Movies 2025 Movie Discussion Thread

[Contentious C]

Wrong, wrong, and 10 years wrong. Not a term that has value anymore. Probably not for the first reasons to spring to mind, either.

[odessasteps]

Count the number of ways this musical number would be banned in 2025.  Eddie Cantor and the Goldwyn GIrls singing Keep Young and Beautiful from 1933 Roman Scandal.  I’m guessing this is pre-Hays Code for a number of reasons. 

Spoilerized for cultural insensitivity.  That’s your disclaimer if you choose to watch.  Amazing that there’s a payoff at the end of the number to Cantor’s gimmick.

Spoiler

 

 

[Brian Fowler]

Taylor-Joy is more the big star of the modern quasi-indie/not really art house corner of films. The A24 and that ilk.

[Andrew POE!]

Movies today....

Momma's Man (Criterion Channel, leaving on 2/28) - 3.5/5 stars

Spoiler

I felt Momma's Man in my bones. While watching the movie, I couldn't help but to think about my parents' house, which at various points in my life had records, movies, books, CDs, art, furniture, and boxes to the point it was nearly impossible to navigate. Mikey (Matt Boren) returns back to his parents (Flo and Ken Jacobs) and their Tribeca loft which is similarly packed with enough stuff from a lifetime of collecting.

What is interesting about the movie is the unspoken reason for Mikey continuing to stay. At first, it's due to a bumped flight - then it becomes a desire to reconnect with his awkward adolescence (with a hilariously bad song that he sings from his high school notebook about a former girlfriend). Finally, it's a sense of agoraphobia as Mikey stands at the top of the stairs out of his parents' apartment but never taking the first step.

That sense of agoraphobia is a repeated scene as Mikey decides to go, but then finds he can't. Eventually he just falls and tumbles down the stairs.

I found it amusing that one of Mikey's friends played Indigo Girls to him and sang along (perhaps this was the inspiration for Greta Gerwig having Barbie sing the same song?).

Obviously, this movie won't appeal to a lot of people - it's very easy to see Mikey as selfish and an asshole for his refusal to go back to his wife and child. The movie isn't exactly clear as to Mikey's reasoning and some scenes just drag completely.

But it's easy to have an understanding of the emotions behind this movie, especially in the scene where Mikey breaks down and tells his parents the 'truth' about his staying and the scene where Mikey sits on his mom's lap as she recalls his childhood.

My Scientology Movie (Hulu, leaving on 2/15) - 2.5/5 stars

Spoiler

Although they aren't the same, watching My Scientology Movie is like watching a documentary about pro wrestling. Both Scientology and professional wrestling seek to maintain its existence for those who believe in both and take the money of its patrons. (It can be argued that the same can be said of all religions but my words would be as empty as my soul in that case).

Louis Theroux and director John Dower present essentially Theroux's search and questions about a religion that is in the assumption that "everything we do is for the future of Earth" as Marty Rathbun postulates.

The documentary isn't so much about Scientology as it is about people formerly involved with Scientology. In some ways while watching it, I couldn't help but wonder if there is an element of truth of the characterization about Rathbun based on his responses to Theroux's remarks asking him if he had any regrets about his time working for them. He seems more mad at Theroux than at his former employers and I wondered at times if he should have stopped participating (despite claiming he didn't care).

At times, the movie is rather directionless and I'm not sure I understand Theroux and Dower's wider points. It's somewhat enjoyable watching Theroux being confronted about his being on public roads by a woman in a suit, but at the same time it makes him seem like a jester and makes them seem like irrationally angry.

For the most part, the documentary just seems to upend tables. I didn't come away feeling like I had a better understanding of Scientology, of what Louis Theroux was trying to learn about Scientology, his wider points about the nature of fame and Hollywood, or about the people asked to participate that were formerly part of Scientology. It makes me wonder if the solution would be to tax all religions and eliminate 501 (c)3 designations for all churches.

Terri (Criterion Channel, leaving on 2/28) - 4/5 stars

Spoiler

From the movies I've seen of his, I would say Terri is Azazel Jacobs' best movie so far (I still need to see French Exit and His Three Daughters to confirm which is better). Terri is a much more simply filmed but in its simplicity, it's more heartfelt and better.

Jacob Wysocki plays Terri as a mature yet weathered teenager who is not understood at all but comfortable with certain aspects of that. He meets Mr. Fitzgerald played by John C. Reilly. Wysocki and Reilly have their characters have an understanding and even a friendship; Mr. Fitzgerald is just as broken down as Terri is. But with years over Terri, he's better able to articulate why.

I loved the scenes where Mr. Fitzgerald tell Terri about the replacement of his secretary - Mr. Fitzgerald explains the situation as though Terri understands despite being a teenager. It's a contrast to the previous year's Cyrus that Reilly did with Jonah Hill and those conversations between the two characters.

The movie did drag a bit towards the end with Terri, Chad (Bridger Zdaina) and Heather (Olivia Crocicchia) hanging out, drinking and having pills.

From a cinematography perspective, I loved how the mousetrap scenes were shot as Terri seems embarrassed to be laying down the mousetraps but has to do so due to his uncle.

For the most part, Terri is a great coming of age movie.

Captain America: Brave New World (saw at the theaters) - 1.5/5 stars

Spoiler

"You run to Atlanta when you need a few dollars / No, you not a colleague, you a fucking colonizer" -Kendrick Lamar, "Not Like Us"

Ooof at this movie.

It took FIVE people to write the screenplay for this and Captain America: Brave New World (originally New World Order) is such a Frankenstein's Monster of a movie.

The movie wants to be a standard Marvel action superhero movie AND wants to speak to its interpretation of the black experience of America. (I'm not black, so it's not fair for me to say if it failed or succeeded in that aspect). It's not Ryan Coogler's Black Panther which succeeded on both.

Even then, the dialogue and scripting is just clumsy and the characterization is all over the map. The movie tries to say something by having Isaiah Bradley (Carl Lumbly) not trusting President Thaddeus Ross (Harrison Ford) while Sam Wilson/Captain America (Anthony Mackie) and Joaquin Torres/Falcon (Danny Ramirez) want to please President Ross. The components of Wilson & Torres seemingly believing President Ross is like those black and Latino voters that voted for Donald Trump then acting surprised when he did things that ruined their communities.

Congratulations Captain America & Falcon, you played yourselves.

The plot for the movie doesn't hold up under scrutiny at all. The Leader (Tim Blake Nelson) orchestrated the entire events including the assassination attempt on President Ross that's induced by a song being played. The 'why' behind it is....the Leader wants to see Ross lose control while being fed gamma radiation in pill form. That's it.

The movie calls back to Captain America: Winter Soldier as Wilson & Torres go to investigate Echo Base One. Whereas in Winter Soldier it's a revelation, with this it seems almost routine. Shira Haas (who has as much charisma as Gal Gadot but half the height) as Ruth Bat-Seraph helps the two once she realizes something is wrong after seeing a guard kill two of the captives from the assassination attempt.

Not to be mean, but I would have to stifle a laugh every time I saw Shira Haas mean mugging on camera and beating people up. I was surprised there weren't jokes like "Where's your dad?" or "Hey little lady, you have to be this tall to ride this." Her inclusion seems to be chiefly "she's ex-Widow" without diving into what that means for her (if you watch Black Widow or seen Scarlet Johansson's charaterization of Black Widow, that's not a good thing for her and results in a sacrifice of not having a family).

Then there's the go-nowhere / time padding fight with the F15s while the Leader looks like Oppenheimer and the CGI filled fight in a parking lot between Captain America and President Ross (now Red Hulk) that is underwhelming. I did dig the slight ode to Olympus Has Fallen with how the White House looked during the fight.

Apparently,all it took for 'sun going down, big guy' was a cherry blossom petal for Red Hulk.

The ending is just bad and the post credit scene is nonsensical.

Cinematography wise had a washed out look (although not nearly as overly brightly lit as Wicked). Everything looked like a video game so it's hard to have a sense of a place in the scenes.

The lone highlight was the scene between Wilson and Bucky Barnes (Sebastian Stan) that seemed a bit of a callback to the talks Barnes and Steve Rogers Captain America would have in their movies. Giancarlo Esposito as Sidewinder was a better villain and literally had his time wasted; his scenes with Mackie called to mind for me No Time To Die, yet he wasn't locked up and just stood there (HUH?).

Captain America: Brave New World ain't brave enough.

NOTE: The song lyric is due to the inclusion of Kendrick Lamar in the soundtrack and the feeling I had about Marvel filming in Atlanta, GA.

Ten Cents A Dance (Criterion Channel, leaving on 2/28) - 3/5 stars

Spoiler

"Are you such a dreamer
To put the world to rights?
I'll stay home forever
Where two and two always makes up five" -Radiohead, "2 + 2 = 5"

The premise for this movie is a bit out-dated, even antiquated. Barbara Stanwyck is Barbara and is caught between two men Eddie (Monroe Owsley) and Carlton (Ricardo Cortez). Eddie steals from his boss Carlton, runs around with another girl, and gambles on crypto on the stock market (he didn't spend his money on crypto, he's not a Crypt-Bro).

The camera is practically fixated on Barbara Stanwyck throughout the movie. Every scene has her facial expressions and eyes telling the story regarding her emotions and what her character is doing; oftentimes, there will be completely silent scenes as Stanwyck looks at something like Carlton's picture frames or reacts to what Eddie is saying.

The drawback for this is the movie isn't really that exciting as a result and basically is a tad plain with scene setups. Most shots are of two people in the scene and occasionally there will be large crowds in the dancehall (although it did look a bit crowded and cramped).

I did like the flareup towards the end with the scene between Barbara and Eddie as they argue about money.

Some of the dialogue is a bit out-dated ("It's always nice to call your husband at work so he'll know he's thinking of you!"), but that can be forgiven.

Even then, Ten Cents A Dance is a nice pre-Code light drama.

Pearl (Netflix, leaving on 2/15) - 5/5 stars

Spoiler

I hated X as a movie completely. It just felt so empty and felt like an excuse to have gore + nudity with a small inkling of a story. MaXXXine was basically Ti West going "I'm going to make a fucking Brian De Palma movie" and he did it.

Pearl is a movie that I didn't think was possible for him as a director or for Mia Goth as an actress.

Pearl knocked it out of the fucking park.

As a movie, Pearl speaks to our times and to our times during a Covid-19 lockdown pandemic. The dialogue talks about the uncertainty and the fear of contracting a virus like smallpox. People walk around in masks. "I can never tell what people look like these days due to the masks."

Pearl (Mia Goth) desires of a life outside of her farm and sees herself as being able to become a star. The sentiment she captures is a tale as old as Hollywood itself. Get noticed, get famous, get in the pictures. Have your name be spoken of in conversations frequently.

As the movie progresses, it is learned that it's not the case. Pearl and her mother Ruth (Tandi Wright) fight frequently over what Pearl wants from her life while Ruth punishes and restricts her completely.

Where it falls apart for Pearl is a dark and stormy night.

Pearl becomes unhinged and murders the projectionist (David Corenswet) and her parents. She goes to her audition and imagines herself in a vaudeville production while bombs from WWI fly over head. She would get the part, right?

Wrong.

From there, Pearl is besides herself and goes back to her house and talks with Mitsy (Emma Jenkins-Purro). An absolutely incredible monologue with the camera not moving and being a continuous scene occurs and Mitsy tries to leave once the monologue completes. "You're fine, there's nothing wrong with you."

After Mitsy is murdered, there's an incredible split screen as Pearl has truly cracked and Mitsy is chopped up.

Howard comes home and Pearl welcomes him with a mixture of fear, dread, happiness, sadness, sorrow, and loss as tears eventually fall.

Pearl as a movie echoes Disney movies as is mentioned a lot but Werner Herzog's Woyzeck as well. Like Woyzeck, Pearl is completely worn down and beaten down by life and everyone doubting her. Unlike Woyzeck, it's not even the townspeople or other people Pearl knows, it's just her mother.

Pearl is a great classic.

 

[odessasteps]

5 minutes ago, Brian Fowler said:

Taylor-Joy is more the big star of the modern quasi-indie/not really art house corner of films. The A24 and that ilk.

What’s funny is the first thing I think of now with her is being Princess Peach. 

[zendragon]

Going Clear is the better scientology film ( I once go solicited by scientologists and I wanted to say "I grew up catholic and that was too much, no way i'm joining some crazy spacelord religion")

[Stefanie Sparkleface]

12 hours ago, J.H. said:

Ya know, you could just start your own podcast

Because what the world needs more of is podcasts.

[J.H.]

9 hours ago, Brian Fowler said:

Taylor-Joy is more the big star of the modern quasi-indie/not really art house corner of films. The A24 and that ilk.

That's it! That hits the nail on the head. Again, I like her in everything thing I've seen her in and she isn't necessarily in everything but when she is in something I'm interested. 

James

[HarryArchieGus]

Saw the early Sean Baker collaboratively directed (with Shih-Ching Tsou) film Take Out this week. Another challenging and beautiful portrait of real people in real situations. I feel very greatful for these consciousness/awareness building films. Especially recommended to film goers who like to have their meals delivered. Or not. More classic Sean Baker. 

I also got a chance to see an encore of Flow last night. If you haven't seen it and you're an animal lover, especially cats and dogs (and capybaras) Please do. One of the most captivating and (dare I say or IMO) best films of the year. Right up there with Anora, Nickel Boys, etc. Flow was to me a fitting tribute to one of the best friends I've ever had. Her fur was black as midnight on a moonless night. And very, very soft.

[Contentious C]

15 hours ago, J.H. said:

Ya know, you could just start your own podcast

2 hours ago, Stefanie Sparkleface said:

Because what the world needs more of is podcasts.

Don't worry, I was leaning more towards video essays anyway.

[J.H.]

I rewatched Blind Fury for the first time in like 25 years. It might just be in my top 3 Rutger Hauer movies with Blade Runner and The Hitcher.

I mean, name another movie with Hauer, Sho Kosugi, Terry O' MOTHERLOVIN Quinn and that kid from Step By Step who managed to get shot in both arm... nope you can't! 

I mean hell this even had Otter/John Hoynes himself, Tim Matheson, as a Producer (apparently this was his passion project). How did we not get like a billion sequels just like Zatoichi?

My worst fear is someone remakes this and we get Henry Cavill as the lead, which tells you how much I'm dreading the Highlander reboot. Still, Blind Fury is just the perfect movie to put on when you want a good violent action flick, you're not gonna be distracted by shit on your phone. You're gonna pay attention to the movie and watch every second of it. If the wife says dinner is ready, you tell her to stifle herself so you can finish this goddam masterpiece!

James

Edited February 15 by J.H.

[stuntmanc]

24 minutes ago, J.H. said:

I rewatched Blind Fury for the first time in like 25 years. It might just be in my top 3 Rutger Hauer movies with Blade Runner and The Hitcher.

I agree with your top 3, but Surviving the Game and Split Second are honorable mentions for me

[Andrew POE!]

Movies today....

Man's Castle (Criterion Channel, leaving on 2/28) - 3.5/5 stars

Spoiler

Surprisingly relevant to today at points but a bit old fashioned at others, Man’s Castle is a great romantic drama set during the Great Depression. Spencer Tracey and Loretta Young have great chemistry as two homeless people in a homeless camp in New York City.

I loved how the scenes in the camp were shot and the set design for those scenes.

The drawback is some of the story constructs dragged a bit especially the side story with Fay La Rue (Glenda Farrell) and the other denizens of the camp.

No Other Land (saw at the theaters) - 5/5 stars

Spoiler

More so than Porcelain War, this documentary made me think about the United States and its role in this. It made me think about every person saying they were voting for Trump/Vance, wore "Make America Great Again" hats, have yard signs for them, or have bumper stickers for them on their cars on American roads and highways.

(Keep in mind it's not a Republican or Democrat issue either, Joe Biden through inaction is just as culpable)

This documentary will not change those people's minds. They'll cite propaganda from FOX "News," or NewsMax or OAN about how Palestinians are somehow deserving of having their land taken or it's somehow 'their fault' due to the bombings in October 2023. That somehow, people armed with sticks and rocks are the 'aggressors.' The US recently re-elected Trump and Trump has promised to 'take over' Gaza (so we'll see US soldiers going to the West Bank now and killing those 'aggressors').

Playing this documentary in the United States won't change minds or hearts due to the audience already being tuned in and aware. This movie won't show up at a local AMC theater while the latest Captain America will (and Captain America includes a charisma less former IDF soldier/ 'actress' in the movie to boot while having Thaddeus Ross call Sam Wilson 'son' and that apparently isn't a dealbreaker).

Sticking with the documentary itself, the story is about Basel Adra, who lives in Masafer Yatta and is an activist, and an Israeli journalist Yuval Abraham documenting through their videos the efforts of the IDF to bulldoze people's houses and cut off their water in Masafer Yatta. Settlers come in with guns and backed by the Israeli army.

The documentary isn't afraid to make the tough statements - Yuval is told directly by people in the village that people from his country are directly involved and 'it could be your brother or your friend doing it.' Yuval has a tough position despite wanting to document what is going on from his own government.

What I found interesting is the presentation of humanizing aspects - simple things like a young child being asked to stop playing on a phone or Basel and Yuval going to eat at a restaurant.

It made me think about how I would feel in this situation - if the US government came to my house and told me I was there illegally now (despite owning the house and living there all my life) and bulldozing the house to make way for military training grounds. (In Atlanta, there's a similar feeling around a police training ground being built in SE Atlanta).

I don't know what the solution is. The documentary doesn't present a solution nor an easy answer. But watching this documentary brings awareness and even for a brief time, it makes me wishing there were a wider solution to this.

Blackhat (Netflix, leaving on 2/15) - 3/5 stars

Spoiler

Somewhat gripping drama with real IT terms, Blackhat at times seems a bit slow for its premise and some of the script seems a bit lacking. Chris Hemsworth as Hathaway is enjoyable to watch (despite not being very believable).

Still, Michael Mann dramas are just pure cinema and it's hard not to enjoy the night-time cinematography and kinetic camerawork.

The movie in some ways seems like a Bourne series movie until the absolute gutpunch of having Hathaway's handlers (Viola Davis, Leehom Wang, and Holt McCallany) get killed before Hathaway is turned in to the NSA.

Virtue (Criterion Channel, leaving on 2/28) - 3/5 stars

Spoiler

Nice, tight pre-Code movie that has a great Carol Lombard performance. I love the usage of closeups on objects in this movie - almost David Fincher-like in its usage to say 'this is important, pay attention.'

I did like the usage of a scene happening with sound but no picture: a few movies later would do similar scenes.

Not very memorable but not terrible either.

Three Wise Girls (Criterion Channel, leaving on 2/28) - 2.5/5 stars

Spoiler

Bit of a nothing story with Jean Harlow completely captivating (although that banana split looks like a heart attack in a bowl).

The best scenes were where she wore the other girl's outfit and saw Mr. Wilson's wife for the first time.

Shopworn (Criterion Channel, leaving on 2/28) - 3/5 stars

Spoiler

Great performance from Barbara Stanwyck as Kitty (seriously her and Jennifer Garner are my movie crushes) but Regis Toomey as David is such a wet noodle.

The introductory scenes were really great and well shot but too bad the rest of the movie is so bog standard. The movie is only saved by Barbara Stanwyck, seriously.

David's mom is not even a real person and can join Kitty's dad in an avalanche.

Started on Queen of Earth but my brain is turning into mush, so I'll finish it tomorrow.

Edited February 16 by Andrew POE!

[Andrew POE!]

Movies today....

Queen of Earth (Criterion Channel, leaving on 2/28) - 3.5/5 stars

Spoiler

My prior exposure to Alex Ross Perry was the bit uneven The Color Wheel. This movie has a night and day difference between the two and it is more of a fulfillment of what The Color Wheel was trying to do.

Another review (https://boxd.it/6ViGH) pointed out the long list of influences on this movie including Fassbinder, Bergman, Polanski, Altman and Cassavetes among others and the movies that inspired this were Knife in the Water, Carnival of Souls, Repulsion, Rosemary’s Baby, Let’s Scare Jessica to Death, Images, The Bitter Tears of Petra van Kant, and A Woman Under the Influence (this list came from the review I cited). It wouldn't be fair for me to re litigate those points (and it would be downright plagiarizing if I did). I also feel that I am not as well versed in films as I should be (despite watching over 1000 films since last year) to be able to agree or disagree with the cited review. That writer stated my thoughts better than I would. (It also tells me I need to stop doing the whole 'death race' of movies leaving services every month and just start watching things like the list I copied).

I'll say for me just purely based on what I saw with Queen of Earth the movie is about relationships, both internal and external. Catherine (Elisabeth Moss) sees a breakdown in both of these relationships. The movie leads me to believe that it would lead to murder (which is a bit of what Hitchcock would do with putting women through the ringer) but that wasn't the case. Catherine sees the breakdown with herself - the salad slowly rotting is a symbolism of this. Catherine sees her relationship with Virginia (Katherine Waterston) break down including an argument near the start of the movie about each other and Catherine discovering the finished painting Catherine did. Catherine has already broken up with her boyfriend James (Kentucker Audley) at the start of the movie and has an untrusting relationship with Rich (Patrick Fugit).

Eventually, Catherine has a complete break with reality - the party scene where Michelle (Kate Lynn Sheil) asks her about her father, Catherine imagined conversation on the phone, and the ending where she is laughing at something that is only imagined.

I loved how Perry shot this movie - there is a distinct Bergman feel to it and reminded me a bit of Bergman Island (again, I probably need to watch more Bergman to really specific reference points). I did like the choices of having closeups in the scenes where Catherine and Virginia are talking about their exes and it focuses on the other person as one of them is talking. I also liked the canoeing scene which reminded me a bit of Leave Her To Heaven with how that was shot.

For the most part, Queen of Earth is the sum of its influences but may not be distinctive enough.

The Last Seduction (Criterion Channel, leaving on 2/28) - 4/5 stars

Spoiler

Movie starts out as a Hitchcock Lite/neo noir Skinemax flick but turns a bit darkly comic by the end of it. Linda Fiorentino can just sit there and look hot in every scene; she also plays her character Bridget Gregory as having intelligence and dark humor. In a lot of ways, it's hard not to enjoy her playing her husband Clay (Bill Pullman) for a fool by getting a local PI arrested or getting a flat tire and causing a wreck while asking another PI Harlan (Bill Nunn) to show her his dick. "I've never seen it before, I just want to know."

It's not a Skinemax flick if there isn't a muted trumpet and bass during a sex scene.

The last 10 minutes of the movie is bonkers and it's a bit of a statement of its time to have a character be afraid of having a relationship with a transgendered person be found out more than being afraid of being an accomplice in a murder.

Paddington in Peru (saw in the theaters) - 3/5 stars

Spoiler

Despite having seen this on a Sunday afternoon with the worst audience I've ever encountered at an AMC (including a kid and a parent talking loudly throughout the movie), Paddington in Peru is a charming kids' movie.

Compared to the first Paddington, the premise for Paddington in Peru is a bit too simple: Paddington (Ben Whishaw) gets a letter from the mother superior (Olivia Colman) for a 'home of retired bears' in Peru saying that Aunt Lucy isn't feeling too good. There's something relatable in that: having older relatives, it's hard to know when the next time you see them is 'the last time.' Paddington tells the Browns what is going on and it's struck upon for Paddington and the Browns to visit Peru. Paddington relays that the Browns have grown distant (and older to be honest) so this trip is a way for the Browns to grow closer again.

Once the movie leaves London and that British charm, it also leaves behind the story for the Browns and much of the conflict within the family.

The story for Paddington in Peru is a bit more convoluted compared to the first Paddington and isn't as good. It seems to fall into the trap of being 'a chase for a MacGuffin' with Antonio Banderas as Hunter Cabot piloting a Fitzcarraldo like riverboat to find Aunt Lucy and eventually the hunt for El Dorado (I was halfway expecting them to find a German u-boat in the Peruvian rainforest). I did like the 'ode to Indiana Jones & The Temple of Doom' when Cabot cut down the bridge (it was shot almost similarly to a similar scene in Temple of Doom).

The last 15 minutes or so had the Mother Superior be revealed as related to Hunter Cabot and it seems almost out of convenience rather than a story reason. Still, with it being a Paddington movie, everything gets resolved.

Despite story issues, Dougal Wilson did very good direction and had some of the same sense of symmetry in his shots that the first Paddington did. Some of the comedic scenes were a bit more slapstick and physical humor.

Paddington in Peru is a fun trip in an afternoon.

From Ground Zero (saw at the theaters) - 3.5/5 stars

Spoiler

After watching No Other Land, From Ground Zero is a bit tough to view as well. I saw this with a friend of mine and he mentioned that he didn't vote for Harris/Walz in the last election. "There would be a continuation of the same policies from Biden. What Israel used to carry out the bombings were bought from the United States."

The fact is, as long as the perception of a war needs to continue, it will. Who's to say what will happen in the next four+ years with the current President - we might not even have a Gaza or a record of what happened like this anthology movie. We may be talking about how Israel and the United States have completely wiped out a population of people in the region while we are distracted by the latest thing Donald Trump said on CNN or using Gitmo to house refugees that are trying to flee countries like Palestine.

In some ways, this anthology film tells variations of the same perspective: people given cameras and asked to document their thoughts, feelings and tell their stories. In a lot of ways, it's mini-documentaries within a documentary. Some do something different (like "Sorry Cinema," "No," and "Charm") but most seem to be similar to each other. Although "24 Hours" and "Taxi Wanerma" were the most affecting for me.

Despite this and despite some issues with how the individual films turned out, the fact that this should be seen makes it essential to be seen.

The Anderson Tapes (Criterion Channel, leaving on 2/28) - 3/5 stars

Spoiler

"Read all the pamphlets and watch the tapes
I get all confused when you mix up the dates" -LCD Soundsystem, "Watch The Tapes"

Despite the gross bits of misogyny and homophobia, the movie is pretty much a standard heist.

Sean Connery plays Duke Anderson who puts together a crew that includes The Kid (Christopher Walken), Tommy (Martin Balsam), Jimmy (Paul Benjamin) and Socks (Val Avery) among others. The story for the movie is a bit simple and wouldn't seem out of place with the original Ocean's Eleven (although the variety of people is more fitting with Soderbergh's remake). Also involved is Anderson's girlfriend Ingrid (Dyan Cannon).

Although the plot and characters are a bit non-descript, Sidney Lumet's direction isn't. The movie has great staging and blocking of scenes as there are a lot of conversations; it doesn't make up for the story, but there is an effort to do more with what's there.

Quincy Jones' soundtrack gives it a bit of a sci-fi feel as synths chirp and squeak on freeze frames when actions happen during the robbery then does a transition to interviews after the robbery has occurred.

The last 10 minutes reminded me of the Hughes Brothers' Dead Presidents where all the characters end up dead.

 

[Curt McGirt]

You'll find that Argento can be nonsensical plot-wise, or too mysterious in some ways. I highly recommend you watch Suspiria and Inferno next, and Tenebrae has always been my favorite of his normal giallos. The camerawork is unreal and the kills are AWESOME. (And I'm really Cibernetico about one of the actress/victims in it but that's neither here nor there)

Waters being an inveterate criminal trial-follower from the time of Manson (which he was actually AT!) is a really important personality and plot trait in his films. If you can believe it, I still haven't seen Desperate Living... I should also watch Blind Fury now. Split Second, despite Rutger, was sadly a chore for a movie with him hunting a fucking Xenomorphic monster. I'd far more like to rewatch I Come In Peace with Dolph Lundgren hunting a space alien. That movie is sooooo badass. 

Oh, and John Saxon wasn't the alcoholic in Nightmare, it was Nancy's mom  

[J.H.]

6 hours ago, Curt McGirt said:

Oh, and John Saxon wasn't the alcoholic in Nightmare, it was Nancy's mom  

Fair point, he wasnt an alcoholic til Dream Warriors

James

Edited February 17 by J.H.

[Curt McGirt]

It's been years since I saw Dream Warriors, don't even remember. 

This is weird to admit since I loved Freddy's very image from the video boxes and would run around scaring little girls at school calling myself "Freddy Cougar", but... I was never a big fan of the movies when I saw them as a kid. The first one, definitely, but the rest besides New Nightmare seemed overly jokey. But I was a Jason partisan, and way too serious for my own good. I've rediscovered them for their talents since then. Five I think I always liked more than anybody, too. Four is probably the real problem film for me -- great gags, too much humor. 

[Andrew POE!]

Movies today....

Ladies of Leisure (Criterion Channel, leaving on 2/28) - 3.5/5 stars

Spoiler

Like pretty much every other Barbara Stanwyck movie I've seen, the movie is elevated purely on her acting work alone. This movie is typical of Capra's work - he explores class differences and focus on a female protagonist.

There are a few standout scenes for me - I loved the scenes where Kay (Stanwyck) and Jerry (Ralph Graves) realize they love each other. They aren't quite to later work Capra would do with relationships but it's good enough. The night time scene where Kay is going to bed against the window is breath-taking. Much of the story is told through nearly silent scenes as actors move through the scenes. The scenes toward the end where Kay's friend Dot (Marie Prevost) is going up the stairs while Jerry sends a telegram, an elevator going up, and Kay settles into the stateroom on the ship is nice bit of editing and a bit ahead of its time. The introductory scenes where Kay and Dot are throwing bottles off the roof is a bit ahead of its time too and the party scenes seem like something from a French film.

The only drawback for me is the story towards the end becomes a bit standard with the parents not approving of Kay and Jerry's marriage.

Ladies of Leisure isn't a bad effort from Capra.

Forbidden (Criterion Channel, leaving on 2/28) - 3/5 stars

Spoiler

For the relatively brisk 1 hour and 25 minute run time, there's a lot packed into Forbidden. Barbara Stanwyck as Lulu Smith is marvelous and in some ways the movie is a bit of a pre-cursor to Ikiru with talking about a woman who hasn't lived deciding to go on a voyage to Cuba.

She meets Bob Grover (Adolphe Menjou) who is a bit of a unlikable jerk to be honest, yet she falls in love with him. I liked the scene where Lulu throws Bob out after finding out he's married and when they meet up years later in the park.

The premise is a bit ahead of its time with a woman having a child with a politician. In a lot of ways, I wish this movie was a bit longer and was made later on - it could work today as a remake set in the same time period. Not a lot has changed since this movie came and today. In some ways, I feel like Capra was pulling his punches with what he did in this movie even though the Hays Code wouldn't have let this movie be created years later.

Great romantic political drama from Capra though.

Life Is Cheap....But Toilet Paper Is Expensive (Criterion Channel, leaving on 2/28) - 4/5 stars

Spoiler

I can't believe the same director that did a generational family drama like The Joy Luck Club, a New York City slice of life movie about a cigar shop owner like Smoke, and a family film about a girl and her dog Because of Winn-Dixie, directed this movie.

Life Is Cheap...But Toilet Paper Is Expensive fits so well into Jean Luc Godard's style of filmmaking in the 1980s/1990s it's crazy. The movie seems to treat the idea of a plot so lackadaisically that it's definitely not told in order. Basically, a man is hired to deliver a briefcase to Big Boss (Lo Wai) but has it stolen. He then has to eat shit.

Everything within this movie at times doesn't make sense but then it does - this is the same movie that tells its story with the actors talking into the camera as if it were a documentary. There's a wild hand-held foot chase through Hong Kong. At one point, documentary film footage is included as ducks are killed and prepared. Money (Cora Miao) is a character out of a Wong Kar Wai film. A taxi driver cusses out other drivers. A guy (Victor Wong) sells knockoff watches.

Like when I watched Godard's Hail Mary, Oh Woe Is Me, and For Ever Mozart, I'm not sure what to think. (To be honest, I wonder if I need to re-watch Godard's work from the 1980s/1990s and re-evaluate it).

My Dead Friend Zoe (saw at the theaters) - 2.5/5 stars

Spoiler

My Dead Friend Zoe is a bit of a jumbled movie to be honest. The comedy aspects with Merit (Sonequa Martin-Green) and Zoe (Natalie Morales) work due to their deadpan delivery and chemistry between the two, but the drama aspects don't quite gel as well as they should. Merit as a character is dealing with PTSD from her post-war life as well as a revelation she's known the entire time until towards the end of the movie. She has a grandfather Dale (Ed Harris) and regularly misses group therapy sessions with Dr. Cole (Morgan Freeman) and the director of a nursing home Alex (Utkarsh Ambudkar) has a budding relationship/friendship with her.

All four of those juggling balls don't get caught throughout the movie; Merit reluctantly goes to group therapy until she finds out her grandfather was found wandering on the side of the road. Merit isn't dealing with the fact that she is still imagining her friend Zoe being there. Merit has pressure from her mother on top of it to get her grandfather moved out so they can sell the lakehouse.

Merit explains what happened to Dr. Cole that "something is going on with my grandfather" but apparently that wasn't good enough for him. Dr. Cole proceeds to leave a voicemail expressing disappointment (albeit almost unnecessary too hard on her). Dr. Cole tells Merit that her lack of participation may lead to jail time due to criminal negligence from her job (which the movie doesn't really talk about). I somewhat felt that someone like Dr. Cole would have understood and would had an inkling that Merit's lack of participation and enthusiasm isn't easily solved by forcing her to attend group sessions; the movie made Dr. Cole a heavy without making him meet Merit half way.

Alex almost from the jump of meeting Merit asks her what she is doing that night; my reaction wasn't just 'woah, pump the brakes,' it's 'woah, pump the brakes and put the car in reverse.' It seems to be almost a conflict of interest for Alex to pursue the relationship when that's not even needed for the story. The fact is, it's almost too presumptuous of Alex to even pursue that.

Much of the story would have been better if it had focused on Merit and her life. The Inspection, which is another movie about a soldier and their post-war life, handled the interpersonal and personal aspects for the main character better while also handling the main character's secret personal life better. My Dead Friend Zoe had me wondering if it would lead to A Beautiful Mind-like psychotic break where Merit would be yelling at Zoe in public at the 4th of July celebration while people look at her. That wasn't the case - instead, Merit just runs until she recalls what happened to Zoe and Zoe taking her own life due to a missed phone call. Even a brilliant person like Dr. Nash in A Beautiful Mind still had to deal with his delusions; Merit literally running it out of her system was a bit too convenient for me.

I did like the ending and the movie did have things resolve for Merit (albeit a bit too conveniently). I also liked the idea of a mixed race woman and a man of Indian descent having a relationship; in another movie, this could have been a story worth exploring - just not in this one.

At the credits, the movie indicated that 127,000 veterans died due to suicide after returning from Iraq and Afghanistan. Yet the Trump/Musk administration, lead by a FOX "News" commentator now head of DOD, will see to it that funding is cut and "DEI is eliminated." So that number of 127,000 veterans committing suicide will only go up. Department of Veteran Affairs won't be able to take care of them all (or even see programs eliminated that would have stopped this) due to a President trying to score brownie points with FOX "News" about "wasteful government spending" being cut.

The fact that the filmmakers have to raise money this way shows that there is something wrong with this picture.

The Sleepy Time Gal (Criterion Channel, leaving on 2/28) - 2.5/5 stars

Spoiler

Much of the movie is saved by Jacqueline Bisset as Frances and her desire to find out about her daughter Rebecca (Martha Plimpton). At times, it seems to be at odds with itself due to the story structure and mostly unmemorable scenes.

The movie tries to present as a Bergman like examination of families and hidden pasts, but doesn't succeed mostly.

 

[Zimbra]

Wayne Wang has such a funny filmography because from like '99-'06 he clearly decided to secure the bag and went from making arthouse movies to extremely competent but middlebrow comedy-dramas, and then went right back to arthouse stuff.

[Andrew POE!]

44 minutes ago, Zimbra said:

Wayne Wang has such a funny filmography because from like '99-'06 he clearly decided to secure the bag and went from making arthouse movies to extremely competent but middlebrow comedy-dramas, and then went right back to arthouse stuff.

Yeah, it makes reviewing him interesting. I honestly loved The Joy Luck Club and it drew me in. I'm not sure I can stomach watching Maid In Mahattan or Last Holiday lol

[J.H.]

Well lo and behold, my dear Friends Ichi and Dorrane got me the CC release of Shaft!

3 disc set, one is the Blu-ray, the second disc is the 4k/UHD copy and the 3rd disc is... SHAFT'S BIG SCORE!!

Needless to say, this made my day. Even better?

It doesn't have a copy of Shaft In Africa, a movie whose only redeeming quality is the opening song!

I unironically love Shaft, it is sexy, stylish and violent. Richard Roundtree oozes charisma and the soundtrack remains a classic beyond just "Theme From Shaft".

I love this damn movie so much!

James

Edited February 19 by J.H.

[Andrew POE!]

Movies today....not as much today due to some browser issues and had a few meetings.

The Boston Strangler (1968) (Criterion Channel, leaving on 2/28) - 4.5/5 stars

Spoiler

There's quite a few movies out there that are miniature 'film schools' on their own. Alfred Hitchcock's work is considered as such, same with Billy Wilder, John Ford, and George Cukor. I would postulate that Richard Fleischer's The Boston Strangler is another movie that is a film school on its own. Later directors like David Fincher, Barry Jenkins and David Gordon Green employ some of the similar setups, shot compositions, cross fades, POV shots and multipanel matte that's used in this movie. The scenes where Albert DeSalvo (Tony Curtis) is recounting driving around and John Bottomly (Henry Fonda) is with him as he recounts is especially David Fincher-like.

The story for the movie is especially what would show in Se7en and Zodiac with how the movie proceeds; it's almost clinical and emotionless as the police lead by Phil DiNatale (George Kennedy) try to piece together what happened. Rationale for the behavior is employed - the police try to wonder if the murderer were homosexual, if he were a scorned lover, or if he were a religious fanatic. They try to use a quackpot psychic or a hypnotist to generate clues as to behavior.

The movie is not really an explanation of behavior as it is an explanation of rationale.

Throughout the movie, I loved how Fleischer filmed it - in the early scenes there were a lot of multi-camera angles used as it focused on details. The scenes where suspects were apprended and showing what they were doing is an example. Same with women buying guns, knives, and locks and the camera focusing on where locks were that were bought.

Contrast that with the scenes toward the end as DeSalvo is being questioned. DeSalvo is wearing white as the whole room is white - using color theory, white symbolizes innocence and purity. It's mentioned that DeSalvo had a separate distinct personality through the state hospital's examination of him. What DeSalvo presents to Bottomly is a picture of innocence and purity until he begins to think about details for specific days. The camera does a tight closeup of DeSalvo's face as he recounts and later as he re-enacts what happened the day of JFK's assassination.

The ending is absolutely brilliant - the camera pulls back as if DeSalvo is being swallowed into the walls as Bottomly calls out to him. "Albert? Albert?"

The only drawback for me is some of the acting performances seemed a bit stiff and there isn't much in the way of characterization. It's almost a similar complaints actors had about David Fincher's movies - they were there as automatons and don't really do much in improvisation.

Becoming Led Zeppelin (saw in the theaters) - 4.5/5 stars

Spoiler

"Our band could be your life
Real names'd be proof" -Minutemen, "History Lesson Part II"

Becoming Led Zeppelin as a documentary feels like an appetizer. The documentary dives into the early days of the band and even then, the surviving band members describe their thought process through various things going on in post-WWII UK. Jimmy Page got the music bug from skiffle and seeing Lonnie Donergan then becoming a session musician who worked with Lulu and Shirley Bassey. John Paul Jones who at 14 becomes a church organist and choir director parlays that into session work and meets up with Page. John Bonham plays drums and got married and his wife didn't want him hanging out with Robert Plant. Robert Plant was pushed into becoming an accountant but saw Little Richard and that changed everything.

This band became their lives.

What makes this documentary work are the little easter eggs that would get shown - a Melody Maker article headline here, a ticket stub there ($5 for tickets is crazy today), and photos of marquees over there. The documentary tells the history through clips and much of the narrative is of other clips - like the intro to "To Sir With Love" or people seeing the end of WWII set to "Whole Lotta Love."

The documentary does tend to drag a bit when the band Led Zeppelin performs - it actually becomes almost exhausting. While I was watching this, two people in the theater actually left before the end of the movie (I guess they weren't as big of fans as they thought).

For the most part for me, I found Becoming Led Zeppelin an incredible trip although not exactly educational in new facts about the band. I was surprised Jimmy Page didn't talk about his interest in the occult or buying Aleister Crowley's house or what went into recording "Kashmir" (I would have loved to learn what they were doing around that time). The documentary ends with the release of Led Zeppelin II, so I guess the rest of the discography is saved for the sequel.

Duelle (Criterion Channel, leaving on 2/28) - 4/5 stars

Spoiler

Duelle feels like a film noir at times with the MacGuffin being out of The Maltese Falcon with two characters - Leni / Queen of the Night (Juliet Berto) and Viva / Queen of the Sun (Bulle Ogier) fighting over a diamond that has powers with Lucie (Hermine Karagheuz) caught in the middle.

Lucie starts out as a simple night porter asked to investigate the whereabouts of a man who was at the hotel once.

The movie is crazy at times and the way it's shot is rather simplified; in a lot of the scenes, there's only one or two (maybe three) actors on screen at once. I did like the scene where Viva and Leni in their queen personas confront each other. It seems almost 'low budget' but the movie does a lot with that (although sometimes it just feels like people walking around a room).

 

[Curt McGirt]

I wonder how much actual dirt we get from the next documentary, if there is one (and sounds like there will be). This is band-approved and isn't exactly looking like Hammer of the Gods put to film. If there's no Aleister Crowley's house then there won't be any fish-play, that's for sure. We might get them talking about Jimmy's heroin addiction and how Bonzo died* but probably that's it. 

* He apparently drank 40 shots which I worked out to being a quart and a half of liquor -- and IIRC he was forced to drink after he was already incapable, which sounds damn well like murder to me that started off as a prank. I guess he wasn't as hard as someone like Richard Burton who'd down three fifths a day plus whatever else. 

 

[J.H.]

Shaft - What, you think I got that CC release and I'm  not pontificate on this movie AGAIN?!?

I'm not going to turn this into a love letter to 70s NYC like I did a few years ago. I mean, I could but I won't. Let me instead talk abkut "Presence".

There are some movies where you have a lead performer and it just doesn't click for you. I can name a dozen modern actors who Hollywood tries to ram down our throats but we, as the movie going public, just don't buy into. Miles Teller comes to mind because he keeps popping up in stuff and I really would rather watch anyone else. I had the same issue with Armie Hammer before he sabotaged his own career. Those are 2 actors that really lack "Presence" to me.

Richard Roundtree has "Presence". From the moment his John Shaft walks onscreen you know that every lyrics in "Theme From Shaft" is about him. Hell, if you try to picture anyone else as John Shaft it just doesn't click.

Now I am not bashing Samuel L. Jackson as Shaft. If there is one thing our man Sam has its "Presence". But the 2000 continuation of the Shaft franchise gave us Geoffrey Wright as Peoples Hernandez and he kinda walks off with that movie.

But 1971 Richard Roundtree?

Shit, Roundtree fills the screen even when it's a far away shot. He stands in a room with Moses Gunn and even though the latter is trying to lay down why he's hiring John Shaft, your eyes are on Roundtree. He's intense, but at the time subdued. When Roundtree finally talks he let's Gunn's Bumpy Jonas exactly what he thinks of him before accepting the job.

Hell, the "Soulsville" segment of Shaft trying to find Ben Buford is a lot of minimal interaction and plenty of Shaft just walking in the cold and you know what?

I'm down with it because that's how compelling Richard Roundtree was. I remember his cameo in Brick. He was the school principal but when the camera was on him you kind of didn't want it to go off him.

All of Roundtree's delivery of lines are smooth and believable. Even when he tells Vic "I got laid!", it's delivered in such a "Fuck you" attitude that even me being a chubby Jewish kid from NYC is like "Yeah, take that pig!"

So fuck it, celebrate Black History Month by watching Shaft. Revel in the utter Presence of the late, great Richard Roundtree. Revel in his attitude. Revel in his unapologetic masculinity. Revel in his celebration of being a black man and not apologizing for it. Revel in Richard Roundtree being a badass and just watch Shaft!

James

Edited February 19 by J.H.

[Curt McGirt]

Was Roundtree just too old at that point to come back and do it again? I mean you just know they wouldn't do it but whatever. Hell, Sam was probably as old as him then -- hell, Sam is 76 right now.