story, so that both docs end up being about the boys.
Brand Upon the Brain! (2006) ***
Guy Maddin's bizarre tale of a family running an orphanage on a remote island has heaps of vintage style (film's equivalent of cyberpunk?) and although the handmade silent movie rapid editing gets tedious, you can't deny Maddin's unique storytelling vision. Isabella Rosselini's narration helps too.
Guy Maddin's bizarre tale of a family running an orphanage on a remote island has heaps of vintage style (film's equivalent of cyberpunk?) and although the handmade silent movie rapid editing gets tedious, you can't deny Maddin's unique storytelling vision. Isabella Rosselini's narration helps too.
Brubaker (1980) ****
Excellent real life prison drama about a man fighting the system inside and out, with Robert Redford in peak form. Great supporting cast and I love the gritty 70s photography.
Excellent real life prison drama about a man fighting the system inside and out, with Robert Redford in peak form. Great supporting cast and I love the gritty 70s photography.
Bus Stop (1956) ***
The story has a lot of similarities to Seven Brides for Seven Brothers, except there's only one bride and he has no brothers. You have the yokel coming down from the ranch with no idea about women, instead of a barn raising you have a rodeo, he abducts his bride to take her to his remote home, they get stranded by a snowstorm, and the wild beast of a man is tamed. Interesting that Seven Brides came out in 1954, and Bus Stop debuted on Broadway in 1955. Even more interesting is that director Joshua Logan once owned the rights to the short story that Seven Brides was based on, and went on to direct several major musicals. Oh, but what about the movie? Well, Don Murray's cowboy is easily one of the most annoying characters ever put on screen. He's whooping, hollerin, loud and obnoxious and takes whatever he wants, including Marilyn Monroe. The story basically advocates for abduction and it's pathetic that they end up together. Monroe is excellent though, and gives the film much needed comedy, esp. her musical number in a rough bar.
The story has a lot of similarities to Seven Brides for Seven Brothers, except there's only one bride and he has no brothers. You have the yokel coming down from the ranch with no idea about women, instead of a barn raising you have a rodeo, he abducts his bride to take her to his remote home, they get stranded by a snowstorm, and the wild beast of a man is tamed. Interesting that Seven Brides came out in 1954, and Bus Stop debuted on Broadway in 1955. Even more interesting is that director Joshua Logan once owned the rights to the short story that Seven Brides was based on, and went on to direct several major musicals. Oh, but what about the movie? Well, Don Murray's cowboy is easily one of the most annoying characters ever put on screen. He's whooping, hollerin, loud and obnoxious and takes whatever he wants, including Marilyn Monroe. The story basically advocates for abduction and it's pathetic that they end up together. Monroe is excellent though, and gives the film much needed comedy, esp. her musical number in a rough bar.
Canadian Bacon (1995) ***
A mildly amusing comedy that's also a fascinating time capsule into one of those rare moments when the United States wasn't at war with someone, so it's definitely a movie that couldn't be made at any other time. Despite some good jabs at Canada, Michael Moore was wise to stick to documentaries.
A mildly amusing comedy that's also a fascinating time capsule into one of those rare moments when the United States wasn't at war with someone, so it's definitely a movie that couldn't be made at any other time. Despite some good jabs at Canada, Michael Moore was wise to stick to documentaries.
Cane Toads: An Unnatural History (1988) ****
Quirky doc about invasive toads in Australia. Strikes a nice balance between being informative, comedic, and off-kilter. Felt like an Errol Morris movie with all the oddball rural characters.
Quirky doc about invasive toads in Australia. Strikes a nice balance between being informative, comedic, and off-kilter. Felt like an Errol Morris movie with all the oddball rural characters.
Cane Toads: The Conquest (2010) ****
This isn't really a sequel to the 1988 documentary Cane Toads: An Unnatural History, but more of an expansion and updating of the story, with the same offbeat sense of humor, oddball Australian characters, and over-the-top dramatic recreations. However, the original Cane Toads was an enjoyable 47 minutes long, and this one kind of wears out its welcome at 80 minutes, but I probably wouldn't think so if I had skipped the first film.
This isn't really a sequel to the 1988 documentary Cane Toads: An Unnatural History, but more of an expansion and updating of the story, with the same offbeat sense of humor, oddball Australian characters, and over-the-top dramatic recreations. However, the original Cane Toads was an enjoyable 47 minutes long, and this one kind of wears out its welcome at 80 minutes, but I probably wouldn't think so if I had skipped the first film.
Cannibal Mukbang (2023) ***
Predictable but solid horror film with strong performances.
Predictable but solid horror film with strong performances.
Cat Ballou (1965) ***
Between Bob Hope's Paleface and Mel Brooks' Blazing Saddles, one big step in the progress of Western parodies was Cat Ballou. It's not a great film, but it was a popular film, and it's enjoyable and only occasionally over the top (the 1960s loves them under cranked chase scenes). Young Jane Fonda outshines her dull co-stars, except for Lee Marvin who won an Oscar for clowning around as a drunk. His costume change scene was Oscar-worthy, but maybe not for the acting.
Between Bob Hope's Paleface and Mel Brooks' Blazing Saddles, one big step in the progress of Western parodies was Cat Ballou. It's not a great film, but it was a popular film, and it's enjoyable and only occasionally over the top (the 1960s loves them under cranked chase scenes). Young Jane Fonda outshines her dull co-stars, except for Lee Marvin who won an Oscar for clowning around as a drunk. His costume change scene was Oscar-worthy, but maybe not for the acting.
Citizen Kane (1941) *****
To complement my trip to the Hearst Castle, I decided to revisit one of the most meticulously studied movies in film history and do a full dive into the bluray extras. It feels like a lot of the appreciation of Citizen Kane lately has boiled down to the film's technical innovations. Indeed, that's the primary focus of Roger Ebert's famous commentary track, and the kinds of observations I often see repeated online. The thing is, none of that technical stuff would matter much if it didn't also have a great story, excellent acting, and thematic and historical relevance. Kane is the complete package: a film that you can analyze from any angle and it comes out as a work of genius. If there's a weakness to Kane, it's that the fractured structure of the narrative doesn't allow for much dramatic buildup. The drama comes in spurts, and there's a lot of tricks working hard to make those dramatic moments impactful. That's not much of a complaint though in a movie that's doing so many other things perfectly with such gleeful and youthful enthusiasm. At heart it's a satire, and those dramatic moments just give the film balance. I've seen the film at least a dozen times (seven of those in a theater when it played for a week back in the 90s, probably for this Criterion restoration) and I get something new out of it every time. What impressed me most this time was the screenplay - not the obvious part about the multiple perspectives of Kane - but the way it balanced short, inventive bits of largely visual exposition with longer, mostly static character scenes. It doesn't stick to one style of storytelling and jumps around in time like crazy without ever getting confusing, which also helps keep things moving at a brisk pace. It's amazing that it all holds together, and yet it wouldn't work any other way. The story doesn't delve deeply into any one character - not even Kane - but thematically that's what it's all about - how no movie can really explain a person's life. That's ultimately what all the pieces of the puzzle add up to. Even the final reveal of Rosebud adds as much mystery as it explains.
To complement my trip to the Hearst Castle, I decided to revisit one of the most meticulously studied movies in film history and do a full dive into the bluray extras. It feels like a lot of the appreciation of Citizen Kane lately has boiled down to the film's technical innovations. Indeed, that's the primary focus of Roger Ebert's famous commentary track, and the kinds of observations I often see repeated online. The thing is, none of that technical stuff would matter much if it didn't also have a great story, excellent acting, and thematic and historical relevance. Kane is the complete package: a film that you can analyze from any angle and it comes out as a work of genius. If there's a weakness to Kane, it's that the fractured structure of the narrative doesn't allow for much dramatic buildup. The drama comes in spurts, and there's a lot of tricks working hard to make those dramatic moments impactful. That's not much of a complaint though in a movie that's doing so many other things perfectly with such gleeful and youthful enthusiasm. At heart it's a satire, and those dramatic moments just give the film balance. I've seen the film at least a dozen times (seven of those in a theater when it played for a week back in the 90s, probably for this Criterion restoration) and I get something new out of it every time. What impressed me most this time was the screenplay - not the obvious part about the multiple perspectives of Kane - but the way it balanced short, inventive bits of largely visual exposition with longer, mostly static character scenes. It doesn't stick to one style of storytelling and jumps around in time like crazy without ever getting confusing, which also helps keep things moving at a brisk pace. It's amazing that it all holds together, and yet it wouldn't work any other way. The story doesn't delve deeply into any one character - not even Kane - but thematically that's what it's all about - how no movie can really explain a person's life. That's ultimately what all the pieces of the puzzle add up to. Even the final reveal of Rosebud adds as much mystery as it explains.
ESSENTIAL FEATURES
The Complete Citizen Kane - A 1991 feature-length documentary all about Kane. If you only see Citizen Kane extra, this is the one to watch. It details all aspects of the movie and goes into the life of Hearst. The best part is they get Willam Alland to do narration like it's a newsreel. He played the reporter in Kane and did the original News on the March narration. 1h35m
My Guest is Orson Welles - An impressive biography of Orson Welles compiled entirely from multiple talk show interviews. 43m
On the Nose - Oh yes, there's a whole little documentary about Welles' nose - or all of his prosthetic noses. You can't fully understand Welles unless you know about his noses. 8m
COMMENTARIES
Roger Ebert - Ebert's commentary has become the stuff of legend, although his focus is almost entirely on the technical aspects of the production. It is certainly a great way to appreciate the film and it's very detailed, but plays down the larger context of what the film is about. Not that a commentary needs to do that, but it seems that today there's too much focus on the film's technical achievements over its content. Yes, you can see the ceilings, but that's not the most important thing. But Ebert is thorough and comes prepared, which isn't true for a lot of commentaries where they seem to be watching the film for the first time in years.
Peter Bogdonavich - This commentary is somewhat disappointing considering Bogdonavich was friends with Orson Welles for 20 years. There are a handful of personal anecdotes but mostly he is pointing out the obvious, addressing a lot of the technical aspects that Ebert goes into greater detail on.
James Naremore and Jonathan Rosenbaum - This newer commentary gives a good general overview of the film and its history and speculates on some of the undertones of the story (was Leland gay?), although the commentators often step on each other's points.
OTHER FEATURES
Farran Smith Nehme - Details the parallels between Kane and William Randolph Hearst and Hearst's reaction to the film. 23m
Joseph Cotten - Nice 1966 interview reflecting mostly on Welles, although some of his stories are repeated three times in the commentaries. 15m
Racquel J. Gates - A film professor talking about how she gets students to relate to the film and focuses more on the thematic issues the film presents over its technical accomplishments. 16m
The Man Who Pursued Rosebud - an interview with William Alland - the faceless man who's trying to figure out what "Rosebud" means. He talks about joining the Mercury Theatre and working with Welles on stage and on the radio, and Welles' troubles with studios following Kane. 21m
On Toland - 1990 interviews with three cinematographers gushing about Gregg Toland's photography. 16m
Craig Barron and Ben Burtt - Two legendary sound and effects directors (look them up!) discuss the sound and effects of Kane with some great visual examples of how things were done. 28m
Martin Scorsese - Sure, why not ask Scorsese what he thinks of Citizen Kane? 1990 interview where he talks about how Kane influenced his own filmmaking and perspective on what film could do. 7m
Knowing Welles - 1990 interviews with filmmakers who had worked with Welles like Jaglom and Bogdanovich talking about his life and personality. 22m
Working on Kane - 1990 interviews with Robert Wise, Ruth Warrick, and Linwood Dunn about editing the film with some nice details about how Welles worked with actors. 18m
Ruth Warrick and Robert Wise - Additional interview material that for some reason was left out of Working on Kane. 8m
Merv Griffin Show - Recorded in 1979, Welles decides to bury the hatchet with former producer John Houseman in their first meeting since they worked together in the 1930s, although there's not as much animosity as implied. 18m
South Bank Show - 1978 interview with John Houseman mostly focused on his work with Welles. 51mÂ
Joseph Cotten's AFI Speech 1975 - Cotten has a strong accent in his old age. 3m
The Opening - Brief, silent newsreel about the opening of the film. Half the clip is the RKO Rooster logo. 1m
City on Fire (1987)
Before Chow Yun Fat was cool, he was a complete dork. Terrible acting all around made this unwatchable. Gave up after 20 minutes.
Before Chow Yun Fat was cool, he was a complete dork. Terrible acting all around made this unwatchable. Gave up after 20 minutes.
Claydream (2021) ***
Doc about Will Vinton's life building his Claymation empire only to lose it all to Nike. Provides a great overview of Vinton's career and it's great to see something about animation that isn't Disney. He did a lot more than singing raisins.
Doc about Will Vinton's life building his Claymation empire only to lose it all to Nike. Provides a great overview of Vinton's career and it's great to see something about animation that isn't Disney. He did a lot more than singing raisins.
CODA (2021) ****
Aside from the main cast being deaf, this is a run of the mill coming of age indie film. The performances are excellent and it's emotionally engaging but it's unremarkable. It's just a nice little movie that was cursed with an Oscar, and will probably end up as the most forgotten Best Picture winner in history (it doesn't help that the only way to see it seems to be via AppleTV+).
Aside from the main cast being deaf, this is a run of the mill coming of age indie film. The performances are excellent and it's emotionally engaging but it's unremarkable. It's just a nice little movie that was cursed with an Oscar, and will probably end up as the most forgotten Best Picture winner in history (it doesn't help that the only way to see it seems to be via AppleTV+).
Collateral (2004) ****
A tight thriller with a solid script, excellent performances from Jamie Foxx and Tom Cruise, and a great nighttime L.A. backdrop. I also liked the effort they made to make all the actors look different from their movie star norms and feel like real characters. Weirdly, I haven't seen a Michael Mann movie since. They've all gotten terrible reviews, but this one's a classic.
A tight thriller with a solid script, excellent performances from Jamie Foxx and Tom Cruise, and a great nighttime L.A. backdrop. I also liked the effort they made to make all the actors look different from their movie star norms and feel like real characters. Weirdly, I haven't seen a Michael Mann movie since. They've all gotten terrible reviews, but this one's a classic.
Come Back, Little Sheba (1952) ****
Shirley Booth shines as the wife of recovering alcoholic Burt Lancaster, who is too young but underplays everything nicely, perhaps because he's trying to play someone older. Inge's noted sexual tension is more in the background but it's still driving things. This is Inge's first film and it's solid, but he just got better after this.
Shirley Booth shines as the wife of recovering alcoholic Burt Lancaster, who is too young but underplays everything nicely, perhaps because he's trying to play someone older. Inge's noted sexual tension is more in the background but it's still driving things. This is Inge's first film and it's solid, but he just got better after this.
Come from Away (2021) ***
When I first heard about the hundreds of airplanes grounded in a tiny Newfoundland town due to 9/11, I thought it was a great idea for a movie. It's not as great an idea for a stage musical though, as it's mostly a ton of exposition telling us what happened instead of just showing it. Some of the songs borrow from other songs, like Pinball Wizard, and I don't know why, but it's still an amazing story, with the cast playing multiple characters with multiple nationalities.
When I first heard about the hundreds of airplanes grounded in a tiny Newfoundland town due to 9/11, I thought it was a great idea for a movie. It's not as great an idea for a stage musical though, as it's mostly a ton of exposition telling us what happened instead of just showing it. Some of the songs borrow from other songs, like Pinball Wizard, and I don't know why, but it's still an amazing story, with the cast playing multiple characters with multiple nationalities.
Con Air (1997) **
I gave up on action movies in the 1990s because of movies like this. Big, dumb, and loud - displaying the worst of Bruckheimer's instincts. The stellar cast hams it up, clearly doing it for a paycheck, but many of them don't get enough screentime. I was particularly disappointed in Buscemi's role after all the buildup. The film's aesthetic is "whatever looks cool" which means it looks like a truck commercial. The best I can say is the pacing is excellent, which makes it easily watchable.
I gave up on action movies in the 1990s because of movies like this. Big, dumb, and loud - displaying the worst of Bruckheimer's instincts. The stellar cast hams it up, clearly doing it for a paycheck, but many of them don't get enough screentime. I was particularly disappointed in Buscemi's role after all the buildup. The film's aesthetic is "whatever looks cool" which means it looks like a truck commercial. The best I can say is the pacing is excellent, which makes it easily watchable.
Critters 3 (1991) *
Leonardo DiCaprio is in this movie.
Leonardo DiCaprio is in this movie.
Cure (1997) ***
Does a great job building intrigue and mystery, but the hypnotism premise is kind of silly, and it drifts to an obvious climax with a lot of unsatisfying ambiguous threads. Reminded me a bit of Gozu, but that movie definitely stuck the ending.
Does a great job building intrigue and mystery, but the hypnotism premise is kind of silly, and it drifts to an obvious climax with a lot of unsatisfying ambiguous threads. Reminded me a bit of Gozu, but that movie definitely stuck the ending.
The Dark at the Top of the Stairs (1960) ***
I had a hard time finding this film and the picture quality was terrible. It's 1960 so movies could be a little more frank about sex, but this means all the sexual repression is played right out in the open, so there's little subtlety or subtext to make the drama interesting. The nostalgic small town 1920s Oklahoma story deals with a ton of issues: industrialization, class, old age, coming-of-age, bullying, masculinity, infidelity, sexual desire, suicide, and discrimination. Robert Preston and Dorothy Maguire are excellent and it captures the period and family life, but it could use more focus.
I had a hard time finding this film and the picture quality was terrible. It's 1960 so movies could be a little more frank about sex, but this means all the sexual repression is played right out in the open, so there's little subtlety or subtext to make the drama interesting. The nostalgic small town 1920s Oklahoma story deals with a ton of issues: industrialization, class, old age, coming-of-age, bullying, masculinity, infidelity, sexual desire, suicide, and discrimination. Robert Preston and Dorothy Maguire are excellent and it captures the period and family life, but it could use more focus.
The Decline of Western Civilization (1981) ***
I don't have the connection to 70s punk music that I do to 80s metal, so I watched the sequel first and enjoyed it enough to see more. Unfortunately, this one is more focused on the bands and less on the fans, and isn't as endearing. At best, it respects the music - it's not an outsider looking in - and the punk musicians seem more intelligent than the metal partiers. It ends on a sour note though with the band Fear, whose lead singer just seems like an unpleasant person.
I don't have the connection to 70s punk music that I do to 80s metal, so I watched the sequel first and enjoyed it enough to see more. Unfortunately, this one is more focused on the bands and less on the fans, and isn't as endearing. At best, it respects the music - it's not an outsider looking in - and the punk musicians seem more intelligent than the metal partiers. It ends on a sour note though with the band Fear, whose lead singer just seems like an unpleasant person.
The Decline of Western Civilization Part II: The Metal Years (1988) ****
A candid peek into the Los Angeles heavy metal scene of the late 80s with a few big names but focused mostly on lesser known bands. The documentary doesn't condemn their lifestyle - they do that themselves by example - but few of them acknowledge that playing music every night and living on the road is "work" and they don't have a clue what they would do otherwise. Even if they aren't superstars they have found their place and have a great attitude. If anything, there's a lot of hair.
A candid peek into the Los Angeles heavy metal scene of the late 80s with a few big names but focused mostly on lesser known bands. The documentary doesn't condemn their lifestyle - they do that themselves by example - but few of them acknowledge that playing music every night and living on the road is "work" and they don't have a clue what they would do otherwise. Even if they aren't superstars they have found their place and have a great attitude. If anything, there's a lot of hair.
Descendant (2022) ***
The remains of the last slave ship are discovered in an Alabama river. This documentary was probably made at the wrong moment in time because there just isn't enough visual information to fill the feature length. The ship is located but not excavated, so basically you just see a river, ending with plans for a future museum. Most of the film is about justifying the importance of the discovery to the community and the town's unusual history, but the bigger picture of wealth disparity and the industrial destruction of the land aren't fully explored. It doesn't help that the town's wealthy benefactors refused to participate. You can only work with what you've got, but I struggled to stay interested.
The remains of the last slave ship are discovered in an Alabama river. This documentary was probably made at the wrong moment in time because there just isn't enough visual information to fill the feature length. The ship is located but not excavated, so basically you just see a river, ending with plans for a future museum. Most of the film is about justifying the importance of the discovery to the community and the town's unusual history, but the bigger picture of wealth disparity and the industrial destruction of the land aren't fully explored. It doesn't help that the town's wealthy benefactors refused to participate. You can only work with what you've got, but I struggled to stay interested.
Devil in a Blue Dress (1995) ****
Denzel is great in this tight and complex noir that quickly raises the stakes and keeps them high. It's also a breakout role for Don Cheadle. This should have been a big movie but I guess period noir wasn't cool in the 90s (until LA Confidential). Great to see director Carl Franklin is still doing some high profile television.
Denzel is great in this tight and complex noir that quickly raises the stakes and keeps them high. It's also a breakout role for Don Cheadle. This should have been a big movie but I guess period noir wasn't cool in the 90s (until LA Confidential). Great to see director Carl Franklin is still doing some high profile television.
Dolores Claiborne (1995) ***
Kathy Bates is great and I like how the story transitions back and forth in time (very much like Lone Star, but not as elegant) but Taylor Hackford's direction is way over dramatic. I've also never cared much for Jennifer Jason Leigh's acting and this didn't change that opinion. The overly-convoluted story needed a bigger final twist or idea to bring it all together.
Kathy Bates is great and I like how the story transitions back and forth in time (very much like Lone Star, but not as elegant) but Taylor Hackford's direction is way over dramatic. I've also never cared much for Jennifer Jason Leigh's acting and this didn't change that opinion. The overly-convoluted story needed a bigger final twist or idea to bring it all together.
Duck Soup (1927) ***
Early pairing of Laurel and Hardy before they fully developed their characters, about two vagabonds who take up residence in an empty mansion. Their chemistry is all there and it's full of energetic chases, falls, and sight gags.
Early pairing of Laurel and Hardy before they fully developed their characters, about two vagabonds who take up residence in an empty mansion. Their chemistry is all there and it's full of energetic chases, falls, and sight gags.
The Duke of Burgundy (2014) ****
Lesbian lovers play domination games. It's a bit long for a movie that's pretty much two people and the plot doesn't really develop, but the visuals are superb and carry it to a dream-like conclusion where you aren't sure what's a game and what isn't. This is my third Peter Strickland film after Berberian Sound Studio and In Fabric, and this fits squarely between those two.
Lesbian lovers play domination games. It's a bit long for a movie that's pretty much two people and the plot doesn't really develop, but the visuals are superb and carry it to a dream-like conclusion where you aren't sure what's a game and what isn't. This is my third Peter Strickland film after Berberian Sound Studio and In Fabric, and this fits squarely between those two.
Ed Wood (1994) ****
The script is a jumble of scenes that only work intermittently and the movie feels long, but the friendship between Ed Wood and Bela Lugosi makes it all worthwhile. Martin Landau is amazing. I was surprised how very little of Plan 9 there is.
The script is a jumble of scenes that only work intermittently and the movie feels long, but the friendship between Ed Wood and Bela Lugosi makes it all worthwhile. Martin Landau is amazing. I was surprised how very little of Plan 9 there is.
Evita (1996) **
It's a sumptuous production with a good cast and lots of extras, but the whole movie is a montage. There's no sense of character or story and it's hard to understand what's going on for someone who has no clue about the history. Basically everyone loves Evita until they don't, there's lots of protesting and soldiers, and this just goes on and on. There are some memorable tunes but a lot of the music is incongruous to the setting and probably needs a more stylized approach to work. I ended up bored.
It's a sumptuous production with a good cast and lots of extras, but the whole movie is a montage. There's no sense of character or story and it's hard to understand what's going on for someone who has no clue about the history. Basically everyone loves Evita until they don't, there's lots of protesting and soldiers, and this just goes on and on. There are some memorable tunes but a lot of the music is incongruous to the setting and probably needs a more stylized approach to work. I ended up bored.
Fame (1980) ****
One of those films that escaped me in my youth, although I had seen bits and pieces of it, which is fine because there isn't a story to follow and the whole film is just a montage of scenes with too many characters, not all of whom get complete arcs. What makes it work is the gritty New York squalor and Alan Parker's gift of injecting music and life onto the screen, weaving the stories into well edited sequences of the daily life of gifted students practicing their arts, and the music is pretty good.
One of those films that escaped me in my youth, although I had seen bits and pieces of it, which is fine because there isn't a story to follow and the whole film is just a montage of scenes with too many characters, not all of whom get complete arcs. What makes it work is the gritty New York squalor and Alan Parker's gift of injecting music and life onto the screen, weaving the stories into well edited sequences of the daily life of gifted students practicing their arts, and the music is pretty good.
The Farthest (2017) ***
Despite the lame title, this is a nice documentary all about NASA's Voyager missions, which I wrote a play about! www.jupiterkansas.com/voyage-to-voyager.html
Despite the lame title, this is a nice documentary all about NASA's Voyager missions, which I wrote a play about! www.jupiterkansas.com/voyage-to-voyager.html
Find Me Guilty (2006) ****
An excellent performance from Vin Diesel defending himself in a crazy real-life RICO case against the Italian mob. It's nice to have Sidney Lumet back in the courtroom and he directs this with ease and a great sense of humor.
An excellent performance from Vin Diesel defending himself in a crazy real-life RICO case against the Italian mob. It's nice to have Sidney Lumet back in the courtroom and he directs this with ease and a great sense of humor.
Fireball: Visitors from Darker Worlds (2020) ****
Once again Werner Herzog goes to the edges of humanity to meet the interesting people he finds there. This time it's a loosely structured doc about meteors and global extinction, with a mix of the scientific and the spiritual. Herzog seems to have caught on that people find his narration funny and is leaning into it, which may not be the best thing.
Once again Werner Herzog goes to the edges of humanity to meet the interesting people he finds there. This time it's a loosely structured doc about meteors and global extinction, with a mix of the scientific and the spiritual. Herzog seems to have caught on that people find his narration funny and is leaning into it, which may not be the best thing.
Flora and Son (2023) **
John Carney makes yet another movie about people brought together by music, but this one is weak. The ribald humor doesn't hide the fact that it's just a sappy romance. Eve Hewson is great as Flora, but Joseph Gordon Levitt just plays an "ideal hunk" and I kept waiting for his truth to be revealed, but no, he's just a hunk. And the music isn't very good, which is what made Sing Street and Once worthwhile.
John Carney makes yet another movie about people brought together by music, but this one is weak. The ribald humor doesn't hide the fact that it's just a sappy romance. Eve Hewson is great as Flora, but Joseph Gordon Levitt just plays an "ideal hunk" and I kept waiting for his truth to be revealed, but no, he's just a hunk. And the music isn't very good, which is what made Sing Street and Once worthwhile.
The Forbidden Kingdom (2008) ***
A generic, Americanized Chinese fantasy adventure aimed at teens with big Lord of the Rings vibes (and hints of Wizard of Oz). The production design is more lavish than your average Jackie Chan film, but the fights lack humor despite Jackie doing a watered-down drunken master. Thankfully the lead kid isn't a terrible actor, but we're here to see Jackie and Jet Li, so the kid is still distracting.
A generic, Americanized Chinese fantasy adventure aimed at teens with big Lord of the Rings vibes (and hints of Wizard of Oz). The production design is more lavish than your average Jackie Chan film, but the fights lack humor despite Jackie doing a watered-down drunken master. Thankfully the lead kid isn't a terrible actor, but we're here to see Jackie and Jet Li, so the kid is still distracting.
The Forty-Year-Old Version (2020) ****
This is one of those nice film festival kind of movies about an unsuccessful playwright/drama teacher turning 40 who tries her hand at rap music. Although there is nothing groundbreaking the film is observant, funny, and captures the New York theatre world perfectly, esp. how every play produced has to be about race or gender (but not so much it offends rich white people). The rap music side could have been handled better, and a subplot with her drama students felt incomplete, but it's a strong showcase for writer/director/producer/star Radha Blank.
This is one of those nice film festival kind of movies about an unsuccessful playwright/drama teacher turning 40 who tries her hand at rap music. Although there is nothing groundbreaking the film is observant, funny, and captures the New York theatre world perfectly, esp. how every play produced has to be about race or gender (but not so much it offends rich white people). The rap music side could have been handled better, and a subplot with her drama students felt incomplete, but it's a strong showcase for writer/director/producer/star Radha Blank.
Four Lions (2010) ****
I rewatched this jihad comedy because now I know who Riz Ahmed and Kayvan Novak are. It's funny but meanders in places and the documentary style is annoying, esp. when it's not even presented as a mockumentary.
I rewatched this jihad comedy because now I know who Riz Ahmed and Kayvan Novak are. It's funny but meanders in places and the documentary style is annoying, esp. when it's not even presented as a mockumentary.
The Four Seasons (1981) ***
Three couples vacation together at different times of the year and slowly realize they can't stand each other any more. Lightweight dramatic comedy that's never as funny as it needs to be with characters that aren't lovable despite being played by some lovable people. It feels very French with lots of nice Vivaldi music. Carol Burnette should have done a lot more movies.
Three couples vacation together at different times of the year and slowly realize they can't stand each other any more. Lightweight dramatic comedy that's never as funny as it needs to be with characters that aren't lovable despite being played by some lovable people. It feels very French with lots of nice Vivaldi music. Carol Burnette should have done a lot more movies.
Foxcatcher (2014) ****
A true story built on great acting and makeup, with Steve Carrell sporting a huge honker and giving an unsettling measured performance. I'm not a fan of Bennett Miller's deliberate style and his long, slow buildup to the big event, but it always kept me wondering what might happen next, and it wasn't the film I expected.
A true story built on great acting and makeup, with Steve Carrell sporting a huge honker and giving an unsettling measured performance. I'm not a fan of Bennett Miller's deliberate style and his long, slow buildup to the big event, but it always kept me wondering what might happen next, and it wasn't the film I expected.
Frances Ha (2012) ****
Realistic and relatable film about a likable young woman trying to make it in life while surrounded by supposedly more successful friends. Easy to believe that Greta Gerwig is just being herself, as the few performative bits threaten to spoil the verisimilitude. Plot twist: that Gerwig girl ultimately succeeds. My biggest complaint is the ugly and drab black and white photography.
Realistic and relatable film about a likable young woman trying to make it in life while surrounded by supposedly more successful friends. Easy to believe that Greta Gerwig is just being herself, as the few performative bits threaten to spoil the verisimilitude. Plot twist: that Gerwig girl ultimately succeeds. My biggest complaint is the ugly and drab black and white photography.
Game 6 (2005) ***
A great cast led by Michael Keaton in his off season and written by Don DeLilllo. Game 6 exists in the same world as After Hours and Birdman and Cosmopolis, but isn't as compelling. Like Cosmopolis (based on a DeLillo book), it has some funny and intriguing moments and characters, but there's no story to tie it all together, just a lot of chance meetings and a baseball game.
A great cast led by Michael Keaton in his off season and written by Don DeLilllo. Game 6 exists in the same world as After Hours and Birdman and Cosmopolis, but isn't as compelling. Like Cosmopolis (based on a DeLillo book), it has some funny and intriguing moments and characters, but there's no story to tie it all together, just a lot of chance meetings and a baseball game.
Garland Jeffreys: The King of in Between (2023) ****
Solid doc about a little known rock musician.
Solid doc about a little known rock musician.
Giants and Toys (1958) ****
A zany corporate comedy about rival candy makers in post-war Japan that skewers the unending race for profits and fleeting allure of fame. Unfortunately it runs out of ideas long before the ending and just kind of keeps hitting the same point, but it still feels ahead of its time.
A zany corporate comedy about rival candy makers in post-war Japan that skewers the unending race for profits and fleeting allure of fame. Unfortunately it runs out of ideas long before the ending and just kind of keeps hitting the same point, but it still feels ahead of its time.
Gideon's Trumpet (1980) ***
Henry Fonda's last film is a dry courtroom drama about a 1960s supreme court case that decided all defendants must be provided legal counsel. Made for TV, what it lacks in drama it makes up for in showing the legal process in detail. In fact, the dramatic moments are the worst part. It' s hard to imagine today's Supreme Court being so thoughtful, but I'd like to see a similar film about a more controversial topic (I guess there's Loving).
Henry Fonda's last film is a dry courtroom drama about a 1960s supreme court case that decided all defendants must be provided legal counsel. Made for TV, what it lacks in drama it makes up for in showing the legal process in detail. In fact, the dramatic moments are the worst part. It' s hard to imagine today's Supreme Court being so thoughtful, but I'd like to see a similar film about a more controversial topic (I guess there's Loving).
The Girl on the Broomstick (1972) **
Criterion pitched this as some oddball hidden gem, but it was just a Czechoslovakian version of a live action Disney movie. I still sat through it all and was mildly amused.
Criterion pitched this as some oddball hidden gem, but it was just a Czechoslovakian version of a live action Disney movie. I still sat through it all and was mildly amused.
Girls State (2024) ****
A fascinating look at a mock election held for teenagers that shows the nitty gritty of politicking and how their politically naive views are already shaped by their environment (the boys sure do love guns and make it their political dividing line). It's unfortunate that both docs couldn't have been made at the same time. Boy's State is in Texas and the boys are isolated and focused on campaigning. Girls State is in St. Louis with a simultaneous male event going on, and the stark difference between the two events are a major part of the story, so that both docs end up being about the boys.
A fascinating look at a mock election held for teenagers that shows the nitty gritty of politicking and how their politically naive views are already shaped by their environment (the boys sure do love guns and make it their political dividing line). It's unfortunate that both docs couldn't have been made at the same time. Boy's State is in Texas and the boys are isolated and focused on campaigning. Girls State is in St. Louis with a simultaneous male event going on, and the stark difference between the two events are a major part of the story, so that both docs end up being about the boys.
Go (1999) ****
Kind of a low budget Tarantino for teens. It's more straight-forward and less inventive than Pulp Fiction, but has the same "gets crazier as it goes" plot and the three storyline structure was fun. Crazy to think Liman would follow this with Bourne Identity.
Kind of a low budget Tarantino for teens. It's more straight-forward and less inventive than Pulp Fiction, but has the same "gets crazier as it goes" plot and the three storyline structure was fun. Crazy to think Liman would follow this with Bourne Identity.
Godzilla Minus One (2023) ***
Highly overpraised because in the end it's just another Godzilla movie, which is hard to take seriously, but they take it oh so very seriously. The hardest part to swallow is that a giant monster can come ashore, trample a city, kill 30,000 people, and there's no international response. Instead, it's all left to a ragtag group of war vets using borrowed equipment to save the day. The central character's PTSD drama is tedious and their plan to kill Godzilla is ridiculous, but it doesn't matter because it's a giant monster movie and we just want to see Godzilla use his neon breath ray. Most of the action takes place at sea with some videogame looking ships. I liked that Godzilla still walked like a guy in a rubber suit.
Highly overpraised because in the end it's just another Godzilla movie, which is hard to take seriously, but they take it oh so very seriously. The hardest part to swallow is that a giant monster can come ashore, trample a city, kill 30,000 people, and there's no international response. Instead, it's all left to a ragtag group of war vets using borrowed equipment to save the day. The central character's PTSD drama is tedious and their plan to kill Godzilla is ridiculous, but it doesn't matter because it's a giant monster movie and we just want to see Godzilla use his neon breath ray. Most of the action takes place at sea with some videogame looking ships. I liked that Godzilla still walked like a guy in a rubber suit.
Gone with the Wind (1939) *****
This is a problematic film, and not just because of the racism. The first half is just about perfect, building up the idyllic life on the plantation and establishing all the character relationships only to have it all come crashing down because of the war. The way it keeps us interested in Scarlett's problems and desires with war as a backdrop is textbook epic romance. Throw in the memorable theme music, gorgeous color photography, and grandly executed set pieces and you have a masterpiece. It's in the second half where the film falters. The story becomes more episodic and melodramatic, and there are sequences like the raid on the camp that could be easily excised without affecting anything aside from its too long runtime. It's notable that all the famous scenes are in the first half except for "I don't give a damn." However, it's a movie that needs to be too big and too long. The excess is part of its charm, and it gets more thoughtful and complex in the second half, so it's not a disaster. Gone With the Wind is easily dismissed these days because of the racism, with justification, but I see that as more of a process of history than a real criticism of the film. It has to be rejected while most films of that era are simply forgotten, and it will eventually be looked on as an artifact of history like Birth of a Nation or Uncle Tom's Cabin. What doesn't often get mentioned is how this massive epic movie is carried by a female protagonist, with a remarkable performance by Vivian Leigh. Even in the modern era that's rare enough to be noteworthy, and Gone With the Wind pulls it off better than any of them.
This is a problematic film, and not just because of the racism. The first half is just about perfect, building up the idyllic life on the plantation and establishing all the character relationships only to have it all come crashing down because of the war. The way it keeps us interested in Scarlett's problems and desires with war as a backdrop is textbook epic romance. Throw in the memorable theme music, gorgeous color photography, and grandly executed set pieces and you have a masterpiece. It's in the second half where the film falters. The story becomes more episodic and melodramatic, and there are sequences like the raid on the camp that could be easily excised without affecting anything aside from its too long runtime. It's notable that all the famous scenes are in the first half except for "I don't give a damn." However, it's a movie that needs to be too big and too long. The excess is part of its charm, and it gets more thoughtful and complex in the second half, so it's not a disaster. Gone With the Wind is easily dismissed these days because of the racism, with justification, but I see that as more of a process of history than a real criticism of the film. It has to be rejected while most films of that era are simply forgotten, and it will eventually be looked on as an artifact of history like Birth of a Nation or Uncle Tom's Cabin. What doesn't often get mentioned is how this massive epic movie is carried by a female protagonist, with a remarkable performance by Vivian Leigh. Even in the modern era that's rare enough to be noteworthy, and Gone With the Wind pulls it off better than any of them.
The Grand Budapest Hotel (2014) *****
It seems like Wes Anderson peaked with this film. The style is at the forefront but it isn't the point of the movie. There's a solid and compelling story underneath, and a great central performance by Ralph Fiennes. The celebrity cameos all have a role to play and aren't there just so they can be in a Wes Anderson movie (well, except for Bob Balaban). It would be entertaining even without Anderson's self-indulgent flourishes.
It seems like Wes Anderson peaked with this film. The style is at the forefront but it isn't the point of the movie. There's a solid and compelling story underneath, and a great central performance by Ralph Fiennes. The celebrity cameos all have a role to play and aren't there just so they can be in a Wes Anderson movie (well, except for Bob Balaban). It would be entertaining even without Anderson's self-indulgent flourishes.
Guillermo del Toro's Pinocchio (2022) ***
I have no complaints about the film other than I was never fully engaged. While I appreciate the craftsmanship and storytelling, the story's so familiar that there's little magic or wonder left to mine, but the movie wasn't made for jaded viewers in their 50s. Also, animation these days is so close to perfection that it's hard to even appreciate that.
I have no complaints about the film other than I was never fully engaged. While I appreciate the craftsmanship and storytelling, the story's so familiar that there's little magic or wonder left to mine, but the movie wasn't made for jaded viewers in their 50s. Also, animation these days is so close to perfection that it's hard to even appreciate that.
Guys and Dolls (1955) *****
The world's cutest gangsters, whose only crime apparently is they like to gamble. This is one of my favorite classic musicals, even if it's too long and has too many songs. Most of those songs are earwormingly great, though, and Mankiewicz's direction and production design retains just enough spirit of a live Broadway show to give it life. Of course, when I first saw this as a kid, I had no idea who Marlon Brando was. Now I see that it was a bold choice to put him in a musical, and he does an impressive job opposite Sinatra. It's also crazy that the two leads aren't even in the big final musical number.
The world's cutest gangsters, whose only crime apparently is they like to gamble. This is one of my favorite classic musicals, even if it's too long and has too many songs. Most of those songs are earwormingly great, though, and Mankiewicz's direction and production design retains just enough spirit of a live Broadway show to give it life. Of course, when I first saw this as a kid, I had no idea who Marlon Brando was. Now I see that it was a bold choice to put him in a musical, and he does an impressive job opposite Sinatra. It's also crazy that the two leads aren't even in the big final musical number.
Hanna (2011) ***
An overabundance of style masks a ridiculous story about a genetically modified teen super warrior played by 14 year old Saiorse Ronan, and thanks to a lot of choppy editing you can almost believe she can beat up people twice her size. Despite the silliness, the movie offers some unique exotic locations, oddball characters, and Cate Blanchett makes a fun villain. It's really about Ronan establishing herself as a lead actress, and she carries the movie just fine.
An overabundance of style masks a ridiculous story about a genetically modified teen super warrior played by 14 year old Saiorse Ronan, and thanks to a lot of choppy editing you can almost believe she can beat up people twice her size. Despite the silliness, the movie offers some unique exotic locations, oddball characters, and Cate Blanchett makes a fun villain. It's really about Ronan establishing herself as a lead actress, and she carries the movie just fine.
The Harvey Girls (1946) **
MGM musical that tries to hide its non-existent storyline behind garish Technicolor, which basically means a bitchy Angela Lansbury in a parade of impractical dresses. Unfortunately she doesn't get to do her own singing. "The Atchison, Topeka, and Santa Fe" number is the only memorable song, and Ray Bolger's big dance number near the end is worth seeing, but it's otherwise forgettable. John Hodiak is a boring lead for this kind of film, and Judy Garland's physical comedy is terrible.
MGM musical that tries to hide its non-existent storyline behind garish Technicolor, which basically means a bitchy Angela Lansbury in a parade of impractical dresses. Unfortunately she doesn't get to do her own singing. "The Atchison, Topeka, and Santa Fe" number is the only memorable song, and Ray Bolger's big dance number near the end is worth seeing, but it's otherwise forgettable. John Hodiak is a boring lead for this kind of film, and Judy Garland's physical comedy is terrible.
Hearst Castle: Building the Dream (1996) ***
I recently visited the William Randolph Hearst Castle in San Simeon, California. The visitor center has its own IMAX theatre, which is dedicated to showing one of the biggest budget museum films I've ever seen. It's a 40 minute biopic about Hearst's prospector father striking it rich in Colorado, Hearst's childhood traveling the world, growing up to head a media empire, and then spending the rest of his life building his "ranch" on the California coast where he hobnobbed with the Hollywood and Washington DC elite. If you're ever in the area, check it out and tour the castle. Interestingly, Citizen Kane was only mentioned on the tour once, and it was to say that the images of Xanadu in the movie were filmed in San Diego's Balboa Park, which was also Hearst's inspiration for his castle.
I recently visited the William Randolph Hearst Castle in San Simeon, California. The visitor center has its own IMAX theatre, which is dedicated to showing one of the biggest budget museum films I've ever seen. It's a 40 minute biopic about Hearst's prospector father striking it rich in Colorado, Hearst's childhood traveling the world, growing up to head a media empire, and then spending the rest of his life building his "ranch" on the California coast where he hobnobbed with the Hollywood and Washington DC elite. If you're ever in the area, check it out and tour the castle. Interestingly, Citizen Kane was only mentioned on the tour once, and it was to say that the images of Xanadu in the movie were filmed in San Diego's Balboa Park, which was also Hearst's inspiration for his castle.
Hit Man (2023) ****
A smartly entertaining movie that develops with Hitchcockian complexity and growing tension, but despite all its philosophizing, it's too light-hearted to deal with the darker questions it raises, and the ending doesn't have enough weight to make a substantial impact. If only it were more Coen.
A smartly entertaining movie that develops with Hitchcockian complexity and growing tension, but despite all its philosophizing, it's too light-hearted to deal with the darker questions it raises, and the ending doesn't have enough weight to make a substantial impact. If only it were more Coen.
The Holdovers (2023) ****
The Holdovers tries so hard to be a seventies movie that I expected "directed by Hal Ashby" to pop up on the screen. It's also so successful at evoking the seventies that nothing about it feels fresh or original, but the performances are excellent, the characters richly drawn, the situation engaging, and it would have gotten nominated for best picture back then as much as now. Back then it might have won.
The Holdovers tries so hard to be a seventies movie that I expected "directed by Hal Ashby" to pop up on the screen. It's also so successful at evoking the seventies that nothing about it feels fresh or original, but the performances are excellent, the characters richly drawn, the situation engaging, and it would have gotten nominated for best picture back then as much as now. Back then it might have won.
Homicide (1991) ***
David Mamet police procedural that turns into a weird Zionist conspiracy story. Joe Mantegna's character transformation isn't believable and Bill Macy disappears for far too long. The best parts are the police banter in the station and the rivalry with the FBI.
David Mamet police procedural that turns into a weird Zionist conspiracy story. Joe Mantegna's character transformation isn't believable and Bill Macy disappears for far too long. The best parts are the police banter in the station and the rivalry with the FBI.
Hot Tub Time Machine (2010) ***
It's no Back to the Future, but it's entertaining enough. Instead of trying to be a smart time travel comedy, it's forced raunchy humor and pop culture references and generally lacks effort, but the cast is enjoyable. I sat there thinking of all the ways it could be better, but I never hated it.
It's no Back to the Future, but it's entertaining enough. Instead of trying to be a smart time travel comedy, it's forced raunchy humor and pop culture references and generally lacks effort, but the cast is enjoyable. I sat there thinking of all the ways it could be better, but I never hated it.
Hot Water (1924) **
Hour-long Harold Lloyd film where he takes the family out for an eventful drive in the new car, and ends up thinking he's killed his mother-in-law. Not much of a story but some decent gags.
Hour-long Harold Lloyd film where he takes the family out for an eventful drive in the new car, and ends up thinking he's killed his mother-in-law. Not much of a story but some decent gags.
Hotel Transylvania (2012) **
Not a great movie to watch after ParaNorman. Everything was bland in comparison, and while it was perfectly watchable, it barely made me laugh and nothing was surprising.
Not a great movie to watch after ParaNorman. Everything was bland in comparison, and while it was perfectly watchable, it barely made me laugh and nothing was surprising.
Howl's Moving Castle (2004) ****
It's beautifully animated and intriguingly surreal, but the magic world has no rules and it's hard to know what the goals are. This is another animated film where I was thrown by the voice actors. The lead looked like David Bowie but Christian Bale voiced him like Clint Eastwood. I was also distracted by Billy Crystal, but having Jean Simmons, Blythe Danner, and Lauren Bacall made up for it.
It's beautifully animated and intriguingly surreal, but the magic world has no rules and it's hard to know what the goals are. This is another animated film where I was thrown by the voice actors. The lead looked like David Bowie but Christian Bale voiced him like Clint Eastwood. I was also distracted by Billy Crystal, but having Jean Simmons, Blythe Danner, and Lauren Bacall made up for it.
The Hudsucker Proxy (1994) ****
One of those films where my opinion hasn't changed one bit since it first came out. It's one of the Coen brothers funniest, Tim Robbins is a fantastic idiot, and Jennifer Jason Leigh's character doesn't work. I have a greater appreciation now for Paul Newman, which just improves the film, but I wish Bruce Campbell had a bigger role.
One of those films where my opinion hasn't changed one bit since it first came out. It's one of the Coen brothers funniest, Tim Robbins is a fantastic idiot, and Jennifer Jason Leigh's character doesn't work. I have a greater appreciation now for Paul Newman, which just improves the film, but I wish Bruce Campbell had a bigger role.
Hundreds of Beavers (2022) *****
I saw this in a sold out theatre at Screenland and the audience laughed uproariously. Everyone was exhausted afterwards. Best comedy I've seen in years, and I'm telling everyone I know to see it. Go see it.
I saw this in a sold out theatre at Screenland and the audience laughed uproariously. Everyone was exhausted afterwards. Best comedy I've seen in years, and I'm telling everyone I know to see it. Go see it.
I Married a Witch (1942) ****
A cute and delicate and slightly devilish comedy, but it would have helped if it was faster paced and had more clever ideas. Veronica Lake is an absolutely delightful and sexy imp, but perhaps Frederic March isn't the right lead. He just doesn't get the laughs the role probably should get. Where's Joel McCrea?
A cute and delicate and slightly devilish comedy, but it would have helped if it was faster paced and had more clever ideas. Veronica Lake is an absolutely delightful and sexy imp, but perhaps Frederic March isn't the right lead. He just doesn't get the laughs the role probably should get. Where's Joel McCrea?
The Icicle Thief (1989) ****
When a television screening of an auteur's Bicycle Thieves-like movie gets disrupted by vapid commercials, the characters decide they don't want to be in a depressing drama where they suffer in poverty anymore. A clever concept along the lines of Purple Rose of Cairo that I'm surprised didn't get an American remake. Instead we got Pleasantville. There's a lot of ideas here that could be mined further but it's pretty funny.
When a television screening of an auteur's Bicycle Thieves-like movie gets disrupted by vapid commercials, the characters decide they don't want to be in a depressing drama where they suffer in poverty anymore. A clever concept along the lines of Purple Rose of Cairo that I'm surprised didn't get an American remake. Instead we got Pleasantville. There's a lot of ideas here that could be mined further but it's pretty funny.
Idiocracy (2006) ****
The prophetic parable of the Trump administration, although I'd have to say the technology that keeps working and keeps their society afloat wasn't made by idiots. This is the real robot future.
The prophetic parable of the Trump administration, although I'd have to say the technology that keeps working and keeps their society afloat wasn't made by idiots. This is the real robot future.
Il Sorpasso (1962) ***
The ultimate manic pixie dream girl in cinema history is some dude in an Italian movie that essentially kidnaps a nebbish man and gives him an unplanned vacation - but he's not gay, which they make clear in surprisingly frank terms for 1962. Italian films in sixties seemed to love these "spend a day roaming around the countryside" stories and while I enjoy taking retro trips to Italy with all the lovely photograph and colorful characters, the lead actor was such a mooching boor and his car horn so annoying that it was hard to enjoy the film. The lame tragic ending didn't help things either, although it was probably shocking stuff at the time.
The ultimate manic pixie dream girl in cinema history is some dude in an Italian movie that essentially kidnaps a nebbish man and gives him an unplanned vacation - but he's not gay, which they make clear in surprisingly frank terms for 1962. Italian films in sixties seemed to love these "spend a day roaming around the countryside" stories and while I enjoy taking retro trips to Italy with all the lovely photograph and colorful characters, the lead actor was such a mooching boor and his car horn so annoying that it was hard to enjoy the film. The lame tragic ending didn't help things either, although it was probably shocking stuff at the time.
In the Heights (2021)
Watched an hour and was kinda bored with it. Thin characters, no story, and too much "hey, we're dancing in the streets of New York!"
Watched an hour and was kinda bored with it. Thin characters, no story, and too much "hey, we're dancing in the streets of New York!"
Indiana Jones and the Dial of Destiny (2023) ****
It's not stupid like Crystal Skull, and that's all that really matters. The biggest problem with the film is familiarity. Emotional moments are undermined by familiar music cues, CGI-laden action scenes feel obligatory and offer little danger, exotic globetrotting locales are expected, and he's been wearing the same outfit for over 30 years. That's the problem with franchises. What the film does well is advance Indiana Jones into old age, and he's still capable of handling the action. Many of the callouts to past films work as character moments and not just Easter eggs, and de-aged Harrison Ford is pretty impressive (at DVD-quality anyway).
It's not stupid like Crystal Skull, and that's all that really matters. The biggest problem with the film is familiarity. Emotional moments are undermined by familiar music cues, CGI-laden action scenes feel obligatory and offer little danger, exotic globetrotting locales are expected, and he's been wearing the same outfit for over 30 years. That's the problem with franchises. What the film does well is advance Indiana Jones into old age, and he's still capable of handling the action. Many of the callouts to past films work as character moments and not just Easter eggs, and de-aged Harrison Ford is pretty impressive (at DVD-quality anyway).
Is That Black Enough for You?!? (2022) ***
Film critic Elvis Mitchell's dense and detailed deep dive into the world of 1970s blaxploitation films is too much for the average viewer and might even test those with an interest in the genre. The celebrity interviews make it worthwhile and his background history leading up to the 70s is solid, but the endless stream of low budget 70s films - many of which I've never even heard of - became a bit monotonous. Mitchell clearly loves these movies more than I ever will.
Film critic Elvis Mitchell's dense and detailed deep dive into the world of 1970s blaxploitation films is too much for the average viewer and might even test those with an interest in the genre. The celebrity interviews make it worthwhile and his background history leading up to the 70s is solid, but the endless stream of low budget 70s films - many of which I've never even heard of - became a bit monotonous. Mitchell clearly loves these movies more than I ever will.
Johnny Dangerously (1984) ***
Rewatching a childhood favorite that's mildly funny, but in an era of Airplane-styled comedies it never goes far enough with the absurdity.
Rewatching a childhood favorite that's mildly funny, but in an era of Airplane-styled comedies it never goes far enough with the absurdity.
Kid Auto Races at Venice (1914) *
Chaplin's first appearance as the little tramp, and that's the only reason to see it.
Chaplin's first appearance as the little tramp, and that's the only reason to see it.
Killers of the Flower Moon (2023) ****
Scorsese does a gangster film as a western with a beautifully realized 1920s Oklahoma setting that's oddly full of musicians not playing music. DiCaprio is actually playing a character in this one that's a few rungs above Slingblade. The only issue is that it's really long and paced like a mini-series. You think it's just about over when Jessie Plemmons shows up and you realize you're only halfway through. It doesn't really build to a climax, and despite the length still leaps through time and significant events (eg. he's married in one scene and has kids in the next with barely any exposition). So I wonder if it was a mistake to make this as a feature film when it's better suited to a longer format, but it's still a powerful and expansive slice of history.
Scorsese does a gangster film as a western with a beautifully realized 1920s Oklahoma setting that's oddly full of musicians not playing music. DiCaprio is actually playing a character in this one that's a few rungs above Slingblade. The only issue is that it's really long and paced like a mini-series. You think it's just about over when Jessie Plemmons shows up and you realize you're only halfway through. It doesn't really build to a climax, and despite the length still leaps through time and significant events (eg. he's married in one scene and has kids in the next with barely any exposition). So I wonder if it was a mistake to make this as a feature film when it's better suited to a longer format, but it's still a powerful and expansive slice of history.
The Killing of Two Lovers (2020) ****
A tiny Sundance film set in a bleak Utah town about a man struggling to keep his family together. The title of the film hangs over everything that happens and adds tension as the drama slowly unfolds in a realistic but studied, measured and grounded way. It shows life in rural America without belittling the people living there.
A tiny Sundance film set in a bleak Utah town about a man struggling to keep his family together. The title of the film hangs over everything that happens and adds tension as the drama slowly unfolds in a realistic but studied, measured and grounded way. It shows life in rural America without belittling the people living there.
Lake Michigan Monster (2018) ***
A miniscule budget feature from the creators of Hundreds of Beavers about a "sea captain" hunting a sea monster. It has a more absurdist sense of humor without the mastery of After Effects, and is amusing but not the cult classic that Beavers is destined to become.
A miniscule budget feature from the creators of Hundreds of Beavers about a "sea captain" hunting a sea monster. It has a more absurdist sense of humor without the mastery of After Effects, and is amusing but not the cult classic that Beavers is destined to become.
Larceny, Inc. (1942) ****
Edward G. Robinson wants to rob a bank, so he opens a luggage shop next door so he can tunnel into the vault, and ends up running a legit business. It's a fun, Runyonesque comedy that's ripe for a remake (Woody Allen cribbed the idea for Small Time Crooks but didn't handle it well). The script isn't as tight as it could be (Capra/Riskin would have nailed it) but it's a great idea and the crime trio of Robinson, Broderick Crawford, and Edward Brophy are a delightful combo. Young Jackie Gleason has a memorable bit role.
Edward G. Robinson wants to rob a bank, so he opens a luggage shop next door so he can tunnel into the vault, and ends up running a legit business. It's a fun, Runyonesque comedy that's ripe for a remake (Woody Allen cribbed the idea for Small Time Crooks but didn't handle it well). The script isn't as tight as it could be (Capra/Riskin would have nailed it) but it's a great idea and the crime trio of Robinson, Broderick Crawford, and Edward Brophy are a delightful combo. Young Jackie Gleason has a memorable bit role.
Le Samourai (1967) ****
By coincidence I watched this a week before Alain Delon passed. Melville's stark and stylish hit man movie must have been innovative for 1967, but plays almost like a dry parody today. It's the way he meticulously plans everything and lives a stark, untraceable life, but then does nothing to hide his crime, followed by the ridiculously sloppy and convoluted police investigation. Is that really how things were done in the 60s? Or is it the French idea of Hollywood noir? Delon could have been France's answer to James Bond, but he stuck with crime films instead, which was apparently closer to his controversial life.
By coincidence I watched this a week before Alain Delon passed. Melville's stark and stylish hit man movie must have been innovative for 1967, but plays almost like a dry parody today. It's the way he meticulously plans everything and lives a stark, untraceable life, but then does nothing to hide his crime, followed by the ridiculously sloppy and convoluted police investigation. Is that really how things were done in the 60s? Or is it the French idea of Hollywood noir? Delon could have been France's answer to James Bond, but he stuck with crime films instead, which was apparently closer to his controversial life.
The Life of Oharu (1952) ****
As concubine, courtesan, or prostitute, the life of Oharu is one of eternal sexual servitude whose few dalliances with true love end tragically. Although slow paced and steeped in the mysterious formalities of Japanese culture, the film is presented with rich elegance and restrained style that apparently made Mizoguchi an internationally known director. Toshiro Mifune is practically unrecognizable in a small but significant role. It reminded me of Raise the Red Lantern.
As concubine, courtesan, or prostitute, the life of Oharu is one of eternal sexual servitude whose few dalliances with true love end tragically. Although slow paced and steeped in the mysterious formalities of Japanese culture, the film is presented with rich elegance and restrained style that apparently made Mizoguchi an internationally known director. Toshiro Mifune is practically unrecognizable in a small but significant role. It reminded me of Raise the Red Lantern.
Living (2022) ****
It takes some gall to remake a beloved Kurosawa film, but Living succeeds by maintaining class and dignity and not over-sentimentalizing this already syrupy story. It also has some really lovely photography. I haven't seen Ikiru in a while but this felt like more of a translation of that film into a Western setting than just a remake. It's also a half-hour shorter, so it would be interesting to compare to see what was edited.
It takes some gall to remake a beloved Kurosawa film, but Living succeeds by maintaining class and dignity and not over-sentimentalizing this already syrupy story. It also has some really lovely photography. I haven't seen Ikiru in a while but this felt like more of a translation of that film into a Western setting than just a remake. It's also a half-hour shorter, so it would be interesting to compare to see what was edited.
The Lord of the Rings: The Two Towers (2002) *****
I haven't watched these in a while and I am again impressed at how well made they are. Everything is told in big, broad strokes, but with enough humanity to give it emotional resonance against all the stunning production design and epic imagery (and wow some of those images are awesome). Dry and perhaps too earnest expositional interludes are balanced by memorable action set pieces, and all the multiple storylines keep your interest. The effects look more like a videogame these days, but it's all a part of the fantasy world building, with Golem still being one of the best digital characters ever created. Helm's Deep may forever be the best castle siege ever put on film.
I haven't watched these in a while and I am again impressed at how well made they are. Everything is told in big, broad strokes, but with enough humanity to give it emotional resonance against all the stunning production design and epic imagery (and wow some of those images are awesome). Dry and perhaps too earnest expositional interludes are balanced by memorable action set pieces, and all the multiple storylines keep your interest. The effects look more like a videogame these days, but it's all a part of the fantasy world building, with Golem still being one of the best digital characters ever created. Helm's Deep may forever be the best castle siege ever put on film.
The Lord of the Rings: The Return of the King (2003) *****
It takes a lot to up the scale of the previous two films, but Return of the King transcends from epic adventure story to god-like levels of world-clashing relevance with an emotional catharsis that takes a good half hour to wind down. The genius, however, is that at the heart of it all are three little characters off on their own struggling to just keep moving forward, turning Sam into the biggest hero of them all. Aragorn's deference to the Hobbits just punches you in the gut.
It takes a lot to up the scale of the previous two films, but Return of the King transcends from epic adventure story to god-like levels of world-clashing relevance with an emotional catharsis that takes a good half hour to wind down. The genius, however, is that at the heart of it all are three little characters off on their own struggling to just keep moving forward, turning Sam into the biggest hero of them all. Aragorn's deference to the Hobbits just punches you in the gut.
The Lost King (2022) ***
The true story of how Richard III's grave was found in a carpark, with a light dramatic script by Steve Coogan that serves more as character study than historical procedural, and a solid performance by Sally Hawkins. I'm not sure how interesting it would be to anyone that's not into the historical aspect though. Apparently a professor is suing the filmmakers for making him look bad.
The true story of how Richard III's grave was found in a carpark, with a light dramatic script by Steve Coogan that serves more as character study than historical procedural, and a solid performance by Sally Hawkins. I'm not sure how interesting it would be to anyone that's not into the historical aspect though. Apparently a professor is suing the filmmakers for making him look bad.
Love Liza (2002) ****
Back when indie films could get away with a handmade amateurishness, Love Liza's a small movie sustained by a great performance from Philip Seymour Hoffman, written by his brother Gordy. Paired with the nerdy Jack Kehler, they form a lovable team that turns deep tragedy into cringe comedy. It's the kind of film festival movie that launches careers, but Hoffman was already well established at this point.
Back when indie films could get away with a handmade amateurishness, Love Liza's a small movie sustained by a great performance from Philip Seymour Hoffman, written by his brother Gordy. Paired with the nerdy Jack Kehler, they form a lovable team that turns deep tragedy into cringe comedy. It's the kind of film festival movie that launches careers, but Hoffman was already well established at this point.
Loving Vincent (2017) ***
Every movie about Van Gogh has to look like a Van Gogh painting, and this one takes that idea literally. The oil painting effect is beautiful and unique, but you can still feel the rotoscoped movie underneath, esp. when the camera moves, and the story isn't really all that interesting. It's basically a guy talking to people who knew Van Gogh trying to figure out how he died. If I hadn't already seen three Van Gogh movies (and a play) then it might have been more compelling. Aren't there other painters out there to make movies about?
Every movie about Van Gogh has to look like a Van Gogh painting, and this one takes that idea literally. The oil painting effect is beautiful and unique, but you can still feel the rotoscoped movie underneath, esp. when the camera moves, and the story isn't really all that interesting. It's basically a guy talking to people who knew Van Gogh trying to figure out how he died. If I hadn't already seen three Van Gogh movies (and a play) then it might have been more compelling. Aren't there other painters out there to make movies about?
The Lunchbox (2013) ****
In Hollywood's hands this would be a sappy romance, but set in the urban grime of Mumbai with characters who aren't warm and likable, you get an engaging and believable relationship where you really care about the outcome. The ending isn't strong, but it works well enough, and I'm surprised Hollywood hasn't jumped on a remake. I guess because the U.S. doesn't have the weird lunch delivery system that they have in India.
In Hollywood's hands this would be a sappy romance, but set in the urban grime of Mumbai with characters who aren't warm and likable, you get an engaging and believable relationship where you really care about the outcome. The ending isn't strong, but it works well enough, and I'm surprised Hollywood hasn't jumped on a remake. I guess because the U.S. doesn't have the weird lunch delivery system that they have in India.
M (1931) *****
The editing and pacing are nothing like what we're used to today, but Fritz Lang's directing is off the charts. Lived-in production design, elaborate tracking shots, major action taking place off screen, and so many ideas that incorporate sound in creative ways. It's really a filmmaking masterclass, and then it all boils down to Peter Lorre giving the most incredible scene-chewing performance that every Oscar-bait movie that followed can only dream about. There's also more smoking in this film than in all the noirs put together. No wonder Hitler was anti-smoking.
The editing and pacing are nothing like what we're used to today, but Fritz Lang's directing is off the charts. Lived-in production design, elaborate tracking shots, major action taking place off screen, and so many ideas that incorporate sound in creative ways. It's really a filmmaking masterclass, and then it all boils down to Peter Lorre giving the most incredible scene-chewing performance that every Oscar-bait movie that followed can only dream about. There's also more smoking in this film than in all the noirs put together. No wonder Hitler was anti-smoking.
Mabel's Strange Predicament (1914) **
A drunk Chaplin hangs out in a hotel lobby and gets mixed up with Mabel Normand in pajamas. Lots of kicking, hitting, and falling down, but not much that's funny or clever.
A drunk Chaplin hangs out in a hotel lobby and gets mixed up with Mabel Normand in pajamas. Lots of kicking, hitting, and falling down, but not much that's funny or clever.
MacBeth (1971) ****
Polanski's MacBeth is noted for bringing gore to Shakespeare on film, and it's certainly a bloody, violent affair. It's also a wet, muddy, gloomy film. In other words, an excellent milieu for MacBeth, and possibly the most realistic and authentic film adaptation there is despite the wide open landscapes.
Polanski's MacBeth is noted for bringing gore to Shakespeare on film, and it's certainly a bloody, violent affair. It's also a wet, muddy, gloomy film. In other words, an excellent milieu for MacBeth, and possibly the most realistic and authentic film adaptation there is despite the wide open landscapes.
MacBeth (1948) ****
Welles' film was obviously made on a shoestring budget on a soundstage full of plaster rocks, but that does not diminish its power. If anything, it brings it closer to its stage roots, although it doesn't feel like a filmed play thanks to Welles' masterful direction. The compositions and editing and sound give the story cinematic life, and most of all I love the production design. It's a stylized take on medieval kitsch that is still evocative in the 21st century, even with all the Viking horned helmets. It must have seemed brutal in 1948.
Welles' film was obviously made on a shoestring budget on a soundstage full of plaster rocks, but that does not diminish its power. If anything, it brings it closer to its stage roots, although it doesn't feel like a filmed play thanks to Welles' masterful direction. The compositions and editing and sound give the story cinematic life, and most of all I love the production design. It's a stylized take on medieval kitsch that is still evocative in the 21st century, even with all the Viking horned helmets. It must have seemed brutal in 1948.
The Tragedy of MacBeth (2022) ****
While it sometimes feels like an indulgent exercise in brutalist design like a big budget student film, this is a bold adaptation that is stark and artsy and surprisingly mannered with excellent performances. Denzel Washington is solid even though there's nothing remotely Scottish about him, and Frances McDormand is a great counter-weight. They're the centerpiece of the film, although Kathryn Hunter is also particularly memorable as the witches. I imagine many high school students will be sitting through this in the future.
While it sometimes feels like an indulgent exercise in brutalist design like a big budget student film, this is a bold adaptation that is stark and artsy and surprisingly mannered with excellent performances. Denzel Washington is solid even though there's nothing remotely Scottish about him, and Frances McDormand is a great counter-weight. They're the centerpiece of the film, although Kathryn Hunter is also particularly memorable as the witches. I imagine many high school students will be sitting through this in the future.
Maestro (2023) ****
I don't know a whole lot about Leonard Bernstein, so I can't speak much to that other than Bradley Cooper seems to have perfectly captured his physical demeanor and manner of speaking. There are two great performances in this film (and great makeup), but there isn't much more to it. It's intensely focused on the relationship between Bernstein and his wife over several decades, and no other character really registers in the story, but it is punctuated with Bernstein at work either teaching, composing, or conducting, and those moments give the film some much needed space and grandeur. Cooper is so sincere as director and performer that it's impossible not to admire his effort - kinda like how Warren Beatty used to be.
I don't know a whole lot about Leonard Bernstein, so I can't speak much to that other than Bradley Cooper seems to have perfectly captured his physical demeanor and manner of speaking. There are two great performances in this film (and great makeup), but there isn't much more to it. It's intensely focused on the relationship between Bernstein and his wife over several decades, and no other character really registers in the story, but it is punctuated with Bernstein at work either teaching, composing, or conducting, and those moments give the film some much needed space and grandeur. Cooper is so sincere as director and performer that it's impossible not to admire his effort - kinda like how Warren Beatty used to be.
Making a Living (1914) *
Confusing story about Chaplin and his rival - in love and in work - with no ending. You get to see Chaplin before he adopted his tramp character.
Confusing story about Chaplin and his rival - in love and in work - with no ending. You get to see Chaplin before he adopted his tramp character.
The Man Who Came to Dinner (1941) ***
Another surprise Christmas movie about a cantankerous celebrity who ends up stuck in a Midwestern home. It's an adaptation of a Moss & Hart stageplay in the vein of "You Can't Take It With You" with a ton of off the wall characters, pop culture references, and odd turns of phrase. The plot keeps getting interrupted by new characters (and penguins) and it gets pretty tedious after a while. I'm also not sure how Ann Sheridan's "thumbs up" blouse made it past the censors.
Another surprise Christmas movie about a cantankerous celebrity who ends up stuck in a Midwestern home. It's an adaptation of a Moss & Hart stageplay in the vein of "You Can't Take It With You" with a ton of off the wall characters, pop culture references, and odd turns of phrase. The plot keeps getting interrupted by new characters (and penguins) and it gets pretty tedious after a while. I'm also not sure how Ann Sheridan's "thumbs up" blouse made it past the censors.
Marcel the Shell with Shoes On (2021) ***
I'm not sure what to make of this. I guess it was cute, but it always felt like an actor talking. Something about its indie film sensibilities didn't mesh with the cartoonishness, although parts of it are clever and.... well, it's cute. It seemed like a COVID project gone haywire.
I'm not sure what to make of this. I guess it was cute, but it always felt like an actor talking. Something about its indie film sensibilities didn't mesh with the cartoonishness, although parts of it are clever and.... well, it's cute. It seemed like a COVID project gone haywire.
Masters of the Air (2024) ****
Band of Brothers was a long time ago. Even with 2010's The Pacific, the Spielbergean treatment of WWII felt quaint. Now it's downright nostalgic. Although based on real people, Masters of the Air recycles every WWII movie cliche from Twelve O'clock High, Air Force, Command Decision, One of Our Aircraft is Missing, and Stalag 17 - but who is watching those movies? It's all given a video gamey CGI treatment that is occasionally impressive, but since it's all about airplanes dropping bombs, they struggle (and mostly succeed) at making each episode unique. Of the cast, Austin Butler has a smugness about him that's off-putting, and Callum Turner channels young Richard Gere in a way that's also off-putting, but their bromance is real. Barry Keoghan gives us the most likable character, but he's underutilized. That leaves Anthony Boyle and Nate Mann to give a heart to the series. It's all impressively mounted in the Saving Private Ryan style, but what was innovative then feels somewhat rote today.
Band of Brothers was a long time ago. Even with 2010's The Pacific, the Spielbergean treatment of WWII felt quaint. Now it's downright nostalgic. Although based on real people, Masters of the Air recycles every WWII movie cliche from Twelve O'clock High, Air Force, Command Decision, One of Our Aircraft is Missing, and Stalag 17 - but who is watching those movies? It's all given a video gamey CGI treatment that is occasionally impressive, but since it's all about airplanes dropping bombs, they struggle (and mostly succeed) at making each episode unique. Of the cast, Austin Butler has a smugness about him that's off-putting, and Callum Turner channels young Richard Gere in a way that's also off-putting, but their bromance is real. Barry Keoghan gives us the most likable character, but he's underutilized. That leaves Anthony Boyle and Nate Mann to give a heart to the series. It's all impressively mounted in the Saving Private Ryan style, but what was innovative then feels somewhat rote today.
The Matrimaniac (1916) ***
Douglas Fairbanks elopes with his love Constance Talmadge, and her father goes after them to stop the marriage. An amusing train travel chase comedy with Fairbanks hopping fences and climbing buildings and basically trying to get from point A to point B. It's only 45 minutes long and seems to be missing a beginning.
Douglas Fairbanks elopes with his love Constance Talmadge, and her father goes after them to stop the marriage. An amusing train travel chase comedy with Fairbanks hopping fences and climbing buildings and basically trying to get from point A to point B. It's only 45 minutes long and seems to be missing a beginning.
May December (2023) ****
I've been sitting on this one for a while because I don't have much to say about it. Can you underplay melodrama? Todd Haynes tries, giving us a tawdry situation that simmers without ever coming to a full boil, but then comically blasting sweeping music like a bad after-school special. Julianne Moore and Natalie Portman give strong performances.
I've been sitting on this one for a while because I don't have much to say about it. Can you underplay melodrama? Todd Haynes tries, giving us a tawdry situation that simmers without ever coming to a full boil, but then comically blasting sweeping music like a bad after-school special. Julianne Moore and Natalie Portman give strong performances.
Mayerling (1968) **
Austrian Archduke Omar Sharif falls in love with Catherine Deneuve, but politics and his domineering father conspire to keep them apart. If this had a more visionary director it could have been a memorable film, but Terence Young is too reserved and just seems to be copying better movies (Doctor Zhivago), so in an effort to make something respectable, he ends up making it completely forgettable. Prince Edward has a major supporting role as the Archduke's friend and confidant.
Austrian Archduke Omar Sharif falls in love with Catherine Deneuve, but politics and his domineering father conspire to keep them apart. If this had a more visionary director it could have been a memorable film, but Terence Young is too reserved and just seems to be copying better movies (Doctor Zhivago), so in an effort to make something respectable, he ends up making it completely forgettable. Prince Edward has a major supporting role as the Archduke's friend and confidant.
Me and You and Everyone We Know (2005) ****
A quirky comedy that's sort of like Napoleon Dynamite for adults, where all the awkward sexual moments clash with the whimsy, but it somehow maintains its naive suburban charm. I'm surprised Miranda July isn't more famous.
A quirky comedy that's sort of like Napoleon Dynamite for adults, where all the awkward sexual moments clash with the whimsy, but it somehow maintains its naive suburban charm. I'm surprised Miranda July isn't more famous.
Meet Me in St. Louis (1944) ***
I knew the movie had a Halloween sequence, but I didn't know the whole thing was so twisted (if you squint at it through a Halloween lens). There's animal torture, ritual burials, stalking, sadomasochism, cultists, witches, cauldrons, anarchy, ritual killings, domestic abuse, hypnosis and mass murder. It might be a beloved bright and colorful musical, but there's a dark underside that needs exploring.
I knew the movie had a Halloween sequence, but I didn't know the whole thing was so twisted (if you squint at it through a Halloween lens). There's animal torture, ritual burials, stalking, sadomasochism, cultists, witches, cauldrons, anarchy, ritual killings, domestic abuse, hypnosis and mass murder. It might be a beloved bright and colorful musical, but there's a dark underside that needs exploring.
Microcosmos (1996) ****
Documentary about the world of insects that was celebrated for its time for its macroscopic photography, near lack of narration, and sense of humor. It still holds up well, esp. the way it communicates everything visually. David Attenborough isn't needed.
Documentary about the world of insects that was celebrated for its time for its macroscopic photography, near lack of narration, and sense of humor. It still holds up well, esp. the way it communicates everything visually. David Attenborough isn't needed.
A Midsummer Night's Dream (1935) *****
It shimmers, it sparkles, it glows. It's one of the most beautiful movies I've ever seen, and it's the first great Shakespearean adaptation on film. Studio contract players like James Cagney and Dick Powell delight in doing something high brow, Olivia DeHavilland makes her film debut, and 15-year-old Mickey Rooney kills it as Puck, but it's the production design of the enchanted forest with its dancing fairies and weird goblins and creepy bat men and cellophane trees and Vaseline-covered lenses that make it worth seeing. A visual feast.
It shimmers, it sparkles, it glows. It's one of the most beautiful movies I've ever seen, and it's the first great Shakespearean adaptation on film. Studio contract players like James Cagney and Dick Powell delight in doing something high brow, Olivia DeHavilland makes her film debut, and 15-year-old Mickey Rooney kills it as Puck, but it's the production design of the enchanted forest with its dancing fairies and weird goblins and creepy bat men and cellophane trees and Vaseline-covered lenses that make it worth seeing. A visual feast.
Mirage (1965) ***
After Charade, writer Peter Stone tried a couple more twisty turny Hitchcockian films and followed it up with Mirage, which I'm sure was innovative for its time and it definitely creates an intriguing mystery. Unfortunately, as in a lot of these kinds of films, the explanation is never as interesting as the enigma the film creates, and it resolves on an empty and unsatisfying note. Gregory Peck, an actor that is not easily befuddled, seems wrong for the role of a man who doesn't know what's going on, and although the dialogue is laced with plenty of humor, director Edward Dmytryk doesn't approach the film with the sense of fun that Stanley Donen did with Charade (but it is still better than the Donen/Stone/Peck followup Arabesque). Oh, an all the New York locations really help make the film a fun watch.
After Charade, writer Peter Stone tried a couple more twisty turny Hitchcockian films and followed it up with Mirage, which I'm sure was innovative for its time and it definitely creates an intriguing mystery. Unfortunately, as in a lot of these kinds of films, the explanation is never as interesting as the enigma the film creates, and it resolves on an empty and unsatisfying note. Gregory Peck, an actor that is not easily befuddled, seems wrong for the role of a man who doesn't know what's going on, and although the dialogue is laced with plenty of humor, director Edward Dmytryk doesn't approach the film with the sense of fun that Stanley Donen did with Charade (but it is still better than the Donen/Stone/Peck followup Arabesque). Oh, an all the New York locations really help make the film a fun watch.
Monster (2003) ****
A film that's carried entirely by Charlize Theron's performance and her excellent makeup, with some fine support by Christina Ricci. It wasn't as harrowing or grisly as I was led to believe. It's more of a character study and Theron is on fire. Aside from the acting, it's as generically directed as it can be, but that is actually a plus.
A film that's carried entirely by Charlize Theron's performance and her excellent makeup, with some fine support by Christina Ricci. It wasn't as harrowing or grisly as I was led to believe. It's more of a character study and Theron is on fire. Aside from the acting, it's as generically directed as it can be, but that is actually a plus.
Mrs Brown (1997) ****
After years of mourning the death of Prince Albert and hiding herself away from politics, a bold Scotsman thaws Queen Victoria's heart and brings her out of her shell. Another Victorian romance, but with bigger stakes, better performances, and a bleaker, more down-to-earth treatment. A great follow-up to The Young Victoria even though this was made first.
After years of mourning the death of Prince Albert and hiding herself away from politics, a bold Scotsman thaws Queen Victoria's heart and brings her out of her shell. Another Victorian romance, but with bigger stakes, better performances, and a bleaker, more down-to-earth treatment. A great follow-up to The Young Victoria even though this was made first.
Mrs. Parkington (1944) **
Two tales crammed together: One about a family waiting for the matriarch to die so they can claim their inheritance, and the other about the matriarch's life with a domineering, unlikable husband. This is one of many Greer Garson/Walter Pidgeon collaborations, but it's hard to like because Pidgeon's character is a manly, rich asshole who treats Garson like... well, like men treated women in the 19th century I guess - as property. It reminded me of Sea of Grass, where Spencer Tracy played an equally unattractive love interest. The 1940s loved their ugly family dynasties. The inheritance story is more interesting and could have worked as a film by itself (shades of Little Foxes), but it primarily serves to bookend the flashbacks. Garson got an Oscar nomination, presumably for wearing old age makeup. Prince Edward appears in only one sequence, but he's by far the most likable and fun character in the story.
Two tales crammed together: One about a family waiting for the matriarch to die so they can claim their inheritance, and the other about the matriarch's life with a domineering, unlikable husband. This is one of many Greer Garson/Walter Pidgeon collaborations, but it's hard to like because Pidgeon's character is a manly, rich asshole who treats Garson like... well, like men treated women in the 19th century I guess - as property. It reminded me of Sea of Grass, where Spencer Tracy played an equally unattractive love interest. The 1940s loved their ugly family dynasties. The inheritance story is more interesting and could have worked as a film by itself (shades of Little Foxes), but it primarily serves to bookend the flashbacks. Garson got an Oscar nomination, presumably for wearing old age makeup. Prince Edward appears in only one sequence, but he's by far the most likable and fun character in the story.
Mulholland Drive (2001) *
Soderbergh did it better with Schizopolis.
Soderbergh did it better with Schizopolis.
Multiplicity (1996) ***
It's apparent that Groundhog's Day becoming a deep and meaningful all-time classic was a fluke. Harold Ramis had a prime opportunity to up the game with Multiplicity and make an even better film, but it's more of a standard Hollywood romcom. That doesn't mean it's bad, but there's a lot of missed potential around the idea of dealing with multiple facets of yourself and having them work together to make you a better person. It's a funny movie, the split screen effects are spectacular, and it's arguably Michael Keaton's best performance.
It's apparent that Groundhog's Day becoming a deep and meaningful all-time classic was a fluke. Harold Ramis had a prime opportunity to up the game with Multiplicity and make an even better film, but it's more of a standard Hollywood romcom. That doesn't mean it's bad, but there's a lot of missed potential around the idea of dealing with multiple facets of yourself and having them work together to make you a better person. It's a funny movie, the split screen effects are spectacular, and it's arguably Michael Keaton's best performance.
The Music Lovers (1971) ****
An overwrought fantasia on Tchaikovsky's life and music that shows him and his wife going insane because he must hide his homosexuality from the world to be a successful composer. Glenda Jackson was rightly praised for her role, and Richard Chamberlain is pretty terrific too with some real piano playing talent. Ken Russell's excessively high pitched emotional state doesn't sustain itself for two whole hours, and apparently the film is grossly unhistorical, but do you really want another boring period biopic, or do you want a passionate, sweaty, bodice-ripping doomed romance?
An overwrought fantasia on Tchaikovsky's life and music that shows him and his wife going insane because he must hide his homosexuality from the world to be a successful composer. Glenda Jackson was rightly praised for her role, and Richard Chamberlain is pretty terrific too with some real piano playing talent. Ken Russell's excessively high pitched emotional state doesn't sustain itself for two whole hours, and apparently the film is grossly unhistorical, but do you really want another boring period biopic, or do you want a passionate, sweaty, bodice-ripping doomed romance?
Napoleon (2023) ****
The way Ridley Scott cranks out movies you'd think he didn't care all that much about the final product, but the truth seems to be that like in the golden age of the Hollywood studio system, he runs a well-oiled machine that can casually mount massive, elaborate historical spectacles that other filmmakers would obsess their whole careers over. It's also true that Scott is only as good as his script, and Napoleon is frustratingly opaque and unengaging. Napoleon is a little bit of an uncultured brute, a little bit of a Trumpian narcissist, and a little bit of a social outcast, but not a lot of anything that would make him a compelling character or explain his messianic appeal to the French populace. The script is one third awkward marriage with Josephine (and their awkward sex), one third political dealings in revolutionary France (the most interesting part of the film), and one third epic battles (which are excellently done and each one finds something unique to make them stand out). The overly-desaturated colors that I hated in The Last Duel are still here, but it doesn't sap the movie of its spectacle. Overall it was better than I expected, but I can't imagine ever watching it again.
The way Ridley Scott cranks out movies you'd think he didn't care all that much about the final product, but the truth seems to be that like in the golden age of the Hollywood studio system, he runs a well-oiled machine that can casually mount massive, elaborate historical spectacles that other filmmakers would obsess their whole careers over. It's also true that Scott is only as good as his script, and Napoleon is frustratingly opaque and unengaging. Napoleon is a little bit of an uncultured brute, a little bit of a Trumpian narcissist, and a little bit of a social outcast, but not a lot of anything that would make him a compelling character or explain his messianic appeal to the French populace. The script is one third awkward marriage with Josephine (and their awkward sex), one third political dealings in revolutionary France (the most interesting part of the film), and one third epic battles (which are excellently done and each one finds something unique to make them stand out). The overly-desaturated colors that I hated in The Last Duel are still here, but it doesn't sap the movie of its spectacle. Overall it was better than I expected, but I can't imagine ever watching it again.
The Navigator (1924) ****
Delightful Buster Keaton feature where he uses a ship set adrift as just another comic prop for endlessly inventive sight gags.
Delightful Buster Keaton feature where he uses a ship set adrift as just another comic prop for endlessly inventive sight gags.
Never Say Goodbye (1946) ***
I caught part of this in the hospital after my heart attack, noticed there was a Santa in it, so I saved it to watch as a Christmas movie. Errol Flynn is divorced and has to share custody of his daughter with his ex-wife that he's still in love with. After lots of deceit and scheming and shenanigans they of course get back together. It's a Cary Grant kind of role and Flynn pulls it off with ease with help from Eleanor Parker, a boisterous Forrest Tucker, and comic relief from S.Z. "Cuddles" Sakall. It's a typical 40s romantic comedy with a Christmas segment in the middle.
I caught part of this in the hospital after my heart attack, noticed there was a Santa in it, so I saved it to watch as a Christmas movie. Errol Flynn is divorced and has to share custody of his daughter with his ex-wife that he's still in love with. After lots of deceit and scheming and shenanigans they of course get back together. It's a Cary Grant kind of role and Flynn pulls it off with ease with help from Eleanor Parker, a boisterous Forrest Tucker, and comic relief from S.Z. "Cuddles" Sakall. It's a typical 40s romantic comedy with a Christmas segment in the middle.
No Country for Old Men (2007) ****
I haven't seen this movie since it came out because it made me so angry. I'm not mad at it any more, but I still think it is deceitful storytelling. It's a matter of point of view and setting up false expectations, with the Coens trying to fool the audience. I guess it worked because the rest of the world adores it, but I think it falls short of a masterpiece.
I haven't seen this movie since it came out because it made me so angry. I'm not mad at it any more, but I still think it is deceitful storytelling. It's a matter of point of view and setting up false expectations, with the Coens trying to fool the audience. I guess it worked because the rest of the world adores it, but I think it falls short of a masterpiece.
No Time for Love (1943) ****
A witty, charming, and clever romantic comedy that should be better known (despite the awful title). Claudette Colbert's a successful modern woman who calls her own shots, and Fred MacMurray's the beefy hunk of man (yes, he's an alpha male hunk!) construction worker she becomes entangled with. Class divisions and gender politics dominate the sharp banter, with obviously gay characters who aren't demeaned. The tunnel set and mudflows are particularly impressive, as is MacMurray's physique.
A witty, charming, and clever romantic comedy that should be better known (despite the awful title). Claudette Colbert's a successful modern woman who calls her own shots, and Fred MacMurray's the beefy hunk of man (yes, he's an alpha male hunk!) construction worker she becomes entangled with. Class divisions and gender politics dominate the sharp banter, with obviously gay characters who aren't demeaned. The tunnel set and mudflows are particularly impressive, as is MacMurray's physique.
NYAD (2023) ****
A great story of dogged determination with an amazing performance by Annette Benning as the most hard-headed woman you've ever met. Equally impressive is Jodie Foster, showing all the life and personality she had as a teenager and has seemingly repressed for decades. It follows the standard sports movie template but it's such an unusual event that it didn't matter.
A great story of dogged determination with an amazing performance by Annette Benning as the most hard-headed woman you've ever met. Equally impressive is Jodie Foster, showing all the life and personality she had as a teenager and has seemingly repressed for decades. It follows the standard sports movie template but it's such an unusual event that it didn't matter.
An Open Door (2023) ***
Solid doc about the famed agriculture professor.
Solid doc about the famed agriculture professor.
Oppenheimer (2023) ****
Despite the forthcoming criticisms, this is a decent enough film that is likely the best there will ever be about building the atomic bomb, which is perhaps the most significant event of the 20th century. Cillian Murphy is excellent, and it's not shy about digging into the politics of congressional hearings and the Atomic Energy Commission's approval process and scientific infighting. Nolan styles this talky history lesson after JFK, but he doesn't have Oliver Stone's unbridled filmmaking passion or narrative clarity. Nolan can't help but tell the story out of sequence; so for instance Oppenheimer's having an affair before he even meets his wife, and the Russians have the bomb before it's even invented. He can't tell a straight story without resorting to some sort of gimmick, and this just makes it hard to follow the dozens of characters who are often talked about when they're not on screen. The end result is a movie that's dramatically empty. There are no developed relationships, just a lot of exposition punctuated by ponderous moments that are supposed to be meaningful but carry no weight. It gets more linear in the second half but I don't really care if Oppenheimer gets his security clearance or what happens to Robert Downey, Jr. Despite Nolan's ambitions, he misses the big picture, and I would have preferred the Ron Howard version of this story. I'm also absolutely appalled that this film was nominated for best sound. The dialogue is drowned in loud, pulsating music and it's unwatchble without subtitles - in a movie that's mostly meetings and hearings and people with accents where what they're saying matters. Why encourage that nonsense, and how could anyone in theatres follow it?
Despite the forthcoming criticisms, this is a decent enough film that is likely the best there will ever be about building the atomic bomb, which is perhaps the most significant event of the 20th century. Cillian Murphy is excellent, and it's not shy about digging into the politics of congressional hearings and the Atomic Energy Commission's approval process and scientific infighting. Nolan styles this talky history lesson after JFK, but he doesn't have Oliver Stone's unbridled filmmaking passion or narrative clarity. Nolan can't help but tell the story out of sequence; so for instance Oppenheimer's having an affair before he even meets his wife, and the Russians have the bomb before it's even invented. He can't tell a straight story without resorting to some sort of gimmick, and this just makes it hard to follow the dozens of characters who are often talked about when they're not on screen. The end result is a movie that's dramatically empty. There are no developed relationships, just a lot of exposition punctuated by ponderous moments that are supposed to be meaningful but carry no weight. It gets more linear in the second half but I don't really care if Oppenheimer gets his security clearance or what happens to Robert Downey, Jr. Despite Nolan's ambitions, he misses the big picture, and I would have preferred the Ron Howard version of this story. I'm also absolutely appalled that this film was nominated for best sound. The dialogue is drowned in loud, pulsating music and it's unwatchble without subtitles - in a movie that's mostly meetings and hearings and people with accents where what they're saying matters. Why encourage that nonsense, and how could anyone in theatres follow it?
Our Planet (2019) ****
Season 2 review: It's getting hard to keep track of all the David Attenborough documentaries. The first season of Our Planet debuted in 2019 (that was the one with the suicidal walruses), so this second season is five years later. And of course it's different from the three Planet Earth series and the two Blue Planets and Frozen Planet. It's a game of "wait, have I seen that one?" Season 2 is focused on animal migration, with cheesy episode cliffhangers and the "kilometers" drinking game. Stunning nature photography as usual, although nothing really stood out. Be sure to dig into the Netflix menus for the making of extras.
Season 2 review: It's getting hard to keep track of all the David Attenborough documentaries. The first season of Our Planet debuted in 2019 (that was the one with the suicidal walruses), so this second season is five years later. And of course it's different from the three Planet Earth series and the two Blue Planets and Frozen Planet. It's a game of "wait, have I seen that one?" Season 2 is focused on animal migration, with cheesy episode cliffhangers and the "kilometers" drinking game. Stunning nature photography as usual, although nothing really stood out. Be sure to dig into the Netflix menus for the making of extras.
Panic in the Streets (1950) ****
Odd noir procedural about stopping a viral outbreak that unfortunately never rises to the level of actual panic in the streets. It's mostly a buddy cop movie about the banter between Richard Widmark's army doctor and Paul Douglas's police captain. Kazan makes incredible use of Jack Palance's face in his screen debut. I don't think the sculptor was done chiseling it yet. Palance's soft-spoken hulking giant is completely menacing and is the main reason to watch the film. Beautiful Barbara Bel Geddes plays the typical "this job is destroying your family" housewife but her scenes with Widmark are still warmly touching. Worth watching post-Covid.
Odd noir procedural about stopping a viral outbreak that unfortunately never rises to the level of actual panic in the streets. It's mostly a buddy cop movie about the banter between Richard Widmark's army doctor and Paul Douglas's police captain. Kazan makes incredible use of Jack Palance's face in his screen debut. I don't think the sculptor was done chiseling it yet. Palance's soft-spoken hulking giant is completely menacing and is the main reason to watch the film. Beautiful Barbara Bel Geddes plays the typical "this job is destroying your family" housewife but her scenes with Widmark are still warmly touching. Worth watching post-Covid.
ParaNorman (2012) ****
A delightful Halloween family treat. The characters and small town life are so clever and funny and entertaining that the ghost story almost gets in the way. Easily the best thing I've seen from Laika Studios.
A delightful Halloween family treat. The characters and small town life are so clever and funny and entertaining that the ghost story almost gets in the way. Easily the best thing I've seen from Laika Studios.
Passage of Venus (1874) ***
According to IMDB, it's the oldest movie ever made. It's only six seconds long.
According to IMDB, it's the oldest movie ever made. It's only six seconds long.
Paths to Paradise (1925) ****
Two master swindlers meet and fall in love. A charming con artist movie that ends with a massive and innovative car chase similar to The Blues Brothers that, unfortunately, is missing the final reel. Beautifully restored.
Two master swindlers meet and fall in love. A charming con artist movie that ends with a massive and innovative car chase similar to The Blues Brothers that, unfortunately, is missing the final reel. Beautifully restored.
Picnic (1955) ****
It's Labor Day in southeast Kansas and everyone is sexually frustrated. William Holden hops off the train and in the course of one day destroys the whole community just by taking off his shirt. Everyone fawns over him, but he's a no good drifter from a poor family who is nothing but trouble - or at least that's his backstory. Holden's not believable as a bad boy and although he plays it as youthful as he can, he's far too old for the role at 38. He could be Kim Novak's father, who doesn't look 17, but she was 22 so I'll let that slide. The film hinges on Novak's deep desire to have sex and escape her small town life, but she's mostly an inexpressive icy beauty so it doesn't really work. The bright spot in all of this is 16-year-old Susan Strasberg as an authentic egghead teen with budding interest in boys, and a huge picnic in the middle that showcases small town community at its best (until it gets creepy).
It's Labor Day in southeast Kansas and everyone is sexually frustrated. William Holden hops off the train and in the course of one day destroys the whole community just by taking off his shirt. Everyone fawns over him, but he's a no good drifter from a poor family who is nothing but trouble - or at least that's his backstory. Holden's not believable as a bad boy and although he plays it as youthful as he can, he's far too old for the role at 38. He could be Kim Novak's father, who doesn't look 17, but she was 22 so I'll let that slide. The film hinges on Novak's deep desire to have sex and escape her small town life, but she's mostly an inexpressive icy beauty so it doesn't really work. The bright spot in all of this is 16-year-old Susan Strasberg as an authentic egghead teen with budding interest in boys, and a huge picnic in the middle that showcases small town community at its best (until it gets creepy).
The Pigeon Tunnel (2023) ***
Essentially this is just an interview with famed writer David Cornwell, aka John le Carré, but Errol Morris works overtime to give it visual interest, including filming him from a dozen camera angles. Along with clips from his many film adaptations, there's recurring visual motifs and period recreations that help illustrate the interview, but nothing is as interesting as Cornwell's knowing facial expressions. Cornwell talks less about his career as a spy or his career as a writer, and focuses more on his family, particularly his conman father and how that influenced his worldview. Worthwhile if you're familiar with his work.
Essentially this is just an interview with famed writer David Cornwell, aka John le Carré, but Errol Morris works overtime to give it visual interest, including filming him from a dozen camera angles. Along with clips from his many film adaptations, there's recurring visual motifs and period recreations that help illustrate the interview, but nothing is as interesting as Cornwell's knowing facial expressions. Cornwell talks less about his career as a spy or his career as a writer, and focuses more on his family, particularly his conman father and how that influenced his worldview. Worthwhile if you're familiar with his work.
Plan 9 from Outer Space (1957) *
A bad movie that is still thoroughly entertaining in its amateurishness. Ed Wood should have hooked up with Roger Corman.
A bad movie that is still thoroughly entertaining in its amateurishness. Ed Wood should have hooked up with Roger Corman.
Poison (2023) ***
Storytime with Roald Dahl. Anderson leans heavily into the theatrical trappings, turning Dahl's little stories into narrated picture books, and they're short, sweet, and fun to watch. Poison is the least interesting of all the shorts, but also the most comic.
Storytime with Roald Dahl. Anderson leans heavily into the theatrical trappings, turning Dahl's little stories into narrated picture books, and they're short, sweet, and fun to watch. Poison is the least interesting of all the shorts, but also the most comic.
Poor Things (2023) ****
A bride of Frankenstein woman-child who rapidly matures, but the story gets hung up on her sexual awakening and only pays lip service to her political life or future career as a doctor/mad scientist, so there's a lot of missed potential with a less interesting third act twist. I wanted her to grow into something much more adult and commanding, and I also want Lanthimos to grow out of his annoying fisheye lens phase. Although the story could have been a lot weirder, the glorious production design saves the movie. It feels like what Guillermo del Toro is always trying to make but can't nail the humor.
A bride of Frankenstein woman-child who rapidly matures, but the story gets hung up on her sexual awakening and only pays lip service to her political life or future career as a doctor/mad scientist, so there's a lot of missed potential with a less interesting third act twist. I wanted her to grow into something much more adult and commanding, and I also want Lanthimos to grow out of his annoying fisheye lens phase. Although the story could have been a lot weirder, the glorious production design saves the movie. It feels like what Guillermo del Toro is always trying to make but can't nail the humor.
The Prime of Miss Jean Brodie (1969) ***
A story from a more innocent time (1961) about an even more innocent time (the 1930s) that involves a fascism loving teacher who is too liberal for the conservative institution she works for. The film gives credence to both sides but feels thematically muddled, and it reminded me of The Children's Hour. It's probably best watched at a more impressionable age. Maggie Smith won an Oscar in one of her defining roles.
A story from a more innocent time (1961) about an even more innocent time (the 1930s) that involves a fascism loving teacher who is too liberal for the conservative institution she works for. The film gives credence to both sides but feels thematically muddled, and it reminded me of The Children's Hour. It's probably best watched at a more impressionable age. Maggie Smith won an Oscar in one of her defining roles.
Querelle (1982) **
Campy, bold style that leans heavily on the Tom of Finland homoeroticism, but style alone can't sustain the film for almost two hours. With the stilted dialogue, poetic diversions, tame sex scenes, lack of conflict, and brooding characters, it ends up being a humorless bore. It might work adapted as a musical, like that Channing Tatum scene in Hail Caesar.
Campy, bold style that leans heavily on the Tom of Finland homoeroticism, but style alone can't sustain the film for almost two hours. With the stilted dialogue, poetic diversions, tame sex scenes, lack of conflict, and brooding characters, it ends up being a humorless bore. It might work adapted as a musical, like that Channing Tatum scene in Hail Caesar.
Radio Days (1987) ****
This is a light movie that's basically Woody Allen's version of A Christmas Story. It's told in a series of short vignettes with little overall story, but the pacing is great, Carlo Di Palma's photography is lovely, and Seth Greene is cute as young Allen, and it's all tied together by 1930s and 40s radio programming. It's as charming as any Wes Anderson movie.
This is a light movie that's basically Woody Allen's version of A Christmas Story. It's told in a series of short vignettes with little overall story, but the pacing is great, Carlo Di Palma's photography is lovely, and Seth Greene is cute as young Allen, and it's all tied together by 1930s and 40s radio programming. It's as charming as any Wes Anderson movie.
The Rat Catcher (2023) ***
Storytime with Roald Dahl. Anderson leans heavily into the theatrical trappings, turning Dahl's little stories into narrated picture books, and they're short, sweet, and fun to watch. Ralph Fiennes is relishing his role here. This is the closest we've come to a Wes Anderson horror movie, and I would love to see him do a horror feature inspired by old Universal horror and gothic Hammer studio films.
Storytime with Roald Dahl. Anderson leans heavily into the theatrical trappings, turning Dahl's little stories into narrated picture books, and they're short, sweet, and fun to watch. Ralph Fiennes is relishing his role here. This is the closest we've come to a Wes Anderson horror movie, and I would love to see him do a horror feature inspired by old Universal horror and gothic Hammer studio films.
Ready Player One (2018) ****
It's still a lot of fun the second time around even if the story and characters are kinda lame. It's hard to understand the rules of the world and they just seem to easily come up with the right solutions on the spot, and the two leads are way too cool IRL. I would have preferred something more Verhoeven with a greater contrast between the real world and the game world that was more of a man on the run thriller, but it doesn't matter, because the entertainment here is just seeing all of pop culture descend upon one movie.
It's still a lot of fun the second time around even if the story and characters are kinda lame. It's hard to understand the rules of the world and they just seem to easily come up with the right solutions on the spot, and the two leads are way too cool IRL. I would have preferred something more Verhoeven with a greater contrast between the real world and the game world that was more of a man on the run thriller, but it doesn't matter, because the entertainment here is just seeing all of pop culture descend upon one movie.
Reality Bites (1994) ***
Winona Ryder dumps the nice guy for the jerk, but maybe she got what she deserved for promoting Big Gulps and not taking a job at the Gap with Janeane Garofalo.
Winona Ryder dumps the nice guy for the jerk, but maybe she got what she deserved for promoting Big Gulps and not taking a job at the Gap with Janeane Garofalo.
Ripley (2024) ****
I wish I hadn't seen two other versions of the same story recently. It spoiled all the tension. I can't really complain though because it's impeccably made, Andrew Scott is terrific, and as a miniseries it's far more encompassing than the shorter film versions. The excellent black and white photography captures the feel of 1960s Italian films. We don't need any more adaptations though, please.
I wish I hadn't seen two other versions of the same story recently. It spoiled all the tension. I can't really complain though because it's impeccably made, Andrew Scott is terrific, and as a miniseries it's far more encompassing than the shorter film versions. The excellent black and white photography captures the feel of 1960s Italian films. We don't need any more adaptations though, please.
Road to Utopia (1945) ****
A solid Bob and Bing comedy that sees them joining the Alaska gold rush by impersonating tough guy killers. Like most of these movies, I could use fewer songs and more gags. I loved Robert Benchley's fourth wall breaks, and you never once feel like you've left a Hollywood studio.
A solid Bob and Bing comedy that sees them joining the Alaska gold rush by impersonating tough guy killers. Like most of these movies, I could use fewer songs and more gags. I loved Robert Benchley's fourth wall breaks, and you never once feel like you've left a Hollywood studio.
The Roaring Twenties (1939) ****
An entertaining dramatized history of the rise of organized crime in the wake of prohibition, with many newsreel-styled montages to give it added realism. Cagney is great as the WWI vet who keeps his focus on winning Priscilla Lane's love and staying clean in the midst of all the corruption. He has a lot of great moments as the tables turn against him, and turning one of those tables is Humphrey Bogart as a heartless baddie. You can't say no to a movie with both Cagney and Bogart.
An entertaining dramatized history of the rise of organized crime in the wake of prohibition, with many newsreel-styled montages to give it added realism. Cagney is great as the WWI vet who keeps his focus on winning Priscilla Lane's love and staying clean in the midst of all the corruption. He has a lot of great moments as the tables turn against him, and turning one of those tables is Humphrey Bogart as a heartless baddie. You can't say no to a movie with both Cagney and Bogart.
Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese (2019) ***
I'm not a huge Bob Dylan fan and only watched this because Scorsese directed it. It's primarily about a tour Dylan did in the seventies and there's not a lot of context explaining its significance or why it's only surfacing 40 years later, but the performances are great, Dylan is an intense performer and is well-spoken in the interviews. I can kind of start to understand the fan worship, but this is not the best introduction to Dylan and it's very long.
I'm not a huge Bob Dylan fan and only watched this because Scorsese directed it. It's primarily about a tour Dylan did in the seventies and there's not a lot of context explaining its significance or why it's only surfacing 40 years later, but the performances are great, Dylan is an intense performer and is well-spoken in the interviews. I can kind of start to understand the fan worship, but this is not the best introduction to Dylan and it's very long.
The Royal Tenenbaums (2001) ****
It's probably been 20 years since I've seen this, and it's refreshing to see a Wes Anderson film before style took over everything. Gene Hackman is particularly great here at bringing humanity to the story and holding everything together. I also love how everyone is reading each other's books and how they live in their own isolated world of self-importance that nobody outside cares about, which is such a Wes Andersony thing.
It's probably been 20 years since I've seen this, and it's refreshing to see a Wes Anderson film before style took over everything. Gene Hackman is particularly great here at bringing humanity to the story and holding everything together. I also love how everyone is reading each other's books and how they live in their own isolated world of self-importance that nobody outside cares about, which is such a Wes Andersony thing.
Royalty Free: The Music of Kevin MacLeod (2020) ***
Kevin MacLeod is the guy that figured out how to make a living from the free internet. Google his name and you'll likely hear something you recognize. This documentary introduces us to the man who wrote the soundtrack for the internet by offering thousands of catchy tunes for free on his website, but it also revisits the idea of "free culture" that was the hot topic of the early 2000s and presents MacLeod as a clear success story. He can't be the only one, but there probably aren't many that's done what he's done.
Kevin MacLeod is the guy that figured out how to make a living from the free internet. Google his name and you'll likely hear something you recognize. This documentary introduces us to the man who wrote the soundtrack for the internet by offering thousands of catchy tunes for free on his website, but it also revisits the idea of "free culture" that was the hot topic of the early 2000s and presents MacLeod as a clear success story. He can't be the only one, but there probably aren't many that's done what he's done.
Run of the Arrow (1957) ****
Rod Steiger's a Confederate soldier that's bitter the South lost the war, so he flees out west and joins the Sioux tribe. Low budget Sam Fuller western that's helped considerably by Steiger's performance and a story that is sympathetic to the Native Americans. Fuller's script is frank about revisionist politics and fascinated with Indian culture, a precursor to John Milius and Jeremiah Johnson. Charles Bronson plays the most chiseled Indian you've ever seen.
Rod Steiger's a Confederate soldier that's bitter the South lost the war, so he flees out west and joins the Sioux tribe. Low budget Sam Fuller western that's helped considerably by Steiger's performance and a story that is sympathetic to the Native Americans. Fuller's script is frank about revisionist politics and fascinated with Indian culture, a precursor to John Milius and Jeremiah Johnson. Charles Bronson plays the most chiseled Indian you've ever seen.
Rustin (2023) ***
Using Selma as a template, it provides a nice history lesson about the 1963 March on Washington that is largely carried by Colman Domingo's showy performance. The march itself is anticlimactic, though, and the film doesn't make much of an impact.
Using Selma as a template, it provides a nice history lesson about the 1963 March on Washington that is largely carried by Colman Domingo's showy performance. The march itself is anticlimactic, though, and the film doesn't make much of an impact.
Saltburn (2023) ****
An intriguing drama about class and seduction that goes for an obvious thriller ending that weakens the movie, but at least that ending is delayed as much as possible and I love watching Barry Keoghan.
An intriguing drama about class and seduction that goes for an obvious thriller ending that weakens the movie, but at least that ending is delayed as much as possible and I love watching Barry Keoghan.
Scheme Squad (2015) **
Web series by the guy who made Hundreds of Beavers about a team of spies trying to get a couple back together. It was a lot like the short stuff made locally, except the acting was better. Some nice New York locations.
Web series by the guy who made Hundreds of Beavers about a team of spies trying to get a couple back together. It was a lot like the short stuff made locally, except the acting was better. Some nice New York locations.
Sharper (2023) ***
Just like Fincher's The Game, this is a con artist movie about people who should be a lot more suspicious and distrusting of everyone around them. It's intriguingly set up and plays well in the first half, until it becomes pretty obvious that everything is part of the con and these characters are too smart to fall for that. Since the con is all the movie really has going for it, I stopped caring before it was over.
Just like Fincher's The Game, this is a con artist movie about people who should be a lot more suspicious and distrusting of everyone around them. It's intriguingly set up and plays well in the first half, until it becomes pretty obvious that everything is part of the con and these characters are too smart to fall for that. Since the con is all the movie really has going for it, I stopped caring before it was over.
Since You Went Away (1944) **
I don't know why I keep watching David O. Selznick movies because they're all over-the-top, over-dramatic, and full of themselves. Since You Went Away is no exception. This wartime melodrama about the women left behind while the men go off to fight the war simply didn't need to be three hours long. Jennifer Jones courtship with Robert Walker just goes on forever, and you can see where the story is going from the beginning. The best parts are showing how the world had changed due to the war, but there's not nearly enough of that, and they mostly just complain about food rationing. At least Mrs. Miniver had the threat of being bombed. Perhaps this all rang differently with audiences in 1944, but it's no Best Years of Our Lives, which is still powerful today.
I don't know why I keep watching David O. Selznick movies because they're all over-the-top, over-dramatic, and full of themselves. Since You Went Away is no exception. This wartime melodrama about the women left behind while the men go off to fight the war simply didn't need to be three hours long. Jennifer Jones courtship with Robert Walker just goes on forever, and you can see where the story is going from the beginning. The best parts are showing how the world had changed due to the war, but there's not nearly enough of that, and they mostly just complain about food rationing. At least Mrs. Miniver had the threat of being bombed. Perhaps this all rang differently with audiences in 1944, but it's no Best Years of Our Lives, which is still powerful today.
The Sixth (2024) ****
A fascinating recounting of the events of January 6 from the perspective of six people that were there, from a photographer on the outside to Jamie Raskin on the house floor. Although the events are limited to their experiences, it does a great job of showing what it was like to be there and reminding you what a horrible day it was. Interestingly, Raskin's recounting is the least interesting of the bunch, but I feel there's a lot he didn't cover.
A fascinating recounting of the events of January 6 from the perspective of six people that were there, from a photographer on the outside to Jamie Raskin on the house floor. Although the events are limited to their experiences, it does a great job of showing what it was like to be there and reminding you what a horrible day it was. Interestingly, Raskin's recounting is the least interesting of the bunch, but I feel there's a lot he didn't cover.
Sleepless in Seattle (1993) **
I was surprised at how dull this was. Tom Hanks is subdued, Meg Ryan is boring, the pace is plodding, and the setup is awkward. The best parts are with Hanks and his son, but I thought it might be more charming considering how popular it was. I appreciate the concept of a romance where the characters don't meet until the end, but the fact that they dump perfectly good people for the whole "it's not true love if it's not magical" theme is abhorrent. I want a sequel where Bill Pullman and Barbara Garrick hook up.
I was surprised at how dull this was. Tom Hanks is subdued, Meg Ryan is boring, the pace is plodding, and the setup is awkward. The best parts are with Hanks and his son, but I thought it might be more charming considering how popular it was. I appreciate the concept of a romance where the characters don't meet until the end, but the fact that they dump perfectly good people for the whole "it's not true love if it's not magical" theme is abhorrent. I want a sequel where Bill Pullman and Barbara Garrick hook up.
So I Married an Axe Murderer (1993) **
It's a good idea for a movie and the cast is great, but it's simply not funny.
It's a good idea for a movie and the cast is great, but it's simply not funny.
The Social Dilemma (2020) Stars
I watched about 40 minutes of this doc about social media, but it just kept stating the obvious mixed with awful dramatic scenes.
I watched about 40 minutes of this doc about social media, but it just kept stating the obvious mixed with awful dramatic scenes.
Something Evil (1972) *
Spielberg's second TV movie after Duel is a huge step down in quality, supposedly due to a minuscule budget and tight reins from the studio. Sandy Dennis and Darren McGavin do their best with a terrible script. There are hints of Poltergeist near the end, but not enough to recommend slogging through this. I'm so close to seeing everything Spielberg has directed that I felt obligated.
Spielberg's second TV movie after Duel is a huge step down in quality, supposedly due to a minuscule budget and tight reins from the studio. Sandy Dennis and Darren McGavin do their best with a terrible script. There are hints of Poltergeist near the end, but not enough to recommend slogging through this. I'm so close to seeing everything Spielberg has directed that I felt obligated.
Speaking in Strings (1999) ***
Interesting documentary about the unconventional violinist Nadja Salerno-Sonnenberg dealing with her fame and depression with a home movie feel. She's has a frank, grounded, straight-forward personality that's unusual in the world of classical music, although it feels like a lot of her personal life is left out.
Interesting documentary about the unconventional violinist Nadja Salerno-Sonnenberg dealing with her fame and depression with a home movie feel. She's has a frank, grounded, straight-forward personality that's unusual in the world of classical music, although it feels like a lot of her personal life is left out.
Splendor in the Grass (1961) ****
Warren Beatty and Natalie Wood want to have sex so bad that it drives them crazy, literally. Elia Kazan amps up the sexual frustration and teen angst to psychotic levels, making it the best of Inge's movies. Beatty and Wood are excellent, but then Barbara Loden comes home from college, steals the whole movie, and then disappears. The drama weakens a bit after that as Beatty and Wood go their separate ways, but the ending brings it all back together in a modern, forward-looking way.
Warren Beatty and Natalie Wood want to have sex so bad that it drives them crazy, literally. Elia Kazan amps up the sexual frustration and teen angst to psychotic levels, making it the best of Inge's movies. Beatty and Wood are excellent, but then Barbara Loden comes home from college, steals the whole movie, and then disappears. The drama weakens a bit after that as Beatty and Wood go their separate ways, but the ending brings it all back together in a modern, forward-looking way.
State and Main (2000) ****
This is basically David Mamet's Day for Night and while it's amusing, it doesn't bite as much as it seemed to 25 years ago (yikes) and Hoffman's screenwriter character is far too naive.
This is basically David Mamet's Day for Night and while it's amusing, it doesn't bite as much as it seemed to 25 years ago (yikes) and Hoffman's screenwriter character is far too naive.
The Stepford Wives (1975) ***
Filmed like a soap opera and sluggishly paced, it takes forever to get to the point, and seems like it was modeled after Rosemary's Baby. The campy over-the-top ending is fun.
Filmed like a soap opera and sluggishly paced, it takes forever to get to the point, and seems like it was modeled after Rosemary's Baby. The campy over-the-top ending is fun.
STEVE! (martin) a documentary in 2 pieces (2024) ****
A lengthy retrospective on the life of Steve Martin, neatly divided between his early stand-up career and his film career. The first half is more interesting as it explores his unique and largely unknown rise to stardom. The second half is more introspective as it looks at how fame has affected his personal life and the nature of comedy, writing, and show business. And Martin Short pops in to lighten things up.
A lengthy retrospective on the life of Steve Martin, neatly divided between his early stand-up career and his film career. The first half is more interesting as it explores his unique and largely unknown rise to stardom. The second half is more introspective as it looks at how fame has affected his personal life and the nature of comedy, writing, and show business. And Martin Short pops in to lighten things up.
STILL: A Michael J. Fox Movie (2023) ****
A documentary that deserves an Oscar for best editing. The way it tells the story of Michael J. Fox by using footage from his movies and TV shows is impressive and entertaining, and Fox is such an engaging yet ordinary person that you can't help but be moved by his life.
A documentary that deserves an Oscar for best editing. The way it tells the story of Michael J. Fox by using footage from his movies and TV shows is impressive and entertaining, and Fox is such an engaging yet ordinary person that you can't help but be moved by his life.
The Stolen Jools (1931) **
A short film that's basically a parade of all the major MGM stars of 1931, each getting about 30 seconds of screen time. Can you name them all?
A short film that's basically a parade of all the major MGM stars of 1931, each getting about 30 seconds of screen time. Can you name them all?
The Strange Love of Molly Louvain (1932) ***
I only watched this to see Ann Dvorak after her memorable drug addict in Three on a Match. She definitely commands this movie with her dreamy eyes, but it's not a great story. It has an overly-convoluted first act to establish the lovers on the run before settling on an awkward, unconvincing, and drawn out love triangle. There's also lots of fast-talking, cynical reporters on telephones ala The Front Page. Dvorak is the only reason to see this.
I only watched this to see Ann Dvorak after her memorable drug addict in Three on a Match. She definitely commands this movie with her dreamy eyes, but it's not a great story. It has an overly-convoluted first act to establish the lovers on the run before settling on an awkward, unconvincing, and drawn out love triangle. There's also lots of fast-talking, cynical reporters on telephones ala The Front Page. Dvorak is the only reason to see this.
Summer of Soul (...Or, When the Revolution Could Not Be Televised) (2021) ****
Terrific doc about a 1969 summer music festival that not only has great music, but delves into the artists and the significance of the event. Informative and entertaining. I also have to ask with so many docs lately - why has all this footage just been sitting there for 50 years?
Terrific doc about a 1969 summer music festival that not only has great music, but delves into the artists and the significance of the event. Informative and entertaining. I also have to ask with so many docs lately - why has all this footage just been sitting there for 50 years?
The Sundowners (1960) ***
I guess there was a time when Australia was an exotic locale rarely seen on movie screens, so I can forgive Robert Mitchum and Deborah Kerr's terrible attempts at an Australian accent. Harder to forgive is padding this movie with sheep, kangaroos, sheep, koalas, sheep, dingoes, sheep, horses, sheep, and other wildlife. Not that there's much of a story anyway, but it's a good half-hour too long and overstays its welcome, losing any goodwill I had for it. I only watched it to see Peter Ustinov, who is always a delight, but this movie got a ton of Oscar noms, and I don't know why.
I guess there was a time when Australia was an exotic locale rarely seen on movie screens, so I can forgive Robert Mitchum and Deborah Kerr's terrible attempts at an Australian accent. Harder to forgive is padding this movie with sheep, kangaroos, sheep, koalas, sheep, dingoes, sheep, horses, sheep, and other wildlife. Not that there's much of a story anyway, but it's a good half-hour too long and overstays its welcome, losing any goodwill I had for it. I only watched it to see Peter Ustinov, who is always a delight, but this movie got a ton of Oscar noms, and I don't know why.
The Swan (2023) ***
Storytime with Roald Dahl. Anderson leans heavily into the theatrical trappings, turning Dahl's little stories into narrated picture books, and they're short, sweet, and fun to watch. The Swan is the darkest of all the shorts, about a kid who is mercilessly bullied to metaphorical death. Rupert Friend makes a good impression.
Storytime with Roald Dahl. Anderson leans heavily into the theatrical trappings, turning Dahl's little stories into narrated picture books, and they're short, sweet, and fun to watch. The Swan is the darkest of all the shorts, about a kid who is mercilessly bullied to metaphorical death. Rupert Friend makes a good impression.
Swimming with Men (2018) **
Comedy/drama about a men's synchronized swim team that follows the Full Monty template but is ineptly handled in both the drama and comedy departments, with missed moments and unnecessary flash. Rob Brydon is the lead but it's more of an ensemble cast. I knew it would be a cliche sports story but I expected a lot more laughs.
Comedy/drama about a men's synchronized swim team that follows the Full Monty template but is ineptly handled in both the drama and comedy departments, with missed moments and unnecessary flash. Rob Brydon is the lead but it's more of an ensemble cast. I knew it would be a cliche sports story but I expected a lot more laughs.
Targets (1968) ****
Roger Corman told Peter Bogdanovich that they had Boris Karloff under contract for two days, that he had to use 20 minutes of footage from Corman's The Terror, but could otherwise do what he wanted, so Bogdanovich crafted an intriguing if threadbare story where classic horror and modern horror collide and Karloff gives one of his best performances. A remarkable low-budget debut apparently ghost written by Sam Fuller.
Roger Corman told Peter Bogdanovich that they had Boris Karloff under contract for two days, that he had to use 20 minutes of footage from Corman's The Terror, but could otherwise do what he wanted, so Bogdanovich crafted an intriguing if threadbare story where classic horror and modern horror collide and Karloff gives one of his best performances. A remarkable low-budget debut apparently ghost written by Sam Fuller.
Tetris (2023) ***
There is a fairly interesting story behind the massive success of the Russian videogame Tetris, but it needs to be told with a lot more directorial flair than the generic treatment given here to really draw out the humor, irony, and world politics. Otherwise it's just a lot of negotiating with typically evil Soviets that would have been far more relevant 30 years ago, and apparently it's not all that accurate anyway, so what's the point? Billy Wilder did this much better with One Two Three, and Taron Edgerton is no Jimmy Cagney.
There is a fairly interesting story behind the massive success of the Russian videogame Tetris, but it needs to be told with a lot more directorial flair than the generic treatment given here to really draw out the humor, irony, and world politics. Otherwise it's just a lot of negotiating with typically evil Soviets that would have been far more relevant 30 years ago, and apparently it's not all that accurate anyway, so what's the point? Billy Wilder did this much better with One Two Three, and Taron Edgerton is no Jimmy Cagney.
Theater Camp (2023) ***
Sometimes a mockumentary can be too authentic to be funny, and it makes the improvy acting of the self-absorbed camp counselors too ridiculous to swallow. Theatre people (like me) will find plenty to relate to and some of it is definitely amusing, but mostly I felt sorry for Jimmy Tatro, who did his best and nobody would help him.
Sometimes a mockumentary can be too authentic to be funny, and it makes the improvy acting of the self-absorbed camp counselors too ridiculous to swallow. Theatre people (like me) will find plenty to relate to and some of it is definitely amusing, but mostly I felt sorry for Jimmy Tatro, who did his best and nobody would help him.
They Call Me Bruce? (1982) *
This is one of those films from my childhood that I once thought was funny, but I'm glad to say my tastes have matured. Most of the jokes are built around racial stereotypes - from Chinese martial arts to Italian mafia to black street thugs to Midwest rednecks with some Jewish gangsters and a Polish guy thrown in so that no chance to offend is missed. At first it seems a bit self-aware but it gets less and less funny as it goes along. The best I can say is that the women in the film are the smartest and toughest of them all, which is progress of sorts for 1982.
This is one of those films from my childhood that I once thought was funny, but I'm glad to say my tastes have matured. Most of the jokes are built around racial stereotypes - from Chinese martial arts to Italian mafia to black street thugs to Midwest rednecks with some Jewish gangsters and a Polish guy thrown in so that no chance to offend is missed. At first it seems a bit self-aware but it gets less and less funny as it goes along. The best I can say is that the women in the film are the smartest and toughest of them all, which is progress of sorts for 1982.
Timecrimes (2007) ****
A fun little time travel thriller that doesn't tie things up well, but does a lot with its contained cast, location, and concept.
A fun little time travel thriller that doesn't tie things up well, but does a lot with its contained cast, location, and concept.
Titane (2021) ***
Starts off with a bang, turns into an unfocused drama, and then ends disappointingly without any surprises or much of a climax. It feels like two movies smashed together, and they don't mix well. It might have been more intriguing if I hadn't recently watched The Imposter, which I suspect this movie borrows from.
Starts off with a bang, turns into an unfocused drama, and then ends disappointingly without any surprises or much of a climax. It feels like two movies smashed together, and they don't mix well. It might have been more intriguing if I hadn't recently watched The Imposter, which I suspect this movie borrows from.
TransSiberian (2008) ***
A thriller about a naive couple who slowly gets deeper and deeper into trouble, but done in a handheld indie style that mutes the tension. Decent and Emily Mortimer is good, but it's unremarkable.
A thriller about a naive couple who slowly gets deeper and deeper into trouble, but done in a handheld indie style that mutes the tension. Decent and Emily Mortimer is good, but it's unremarkable.
Twelfth Night (1996) ****
Just to throw in another Shakespeare... This is a sophisticated romantic comedy that feels very period but also very modern, I guess because it's very Masterpiece Theatre and it seems like Shakespeare was unambitiously writing for whatever audience was upper middle class in his day. The plot is a bit convoluted but it's full of wit and comic situations and characters hanging out pursuing love and happiness. Imogen Stubbs leads an excellent cast (although Helena Bonham Carter gets top billing).
Just to throw in another Shakespeare... This is a sophisticated romantic comedy that feels very period but also very modern, I guess because it's very Masterpiece Theatre and it seems like Shakespeare was unambitiously writing for whatever audience was upper middle class in his day. The plot is a bit convoluted but it's full of wit and comic situations and characters hanging out pursuing love and happiness. Imogen Stubbs leads an excellent cast (although Helena Bonham Carter gets top billing).
Wait Until Dark (1967) ****
When I first saw this many decades ago I was unimpressed because I expected more of a horror film and thought it was too stagebound. I enjoyed it a lot more this time and can see that it's pretty innovative for 1967. It definitely sticks closely to its stageplay roots, but also makes you appreciate how clever this would be on stage. Despite playing a blind woman in full makeup, Audrey Hepburn is excellent and Alan Arkin is particularly memorable.
When I first saw this many decades ago I was unimpressed because I expected more of a horror film and thought it was too stagebound. I enjoyed it a lot more this time and can see that it's pretty innovative for 1967. It definitely sticks closely to its stageplay roots, but also makes you appreciate how clever this would be on stage. Despite playing a blind woman in full makeup, Audrey Hepburn is excellent and Alan Arkin is particularly memorable.
Waiting for Guffman (1996) ****
I haven't seen this in a while so a lot of it felt fresh. It's still my favorite Christopher Guest film. It has an innocence and rough edges that the others lack, although I have no idea how Corky ended up in small town Missouri.
I haven't seen this in a while so a lot of it felt fresh. It's still my favorite Christopher Guest film. It has an innocence and rough edges that the others lack, although I have no idea how Corky ended up in small town Missouri.
Wanda (1970) ****
A low rent Bonnie and Clyde tale of lovers on the run written, directed, and starring Barbara Loden, who was Elia Kazan's wife. She's a simple-minded hobosexual who ends up with a petty thief, intriguingly played by Michael Higgins, as they wander through desolate small town hotels, highways, and diners that was more viscerally real and nostalgic for me than most films of this period - like watching 8mm home movies. The pacing was a bit slow and it was a bit padded, but it's a remarkable micro-budget indie debut.
A low rent Bonnie and Clyde tale of lovers on the run written, directed, and starring Barbara Loden, who was Elia Kazan's wife. She's a simple-minded hobosexual who ends up with a petty thief, intriguingly played by Michael Higgins, as they wander through desolate small town hotels, highways, and diners that was more viscerally real and nostalgic for me than most films of this period - like watching 8mm home movies. The pacing was a bit slow and it was a bit padded, but it's a remarkable micro-budget indie debut.
War of the Worlds (2013) **
This is a PBS documentary about the Orson Welles radio broadcast of War of the Worlds. It's informative about the events of that night, but of course it's hard to make video about a radio show, so they basically use every 1930s and 40s film showing people listening to a radio, and have costumed actors do mock interviews based on letters, so it's not the most compelling doc.
This is a PBS documentary about the Orson Welles radio broadcast of War of the Worlds. It's informative about the events of that night, but of course it's hard to make video about a radio show, so they basically use every 1930s and 40s film showing people listening to a radio, and have costumed actors do mock interviews based on letters, so it's not the most compelling doc.
The War of the Worlds (1953) ****
By abandoning any sort of character development, they're able to gradually escalate from joking about a single spaceship landing rural California to world-wide destruction in a brisk 90 minutes, and keep the story plausibly focused on a single character the entire time, which is the kind of storytelling modern blockbusters could learn a lot from (Miracle Mile is one of the few that manages this feat). However, it's the production design of the aliens and spaceships and the sound effects that really make it all work. George Pal's effects always looked fake on purpose, and everything is iconic and memorable and the sense of utter doom is real.
By abandoning any sort of character development, they're able to gradually escalate from joking about a single spaceship landing rural California to world-wide destruction in a brisk 90 minutes, and keep the story plausibly focused on a single character the entire time, which is the kind of storytelling modern blockbusters could learn a lot from (Miracle Mile is one of the few that manages this feat). However, it's the production design of the aliens and spaceships and the sound effects that really make it all work. George Pal's effects always looked fake on purpose, and everything is iconic and memorable and the sense of utter doom is real.
Water for Elephants (2011) ****
I saw the musical on Broadway so I wanted to compare it with the film. It's an old-fashioned love triangle for those who still dream of running off to join the circus. At the time I think it was seen as Robert Pattinson trying to be taken seriously as an actor. He's fine and supported by a good cast. The play was more focused on the ensemble of circus performers and both could have used more animals.
I saw the musical on Broadway so I wanted to compare it with the film. It's an old-fashioned love triangle for those who still dream of running off to join the circus. At the time I think it was seen as Robert Pattinson trying to be taken seriously as an actor. He's fine and supported by a good cast. The play was more focused on the ensemble of circus performers and both could have used more animals.
A Wedding (1978) ***
Altman tries for another Nashville with a huge cast at a wedding reception gone wrong that feels like a prototype for Christopher Guest's movies. It would be fine if it were funnier, but it's never more than mildly amusing and there are too many characters for their stories to develop beyond surface level. I wish Guests' movies were this well photographed, though, and I wish Carol Burnett had done more films.
Altman tries for another Nashville with a huge cast at a wedding reception gone wrong that feels like a prototype for Christopher Guest's movies. It would be fine if it were funnier, but it's never more than mildly amusing and there are too many characters for their stories to develop beyond surface level. I wish Guests' movies were this well photographed, though, and I wish Carol Burnett had done more films.
Werewolves Within (2021) ***
A colorful bunch of quirky characters are snowbound in a small town with a werewolf on the loose. There's a lot of witty and fun banter and likable actors, but there's not much of a story to back it all up. It could have just been a remake of And Then There Were None and fared better.
A colorful bunch of quirky characters are snowbound in a small town with a werewolf on the loose. There's a lot of witty and fun banter and likable actors, but there's not much of a story to back it all up. It could have just been a remake of And Then There Were None and fared better.
When Worlds Collide (1951) **
Before War of the Worlds, George Pal produced this disaster film about a planet on a collision course with Earth. Where War of the Worlds abandoned character development for humanity's doom, When Worlds Collide gets bogged down in romantic triangles, Bible references, and other drivel, with the main conflict being who gets to ride the spiffy new rocket to the other planet (which looks like something out of a Disney cartoon). It's campy with its bad science, but it's generally pretty dull, and the one disaster sequence is made mostly of stock footage and clips from other films. There is a cool helicopter rescue scene, but that's about it.
Before War of the Worlds, George Pal produced this disaster film about a planet on a collision course with Earth. Where War of the Worlds abandoned character development for humanity's doom, When Worlds Collide gets bogged down in romantic triangles, Bible references, and other drivel, with the main conflict being who gets to ride the spiffy new rocket to the other planet (which looks like something out of a Disney cartoon). It's campy with its bad science, but it's generally pretty dull, and the one disaster sequence is made mostly of stock footage and clips from other films. There is a cool helicopter rescue scene, but that's about it.
Willard (2003) ****
Telling the same story but changing the focus considerably, this is a superior remake that's more polished with a bit of a Tim Burton feel. It's bolstered by a great performance from Crispin Glover that's far more human and relatable and less weird than I was expecting. The recreation of the office set is a great nod to the original.
Telling the same story but changing the focus considerably, this is a superior remake that's more polished with a bit of a Tim Burton feel. It's bolstered by a great performance from Crispin Glover that's far more human and relatable and less weird than I was expecting. The recreation of the office set is a great nod to the original.
Willard (1971) ***
Yes, it's a horror story about a man who controls rats, but veteran director Daniel Mann keeps things light and focused on the characters. Bruce Davison does a great job as Willard, and it helps to have Ernest Bornine and Elsa Lanchester in the cast. I can see why this quirky, low budget film has cult status.
Yes, it's a horror story about a man who controls rats, but veteran director Daniel Mann keeps things light and focused on the characters. Bruce Davison does a great job as Willard, and it helps to have Ernest Bornine and Elsa Lanchester in the cast. I can see why this quirky, low budget film has cult status.
Win Win (2011) ****
This is the good kind of sports movie that doesn't rely on winning the game for a climax. An engaging little story set in the real world about real people problems with a great ensemble cast, good humor, realistic teenagers, and Paul Giamatti at his most everyman.
This is the good kind of sports movie that doesn't rely on winning the game for a climax. An engaging little story set in the real world about real people problems with a great ensemble cast, good humor, realistic teenagers, and Paul Giamatti at his most everyman.
Wolfwalkers (2020) ****
Another beautifully animated and richly textured film from Tomm Moore and Cartoon Saloon, with a solid if unremarkable folkloric variation on a werewolf tale.
Another beautifully animated and richly textured film from Tomm Moore and Cartoon Saloon, with a solid if unremarkable folkloric variation on a werewolf tale.
The Wonderful Story of Henry Sugar (2023) ****
Storytime with Roald Dahl. He leans heavily into the theatrical trappings, turning Dahl's little stories into narrated picture books, and they're short, sweet, and fun to watch. The Wonderful World of Henry Sugar is the most substantial (and longest) of the shorts is full of clever transitions and theatrical storytelling conventions and is a delight.
Storytime with Roald Dahl. He leans heavily into the theatrical trappings, turning Dahl's little stories into narrated picture books, and they're short, sweet, and fun to watch. The Wonderful World of Henry Sugar is the most substantial (and longest) of the shorts is full of clever transitions and theatrical storytelling conventions and is a delight.
The Worst Person in the World (2021) ****
Low-key relationship drama about a woman turning 30 and trying to sort out her life, although it's overlong with an incongruous fantasy sequence in the middle and a mushroom trip that could have been cut. Renate Reinsve certainly has movie star appeal.
Low-key relationship drama about a woman turning 30 and trying to sort out her life, although it's overlong with an incongruous fantasy sequence in the middle and a mushroom trip that could have been cut. Renate Reinsve certainly has movie star appeal.
The Young Victoria (2009) ***
Teenage Queen Victoria falls in love with her cousin Prince Albert of Saxe-Coburg-Saalfeld. It's an opulent romance but it's all pretty low stakes. Young Emily Blunt is delightful though. If anything, it adds weight to Mrs. Brown and gives you an idea of who Prince Albert was.
Teenage Queen Victoria falls in love with her cousin Prince Albert of Saxe-Coburg-Saalfeld. It's an opulent romance but it's all pretty low stakes. Young Emily Blunt is delightful though. If anything, it adds weight to Mrs. Brown and gives you an idea of who Prince Albert was.
Young Winston (1972) **
Richard Attenborough's creaky prestige biopic full of big name cameos about Churchill's adventurous youth. It has a pretty good train attack in the middle but is otherwise an unremarkable tribute to a national hero.
Richard Attenborough's creaky prestige biopic full of big name cameos about Churchill's adventurous youth. It has a pretty good train attack in the middle but is otherwise an unremarkable tribute to a national hero.
Your Name. (2016) ***
Am I the only one that can't form an emotional connection to characters in Japanese animation? I find the animation style to be completely uninvolving. This has an interesting story but it really wants to be a poignant and touching tearjerker and I just didn't feel anything. The animation was lovely, although a lot of it looks like they just took real locations and colored it in. It would have worked better as live action with real emotions.
Am I the only one that can't form an emotional connection to characters in Japanese animation? I find the animation style to be completely uninvolving. This has an interesting story but it really wants to be a poignant and touching tearjerker and I just didn't feel anything. The animation was lovely, although a lot of it looks like they just took real locations and colored it in. It would have worked better as live action with real emotions.
Yoyo (1965) ****
I was bowled over by Yoyo a few years ago and had a cooler reaction the second time around, but it's still an elegant tribute to physical comedy that's upfront about its references - Keaton, Chaplin, Tati, Fellini. Pierre Etaix encapsulates them all without feeling like a cheap copy, and incorporates different styles as time passes. The biggest problem is that Yoyo's relationship with his parents is never developed, and yet the ending hinges on Yoyo longing for that connection.
I was bowled over by Yoyo a few years ago and had a cooler reaction the second time around, but it's still an elegant tribute to physical comedy that's upfront about its references - Keaton, Chaplin, Tati, Fellini. Pierre Etaix encapsulates them all without feeling like a cheap copy, and incorporates different styles as time passes. The biggest problem is that Yoyo's relationship with his parents is never developed, and yet the ending hinges on Yoyo longing for that connection.
Z (1969) ****
A political candidate is assassinated and a team of lawyers must find and convict the killers. This is the granddaddy of all investigation movies from All the President's Men to JFK to Spotlight, and since the template has been copied so many times it doesn't feel as fresh as it must have in 1969. It's an impressive cast of characters and crowd scenes and very smartly put together, although it's hard to keep track of all the faces. My biggest issue is that the assassination happens in the middle of the street with hundreds of people watching, and yet nobody seems to know what happened.
A political candidate is assassinated and a team of lawyers must find and convict the killers. This is the granddaddy of all investigation movies from All the President's Men to JFK to Spotlight, and since the template has been copied so many times it doesn't feel as fresh as it must have in 1969. It's an impressive cast of characters and crowd scenes and very smartly put together, although it's hard to keep track of all the faces. My biggest issue is that the assassination happens in the middle of the street with hundreds of people watching, and yet nobody seems to know what happened.