Star Wars Episode IX: The Rise of Skywalker (2019)
The trilogy trilogy climax is a real fluffer for fans with everyone from all the movies coming back, including the hobbits, heavy metal song dialog (don't stop believing, never give up, we can make it together) and even a real stunner when Rey turns out to be the Alien queen.
The trilogy trilogy climax is a real fluffer for fans with everyone from all the movies coming back, including the hobbits, heavy metal song dialog (don't stop believing, never give up, we can make it together) and even a real stunner when Rey turns out to be the Alien queen.
Long Day's Journey into Night (2018)
"The unexpected love child of Wong Kar-wai and Andrei Tarkovsky" -- Eric Kohn of IndieWire. A great way to describe this movie, though with the qualification that the first half is fascinating the way those two can be, with a bit of Christopher Marker thrown in, especially Sans Soleil, but the second half is like the tedious Wong and Tarkovsky.
12/15/19
11/10/19
"The unexpected love child of Wong Kar-wai and Andrei Tarkovsky" -- Eric Kohn of IndieWire. A great way to describe this movie, though with the qualification that the first half is fascinating the way those two can be, with a bit of Christopher Marker thrown in, especially Sans Soleil, but the second half is like the tedious Wong and Tarkovsky.
The Godfather, Part 2 (1974)
Gordon Willis on the big screen! Ellis Island, Tahoe, Sicily, Little Italy, Miami, Havana (played by the Dominican Republic). Making that great cast look so good, and accompanied by Nino Rota and Carmine Coppola. The direction's not shabby either.
11/6/19
Gordon Willis on the big screen! Ellis Island, Tahoe, Sicily, Little Italy, Miami, Havana (played by the Dominican Republic). Making that great cast look so good, and accompanied by Nino Rota and Carmine Coppola. The direction's not shabby either.
Memories of Murder (2003)
In the vein of the law haunted by the crime, along with No Country for Old Men -- did you know there was such a vein? -- there's this from Bong Joon-ho, whose Parasite won the Palme d'Or this year at Cannes.
9/20/20
In the vein of the law haunted by the crime, along with No Country for Old Men -- did you know there was such a vein? -- there's this from Bong Joon-ho, whose Parasite won the Palme d'Or this year at Cannes.
Unbelievable (2019)
Now a great series from Lisa Cholodenko, among others. She is executive producer and directed first three episodes.
9/19/19
Now a great series from Lisa Cholodenko, among others. She is executive producer and directed first three episodes.
You can listen to Prokofiev's great music for Eisenstein's Alexander Nevsky on YouTube (link below). This same conductor and orchestra have a CD recording that is the original soundtrack arrangement rather than the rearranged Cantata. Not sure which this performance is, but it has all the great sections I recall. I got to see the film with live symphony and choir at Davies in San Franciso in the 90s.
Sergei Prokofiev: Alexander Nevsky, Op.78 (Yuri Temirkanov / St Petersburg Philharmonic Orchestra) ()
9/15/19
Sergei Prokofiev: Alexander Nevsky, Op.78 (Yuri Temirkanov / St Petersburg Philharmonic Orchestra) ()
The VelociPastor (2018)
Just when you thought it was safe to go back to Catholic Chinese ninja priest college.
8/31/19
Just when you thought it was safe to go back to Catholic Chinese ninja priest college.
The Wild Pear Tree (2018)
It's about writing and literature, too. And youth and education and working and grubbing and self interest and hypocrisy and generations. You know, life 'n' shit.
8/30/19
8/4/19
It's about writing and literature, too. And youth and education and working and grubbing and self interest and hypocrisy and generations. You know, life 'n' shit.
Once upon a Time in Hollywood (2019)
Although it's more revenge porn, there's interesting and good stuff, and perhaps the best role for Leotardo ever.
7/28/19
7/8/19
5/16/19
Although it's more revenge porn, there's interesting and good stuff, and perhaps the best role for Leotardo ever.
Apollo 11 (2019)
Amazing what we can do without CG.
4/26/19
4/14/19
4/12/19
Amazing what we can do without CG.
Capernaum (2018)
2/21/19
I want to make a complaint against my parents. I'd want adults to listen to me. I want adults who can't raise kids not to have any. What will I remember? Violence, insults or beatings, hit with chains, pipes, or a belt? The kindest words I heard were get out son of a whore! Bug off, piece of garbage! Life is a pile of shit. Not worth more than my shoe. I live in hell here. I burn like rotting meat. Life is a bitch. I thought we'd become good people, loved by all. But God doesn't want that for us. He'd rather we be washrags for others. The child you're carrying will be like I am.
-- Capernaum
Can You Ever Forgive Me? (2018)
Nice work from director Marielle Heller, writers Nicole Holofcener and Jeff Whitty, Melissa McCarthy, Jane Curtin, Dolly Wells and especially Richard Grant.
2/15/19
Nice work from director Marielle Heller, writers Nicole Holofcener and Jeff Whitty, Melissa McCarthy, Jane Curtin, Dolly Wells and especially Richard Grant.
The Man Who Would Be King (1975)
First time I saw this. Great fun, though it sneaks up on some ghastly. It should be a warning not to play god but we can't even get people sack presidents or not believe blatant shitbags.
12/15/18
First time I saw this. Great fun, though it sneaks up on some ghastly. It should be a warning not to play god but we can't even get people sack presidents or not believe blatant shitbags.
Henry V (1944)
When was Shakespeare great cinema and the movies great Shakespeare? Never so much as this movie.
11/25/18
When was Shakespeare great cinema and the movies great Shakespeare? Never so much as this movie.
We the Animals (2018)
Favorite 2018 movie so far. In the vein of Sean Baker.
Favorite 2018 movie so far. In the vein of Sean Baker.
War and Peace (1965) comprises:
Part I: Andrei Bolkonsky (1965)
Part II: Natasha Rostova (1966)
Part III: The Year 1812 (1967)
Part IV: Pierre Bezukhov (1967)
Try this for binge. Four movies! Battle scenes with 100,000 extras, 60s cinematic flourishes for Tolstoy stream narrative techniques, precursor to Malick with voiceover interior monologues, Margaret Mitchell must've ripped him off too, great score by Ovchinnikov, even some shots recalling early Soviet cinema.
9/15/18
Part I: Andrei Bolkonsky (1965)
Part II: Natasha Rostova (1966)
Part III: The Year 1812 (1967)
Part IV: Pierre Bezukhov (1967)
Try this for binge. Four movies! Battle scenes with 100,000 extras, 60s cinematic flourishes for Tolstoy stream narrative techniques, precursor to Malick with voiceover interior monologues, Margaret Mitchell must've ripped him off too, great score by Ovchinnikov, even some shots recalling early Soviet cinema.
Final Portrait (2017)
Sitting for a portrait is interesting? It is the way these people see it and present it.
8/29/18
Sitting for a portrait is interesting? It is the way these people see it and present it.
The Happytime Murders (2018)
I guess the laughs were too easy, because they dropped off steeply. The toning down works for the acting and characters, especially Melissa McCarthy and Maya Rudolph, but not enough was done with this irresistible idea.
7/28/18
I guess the laughs were too easy, because they dropped off steeply. The toning down works for the acting and characters, especially Melissa McCarthy and Maya Rudolph, but not enough was done with this irresistible idea.
Laurel Canyon (2002)
Special nod to Lisa Cholodenko, who writes and directs. Smart observation and treatment of not necessarily conventional subjects and relationships. See also High Art and The Kids Are All Right. She also directed episodes of, Six Feet Under and Homicide: Life on the Street.
6/19/18
Special nod to Lisa Cholodenko, who writes and directs. Smart observation and treatment of not necessarily conventional subjects and relationships. See also High Art and The Kids Are All Right. She also directed episodes of
Wild Tales (2014)
Pedro Almodovar is a producer. This is an anthology movie by Argentine writer/director Damian Szifron, and it's great, much closer to Inside No. 9 than Black Mirror. More method to its madness, clever crafting, including arc and timing, as with the pre-credit bit, how to pack a punchline. But the final sequence of the wedding is the high point and worth the price of admission. In case you don't think the series comparisons are apt, Szifron also did Los Simuladores, known in English as The Pretenders, the most popular Argentine TV series ever. Also worth checking out for some clever observation done with any a gimmicky premise. Influenced by Spielberg, notably Duel and Amazing Stories. YouTube has episodes with English translation.
5/27/18
Pedro Almodovar is a producer. This is an anthology movie by Argentine writer/director Damian Szifron, and it's great, much closer to Inside No. 9 than Black Mirror. More method to its madness, clever crafting, including arc and timing, as with the pre-credit bit, how to pack a punchline. But the final sequence of the wedding is the high point and worth the price of admission. In case you don't think the series comparisons are apt, Szifron also did Los Simuladores, known in English as The Pretenders, the most popular Argentine TV series ever. Also worth checking out for some clever observation done with any a gimmicky premise. Influenced by Spielberg, notably Duel and Amazing Stories. YouTube has episodes with English translation.
Night Moves (1975)
Interesting jumpy candor, direction matching the writing, as Gene Hackman's character puts it about another character, "ping pong talk."
Interesting jumpy candor, direction matching the writing, as Gene Hackman's character puts it about another character, "ping pong talk."
Broken Flowers (2005)
This movie is dedicated to Jean Eustache. That's an excuse for a plug for a truly great movie: go watch La maman et le putain (The Mother and the Whore)! Compare and contrast voluble ambling to ambiguous silences.
This movie is dedicated to Jean Eustache. That's an excuse for a plug for a truly great movie: go watch La maman et le putain (The Mother and the Whore)! Compare and contrast voluble ambling to ambiguous silences.
Sunset Boulevard (1950)
Rare chance to see this on the big screen thanks to Turner Classic Movies. We can do without the intro guy giving a synopsis right before the movie. (This is what made Roger Ebert a bad movie reviewer/critic, despite whatever good.) The noir style closeness of it makes it hold up well, and William Holden stood out this time.
Rare chance to see this on the big screen thanks to Turner Classic Movies. We can do without the intro guy giving a synopsis right before the movie. (This is what made Roger Ebert a bad movie reviewer/critic, despite whatever good.) The noir style closeness of it makes it hold up well, and William Holden stood out this time.
Human Flow (2017)
Ai Weiwei's movie about the worldwide refugee problem that is a vicious cycle. Though there are Planet Earth style flourishes that might seem tactless, this gets brought down to earth, caught up in the situation.
Ai Weiwei's movie about the worldwide refugee problem that is a vicious cycle. Though there are Planet Earth style flourishes that might seem tactless, this gets brought down to earth, caught up in the situation.
Charlie's Angels: Full Throttle (2003)
This is what happens when you binge on the worst of pop culture and then puke. On purpose is not better.
This is what happens when you binge on the worst of pop culture and then puke. On purpose is not better.
Cutter's Way (1981)
Between the cause célèbre of Coming Home or The Deer Hunter and the infamy of Heaven's Gate, there was this, perhaps forgotten. Did you know John Heard was a serious actor in things besides Sharknado? Director Ivan Passer was from the Czech New Wave, worked with Milos Forman.
5/10/18
Between the cause célèbre of Coming Home or The Deer Hunter and the infamy of Heaven's Gate, there was this, perhaps forgotten. Did you know John Heard was a serious actor in things besides Sharknado? Director Ivan Passer was from the Czech New Wave, worked with Milos Forman.
Willy Wonka and the Chocolate Factory (1971)
Welcome to Anytown, where the streets are cobblestone, the street signs are European, the rooftops are red, and the accents are American and British.
5/6/18
Welcome to Anytown, where the streets are cobblestone, the street signs are European, the rooftops are red, and the accents are American and British.
Film Stars Don't Die in Liverpool (2017)
Annette Benning as Gloria Grahame goes to see Alien and she's laughing at the chest buster scene while her much younger guy is scared, hiding in her lap. What a citation.
4/10/18
Annette Benning as Gloria Grahame goes to see Alien and she's laughing at the chest buster scene while her much younger guy is scared, hiding in her lap. What a citation.
Last Men in Aleppo (2017)
Frank enough but sparing some of the most gruesome detail, as these "white helmets" themselves do on the scene. Fly-on-the-wall style that also brings off some ghastly and beautiful flourishes without mucking it. Heartbreaking that we are all against them and this city that has a legacy of cosmopolitanism.
Frank enough but sparing some of the most gruesome detail, as these "white helmets" themselves do on the scene. Fly-on-the-wall style that also brings off some ghastly and beautiful flourishes without mucking it. Heartbreaking that we are all against them and this city that has a legacy of cosmopolitanism.
Le Corbeau (1943)
Great potboiler about poison-pen letters. Melodrama more pointed than usual American kind, precisely about busybodies and mixed up mores.
Great potboiler about poison-pen letters. Melodrama more pointed than usual American kind, precisely about busybodies and mixed up mores.
Heat (1995)
Cross-section of L.A life? Intersecting lives, without being that faddish contrivance? Cops and bad guys interposed? Crash makes this look like best picture material. See here.
3/19/18
Cross-section of L.A life? Intersecting lives, without being that faddish contrivance? Cops and bad guys interposed? Crash makes this look like best picture material. See here.
78/52: Hitchcock's Shower Scene (2017)
A movie about watching movies, in case we forget with all the movie watching. Pay attention to the part where Hitchcock says it's a joke.
3/16/18
A movie about watching movies, in case we forget with all the movie watching. Pay attention to the part where Hitchcock says it's a joke.
The Disaster Artist (2017)
The feel good movie of the year.
2/25/18
The feel good movie of the year.
The Florida Project (2017)
This would be my pick for best of 2017. The stroke it makes for the ending is truly wonderful, over precisely the sort of manufactured wonderment of entertainment industry.
11/23/17
This would be my pick for best of 2017. The stroke it makes for the ending is truly wonderful, over precisely the sort of manufactured wonderment of entertainment industry.
The Death of Louis XIV (2016)
Latest fav! Fly on the wall realism that looks like Dutch masters.
10/11/17
Latest fav! Fly on the wall realism that looks like Dutch masters.
Sleepers (1996)
Quite a confluence of performers here with Barry Levinson in an account of a group of men who were abused in a juvenile detention center and get their revenge years later both legally and illegally. The story is controversial because the institutions involved deny such events occurred, the Manhattan District Attorney's office saying no such trial took place. It's interesting, compelling performances, but suffers from a kind of biopic indistinctness.
Quite a confluence of performers here with Barry Levinson in an account of a group of men who were abused in a juvenile detention center and get their revenge years later both legally and illegally. The story is controversial because the institutions involved deny such events occurred, the Manhattan District Attorney's office saying no such trial took place. It's interesting, compelling performances, but suffers from a kind of biopic indistinctness.
Tyrannosaur (2011)
One of the most memorable performances I've seen in a while, by Olivia Colman, who makes the portrait of her character unassuming, banal, pathetic, tragic and twisted, by turns and none of them overriding.
One of the most memorable performances I've seen in a while, by Olivia Colman, who makes the portrait of her character unassuming, banal, pathetic, tragic and twisted, by turns and none of them overriding.
Popeye (1980)
Wayward Altman, but a fond attempt. Somehow the put-on works against the Altman drift, a gesture and tone of expansion on "live" action, and it seems too stagey, setbound even though outdoors.
Wayward Altman, but a fond attempt. Somehow the put-on works against the Altman drift, a gesture and tone of expansion on "live" action, and it seems too stagey, setbound even though outdoors.
In Bruges (2008)
Clever diversion about diversion. The twists to the characters, or perhaps the perspective of them, sag a bit near the end into more conventional caper or gangster yarn, but it's still on the whole like the point of Bruges itself, more interesting for being not the spectacle stuff.
Clever diversion about diversion. The twists to the characters, or perhaps the perspective of them, sag a bit near the end into more conventional caper or gangster yarn, but it's still on the whole like the point of Bruges itself, more interesting for being not the spectacle stuff.
The Cincinnati Kid (1965)
Nod to The Hustler. Good performances by Steve McQueen, Karl Malden, Ann-Margaret, Tuesday Weld, and young Rip Torn, and for the old guard, Edward G. Robinson, Joan Blondell and Cab Calloway.
10/7/17
Nod to The Hustler. Good performances by Steve McQueen, Karl Malden, Ann-Margaret, Tuesday Weld, and young Rip Torn, and for the old guard, Edward G. Robinson, Joan Blondell and Cab Calloway.
Galaxy of Terror (1981)
There's an interesting idea here, similar to Forbidden Planet or Solaris, but to get to it: the look, the tone, the tenor, all the things that are derivative and gimmicky even in the plot, like cheap TV series. Check out Grace Zabriskie outside of the Lynch galaxy.
10/6/17
There's an interesting idea here, similar to Forbidden Planet or Solaris, but to get to it: the look, the tone, the tenor, all the things that are derivative and gimmicky even in the plot, like cheap TV series. Check out Grace Zabriskie outside of the Lynch galaxy.
Custer of the West (1967)
Robert Shaw as the actor as auteur. Compare to Jaws.
Robert Shaw as the actor as auteur. Compare to Jaws.
Jeanne Dielman, 23 Commerce Quay, 1080 Brussels (1975)
Same exercise as Why Does Herr R Run Amok, but much longer.
Same exercise as Why Does Herr R Run Amok, but much longer.
Dunkirk (2017)
Too rousing and reverential for the compact point of its slice of action drama, and the cut-up of the chronology actually gets confusing. Some nice dogfight scenes in modern rendering.
Too rousing and reverential for the compact point of its slice of action drama, and the cut-up of the chronology actually gets confusing. Some nice dogfight scenes in modern rendering.
The Wrong Man (1993)
Good roles and for Lithgow and Arquette.
Good roles and for Lithgow and Arquette.
Free Fire (2016)
Sets up nicely and then the last half at least is literally crawling. Maybe that's what they wanted or the joke.
Sets up nicely and then the last half at least is literally crawling. Maybe that's what they wanted or the joke.
Chuck (2016)
Interesting, competent production that doesn't crank up the populist sentiment, contrasting not only the real-life inspiration for Rocky Balboa, but also their movie expressions. This is the more banal portrait of the banal, though more eloquent for it. Liev Schreiber, Naomi Watts, Ron Perlman are among the good cast, and there's even someone else playing Sylvester Stallone.
Interesting, competent production that doesn't crank up the populist sentiment, contrasting not only the real-life inspiration for Rocky Balboa, but also their movie expressions. This is the more banal portrait of the banal, though more eloquent for it. Liev Schreiber, Naomi Watts, Ron Perlman are among the good cast, and there's even someone else playing Sylvester Stallone.
Edge of Darkness (2010)
In the world after Mad Max, something between Lethal Weapon and Mel's artistic, ahem, explorations, seems about the right speed.
In the world after Mad Max, something between Lethal Weapon and Mel's artistic, ahem, explorations, seems about the right speed.
Stalker (1979)
Even better than Solaris, that grounded Tarkovsky's ponderous drifts, this is an almost perfect parable of imagination and desire, movie made of pure pretending in vacant lots.
Even better than Solaris, that grounded Tarkovsky's ponderous drifts, this is an almost perfect parable of imagination and desire, movie made of pure pretending in vacant lots.
Taken (2008)
In my particular set of skills are not grammar.
In my particular set of skills are not grammar.
The King of Comedy (1982)
Probably Scorsese's most overlooked movie, besides After Hours, and certainly the best use of Jerry Lewis.
Probably Scorsese's most overlooked movie, besides After Hours, and certainly the best use of Jerry Lewis.
A Quiet Passion (2016)
Terence Davies was the right person to make a movie about Emily Dickinson, with his style that seems anachronistic to any time. The 360 in the firelit room is the perfect example, something from Godard expressing the 19th century. His pace and temperament are so against the grain of contemporary movies, thank god. The risk is that sometimes, here as in other of his movies, the style seems strained, especially the acting and delivery.
Terence Davies was the right person to make a movie about Emily Dickinson, with his style that seems anachronistic to any time. The 360 in the firelit room is the perfect example, something from Godard expressing the 19th century. His pace and temperament are so against the grain of contemporary movies, thank god. The risk is that sometimes, here as in other of his movies, the style seems strained, especially the acting and delivery.
The Big Sick (2017)
Best thing about this is the way the events of the central characters are bounced off the other characters. Clever and astute in that depth, and this provides great roles for Holly Hunter and Ray Romano, too.
Best thing about this is the way the events of the central characters are bounced off the other characters. Clever and astute in that depth, and this provides great roles for Holly Hunter and Ray Romano, too.
Murderous Maids (2000)
Story that inspired several versions, including Genet's The Maids and Chabrol's La Ceremonie, this pays more attention to details particularly of the context of the womens' situation, like a more sober sociological Heavenly Creatures.
Story that inspired several versions, including Genet's The Maids and Chabrol's La Ceremonie, this pays more attention to details particularly of the context of the womens' situation, like a more sober sociological Heavenly Creatures.
La Sapienza (2014)
Somewhat Bresson, somewhat Atom Egoyan, with a twist of Woody Allen.
Somewhat Bresson, somewhat Atom Egoyan, with a twist of Woody Allen.
Land of Mine (2015)
Interesting material and some performances, especially by Roland Moeller, but a bit too earnest and theatrical.
Interesting material and some performances, especially by Roland Moeller, but a bit too earnest and theatrical.
Jackie (2016)
Surprisingly, this manages to be unflinching and sympathetic, a hint of Grey Gardens or Errol Morris making it more penetrating than a typical biopic.
Surprisingly, this manages to be unflinching and sympathetic, a hint of Grey Gardens or Errol Morris making it more penetrating than a typical biopic.
The Long Goodbye (1973)
The peak of Elliott Gould's shambling with Robert Altman. What stands out now is that great building and apartment his character lives in and the performance of Sterling Hayden.
The peak of Elliott Gould's shambling with Robert Altman. What stands out now is that great building and apartment his character lives in and the performance of Sterling Hayden.
The Wild One (1953)
Tame view of wild despite the efforts of Brando. Brando v. Lee Marvin in a fight! Cf. Going Places even in these posts, difference in time and place for frankness.
Tame view of wild despite the efforts of Brando. Brando v. Lee Marvin in a fight! Cf. Going Places even in these posts, difference in time and place for frankness.
Going Places (1974)
Between art and scoundrels.
Between art and scoundrels.
Magic Mike (2012)
Going back to find out when Soderbergh became a decent director.
Going back to find out when Soderbergh became a decent director.
Logan Lucky (2017)
When did Soderbergh turn into a decent director? I wasn't paying attention.
When did Soderbergh turn into a decent director? I wasn't paying attention.
Despicable Me 3 (2017)
Despicably cutesy formulaic 3.
Despicably cutesy formulaic 3.
War for the Planet of the Apes (2017)
Moments of fascination are followed by sobering moments of ridiculousness. Woody Harrelson does a Colonel Kurtz bit.
Moments of fascination are followed by sobering moments of ridiculousness. Woody Harrelson does a Colonel Kurtz bit.
Freebie and the Bean (1974)
Richard Rush is the action movie Altman. The odd couple idea probably goes back at least as far as, well, The Odd Couple, though Midnight Cowboy seems to be the main one in the line of things like Scarecrow or Emperor of the North. This tilts more towards those, though links them up with the buddy copy line that's about all we'd have left. Cf. Arkin in The In-Laws.
Richard Rush is the action movie Altman. The odd couple idea probably goes back at least as far as, well, The Odd Couple, though Midnight Cowboy seems to be the main one in the line of things like Scarecrow or Emperor of the North. This tilts more towards those, though links them up with the buddy copy line that's about all we'd have left. Cf. Arkin in The In-Laws.
The Player (1992)
An Altman portrayal of Hollywood is irresistible, but Tolkin makes this the kind of overdone morality play that is the fault of other Altman movies, usually the play for the big tragic ending. Here it's the ending that's better.
An Altman portrayal of Hollywood is irresistible, but Tolkin makes this the kind of overdone morality play that is the fault of other Altman movies, usually the play for the big tragic ending. Here it's the ending that's better.
Wakefield (2016)
This works and sounds like a great story. Surprise! It is, by E.L. Doctorow. This is cleverly done, a proposition that provides all kinds of psychological frankness that we don't ordinarily get, and it's a great role for Cranston, probably his best.
This works and sounds like a great story. Surprise! It is, by E.L. Doctorow. This is cleverly done, a proposition that provides all kinds of psychological frankness that we don't ordinarily get, and it's a great role for Cranston, probably his best.
The Hitman's Bodyguard (2017)
The force of the Samuel Jackson phenomenon collides with the force of the Ryan Reynolds phenomenon. Is that why they both seem tired?
The force of the Samuel Jackson phenomenon collides with the force of the Ryan Reynolds phenomenon. Is that why they both seem tired?
Raiders of the Lost Ark (1981)
The opening of the ark at the end is literally and symbolically the moment of transition in the movies, from an aesthetic of restraint and suggestion, to that of show everything. Cf. Alien, The Black Stallion, Nosferatu, of just a couple years before, an oblique style. The CG age really begins here, for better and worse. The desire to see, show everything subordinates other ways of conveying, dramatizing.
The opening of the ark at the end is literally and symbolically the moment of transition in the movies, from an aesthetic of restraint and suggestion, to that of show everything. Cf. Alien, The Black Stallion, Nosferatu, of just a couple years before, an oblique style. The CG age really begins here, for better and worse. The desire to see, show everything subordinates other ways of conveying, dramatizing.
The Rain People (1969)
Coppola pre-Godfather, but before One from the Heart is what counts, when the inflation of filmmaking made him a worse director.
8/20/17
Coppola pre-Godfather, but before One from the Heart is what counts, when the inflation of filmmaking made him a worse director.
The Last of Sheila (1973)
Some interesting writing by Stephen Sondheim and Anthony Perkins, including some frank subject matter even for the 70s, and some interesting direction by Herbert Ross, including a close subjective camera encounter with Raquel Welch, still gets overcome in the location party feel of the whole.
Some interesting writing by Stephen Sondheim and Anthony Perkins, including some frank subject matter even for the 70s, and some interesting direction by Herbert Ross, including a close subjective camera encounter with Raquel Welch, still gets overcome in the location party feel of the whole.
The Chant of Jimmie Blacksmith (1978)
The vicissitudes of an aboriginal's attempts to co-exist with the bigotry of whites are painstakingly plotted by Fred Schepisi.
The vicissitudes of an aboriginal's attempts to co-exist with the bigotry of whites are painstakingly plotted by Fred Schepisi.
Ratcatcher (1999)
Kitchen sink realism with subjective, lyrical and dreamlike flourishes, becomes more like The 400 Blows.
7/4/17
Kitchen sink realism with subjective, lyrical and dreamlike flourishes, becomes more like The 400 Blows.
Eight Men Out (1988)
Good workman job of telling this story by Sayles that neither falls into sports action cliches or biopic staleness.
Good workman job of telling this story by Sayles that neither falls into sports action cliches or biopic staleness.
Baby Driver (2017)
Wright really improves the direction here, perhaps because this time the script, which he wrote alone, is all done with an eye to that. It looks like it's going to be too cutesy at first, but then settles down into a good game of wits and nerves, with Jamie Foxx and Jon Hamm doing another version of Samuel Jackson and Robert De Niro in Jackie Brown. The best stroke of the movie is the tying it all to the soundtrack, the artifice of that device. The mechanics fall apart at the end when Kevin Spacey makes a turn that seems way too contrived, and they could've had him be the final bogie in the diner.
Wright really improves the direction here, perhaps because this time the script, which he wrote alone, is all done with an eye to that. It looks like it's going to be too cutesy at first, but then settles down into a good game of wits and nerves, with Jamie Foxx and Jon Hamm doing another version of Samuel Jackson and Robert De Niro in Jackie Brown. The best stroke of the movie is the tying it all to the soundtrack, the artifice of that device. The mechanics fall apart at the end when Kevin Spacey makes a turn that seems way too contrived, and they could've had him be the final bogie in the diner.
The Salesman (2016)
As with A Separation, Farhadi's is a prosaic approach, a bare dramatization for the sake of the circumstances. Here the characters involved also happen to be doing a production of Arthur Miller's Death of a Salesman, so you get some of the offhand, "real" reflexivity as with Panahi and Kiarostami. But whether it's stylistic or circumstantial, Farhadi seems more earnest in a way that makes his films seem less, rather than more, profound -- or for being profound, perhaps in an ethical way, they lack expansiveness in other ways.
As with A Separation, Farhadi's is a prosaic approach, a bare dramatization for the sake of the circumstances. Here the characters involved also happen to be doing a production of Arthur Miller's Death of a Salesman, so you get some of the offhand, "real" reflexivity as with Panahi and Kiarostami. But whether it's stylistic or circumstantial, Farhadi seems more earnest in a way that makes his films seem less, rather than more, profound -- or for being profound, perhaps in an ethical way, they lack expansiveness in other ways.
Trainspotting 2 (2017)
Just too derivative, especially at the moment when Ewan McGregor just announces the turn that throws them back together. What if we had seen the story of these four 20 years later without their paths literally crossing?
Just too derivative, especially at the moment when Ewan McGregor just announces the turn that throws them back together. What if we had seen the story of these four 20 years later without their paths literally crossing?
Futureworld (1976)
Very dull, cheap cash-in on the success of the predecessor by American International. It's very, very dull. They're running around in a treatment plant. Nobody is helping Peter Fonda act. Did I mention it was dull?
Very dull, cheap cash-in on the success of the predecessor by American International. It's very, very dull. They're running around in a treatment plant. Nobody is helping Peter Fonda act. Did I mention it was dull?
Prevenge (2016)
This is the interesting take on horror films Colossal is not. Its writer, director and star, Alice Lowe, gives some truly inspired moments of the ordinary as freaky. It's in the line of Rosemary's Baby and The Stepfather.
This is the interesting take on horror films Colossal is not. Its writer, director and star, Alice Lowe, gives some truly inspired moments of the ordinary as freaky. It's in the line of Rosemary's Baby and The Stepfather.
The World's End (2013)
Hot Fuzz is much more enjoyable, but at the end of this rather heavy-handed comedy version of Last Orders there's actually a way it's all pulled together, at least as a suggestion. Too bad it didn't feel more like that all along.
Hot Fuzz is much more enjoyable, but at the end of this rather heavy-handed comedy version of Last Orders there's actually a way it's all pulled together, at least as a suggestion. Too bad it didn't feel more like that all along.
Hot Fuzz (2007)
The direction is at odds with the script.
The direction is at odds with the script.
Je t'aime, je t'aime (1968)
Curiously when director Alain Resnais parts from writer Alain Robbe-Grillet his movies actually serve the nouveau roman precepts better. This one is heavily influenced by La Jetee, and without matching that brilliant stroke, or really quite trying to, it manages a much better -- for Resnais, than say Last Year at Marienbad -- clash of the mundane or even nonchalant with the existential. The eternal return as the everyday and the sense of oppressiveness of that as memory in depression come off here.
Curiously when director Alain Resnais parts from writer Alain Robbe-Grillet his movies actually serve the nouveau roman precepts better. This one is heavily influenced by La Jetee, and without matching that brilliant stroke, or really quite trying to, it manages a much better -- for Resnais, than say Last Year at Marienbad -- clash of the mundane or even nonchalant with the existential. The eternal return as the everyday and the sense of oppressiveness of that as memory in depression come off here.
Transformers: The Last Knight (2017)
Transformers is the epitome of specious CG. You just need an indiscriminate pile of junk to constantly shift from shitty childish anthropomorphic cartoon stereotype projections to fake history and cosmology to action sequences to melodrama and sunset-lit platitudes about family to action sequences and busy-ass screens full of combat and colossal destruction. Add Anthony Hopkins saying "fuck" and "dude" and even programmatic jokes about yourself to show you've got the ironic or camp out to the whole thing. Have your heavy-handed allegory and eat it to. Set up sequel. Churn out more. If someone's buying it, why not make shit?
Transformers is the epitome of specious CG. You just need an indiscriminate pile of junk to constantly shift from shitty childish anthropomorphic cartoon stereotype projections to fake history and cosmology to action sequences to melodrama and sunset-lit platitudes about family to action sequences and busy-ass screens full of combat and colossal destruction. Add Anthony Hopkins saying "fuck" and "dude" and even programmatic jokes about yourself to show you've got the ironic or camp out to the whole thing. Have your heavy-handed allegory and eat it to. Set up sequel. Churn out more. If someone's buying it, why not make shit?
Colossal (2016)
Beware of getting clumsy with allegory. Rom-com or quirky indie can seem like the same indulgence it wants to hold up when it gets as whimsical with its plot twists -- er, maybe lurches or jumps or just complete change-ups.
6/8/17
Beware of getting clumsy with allegory. Rom-com or quirky indie can seem like the same indulgence it wants to hold up when it gets as whimsical with its plot twists -- er, maybe lurches or jumps or just complete change-ups.
The Man Who Fell to Earth (1976)
"I like trains. I remember when Mama used to put us on the train. I was about 10. And we'd go to Oklahoma City to visit Granny." -- Candy Clark, born in Norman, OK, as Mary-Lou in the movie.
6/4/17
"I like trains. I remember when Mama used to put us on the train. I was about 10. And we'd go to Oklahoma City to visit Granny." -- Candy Clark, born in Norman, OK, as Mary-Lou in the movie.
A Monster Calls (2016)
It's got the right idea, the way to handle the matter, the right statement and all, but, gosh, it's just so earnest.
It's got the right idea, the way to handle the matter, the right statement and all, but, gosh, it's just so earnest.
Shoot the Moon (1982)
This may be the first time I've seen this since it came out. I can't remember if I rented it during the VCR era. Remember that, already? The movie anyway holds up really well. While my own review when it came out was probably the high point of my Oklahoma Daily career, I'd like to pay tribute to my model and inspiration, and because she put it best anyway, Pauline Kael. She said of Shoot the Moon: None of the characters are asking for our sympathy and it's an unapologetically grown-up movie. That's what makes it in my book the counterstatement about family in the "family" era, as that was taking over. Also something that stands out now, after time or age or experience: the Finney and Keaton characters each express a kind of awe for each other that was part of the cause of their alienation. This is comparable to the wonderful restaurant dinner scene in Career Girls where the two friends reveal how they were each intimidated by the other. My review, originally printed in the Oklahoma Daily, is included in Film/Script: Writing About Movies.
5/27/17
This may be the first time I've seen this since it came out. I can't remember if I rented it during the VCR era. Remember that, already? The movie anyway holds up really well. While my own review when it came out was probably the high point of my Oklahoma Daily career, I'd like to pay tribute to my model and inspiration, and because she put it best anyway, Pauline Kael. She said of Shoot the Moon: None of the characters are asking for our sympathy and it's an unapologetically grown-up movie. That's what makes it in my book the counterstatement about family in the "family" era, as that was taking over. Also something that stands out now, after time or age or experience: the Finney and Keaton characters each express a kind of awe for each other that was part of the cause of their alienation. This is comparable to the wonderful restaurant dinner scene in Career Girls where the two friends reveal how they were each intimidated by the other. My review, originally printed in the Oklahoma Daily, is included in Film/Script: Writing About Movies.
The Tailor of Panama (2001)
A more Graham Greene-ish version of The Year of Living Dangerously (see Film/Script: Writing About Movies) or Under Fire, with a good role for Brosnan as a regular lout retort to Bond.
A more Graham Greene-ish version of The Year of Living Dangerously (see Film/Script: Writing About Movies) or Under Fire, with a good role for Brosnan as a regular lout retort to Bond.
These Are the Damned (1962)
Black leather, black leather, crash, crash, crash. Black leather, black leather, kill, kill, kill. Teddy boys v. Village of the Damned.
Black leather, black leather, crash, crash, crash. Black leather, black leather, kill, kill, kill. Teddy boys v. Village of the Damned.
That Obscure Object of Desire (1977)
Revisiting when old enough to know what it's all referring to, and that what you learn, what there is to know, what age or experience bring, is that there's less to be certain of. The stroke of the two actresses is the greatest.
5/20/17
Revisiting when old enough to know what it's all referring to, and that what you learn, what there is to know, what age or experience bring, is that there's less to be certain of. The stroke of the two actresses is the greatest.
King Arthur: Legend of the Sword (2017)
CG superhero King Arthur for knuckleheads. Somebody said it better: Lord of the Rings meets Snatch.
CG superhero King Arthur for knuckleheads. Somebody said it better: Lord of the Rings meets Snatch.
Alien: Covenant (2017)
Better than Prometheus primarily because Ridley Scott tones down all the posey crew stuff that was so much like all the cliche that Cameron's Aliens has become. Too much like Passengers misty awe space stuff at first, and dips into the Prometheus silliness in the last two segments, but in the middle on the planet this is finally approaching Alien again in the undemonstrative manner, which makes for a better couching for all the Prometheus elaboration -- take it or leave it.
5/14/17
Better than Prometheus primarily because Ridley Scott tones down all the posey crew stuff that was so much like all the cliche that Cameron's Aliens has become. Too much like Passengers misty awe space stuff at first, and dips into the Prometheus silliness in the last two segments, but in the middle on the planet this is finally approaching Alien again in the undemonstrative manner, which makes for a better couching for all the Prometheus elaboration -- take it or leave it.
Paterson (2016)
At times it seems Jarmusch has made not a movie in his independent way, but an indie, more conventional darling. But there is the Jarmusch patience and going against the grain of big action plot and spectacle, the drama in "smaller" or quieter things, and that has a cumulative effect.
At times it seems Jarmusch has made not a movie in his independent way, but an indie, more conventional darling. But there is the Jarmusch patience and going against the grain of big action plot and spectacle, the drama in "smaller" or quieter things, and that has a cumulative effect.
Radio On (1979)
In the open cinema style, this is the sort of detached action that can be evocative in a way free from plot, but also ambling, and thus impertinent, like bad improv. It's tighter and less self-conscious than something like Ghost Dance, probably aiming for something like Wenders. The main example of the gambit: the significance of the music, or the radio anyway, seems to get lost along the way. Sting has an interesting early appearance as homage to Eddie Cochran.
5/7/17
In the open cinema style, this is the sort of detached action that can be evocative in a way free from plot, but also ambling, and thus impertinent, like bad improv. It's tighter and less self-conscious than something like Ghost Dance, probably aiming for something like Wenders. The main example of the gambit: the significance of the music, or the radio anyway, seems to get lost along the way. Sting has an interesting early appearance as homage to Eddie Cochran.
Absolutely Anything (2015)
Written and directed by Terry Jones, and with the voices of Robin Williams, John Cleese, Michael Palin, Terry Gilliam, Eric Idle and Jones. It's a bit like Groundhog Day crossed by aliens a la Life of Brian.
5/5/17
Written and directed by Terry Jones, and with the voices of Robin Williams, John Cleese, Michael Palin, Terry Gilliam, Eric Idle and Jones. It's a bit like Groundhog Day crossed by aliens a la Life of Brian.
I Am Not Your Negro (2016)
4/28/17
History is not the past, it is the present. We carry our history with us. We are our history. If we pretend otherwise, we literally are criminals. I attest to this. The world is not white. It never was white. It cannot be white. White is a metaphor for power, and that is simply a way of describing Chase Manhattan Bank.-- James Baldwin
Catfight (2016)
Clever punchy satirical fun, and about the zeitgeist. A bit schematic, but it's like a snide fairy-tale for grownups, a variation on the idea of there but for the grace of God. Great performances by the leads.
Clever punchy satirical fun, and about the zeitgeist. A bit schematic, but it's like a snide fairy-tale for grownups, a variation on the idea of there but for the grace of God. Great performances by the leads.
Mean Dreams (2016)
Decent performance from the late Paxton, but the story's thin behind the atmosphere. The closing credits music suggests something thicker this movie is not.
Decent performance from the late Paxton, but the story's thin behind the atmosphere. The closing credits music suggests something thicker this movie is not.
Swing Shift (1984)
In honor of Jonathan Demme, too, this is an overlooked gem also about the side effects of war, roles, honor, love, and the politics of friendship. (Cf. the previous movie.)
4/23/17
In honor of Jonathan Demme, too, this is an overlooked gem also about the side effects of war, roles, honor, love, and the politics of friendship. (Cf. the previous movie.)
The Offence (1973)
Very interesting, very suspenseful -- in a broader, creepier way -- work of Sidney Lumet and Sean Connery. Connery's best role and performance?
Very interesting, very suspenseful -- in a broader, creepier way -- work of Sidney Lumet and Sean Connery. Connery's best role and performance?
The Year of Living Dangerously (1982)
Ah, our lost youth. The sound of Vangelis in a moment of fleeting desire, when these people -- Weir, Weaver, Linda Hunt who is the best thing about this movie -- were just coming on the scene, in our formative years when Reagan was starting the country on its downward spiral, and before we knew that Gibson was a fucking creep. My review originally published in The Oklahoma Daily is included in Film/Script: Writing About Movies.
Ah, our lost youth. The sound of Vangelis in a moment of fleeting desire, when these people -- Weir, Weaver, Linda Hunt who is the best thing about this movie -- were just coming on the scene, in our formative years when Reagan was starting the country on its downward spiral, and before we knew that Gibson was a fucking creep. My review originally published in The Oklahoma Daily is included in Film/Script: Writing About Movies.
Cry Wilderness (1987)
Truly enjoyable badness. A family movie? If family is a boy surrounded by weird macho types -- weirdismo? -- and awkwardly posed wildlife. Bigfoot barely figures in the plot, but when he does the costume is so satisfyingly bad. After dud anticlimactic jags, there is a sudden magical violent turn, a creepy wonderment epilogue, then a closing song like third-rate Neil Diamond.
Truly enjoyable badness. A family movie? If family is a boy surrounded by weird macho types -- weirdismo? -- and awkwardly posed wildlife. Bigfoot barely figures in the plot, but when he does the costume is so satisfyingly bad. After dud anticlimactic jags, there is a sudden magical violent turn, a creepy wonderment epilogue, then a closing song like third-rate Neil Diamond.
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Entries by Greg Macon for the Facebook group Movie Brains, related to film comments on this website, Fixion. Text for movie comments © 2019 Greg Macon. Banner image from By the Law by Lev Kulesov.