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madamekyberpunk · 4 years ago

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Film Diary (July 12, 2020 - Dec 28, 2020)

JULY

July 12, 2020: KNIVES OUT (Dir. Rian Johnson)

We get to see Rian Johnson finely tune his craft in real time, and I find it exciting. I’ve been on a binge of his work as-of-late and a recurring theme of most of his movies is them being a commentary on themselves or the genres they’re working within. I think this movie nails that trick on the head without patting itself on the back too much. The ensemble cast is expertly chosen and works together really well, and you can tell just by watching it that they were having fun on set. The cast is grounded by Ana de Armas’ quietly brilliant performance. My favorite Rian Johnson movie is still reserved for Star Wars: The Last Jedi, but I do think this is his best work so far.

July 13, 2020: MERMAIDS (Dir. Richard Benjamin)

A slightly more absurd version of Lady Bird, if Lady Bird was made in the nineties. A good addition to the strained-but-loving mother-daughter relationship cinematic universe.

July 15, 2020: THE UNTOUCHABLES (Dir. Brian De Palma)

This is actually the first mafia movie I’ve ever seen, and honestly...it was probably a bad one to start with. Although it was entertaining and tense at all the right moments, the whole thing just felt empty. Every character seemed half-baked and none of them really had any development. De Palma could’ve gone grittier for an R-rating and made his interpretation of Al Capone a little less cartoonish; Kevin Costner’s Eliot Ness was doing the absolute least, and Robert De Niro’s Al Capone was doing the absolute most.

July 31, 2020: (500) DAYS OF SUMMER (Dir. Marc Webb)

For some reason I have unintentionally seen almost all of Marc Webb’s filmography, and I have to say that I’m underwhelmed by all of it. While watching I found myself reflexively comparing this to Webb’s The Amazing Spiderman and maybe it ruined my viewing experience a little bit. Both of them have lots of super mumbly, drawn-out conversations and an interpretation of an “indie” style that just seems...bland to me. (Also, both of them have pale women with bangs and men with undiagnosed depression.) I don’t know, I just feel like if you want a rom-com with a realistic depiction of romantic relationships, you should just go watch The Big Sick.

AUGUST

August 14, 2020: LATE NIGHT (Dir. Nisha Ganatra)

Emma Thompson was great in this, and I think Mindy Kaling is very underrated as a writer (in some ways, I think she is the modern Nora Ephron). I’ve seen quite a few reviews claiming that this movie plays along with conventions, but I don’t necessarily think that conventions are inherently bad as long as they’re executed well. In this case, they were.

August 22, 2020: THE FAREWELL (Dir. Lulu Wang)

I’d classify this as a really good movie that just didn’t click with me. It was a complete, “it’s not them, it’s me,” situation. It was smartly directed with a focused, sharp script and an excellent leading performance from Awkwafina - I can see why people were upset that it got snubbed at the Oscars - but it just wasn’t my thing. The only time I really connected with it emotionally was the ending.

August 22, 2020: KNOCK DOWN THE HOUSE (Dir. Rachel Lears)

The only piece of media currently in existence that somehow makes me feel a sense of patriotism for this hellscape of a country.

SEPTEMBER

September 5, 2020: BARRY (Dir. Vikram Gandhi)

Speaking of living in a hellscape of a country, I have mixed feelings about the Obama presidency - but this movie isn’t about his presidency. It isn’t indicative that he’ll be president at any point. It’s essentially a piece of historical fiction about race and American identity that happens to use Barack Obama as its protagonist. You could replace him with any other dude with a background similar to his and it still would’ve been interesting.

September 8, 2020: UNICORN STORE (Dir. Brie Larson)

If there’s one word to describe this movie, I’d say, it’s cute. Not in a patronizing type of way, but in a this-movie-feels-like-a-warm-hug type of way. I like this Brie Larson vehicle much more than Captain Marvel, mainly because I feel like she’s having more fun in this and she gets to wear more colors and Samuel L. Jackson has tinsel in his hair and also there’s a unicorn in it. I’m a simple girl with simple needs. I also think Samuel L. Jackson should be adorned in tinsel in every film he’s in without explanation (I might actually watch Pulp Fiction if Jackson’s character had a sparkly afro in it). This movie also made me stan Mamoudou Athie - I think he plays a good straight man and I hope that they don’t waste him in Jurassic World: Dominion, although I’m not getting my hopes up.

September 11, 2020: LADY BIRD (Dir. Greta Gerwig)

I waited a criminally long amount of time to finally watch this. I can’t really say anything about this movie that hasn’t already been said. It’s good! It’s genuine and sweet and I liked seeing Timothée Chalamet play a pretentious asshole.

September 12, 2020: THE BROTHERS BLOOM (Dir. Rian Johnson)

Upon a rewatch, I’m taking my original score of 3.5 out of 5 and bumping it up to a 4 out of 5. Adrian Brody and Rachel Weisz’s performances pretty much make this movie with their earnestness and chemistry. I think you could qualify this film as a romantic dramedy that just happens to be about an international con job. It doesn’t do the greatest job of explaining itself plot-wise, but it makes up for it with stylish direction and a charming cast.

September 18, 2020: EVER AFTER (Dir. Andy Tennant)

The best Cinderella adaptation currently in existence (next to Nickelodeon’s Rags starring Keke Palmer, of course). It’s so good that I’m willing to forgive Drew Barrymore’s attempt at a British accent. I also think this is one of the few movies that could be a decent remake if you gave it to the right director.

September 19, 2020: BRICK (Dir. Rian Johnson)

I love Rian Johnson, I think we’ve established that already, but I kind of sort of hated his film debut. It seemed so caught up in its own concept that it ended up seeming like a shell of a movie with no theme to ground it. Sometimes I don’t care if movie has no theme if it’s entertaining, but this movie was not entertaining, so...

September 25, 2020: ABOUT LAST NIGHT... (Dir. Edward Zwick)

Alternate title: Toxic Man is Horrible to a Woman Who Literally Does Nothing Wrong Ever and Also is Gorgeous, They Break Up, Toxic Man Gets a Different Job and Toxicity is Gone Now, Like His Personality was Sifted Through a Brita Water Filter, then the Toxic Man Gets an Unearned Happy Ending with Gorgeous Woman. It might be a little bit long, but at least people would know what they were in for. Still better than (500) Days of Summer, although every male character in About Last Night... deserves to be in jail. All of Demi Moore’s sweaters get five stars.

OCTOBER

October 3, 2020: ENOLA HOLMES (Dir. Harry Bradbeer)

During the first draft of this post, I gave this movie a pretty good review. Then I rewatched it, and...huh. It’s not exactly a bad movie, it’s just an aggressively average movie. Enola Holmes would have benefited from a) a shorter runtime, b) a better mystery, and c) a weirder style. I think that if the character is going to repeatedly talk into the camera, which is kinda weird, you should just make everything else weird too. Give it a Birds of Prey-esque unreliable narrator and non-linear storyline. It’s still a fun movie, and the inevitable sequels have potential, but it just felt like they could’ve - I don’t know - made more of an effort?

October 10, 2020: HUNT FOR THE WILDERPEOPLE (Dir. Taika Waititi)

This is the first Taika Waititi movie I’ve seen besides Thor: Ragnarok. I liked seeing how his style transferred into Ragnarok, and it probably has the funniest funeral scene ever written (do yourself a favor and look it up on YouTube). Hunt for the Wilderpeople knows when to make a joke without getting too goofy, and it knows when to be sentimental without getting too sappy. It also has dozens of glorious one-liners.

October 11, 2020: LITTLE WOMEN (Dir. Greta Gerwig)

The best Little Women adaptation. (I haven’t seen the one with Katharine Hepburn but I’m just going to assume that this one’s better.) This movie was clearly made for people who know and love the story, which can be a good thing and a bad thing - it means that it took some creative liberties that enhanced the story and added subversions that made it feel meta in a satisfying way. But it also meant that it could be potentially confusing for people who aren’t familiar with the story. Personally I wasn’t lost, but I think Gerwig could’ve used some more visual cues to let you know when they were in the present or when they were diving into the past. I wouldn’t want her to eliminate the jumping back and forth, though, because I think it allowed the characters to be explored a lot more than a linear story would’ve allowed. Gerwig also did a great job of letting you understand the motivations of the supporting characters - specifically Amy - in a way that prior adaptations never really did. Every character felt like their own person instead of accessories to Jo’s life.

October 16, 2020: THE TRIAL OF THE CHICAGO 7 (Dir. Aaron Sorkin)

Siegel, a very good Letterboxd reviewer that I follow, said it better than I can: “Aaron Sorkin is way too good a writer to be forced to work with such a mediocre director as Aaron Sorkin”. I didn’t mind the beginning - I thought the quick editing, upbeat music, and cuts back and forth between historical footage and fictionalized scenes were engaging, but the ending was clunky and didn’t fit the tone of the rest of the film. The Trial of the Chicago 7 was a little confused politically and wanted to desperately cling onto a centrism that didn’t let the film fully embrace the anger that it could’ve ended on. Despite all of these things, I still thoroughly enjoyed it. The performances were all excellent, and if any of them get nominated for an Oscar it’s well-deserved. I’m also a sucker for Aaron Sorkin’s speechy, tangential dialogue. It makes me feel smart whenever I listen to it.

October 20, 2020: HALLOWEENTOWN (Dir. Duwayne Dunham)

This movie does it for the girls and the gays, that’s it.

October 26, 2020: BIRDS OF PREY (AND THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN) (Dir. Cathy Yan)

This movie also does it for the girls and the gays, that’s it. Seriously, I honestly don’t know why people don’t love this movie. Margot Robbie’s performance as Harley Quinn is Oscar-worthy. That’s not a joke. I actually think that if the Oscars knew how to have fun, she would get a nomination. She is this character. It feels so lived-in and she never does too much - and with a role like Harley Quinn, it would be very easy to do too much. I also have to give props to the type of feminism that director Cathy Yan inserted into this film. I really enjoyed Wonder Woman and didn’t mind Captain Marvel, but there was something so formulaic and studio-approved about the female empowerment in both of those films. Birds of Prey, however, didn’t really give a single fuck. It was a nuanced, violent, funny as hell story about flawed women forming alliances and finding meaningful relationships in a world that actively abuses them and ugh, I love this movie. It’s probably my personal favorite of the year.

October 27, 2020: DOLLY PARTON: HERE I AM (Dir. Francis Whately)

This documentary was strangely edited and offered pretty surface-level information presented in an uninteresting way. I enjoyed myself while I was watching it, but I just wish it would’ve gone deeper. Dolly Parton is one of the most interesting figures in music history, and there was a lot more they could’ve explored.

NOVEMBER

November 1, 2020: ATTACK THE BLOCK (Dir. Joe Cornish)

This 82-minute movie gave John Boyega a more satisfactory arc than the almost seven hour long Star Wars sequel trilogy. Seriously, this movie fucking slaps! It hit all the right notes at all the right moments. I honestly think that a lot of sci-fi movies would be better if they worked with smaller budgets and shorter runtimes. Something about working within limitations makes a film feel more authentic and cuts out a lot of the excess fat. This movie is funny and earnest and surprisingly has a lot to say about the world we live in, with a budget that’s 200 million dollars less and a runtime that's 45 minutes less than a lot of sci-fi movies out there.

November 18, 2020: A PRINCESS FOR CHRISTMAS (Dir. Michael Damian)

*Lady Gaga voice* Amazing, show-stopping, spectacular, never the same, totally unique, completely-not-ever-been-done-before... My go-to shitty Hallmark Christmas movie every year :)

November 19, 2020: THE LEGO STAR WARS HOLIDAY SPECIAL (Dir. Ken Cunningham)

I’m giving this a five-star rating completely unironically. This movie uses the mechanism of time travel better than Avengers: Endgame.

November 20, 2020: THE CHRISTMAS CHRONICLES (Dir. Clay Kaytis)

There’s a scene where Kurt Russel does a musical number in a jail cell and then Winston from “New Girl” quits his job as a cop. What more could you want from a Christmas movie?

November 21, 2020: INSIDE LLEWYN DAVIS (Dir. Joel & Ethan Coen)

What was originally intended to be an Oscar Isaac thirst watch turned into what might end up being one of my favorite movies of all time. It’s one of those movies where it’s hard to articulate why it was so good, it was just good, but for the sake of this post I’ll try my best. Oscar Isaac was phenomenal in this - and I’m not just saying that because I’m a simp. His performance, combined with the script, made you root for his character even if he was a douchebag a lot of the time. The movie did a great job of blurring the line between what Llewyn Davis brought on himself and what was the result of just really, really bad luck. The use of sound in Llewyn Davis is excellent, too. Instead of using an instrumental score to emphasize emotion, they used sounds from the character’s environment, which really let the occasional musical moments pop - whenever anyone started singing, it almost felt cathartic. The Coen Brothers also provided moments of levity with perfectly-timed comedic moments throughout. It’s one of those movies where at the end of it, you’re kind of jealous that someone could make something that good. The fact that Oscar Isaac didn’t even get an Oscar nomination for this is - not to be dramatic - a fucking war crime.

November 22, 2020: STAR WARS: THE LAST JEDI (Dir. Rian Johnson)

Listen, I know The Last Jedi is such a hotly debated movie that it’s almost political, but it happens to be my favorite movie of all time. Like, number one. It even beats A Princess for Christmas. I’ve had my fair share of slander for loving this movie so damn much, but I will defend it until the day I die, and then I will have my tombstone engraved with “Luke Skywalker’s portrayal in this movie makes sense, you guys are just poisoned by nostalgia.” I’ve seen this movie several times, but I actually haven’t given it a rewatch since The Rise of Skywalker came out last December, and it still holds up. There’s a couple of things that I really appreciated a bit more this time around: every shot in this movie seems so intentional and emotionally charged. Pause it at any point and you’re going to have something interesting and aesthetically pleasing to look at. I really enjoyed the dialogue, too. In most of his movies, Rian Johnson makes his characters talk in a slightly heightened (or in Brick's case, very heightened) way, and it lends well to the Star Wars universe. I'm never going to to not gush about this film. The Last Jedi is the movie that made me love movies, and for that I will always be grateful.

November 25, 2020: HAPPIEST SEASON (Dir. Clea DuVall)

I have similar feelings toward this movie as I did toward Crazy Rich Asians; it follows most of the conventions that populate the rom-com genre, but for the marginalized people the movie is representing, it’s actually pretty fresh. Hot take, but I don’t think that Kristen Stewart’s character should’ve ended up with Aubrey Plaza’s character - I just think the film could’ve done a better job of empathizing with Mackenzie Davis’s character. If we focused on her perspective a bit more, maybe she would’ve seemed less...shitty and distant. I’d also appreciate it if we just stop doing the Gay Best Friend Trope after this movie because - let’s be honest with ourselves - no one’s going to be able to top Daniel Levy’s rendition of it.

November 29, 2020: MANGROVE (Dir. Steve McQueen)

See my Mangrove review here.

DECEMBER

December 5, 2020: RED, WHITE AND BLUE (Dir. Steve McQueen)

I may need to give this a rewatch at some point, mainly because it seems like I didn’t fully grasp the themes it was conveying due to my own skepticisms going into it. Here’s my original review.

December 13, 2020: THE PROM (Dir. Ryan Murphy)

I really can’t critically engage with this movie because my brain just turns off the minute the first song starts. Most of the criticisms you’ve heard are valid - though perhaps a little bit blown out of proportion - but it’s so much damn fun. I’ve watched it twice now.

December 19, 2020: MA RAINEY’S BLACK BOTTOM (Dir. George C. Wolfe)

Chadwick Boseman’s last performance is haunting, transformative, and magnetic. The same can be said about Viola Davis’ performance, which is a surprise to no one, but this is really Chadwick’s vehicle. I just wish the directing was as interesting as the acting. This film was adapted from an August Wilson play, and directorially it was treated like a play, which doesn’t necessarily translate that well to film. The space around the actors wasn’t really utilized, and the way it was shot was pretty lackluster and static; oftentimes, the only interesting thing to look at in a scene was an actor’s performance. Maybe I’ve just been a little obsessed with Steve McQueen’s directing style lately, but this movie probably would’ve been five stars for me (instead of the four-and-a-half I gave it) if it was directed by him.

December 19, 2020: LONG TOAST (Dir. Karsten Runquist)

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Fuck yeah, Karsten Runquist! Shout out to his monthly “what I watched in [insert month]” videos for giving me the inspiration to write this.

December 23, 2020: LET IT SNOW (Dir. Luke Snellin)

Weirdly enough, this may be one of my favorite Christmas movies. There’s nothing all that remarkable about it, but it has a sweet, simple holiday vibe with innocent performances and low stakes. I don’t really ask a lot for Christmas movies, and this pretty much delivers.

December 25, 2020: THE PSYCHOLOGY OF DREAM ANALYSIS (Dir. Rian Johnson)

This short film from Rian Johnson is the earliest thing I could find of his filmography on Letterboxd, and it was a pretty engaging watch. It was essentially all of Johnson’s quirks as a director condensed into ten minutes. It reminded me of those trippy short stories you had to read in middle school.

December 26, 2020: PLUS ONE (Dir. Jeff Chan & Andrew Rhymer)

I’ve seen a lot of rom-coms - like, an ungodly amount - and my love-hate affair with this genre has made me realize that predictability isn’t the issue with rom-coms (a lot of genres are very, very predictable). The issue is a lack of authenticity. Yes, this film is predictable, but it’s authentic. The humor in this movie actually feels like something that would happen in real life, not something heavily contrived or exaggerated for the sake of entertainment. I don’t have anything against the contrived and exaggerated, but it’s refreshing to see comedy being delivered so naturally in this genre. Plus One also has a more realistic (but still sweet) perspective on love and relationships which you don’t normally see in any genre.

December 27, 2020: THE HALF OF IT (Dir. Alice Wu)

I watched this at the beginning of the year and didn’t enjoy it all that much - partly because I was in the closet and aaaah girls kissing aaaaaah - and partly because I just thought it was boring. On a second viewing, I really appreciated it more. I think it’s the smartest and most well-shot movie directed toward teens that I’ve seen on Netflix. Although the script can be a bit pretentious, it’s directed in a way that doesn’t feel like it’s either trying to be too indie or like an hour and fourty-five minute long single-camera sitcom episode. The character of Ellie is also a really interesting and nuanced character, and a good example of how to write and portray queerness on screen.

December 27, 2020: TAYLOR SWIFT - FOLKLORE: THE LONG POND STUDIO SESSIONS (Dir. Taylor Swift)

I would die for Taylor Swift and/or Jack Antonoff.

December 28, 2020: MANK (Dir. David Fincher)

I went into this movie as a) someone who has never seen a David Fincher film, and b) someone who has never seen Citizen Kane. Unsurprisingly, Mank was definitely not my thing. That doesn’t mean I didn’t appreciate it. It’s a fucking good-looking movie. But it’s kind of like the himbo of movies - it’s nice to look at, but there’s not much going on underneath. I’m hearing this complaint from a lot of people: it’s a technical masterpiece, but it feels pretty damn hollow. Personally, it’s not enough for me to recognize that a film looks and sounds good - I have to care about and know the human beings within it in order for me to think that it’s a good movie. To me, a film is only as good as the emotional relevance of its story, but sadly emotional relevance is where Mank falls short.

What movies kept you sane during 2020? Let me know!

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gretagerwigarchive · 7 years ago

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Greta Gerwig on filming ‘Lady Bird’ in Sacramento: The city showed its ‘most beautiful, charming self’

By Debbie Arrington, November 03, 201.

source: http://www.sacbee.com/entertainment/movies-news-reviews/article182216891.html

“I wanted to make a love letter to Sacramento as seen through the eyes of someone who can’t appreciate how beautiful it is until she’s going away to someplace else,” Gerwig explained in a phone interview. “That’s very true of 17 year olds. You don’t realize how beautiful a place is until you step away.”

As the film’s writer and director, Gerwig, who grew up in River Park, used some of her favorite Sacramento locations as “Lady Bird” settings: The McKinley Park rose garden, the Fabulous 40s neighborhood, the river walk near Tower Bridge. (Even the Tower Theatre gets a cameo.)

There are many parallels between Gerwig’s fiction and her real life, too. Lady Bird’s given name is Christine (the same as Gerwig’s mom). Lady Bird’s mom is a psychiatric nurse; Gerwig’s mom was a longtime OB/GYN nurse. Both Gerwig (St. Francis) and Lady Bird (the fictional Immaculate Heart) went to Catholic all-girl high schools and dreamed of attending college in New York City. (Gerwig graduated from Barnard.) The 2002 setting is just a couple of classes removed from Gerwig’s own senior year.

But Gerwig insists that the film is not a roman à clef, and that Lady Bird is her own unique young woman. As embodied by Ronan (“Atonement” “Brooklyn”), she’s a memorable character with whom real Sacramentans instantly will identify.

Gerwig, who held a special premiere of her film in Sacramento at the Tower this past week, explains the role of her hometown in this edited interview:

Q: As a teen, did you feel about Sacramento the way Lady Bird did?

A: In a way, I knew I lived in a really nice place. I had a magical childhood there. Many of my best friends have been my best friends since first grade. I knew this was a special place, but its physical beauty – the tree canopy, the wide streets, the neighborhoods, the river – I didn’t realize how wonderful they were until I moved to a vertical city like New York. Sacramento is just so lovely.

Q: How much of Lady Bird is you?

A: Actually, I was not like Lady Bird. I never made anyone call me a different name. I never dyed my hair bright red. (Instead of confronting authority), I was very much a people-pleasing kind of kid. I wanted gold stars on my work.

But in a way, writing her (character) let me say something I was not able to do in my teen years. I could create this fluid complex young woman and give her a voice. I could give her all these terrible and wonderful things to say.

Saoirse and I – Lady Bird is our creation. She created the look, the walk, her way of talking. She embodied exactly what I was looking for.

Q: What about Lady Bird’s relationship with her mom?

A: (She laughs.) The crux of the (movie), this is a love story between mother and daughter. That bond is so strong and deeply felt. I know my mom is the best and I gave her hell. I feel so guilty now. Every day of my adult life, I keep realizing, my mom was right about everything.

The mom in the movie is not like my mom, but the reason there’s so much love and so much conflict is because mother and daughter are essentially the same. They’re built the same way. That’s why that mother-daughter bond is so conflicted. The very thing that annoys you about yourself annoys you about them, too.

My mother and I are different but we’re built the same way, too. When we’re together, there’s no question who belongs to each other. We even talk like each other.

Q: How did Saoirse like Sacramento?

A: She really really loved it! She had a real sense of the place. When she read the script, she said – even though she’s from a small town in Ireland – she knew this story in her bones. She was instantly so perfect. She got the whole idea immediately.

Q: What did your crew think of Sacramento?

A: It was so amazing. It was like introducing a boyfriend to your parents; you want him to make a good impression. This is a place I love, where I grew up. I wanted Sacramento to make that good impression. And the crew, they couldn’t believe it. They got out their phones and started checking the Zillow app for real estate prices (and asking) could they commute from Sacramento to Los Angeles to work? It was really wonderful. They all thought Sacramento was beautiful.

We were shooting in October (2016) and that’s a beautiful time to be in Sacramento. The leaves are still on the trees and that’s part of that verdant feel. When you live here, you kind of shrug off those kinds of things. But when you’re not ... you’re blown away.

Q: What was it like making a movie in your hometown?

A: We were shooting around town and everyone was so accommodating. The police and sheriff’s (department) were so incredibly helpful. In every neighborhood, people were so nice.

It was so sweet. All these kids would show up after school with their dogs and bikes, just to watch what we were doing. My crew asked, “Is this the 1950s?’ Scenes like this still exist in Sacramento.

The truth is, in a way, this is what I hoped always would happen. I brought a group of people home and, like that boyfriend, Sacramento showed them its best, most beautiful, charming self.

Q: While fantasizing about a home in Sacramento’s Fabulous 40s neighborhood, Lady Bird says she comes “from the wrong side of the tracks.” What neighborhood did you have in mind?

A: That’s kind of fictionalized. It’s not a specific neighborhood. There are train tracks all over Sacramento. (While writing), I was thinking of the light-rail tracks that cut off East Sacramento just on the other side of T Street.

Q: Was the entire film shot in Sacramento?

A: I wish I could, but because of financial concerns, most of the interiors were shot in L.A. It’s complicated to shoot an entire movie in Sacramento.

In Southern California, there’s the same architecture as Sacramento and I could find the same style of house. I must have looked at 50 homes in L.A. to find the right house (for Lady Bird’s home). I was looking for very specific things and it’s so hard to find a home that’s not been renovated. (Lady Bird’s “Sacramento” home is actually in Burbank.)

I had this vision of the kind of California home I wanted, like specific wide colorful tiles in the bathroom and kitchen. The chairs, the pillows; I had very specific things in mind – and they weren’t always easy to find.

Like the chair in Lady Bird’s room. She has a fan-style wicker chair, a peacock chair. My grandmother had a chair like that. I became friends with (Sacramento author) Joan Didion and she had a chair like that, too. I wanted one for Lady Bird.

There’s a painted cross on the mantlepiece from South America; that’s a very specific California thing to have (as a knickknack) in your living room. I decorated the home with paintings by David Lobenberg. He’s a local artist (from Sacramento). Lots of little details, I was layering on.

I was creating this world in a particular time and I wanted it to be so rich and specific. The main thing I really tried to convey was this was a very specific time and place. There’s been movie after movie of teens growing up in some vague and general place, but nobody has a vague and general experience growing up. It’s all very specific.

Q: How do you describe Sacramento to people who don’t know it?

A: Watch the movie! I tell people it’s the best place you’ve never been. It’s a wonderful place to grow up and raise a family, but I don’t want the secret to get out too much.

#2017 #Greta Gerwig #Interview #Lady Bird

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lainejunemarie-blog · 4 years ago

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002 - Movie Review - Little Women directed by Greta Gerwig

Little Women is a book written by Louisa May Alcott published in 1868 and 1869 which has inspired artists to create different varieties of it for the past several years and once again, it has inspired the production of another motion picture, shown in 2019, directed by Greta Gerwig with her own perception of how it should be viewed as a film. As soon as I heard that they were making a movie adaptation, I became curious and decided to check on who they were planning to cast. To my excitement, they’ve got the sensational Meryl Streep, to play Aunt March, the fantastic Emma Watson as Meg and lastly the brilliant Saoirse Ronan as Jo. After seeing those names as the cast members, who wouldn’t be looking forward to the outcome of the film?

Believe it or not, though knowing that Little Women is originally based from a book by Louisa May Alcott, I haven’t read it yet, maybe because of the fear that I might be a little faint of heart to handle the realistic and breath taking novel she’s created but rest assured I plan to read it during this lifetime. Also knowing that there had been several artistic forms of Little Women, the Special Anime version of it directed by Yugo Serikawa in 1980 is by far my favorite one because of its pleasantness and heartwarming delivery. Serikawa’s Special Anime has an exceptional place in my heart because I’ve watched it growing up but I’d also like to explore Gerwig’s adaptation of Little Women since she’s already caught my attention with a great line up.

At first I thought Gerwig’s version of the film would be similar to Serikawa’s but I’m glad I was wrong about that assumption. The first act itself already got me craving for more and as each scene started to unfold, I relished on how it was being shown from the “present” and back to the “past” to make sense of how and why the characters end up the way they currently are. In fairness Gerwig was able to pull off this kind of presentation in a movie which some films might just as well end up confusing their audiences. The editing of it is flawless not making it frustrating to watch but more interesting instead. I really admire how she directed her film because it gives off a sundry point of view and not the usual type of how a Little Women’s feature film would usually turn out to be. The detail to the environment, scenic portrayal, the props, the dresses and the outfits also contributed in creating the aura of exactly which era I would be in their story. I also enjoyed and really appreciated the camera angles that were taken that gave the movie more feelings and realness to it. Knowing how detailed the book is, it’s really nice how the film was still able to tell the story even with the limited time they’ve got which just gives them more credit to how good the movie was made.

I had a lot of favorite scenes but here are 4 that clenched my heart, made me swoon, my eyes pouring and feel a new kind of confidence. I’ll not say anything specific enough to be a spoiler because watching the movie is a must. The first part was when Jo and Laurie had first met and started dancing. It feels so fun and magical, being able to click with someone immediately and start having fun. It made me realize that during the earlier times, people didn’t have to go through extravagant measures just to be amused. The second one is a bit further on in the movie where Jo is taking care of Beth when she was sick. This scene made me remember how much family is a big part of a person’s life and that the time you spend with them is precious and irreplaceable no matter how old or young one could be. Third is where Jo writes a letter to her “Teddy” who is Laurie. It’s the nerve-wrecking instance when you think about the “what ifs” and “should have beens” but you just have to hold it together and be strong. And lastly the scene where Jo goes back to the publishing office near the end. Feeling confident and proud that as a woman Jo knows what she’s capable of but at the same time sees the world as it is and stands her ground. It’s nice that in the end everything seems to fall into place and know that as a woman there are limitations to abide to world preference but just like Jo, you’ve just got to work your way with it but still be confident and happy with the people you love.

I enjoyed watching all of the characters but who caught my attention the most were Jo, played by Saoirse Ronan because aside from being the protagonist of the story, her acting is very heartfelt and she certainly tugs on her viewers’ heart strings as to be expected. Florence Pugh as Amy, this is my first time seeing her as an actress, at first I thought that her voice might be a little too mature for her role but as I continued watching, I fell in love with it instead and enjoyed watching her play her character in a very graceful and elegant manner. She also made a very distinct portrayal for the past and present version of Amy that gives the character more life. I’m happy to be able to discover her and I look forward to seeing more of her work. And lastly Timothèe Chalamet, although I’ve already seen and heard of him, this is my first time seeing him act. He did a good job on representing how charming and romantic Laurie could be. He really is an enthusiastic actor and I’d also like to see more of his work in the future.

Overall, Little Women directed by Greta Gerwig is certainly a great film and will be the kind of movie that never gets old no matter how many times you watch it. Enjoy watching it on Netflix!

I’ll include here the sites where I got more information and details on my content.

https://www.msn.com/en-us/tv/news/little-women-1980-anime-special/vp-AAxB5go

https://www.imdb.com/title/tt3281548/

https://www.britannica.com/topic/Little-Women-novel-by-Alcott

https://www.oprahmag.com/entertainment/tv-movies/g30188109/little-women-adaptations/

https://www.netflix.com/browse

#littlewomen #netflix #imdb #movielovers #movie reviews

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intro2filmbitterrootcollege · 7 years ago

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The Most Affecting Films of 2017

I love putting this list together because a.) I’m a film geek and own it, b.) this writing exercise is cheaper than therapy, and c.) it helps me discover previously unrecognized themes shared across my selections. The thread of history runs through these picks, that of nations as well as the complex and messy relationships between parents and children. History is parent to our present, and thus the thematic through line of my favorite movies of 2017. Each title brought me to tears or rented space in my mind for days after the initial viewing, often both, but earned this response through quality of storytelling.

Choosing my top ten was difficult (see the following “Runners Up List” for evidence) because 2017 was a fine year in film. We should celebrate cinema, and the opportunity to do so, as long as it remains this dynamic.

-Matt

Honorable Mention: Their Finest

Directed by Lone Scherfig

Written by Gaby Chappe and Lissa Evans

A movie celebrating storytelling and writing, chronicling the making of a movie about the Dunkirk rescue, set in England during the Blitz, addressing the role women played in the war effort, packed with an embarrassment of Britain’s best character actors, exploring how cinema’s escape can help heal us in times of crisis, and that is also a love story has no right to work. Scherfig’s film defies such limitations and hops between these aspects like a trapeze artist. It’s a crowd-pleaser, a heartbreaker, and a movie celebrating movies, all buoyed by Gemma Arterton in the lead.

10. The Lost City of Z

Written and Directed by James Gray

Cinematography by Darius Khondji

The real Percy Fawcett’s 1925 disappearance in the Brazilian jungle provides an unanswerable question that hangs over Gray’s film as he endeavors to explore mysteries of the egocentric self through immersion in the natural world. Like the protagonist, this seems simultaneously paradoxical and fitting.

Some clever non-linear editing and a final shot of Nina Fawcett, the only actual hero here, walking into the reflected image of a jungle, make for a lingering metaphor on those understandings our hearts are granted, and those we can never attain.

9. Toni Erdmann*

Written and Directed by Maren Arden

When I thought this dark European comedy couldn’t get more surreal or funny, it didn’t, but instead ends with a peerless final beat, then drops The Cure’s “Plainsong” over the credits.

Cut to me radiant with joy at what cinema makes possible.

Hollywood stories of parents and children aren’t ever this delightfully weird, or dappled with scenes that let us find our own insights about economic disparity, sexism, and capitalism’s darker outcomes. Hollywood stories aren’t ever this genuine.

Maren Arden proves herself a visionary, not just among up-and-coming female directors, but all directors, and since her open-ended final scene is perfection, I’ll let the last dialogue in her script finish the same way:

The problem is, [life is] so often about getting things done. And then you still have to do this, or that. And, in the meantime, life just passes by. But how are we supposed to hang on to moments?

* released in 2016 but I had no way to see it until 2017

8. The Big Sick

Directed by Michael Showalter

Written by Emily V. Gordon & Kumail Nanjiani

Gordon and Nanjiani’s story (based on the origin of their own marriage) took me two viewings across two seasons to relent and finally love it. Now it has my whole heart thanks to an earned emotional response and a script respecting the perspectives of all its characters. Likely the best screenplay of the year that might not be recognized as such, stand up comedy and parents are rarely revealed onscreen with such nuance, and never before in the same film.

7. Five Came Back

Written by Mark Harris (based on his book Five Came Back: A Story of Hollywood and the Second World War)

Directed by Laurent Bouzereau

This three-part Netflix documentary chronicles the contributions from five of the top directors in Hollywood during WWII, many of whom gave up lucrative careers to serve the war effort via their craft. We see how filmmaking and storytelling, as the translation of fact and occurrence through moving image, can be a weapon and should be used with care. The stories of these five directors and how their lives and art were impacted by the conflict is engagingly humane. And the talking heads (aka legendary current filmmakers) are so damn insightful. MVP being Guillermo Del Toro.

We celebrate such humanity, and in it our own, flawed and beautiful as both might be. This is best captured in Capra’s final voiceover proposing hope where it is needed.

6. Wind River

Written and Directed by Taylor Sheridan

Sheridan’s crime-as-myth story is most concerned with grief and the ways we numb ourselves to pain at the cost of the memories of loved ones lost. Winter and the West stand in a neo-western backdrop where he colors the idea of how struggle can hollow out even the strongest among us.

We get our genre kicks in the Mexican Standoff shootout (praise to the screenplay-rulebook shredding use of editing and a flashback to set up this reckoning). The patience in ending his film with not one but two conversation scenes shows a preference for empathy over spectacle, and the way the injured souls connect therein haunts me.

5. Three Billboards outside Ebbing, Missouri

Written and Directed by Martin McDonagh

I enjoy being challenged by a film. McDonagh’s picture beat the shit out of me then tossed me a lollipop, and I beamed like a lovestruck idiot. An early reference to “A Good Man is Hard to Find” alludes that that there will be no predominant tone to cling to but instead a vacillation of many throughout this winding trip into darkness where any good that exists is a miracle. In the final scene and sublime character change of Sam Rockwell’s Officer Dixon, it does.

4. Blade Runner 2049

Directed by Denis Villeneuve

Cinematography by Roger Deakins

There wasn’t a more thoughtful film this year than Deakins’ visual magnum opus. The intelligence expected of Villeneuve surfaces throughout in beautifully complex questions about life, witnessing, and how we achieve our sense of identity.

The choice of Gosling’s K / Joe as protagonist, his illusory sense of importance as the “one” and what is done with this concept, shows how important it is to value the willingness to make choices, even when they seem tiny and tossed into the void. In Joi, he may have found a facsimile of love, or he may have actually found it. In response, we question our right to declare another’s life or love “artificial”. The Hero’s Journey archetype is so common that it’s almost instinctive. Villeneuve subverts these expectations by stripping heroic action to its purest and leaving us with K / Joe’s not-tears in the ashen snow.

The acting is typically strong because, while he isn’t noticed for it, Villeneuve always gets strong work from his actors. Through one of Harrison Ford’s best performances, the theme of parents, children, and sacrifices made just for the latter’s prospect of a better life is most poignantly rendered in one line: “Sometimes to love someone, you got to be a stranger.” As 2017’s best sympathetic villain, Luv doesn’t possess the freedom of her inferior replicants; she is bound to Wallace, a slave in her programming. Wanting to be special, to be the “best one”. This denied want and inability to make her own choices, to create life and be alive, warp her into a destructive force seeking to stomp out anything that reminds her of her chains. Leto’s megalomaniac Wallace is a god-aspiring big bad in the Greek chorus role, showing up to voice the film’s themes but in a way that avoids ponderousness.

I could write an essay on this film. (Note to self: write more essays on films.)

3. Lady Bird

Written and Directed by Greta Gerwig

Gerwig’s work is so accomplished that my mind boggles when contextualizing it as her first directed film. The movie world exists here as specific enough to leap outside of time and place in that mysterious dynamic of singular-becoming-universal. Coming of age stories with comedy draped around them, or them around it, are usually judgemental of broad supporting characters who get portrayed in one shade only. This film is so balanced and sympathetic to its people, and I say “people” with intention, that we turn from cursing them to pitying to loving as fluidly as we do from laughing to choking up. The final sequence might be the year’s most affecting editing through a use of different characters in essentially the same shot, and shows that car chases have nothing on cross-cutting between drivers in the Sacramento magic hour.

2. Columbus

Written and Directed by Kogonada

Sheila O’Malley in her Rogerebert.com review:

"Columbus" is a movie about the experience of looking, the interior space that opens up when you devote yourself to looking at something, receptive to the messages it might have for you. Movies (the best ones anyway) are the same way. Looking at something in a concentrated way requires a mind-shift. Sometimes it takes time for the work to even reach you, since there's so much mental ballast in the way. The best directors point to things, saying, in essence: "Look." I haven't been able to get "Columbus" out of my mind.

Wholeheartedly agreed. It clung to me. First time director Kogonada gives us an immaculate use of the frame and mise en scene. My eyes wanted desperately to eat the screen, each and every frame a morsel. And my entire being wanted to remain in the film’s world. Sadness and all.

Kogonada’s work isn’t all visual gloss but uses stillness and subdued conversations to belie an emotional tempest inside each of the two characters. This is a romance, but one just as in thrall with life as it is with clean modernist lines and the creation of form through negative space that here symbolizes those unknowable aspects of Jin and Casey (Haley Lu Richardson lights the screen in my favorite performance this year), and by extension those they love. We carry our parents with us just as these buildings carry their histories. Columbus’ characters need to navigate the empty spaces in and around themselves to connect, even if fleetingly.

1. Dunkirk

Written and Directed by Christopher Nolan

Cinematography by Hoyte Van Hoytema

Score by Hans Zimmer

I can rightfully be called a Christopher Nolan fanboy, but there’s no arguing the viscerality of this experiment. Nolan, Hoyte Van Hoytema, Hans Zimmer, and the rest of their collaborators crafted a singular war film that really isn’t a war film. It’s a story more existential. Time is elided, shattered, and edited with an exactitude that comments on history unlike any other movie in this genre.

That audiences responded to a story asking them to participate, emotionally and physically, but learn little of its characters is also fitting for the theme of people choosing to risk their own well being for the betterment of others. The lesson is to put aside your wants and let an experience take you.

The propulsive score, like the tension, never relents. How such induced anxiety can be thrilling is for later study (and this film will be studied for decades hence). It’s the notion, however, that I can be brought to tears by the shot of a Spitfire coasting across sky, out of gas but not fight, by small boats dotting the sea that are referred to as “Home”, and by Mark Rylance simply nodding to his son in acknowledgement that the right thing to do is often an act of empathy running against our in-the-moment emotional surge, that belies an elegance words can represent, but only sound and image can actually invite you to feel.

_______________________________________________________________________

We are born into a box of space and time. We are who and when and what we are and we're going to be that person until we die. But if we remain only that person, we will never grow and we will never change and things will never get better.

Movies are the most powerful empathy machine in all the arts. When I go to a great movie I can live somebody else's life for a while. I can walk in somebody else's shoes. I can see what it feels like to be a member of a different gender, a different race, a different economic class, to live in a different time, to have a different belief.

This is a freeing influence on me. It gives me a broader mind. It helps me to join my family of men and women on this planet. It helps me to identify with them, so I'm not just stuck being myself, day after day.

The great movies enlarge us, they civilize us, they make us more decent people.

-Roger Ebert

_______________________________________________________________________

Promising 2017 releases that I haven’t seen yet and might vie for retroactive inclusion on either this or the “Runners Up” list:

Star Wars: The Last Jedi

The Disaster Artist

Darkest Hour

Mudbound

First They Killed My Father

Spielberg

The Post

Molly’s Game

Phantom Thread

The Shape of Water

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the-domestication-of-the-dog · 5 years ago

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The 10th Annual L.A.O.K. Awards

Wow. Ten years of the Layokies. What a trip. I would like to give my heartfelt thanks to all five of my faithful fans for your readership over the years. In my first ever Layokies post, I named it the “1st (Possibly) Annual L.A.O.K. Awards.” I had no idea how long I’d be working at the Academy, let alone living in LA, but here we are. I bragged about seeing 180 movies that year. I just checked my Letterboxd stats for this year and it turns out I watched...180 movies. However, this year I hit a new personal best for new releases: 125. While this is about half as many as some people I know, some of the first Layokies were based on a field of 60 or 70 movies, so I’ve doubled up on my old self. Funny thing is, I can still look on other year-end lists and find many films I haven’t seen, and even some I haven’t heard of, so the field of films I’ve added are probably in the middle to bottom range of the pack. But someone out there has to watch Tolkien, Gemini Man, The Goldfinch, and Where’d You Go, Bernadette?, so it might as well be me.

In all honesty, my absolute favorite thing about living in Los Angeles and working at the Academy is access to watching movies and being around the general cinephile community, and even a bad couple of hours in a movie theater beats a lot else. Over Christmas break I saw Star Wars: The Rise of Skywalker in Shawnee, OK’s own Cinema Center 8.

It was quite a trip going back to this theater after so many years and to think of the love of film that was fostered there. Alas, the picture was pretty muddy, and I’m almost positive they showed it in 2k. ¯\_(ツ)_/¯

Now, in penance for naming The King’s Speech Best Picture in my first year (lol), I give you five real good’uns for 2019:

Best Film The Farewell The King Little Women Parasite Uncut Gems

Sometimes I touch on a year being good or bad for film in general. Not sure about the whole, but I’ll call 2019 a real SEC year (aka stacked at the top and mediocre to poor the rest of the way down). While I would probably only give one title on this list must-see status (Parasite), these are all definite should-sees. The Farewell made me laugh and cry and cringe. One might even go so far as to say it “gave me all the feels.” The King gave me actual siege warfare and period-accurate haircuts. Little Women hit me with that structure, and at first I was all “hol up,” but then I was all “OK I see you.” Little Women also made me cry because I cry in movies now. (A quick aside, because while I absolutely loved Little Women, it’s not really going to come up again. If you liked the movie and haven’t read the book, please do yourself a favor and make it the next one on your list. You can’t know how great this movie is unless you know how good Beth is. Beth kind of got lost in this one, and you need to know Beth.) Parasite blew me away through its normality (who, having seen The Host, Snowpiercer, and Okja could have guessed that it wasn’t about some actual alien parasite??). And Uncut Gems was exactly as perfect as I expected it to be. And the Layokie goes to... The King

Faithful readers will know that one of my absolute favorite genres is ‘discreet conversation behind castle walls,’ and The King absolutely nailed it. It has everything: leadership position foisted on a worthy but flawed character who doesn’t want it, conversations in tents about battle tactics, love built on almost nothing but mutual respect, and most of all, Robert Pattinson doing a funny accent (it’s just a French accent, but he makes it quite funny). I would have already watched this again five times on Netflix, but I’m hoping and praying for an Oscar nomination that will never ever in a million years come in hopes that I can see it again in the theater during nominations screenings.

The Next Five Six 1917 Honey Boy The Laundromat The Lighthouse Marriage Story Portrait of a Lady on Fire

Best Actor Timothée Chalamet - The King Adam Driver - Marriage Story Paul Walter Hauser - Richard Jewell Joaquin Phoenix - Joker Adam Sandler - Uncut Gems

Another super stacked category this year. You might even say they’re *puts on sunglasses*...Stacked Actors. (<-- This is a really good joke for anyone whose favorite band from 7th-8th grade was The Foo Fighters.) These are all kind of obvious, so I’ll take a second to comment on Paul Walter Hauser and the fact that I gave out a very specific award last year titled “Refuse to Watch - Any More Clint Eastwood Movies” after trying and failing to watch The 15:17 to Paris on a plane (one of the worst pieces of filmmaking I’ve ever witnessed). Then this year Richard Jewell was getting such good buzz, and it seemed like such a good cast, and it was such a low-risk watch (on my second screen at work while doing spreadsheets), that I decided to shamefully renege on my earlier pronouncement and give it a shot. And...it was great pretty good! What is the deeal with Clint Eastwood?? He’s made some of my least favorite movies of the decade (Gran Torino, Invictus, Hereafter was a particularly awful stretch, Sully was pointless, and even parts of American Sniper, which was otherwise tolerable, were absolute cringefests). Anywho, I was very impressed by Paul Walter Hauser’s understated but perfect performance, in which he gets one good chance to blow up and yell at people--which you know I love. I hope he gets nominated, because it would be a great Oscar clip. (My ultimate dream job would be to pick the acting Oscars clips and I would be very very good at it.)

And the Layokie goes to... The Sandman (love that everyone is calling him the Sandman again)

I touched on Adam Sandler “A” in the Best Supporting Actor section of my 2018 Layokies post regarding his performance in The Meyerowitz Stories, lamenting that he hadn’t taken more dramatic roles after Punch-Drunk Love and hoping that good writer/directors would keep casting him. One more wish granted by the Safdie brothers. Adam Sandler’s talent is undeniable. He is truly one of the Great Actors of his generation. I really hope this is a respected-actor-making turn for him, but the upcoming roles on his IMDd--Hubie Halloween and Hotel Transylvania 4--don’t give much hope for the immediate future.

Honorable Mentions Taron Egerton - Rocketman (but only for the phone booth scene) Shia LaBeouf - The Peanut Butter Falcon Noah Jupe - Honey Boy Robert Pattinson - The Lighthouse Jonathan Pryce - The Two Popes

Best Actress Ana de Armas - Knives Out Scarlett Johansson - Marriage Story Elisabeth Moss - Her Smell Florence Pugh - Midsommar Saoirse Ronan - Little Women

Found out last night from my resident celebrity expert Bridgette Smith that Florence Pugh is dating Zach Braff and it absolutely crushed me.

And the Layokie goes to... Elisabeth Moss - Her Smell

Her Smell was the last 2019 film I watched before writing this post, and I was really just looking for something to pass the time. I had been wanting to see it for a long time and noticed it was on HBO, so I pressed play and planned to work on this post while I watched. I couldn’t. I was riveted. The writing, score, and sound design are incredible, but it’s all tied together by Elisabeth Moss’s performance. She’s excellent at being revolting but still has all of those qualities that made her Peggy. You can’t not like her, even though you fairly hate her.

Honorable Mentions Awkwafina - The Farewell Cynthia Erivo - Harriet Lupita Nyong’o - Us (You know I love weird voices, you know I love actors doing weird voices and faces, but this was a bit much even for me. Reflective of Us on the whole, which I thought was interesting but really missed the mark.) Charlize Theron - Bombshell

Best Director Ari Aster - Midsommar Bong Joon Ho - Parasite David Michôd - The King Benny and Josh Safdie - Uncut Gems Céline Sciamma - Portrait of a Lady on Fire

And the Layokie goes to... Benny and Josh Safdie - Uncut Gems

Wired: New directors Tired: Old directors

Boy do I not understand the love for The Irishman and Once Upon a Time in Hollywood. I’m not totally against boring movies if there’s a good reason for it (Midsommar was actually quite boring), but these were some of the least compelling films I watched all year. On the other hand, you have these young directors coming out of prestige horror, Ari Aster, Robert Eggers, and to a lesser extent David Robert Mitchell and Trey Edwards Shults, making some of the most dynamic films out there. Reminds me of Roger Ebert talking about early Scorsese in Life Itself (which I can’t find a clip of). Then you have Benny and Josh Safdie doing Scorsese better than Scorsese with literally breathtaking shots like the one below. How they construct such amazing edits out of such disparate takes as the one in the still above is a wonder. They’ll go from five extreme close-ups in a row to a jaw-dropping shot of the inside of a jewelry store zoomed in from across the street. And that’s just the tip of the iceberg on what makes them the best filmmakers working right now.

Honorable Mentions Noah Baumbach - Marriage Story Robert Eggers - The Lighthouse Claire Denis - High Life Greta Gerwig - Little Women Alejandro Landes - Monos Sam Mendes - 1917 Alex Ross Perry - Her Smell Joe Talbot - The Last Black Man in San Francisco Lulu Wang - The Farewell

Best Supporting Actress Laura Dern - Marriage Story Lena Headey - Fighting with My Family Lee Jung Eun - Parasite (The housekeeper) Meryl Streep - The Laundromat Shuzhen Zhao - The Farewell (Nai Nai)

And the Layokie goes to... Laura Dern - Marriage Story

Here’s one for the Laura Dern stan accounts: There’s no question that Noah Baumbach is a talented director of actors, but Laura Dern makes so much out of seemingly not a lot in this role. She truly embodies a wholly unique and three-dimensional character that could have extremely easily been one-note.

Honorable Mentions Lily-Rose Depp - The King Florence Pugh - Little Women Margot Robbie - Bombshell

Best Supporting Actor Timothée Chalamet - Little Women Willem Dafoe - The Lighthouse Shia LaBeouf - Honey Boy Al Pacino - The Irishman Robert Pattinson - The King

And the Layokie goes to... Willem Dafoe - The Lighthouse

For being all: https://www.youtube.com/watch?v=xT7uR4wNMJs

Honorable Mentions Bill Hader - It Chapter Two Tim Heidecker - Us Sam Rockwell - Richard Jewell Song Kang Ho - Parasite (the dad) Lakeith Stanfield - Uncut Gems

Best Original Screenplay The Farewell - Lulu Wang Her Smell - Alex Ross Perry Marriage Story - Noah Baumbach Parasite - Bong Joon Ho Uncut Gems - Benny and Josh Safdie

And the Layokie goes to... Parasite - Bong Joon Ho

Another genre we don’t get nearly enough of: comedies of errors. A script like this is as sophisticated as any mystery, political thriller, or...some other sophisticated type of script, like uh, I don’t know, they usually just say Chinatown or Witness. I did think it lagged a bit in the third act, but everything that came before it was so tight. Twist after turn after twist, so funny, so shocking. This is such a rare prestige crowd-pleaser that it really does harken back to Hitchcock; if a wide audience can get over watching subtitles, this has to have one of the lowest barriers for entry of any foreign film in a long time. Here’s hoping for a Best Picture Oscar nomination and a wide release. Uncut Gems played at Shawnee’s other theater (titled simply Movies 6), so it’s not that far out of the realm of possibility. But I know people in LA, even that work at the Academy, who won’t watch subtitled films, so getting people to actually go see it is another question.

Honorable Mentions Peterloo - Mike Leigh

Best Adapted Screenplay Jojo Rabbit - Taika Waititi Joker - Todd Philips & Scott Silver The King - David Michôd The Laundromat - Scott Z. Burns The Two Popes - Anthony McCarten

And the Layokie goes to... The King - Joel Edgerton and David Michôd

It wouldn’t be the Layokies without me championing one film that no one else cares about. I just really really liked The King. Timothée Chalamet is so hot right now! How did this get so overlooked?? 😭

Best Documentary Apollo 11 Honeyland It’s a Hard Truth Ain’t It Maiden Mike Wallace is Here

And the Layokie goes to... Maiden

As I’m in the process of producing a documentary right now, it pains me a bit that my top two picks in this category are almost entirely archival. I thought Mike Wallace is Here was so well done, and the director did some amazing things playing with aspect ratio. But Maiden came into port first. What is wrong with people who don’t appreciate sports? This xkcd comic (who I usually appreciate) makes me so angry. Tell the women who worked their asses off for years to claw their way into this male-dominated space and literally made the world a better place that their efforts were no more than a weighted random number generator on which to build narratives! Clearly the narratives are there, but it rarely has as much to do with the result of the competition as it does the effort that it took individual human beings to get there. See also: Undefeated (currently streaming on Netflix).

Honorable Mentions Fyre They Shall Not Grow Old Satan & Adam

Best Foreign Language Film Duh Parasite

Biggest Missed Opportunity Pokemon: Detective Pikachu (How the first live action Pokemon movie should have happened)

Not Even Close to Enough Monsters Godzilla: King of the Monsters

Most Unbelievable Cosplay Tom Hanks as Mr. Rogers

Absolutely Crushing the Sensitive Dad Roles Billy Crudup in After the Wedding and Where’d You Go, Bernadette?

Good in Everything Too obvious, but Florence Pugh - Fighting with My Family, Midsommar, Little Women Robert Pattinson - High Life, The Lighthouse, The King Adam Driver - The Dead Don’t Die, Marriage Story, The Report, Star Wars: The Rise of Skywalker

Destigmatizing Fatness Award Dolemite is My Name The Laundromat Skin Almost Hustlers but then not (Lizzo got what, 30 seconds of screentime??)

#WasteYourAudience’sTime2019 The Souvenir The Proposal

Didn’t Actually Deserve to be Driven into the Ground Dark Phoenix The Kitchen

Just Plain Liked It Triple Frontier

Most Forgettable Tie: Tolkien and High Life (not for me, but it took me a full 10 minutes to convince Becca that she watched this, and I had to describe the masturbation chamber aka fuck box in a lot of detail before she got it, and I’m still not totally convinced she remembers it)

The Something Award Motherless Brooklyn

The Nothing Award Judy

Worst Movies 1. Rambo: Last Blood 2. Between Two Ferns: The Movie 3. Abominable 4. The Lion King 5. Godzilla: King of the Monsters 6. Wine Country 7. Jumanji: The Next Level 8. Frozen II 9. The Goldfinch 10. Pet Semetary

Best Scenes

Avengers: Endgame - The hammer, the portals, all the nerdy/normie BS, what can I say call me a basic bitch but there were some genuine holy schmoly moments in this that made it a really fun movie to experience in the theater

A Beautiful Day in the Neighborhood - When Mr. Rogers uses the puppets on Lloyd

Captain Marvel - When she went full shit on ‘em

Climax - The opening dance sequence (the only thing that made this movie worth watching)

The Farewell - Too many to choose from, but I think my favorite moment in this movie was when they were taking photos of the fiances and another couple stumbled in on them, claiming they were lost. That couple leaves and we never see them again. These are the kinds of details that make movies come alive. Absolutely brilliant.

Gemini Man - The motorcycle chase (a rare scene actually made better by the high frame rate)

John Wick: Chapter 3 - Parabellum - The knife fight in the knife store

The King - The conversation between Hal and Catherine

Knock Down the House - When A.O.C. debated the incompetent proxy

The Last Black Man in San Francisco - Skateboarding into town

Little Women - The “break-up” scene between Jo and Laurie (not a spoiler)

Midsommar - The drug trip scene (not that I’ve ever done drugs but this was the most accurate drug trip scene of all time) and the Ättestupa ceremony. Also found out in the video linked above that Ari Aster pronounces it Mid-SO-mar?? I thought that was the dumb way to pronounce it but apparently I’m the dumb one. Also also, another amazing detail worth mentioning: I absolutely loved that every time they were in their community sleeping barn, there was a baby crying somewhere on the second floor that we never see. Such a perfect way to put the characters and the audience on edge and indicate that there’s something wrong here.

Once Upon a Time in Hollywood - While I didn’t care for this movie, the scene where Brad Pitt went to the movie ranch and when he fantasized about going to the film set were absolutely dripping with tension, which made them as just as riveting as the rest of the movie wasn’t

Parasite - When the other family comes home early

The Peanut Butter Falcon - The scene after they come out of the corn field and share one of their first genuine moments

Uncut Gems - *Sarah Palin voice* All of ‘em, any of ‘em. But seriously the finale with the Celtics game

Us - The initial home invasion and the visit to the Tylers’ home (Tim Heidecker and Elisabeth Moss)

The A.V. Club also does a best scenes list at the end of the year, and I love writing mine first and then seeing what they came up with. I’m always surprised at how many we match on. Just goes to show that a good scene is universal. I also enjoyed some of theirs that I overlooked here, including from Her Smell, Bombshell, Ad Astra (I almost included the moon chase myself and thought the baboon scene was equally compelling), and Portrait of a Lady on Fire.

Stupidest Scenes Every other John Wick 3 scene

Deserves Discussion The Dead Don’t Die

This movie was a lot of fun. But then it also completely sucked? Not really a Jim Jarmusch fan in the first place, but this had so many awesome elements to it: a great cast, great soundtrack, really fun and unexpected ways of breaking the 4th wall, but then it was also pointless and boring. I would love for someone to tell me why this is a good movie after all, but judging by its complete absence from the end-of-the-year discussion (or any discussion), I’m guessing no one cares enough to mount that challenge.

Best Visuals Alita: Battle Angel Aquarella A Hidden Life Honeyland Midsommar Monos

Many LOLs It Chapter Two Jojo Rabbit Parasite

Best Song Ready or Not - The Hide and Seek Song (why was this not submitted?)

youtube

Best Soundtrack Waves - Never have I already known so many songs on a film’s soundtrack; it’s almost as if Trey Edwards Shults is another white guy around my age with the same interests as me...

Worst Accents Midway

Started But Never Finished Cats Cold Case Hammarskjold Genndy Tartakovsky’s ‘Primal’ - Tales of Savagery The Highway Men High Flying Bird Queen and Slim Spies in Disguise

Didn’t See Ash is Purest White Atlantics The Beach Bum The Body Remembers When the World Broke Open (still really want to see this one) Clemency Diane Invisible Life Luce Shadow Synonyms Transit Woman at War

Absent on Purpose Pain & Glory Ford v Ferrari I think these are the only two contenders that I’ve seen and haven’t mentioned. I actually liked both of these movies quite a bit. Just didn’t stand out for me in any one category I suppose. But then also: Booksmart Brittany Runs a Marathon Just Mercy The Mustang

Hah!

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birdlord · 8 years ago

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What I Watched in 2016

Here are the movies and TV series I watched in 2016, some with commentary and some without. The number after the movies is the date of release, my faves are bolded, and rewatches are marked with as asterisk. Last year’s list!

01 Do I Sound Gay (14)

02 We are The Best! (13)

03 Hateful Eight (15)

04 Welcome to Me (14)

05 For Your Eyes Only (81) - I listened to a lot of back episodes of the James Bonding podcast early this year, which of course led to watching a bunch of Bond movies. Not all, and not in order, certainly.

06 She’s the One (96)

07 * Diamonds are Forever (71)

08 It’s Complicated (09) - I think it was an article about the kitchen design in this movie that led me to watch it?

09 The Natural (84)

10 * Anna Karenina (12) - Never having read the book I can’t REALLY speak to this movie but haha I kinda love its commitment to artifice.

11 About Time (13)

12 What We Do in the Shadows (14) - I did enjoy this, but wasn’t as taken by it as I thought I might be. Found the werewolves the funniest by far, so I wish they’d turned up more often.

13 The Abominable Bride (15) - counting this as a movie, it was the Sherlock xmas special and I recall exactly zero about it, so…..must have been amazing, right?

14 Wake in Fright (71) - Never Go To Australia

15 Hail Caesar (16) - I think I’d have to see it again to determine if the whole thing actually holds together, but at the time, it felt of a piece with the Coen’s cheerier output.

16 In the Heart of the Sea (15)

17 The Night of the Comet (84)

18 Laggies (14)

19 * Bowling for Columbine (02)

20 A Gentleman’s Agreement (47) - confessional, experiential journalism, but done by Cary Grant in the 40s. Ahead of his time/gender?

21 Barefoot in the Park (67)

22 Suddenly Last Summer (59)

23 Tangerine (15)

24 * His Girl Friday (40)

25 That Touch of Mink (62)

26 * Charlie’s Angels (00)

27 9-5 (80) - Holy shit, somehow I thought this movie was just a rah-rah, girl power story about a bunch of secretaries getting together and overthrowing their boss and yeah, that’s SORT OF it but it gets way way weirder in the final third.

28 * Who Framed Roger Rabbit (88)

29 * The Addams Family (91)

30 * Addams Family Values (93)

31 Frida (02)

32 Bridge of Spies (15) - A E I O U and sometimes SPIES :O

33 Swimming With Sharks (94)

34 Sleeping With the Enemy (91)

35 Fatal Attraction (87) - Watched this movie and the previous one as part of an 80s/90s thriller weekend. These two are an interesting contrast to one another, being as the first is about an abusive husband and the second focuses on the most notable example of the “crazy ex-girlfriend”.

36 1 Cloverfield Lane (16)

37 The Man Who Never Was (56)

38 * To Die For (95) - This was a super fave of Teen Emily, who definitely identified with the Lydia character. Watching this time was a huge reminder than Illeana Douglas is a goddamn national treasure.

39 Trouble In Paradise (32)

40 Eraser (96)

41 * Flashdance (83)

42 * Notting Hill (99)

43 Gone to Earth (50) - Not the best Powell and Pressburger out there, but one takes what one can get, right?

44 Holiday Camp (47)

45 Never Sleep Again (10) - This is a four-hour doc about the entire Nightmare on Elm St series, and is the reason I watched Freddy’s Revenge a couple of movies down the list. It’s not a series that I have a particular attachment to, so I learned a ton.

46 Clouds of Sils Maria (15)

47 Mommie Dearest (81) - I’m not sure that I have enough appreciation for high camp to really get into this. There were some moments, but overall it’s a fine example of the kind of thing that is Not For Me.

48 Nightmare on Elm St: Freddy’s Revenge (85)

49 Inside Man (06)

50 Trainwreck (15)

51 White God (14)

52 * Sleepwalk With Me (12)

53 Amy (15)

54 * Meatballs (79)

55 Everybody Wants Some!! (16) - I found this a huge disappointment, and I’ve been a bit mystified by its positive reviews and inclusion on critics’ end of year lists. While D&C definitely has a “main character”, and we do follow him and his friends, other people and subsets of the high school are given serious time and consideration. Ultimately, I don’t think following this one dude tripping through a bunch of different college subsets was as illuminating. Plus, weak jokes.

56 * Dazed & Confused (93) - had to cleanse the mind-palate by watching the original!

57 Summertime (55)

58 The Money Pit (86)

59 Zombeavers (14)

60 Mistress America (15) - I am finding Greta Gerwig more and more charming, the more I see of her. Greta, let’s be friends!

61 While We’re Young (14)

62 The Invitation (16) - quite effective, very upper-middle-class bohemian LA horror film. I’ve heard some complaints about the final scene, but I thought it was an effective & clever way to show an expanding scope without an extra expense or sets.

63 End of Days (99)

64 Escape From New York (81)

65 Escape from L.A. (96) - Watched these two together, on the same night. They definitely should NOT be watched that way, given how identical the plots are. Unbelievably terrible ’96-era CGI in the second one, hard to believe that Jurassic Park was three years previous?? Gotta get that Spielberg money, am I right?

66 High Rise (16) - my only real disappointment in this movie was not being around to see the decline of the civilization - we jump straight from things being fine (if weird) and everything gone to heck. My favourite part is the decline, give me decline!

67 The Great Outdoors (88)

68 * Catch Me If You Can (02)

69 Little Darlings (80) - just your classic losing-virginity-at-camp story, but…wait for it….with GIRLS.

70 * Good Will Hunting (97)

71 Popstar (16) - diminishing returns, but some funny bits (mostly in the songs, not surprisingly).

72 Tarzan (16) - watched this with friends and relatives, at a drive-in theatre a couple of days after my wedding! It’s NOT a good movie, but it was a fun time.

73 Love & Friendship (16) - got completely obsessed with Tom Bennett based on his 100% rate of scene-stealing in this film. Sevigny feels utterly out of place - am I capable of seeing her in a period piece set before, say, 1975 without feeling weird about it?

74 The Night Before (15)

75 Ghostbusters (16) - So I know I was supposed to be charmed by Kate McKinnon, but her schtick just doesn’t work on me, for whatever reason. I was also really frustrated by the final fight scene of this movie - it had obviously been hacked up in editing, and wtf is up with punching ghosts instead of containing them? I’m glad this movie happened, and certainly a great deal of the criticism it came in for was deeply unfair, but it was distinctly disappointing to find that this movie just wasn’t that great.

76 Brooklyn (15)

77 Poltergeist (82)

78 * Before Sunrise (95)

79 Love & Basketball (00) - Effusive praise for this movie somehow came to my attention from all over the place this year, so I finally had to watch it.

80 The Man Who Knew Too Much (56)

81 * Road House (89)

82 Carol (15) - watching this FINALLY allowed me to fully participate in Today’s Meme Culture

83 * Out of Sight (98)

84 Happy Texas (99)

85 Red Rock West (93)

86 Weiner Dog (15)

87 The Trouble With Harry (55)

88 * When Harry Met Sally (89)

89 Jungle Fever (91)

90 Ocean’s 11 (01)

91 Star Trek Beyond (16)

92 Two For the Road (67)

93 * Seven Year Itch (55)

94 Maggie’s Plan (15) - like I said earlier about Greta Gerwig? I liked this one even more than Mistress.

95 The Dish (00)

96 Splash (84)

97 Desk Set (57) - watching this and the next were inspired by stumbling across a blog about depictions of librarians on film. I particularly hit on this one because I’ve always wanted to see a Hepburne/Tracy film, and never had (to my memory, anyhow).

98 Party Girl (95) - one of those movies I’d always noticed on the shelves at the video store, and never actually watched it.

99 * Young Frankenstein (74) - saw this in the theatre, Gene Wilder notwithstanding I…..don’t think it’s good. It’s only extremely intermittently funny, you guys! Plus, the Putting’ on the Ritz bit makes me uncomfortable (especially in audio-only form, which I heard TOO many times after Wilder died).

100 The House of the Devil (09)

101* The Witches of Eastwick (87)

102 The Borning (81)

103 * Shaun of the Dead (04)

104 Dolores Claiborne (95)

105 The Conjuring 2 (13)

106 In a Valley of Violence (16) - definitely watched this because I happened across an article about the movie’s dog star.

107 The Witch (16) - very effective in getting across the supernatural, natural, and social dangers of early puritan America, and Black Philip has entered my idiolect for any creepy animal/person/twitter feed.

108 * Wayne’s World (92)

109 What if (13) - riffs on When Harry Met Sally’s fundamental question of women and men being friends, and basically comes to the same conclusion. yawn.

110 The Martian (15) - I read the book as part of a book club last year, and finally got around to watching the film. Since I found the worst of the writing in the book to be those passages dealing with description, the movie was a lot less annoying to experience.

111 Sleepless in Seattle (93)

112 * Thelma & Louise (91)

113 Casino (95)

114 Other People (16) - wept several times. GOSH I love Jesse Plemons, he’s so hugely sympathetic. Would watch in virtually anything.

115 The Life & Death of Colonel Blimp (43)

116 Primary Colors (98)

117 Edge of Seventeen (16)

118 *Die Hard (88) - loaded up the laptop with this and the next four xmas-set movies, for watching on planes and in airports, while we were on the road at christmastime.

119 *Batman Returns (92)

120 *Scrooged (88)

121 * The Apartment (60)

Theatre - 5

Drive-in - 1

All the rest at home or at friends’ homes!

TV SERIES

*The Office US S2-3

War & Peace (2016) - you bet your BOOTS I started the book after watching this. Did I finish it? Not even close.

Love (2016)

Better Call Saul S2 - this is a show I enjoy while I’m watching it, but I don’t particularly find it memorable. Why? Who knows. It’s still something I look forward to, but not a show that sticks with me.

Great British Bake off *S1, *S2, S7 + Xmas Specials - a eulogy for Bake-Off as it was. Pour one (pint of double cream, that is) out for what once was.

Broad City S5

Travel Man S1, S2 - I find Richard Ayoade so desperately charming, but ever time I’ve watched one of the movies he’s directed, I’ve ended up disappointed. This show is a bit hit or miss, depending on the guests he brings along, and the episodes definitely have a sameness to them, but if you find this guy even a sliver as entertaining as I do, it’ll pull you along anyhow.

The Night Manager - so looking forward to Hugh Laurie’s upcoming career phase as Bond Villain.

Cooked

Newsradio S1-S3 - I’d seen an episode or two of this over the years but never sat down to fully appreciate it. It’s making me miss Phil Hartman all over again, a fresh devastation, plus haha did u know Tone Loc plays a security guard on this show? It’s all true.

Lady Dynamite

OJ Made In America - I’ll count this as a series, since I didn’t watch it in the theatre. Still haven’t seen the other big OJ series of 2016, but I loved loved LOVED this. What impressed me the most is that, in spite of its 7 hour+ running time there were still aspects of this story that could have been expanded upon.

Silicon Valley S3

* Veep S1, S2

Catastrophe S2

Pulling - went back in time to get more Sharon Horgan in my life, since Catastrophe seasons are terribly short and far-between. I’d been aware of this show for a long time, and somehow wasn’t expecting it to be as near-devastating as it ended up being. What, did I forget what a British show was like?

Another Period S2

Difficult People S1, S2 - Another late discovery, but a great one. A fine example of just giving some funny people a show, and letting them just do their thing on it every week.

Fleabag - yes, I’m in for this, obviously. And if I wasn’t, the show designed itself to put me off, from the first moments. A wise move!

One Mississippi

Very British Problems S1, S2

Atlanta - I’ve got a bad feeling that this show’s deserved success will lead to surreal elements being deployed, but much less deftly than they were here.

Please Like Me S1-S4 - Tore through this entire series greedily, am now suffering until they make another season. Balances some very harrowing elements with comedy and an ensemble cast of loveable/terrible humans.

Divorce - Sharon Horgan’s writing minus her acting is a hollow empty shell, but hey, I’ll take what I can get, when I can get it.

The Fall S3 - I’d decided last year after S2 that I was done with this show, and yet, here we are, I was drawn back in.

The Crown

Insecure

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phoenix43song · 5 years ago

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My Reviews and Thoughts on Little Women and the Many Adaptations

To start off I have been reading the Little Women series since I was 8 I think, and I’ve been watching the 1994 version since I was 6. It wasn’t until recently that I finally watched the 1949 and the modern 2018 adaptations ( I watched the BBC/PBS mini series last year, and I do re-watch it every now and then). I still have to watch the 1933 version, which I plan to do when I find the time. I have also been re-reading the books because I am excited for Greta Gerwig’s adaptation even though I am not a fan of some of the stuff she’s been saying about a couple of the characters (but some of my fears have been relieved! Yeah!). In this long post I will post my thoughts on the novel(s) themselves, Louisa, and the adaptations that I have seen.

I will start with the one I am very familiar with: the 1994 version! I have loved this movie since the first time I watched it. It’s a tradition to watch it multiple of times around the Christmas season with my mom, and every now and then I will watch it whenever I feel like it. Since I graduated as a theatre and film student watching films and analyzing characters, their world, decisions, the themes and motifs have been really eye opening. I’ve been devouring books since I was a kid, trying to write my own novels, and I’ve made a couple of short films. When it comes to adapting a screenplay from a book there are a lot of decisions to be made: what to keep, what to cut, what to condense, does the order of things need to be changed, and what original creative content can we put in? 1994 is a really, really good adaptation of the novel, with some minor flaws, a questionable original content decision, and how the screenwriter and director put Louisa into Jo. The cinematography and music is gorgeous, the house looks lived in, and the whole atmosphere screams late American 19h century.

The acting, for the most part, is right on character and Winona did such a great job as Jo! Trini did wonderful a Meg and I liked how we got more of Meg because she’s important too. Claire Danes was a fabulous Beth (though she looks older than 14; I always thought she was 16 or 17...), while Kirsten did a fun, spoiled Amy...but she did ham it up a bit too much at times. Samantha...I did not like one bit as older Amy. Laurie was great in the first 2/3 of the movie but once he hit Europe I didn’t like how they [tried] to develop his character. His romance with Amy fell flat, which I was sad to see. Gabriel was a really good Fritz...I just didn’t like how they made them date while Jo was in New York. I understand it because the proposal at the end of the movie makes it really romantic, but the whole purpose of Jo/Fritz and Jo falling in love was that she was blind to it: she falling in love with a man. They start off as boarding house neighbors, then student/teacher, which quickly turns into friendship of equals, and it’s not until Jo is at home missing Fritz that she begins to realize her feelings. And when Fritz comes to court Jo she blushes! Despite this I’m a sucker for romance and still love Jo/Fritz despite my feelings on the adaptation choices. Marmee and Aunt March were on point and I loved how the actresses were their characters.

Now moving onto the 2017 mini series. I like this adaptation, and have watched it a few times, but there are things that just bug me and drive me crazy, and moments that I love. This is the only adaptation that does not have have Jo’s plays or the Pickwick society. I hate this and it was a poor adaptation choice in my opinion. This series really should have been at least 6 episodes and not the measly 3 that it was. Despite this the series did include moments from the book that either haven’t been adapted before, or it was just mentioned. I love how we see Beth get the courage to go to Mr. Lawerence to play the piano and their relationship. They really should have gotten a young Amy and an older looking Beth: the girls look the same age from episode 1 to 3, which especially doesn’t work for Amy. Maya did a good Jo and it’s actually impressive for her first screen role, but she did lack some of Jo’s qualities (she is way better as Robin in Stranger Things). Emily did a good job as Marmee. Anne was another really great Beth, and I have to say her freckles seem to give the character substance. Kate’s Amy was good but like Elizabeth Taylor in the 1949 version, she was not believable as young Amy. (I’ve heard Florence Pugh is amazing and a scene stealer but even if she can act like young Amy (and based on the clips she can), her womanly body will not let her be believable).

I like how Beth’s kittens made a lot of screen time (I love kittens!) and how they did the Hummel’s house: it was just like how the book described it. All of those little children did a great job at looking hungry, cold, and scared. Makes me wonder about Mrs. Hummel’s husband (I need to find that part and re-read it). I loved how the included Camp Laurie, Cousin Flo, and Laurie trying to kiss Jo. The wedding between Meg and John Brooke was sweet, esp Aunt March giving her the pearls. I crack each time I see Aunt March’s parrot (was that in the book? Man I haven’t gotten far into my re-reading of the whole book; it’s been awhile), and how we got to see how close Jo and Beth are. They tried their best in portraying Amy/Laurie, and Mark Stanley as Fritz: he was Fritz from the book! (He looks a lot younger without that bushy beard though; that’s the one thing about Fritz I can’t stand haha). It’s too bad that Jo/Fritz was so rushed in episode 3: their relationship and Fritz was barely developed. (Though they did include a lot from the book like the Weekly Volcano and Jo’s poem that brought Fritz to her). Laurie in general was not Laurie; maybe in the Laurie who wants to play all the time but that’s it. Not Laurie.

Now onto the 1949 version. I fell in love with this adaptation, flaws and all. It was very charming, had some great acting, however a lot happened off screen, some characters/moments were rushed, and I can’t believe June was 31 years old! And that Elizabeth Taylor was pregnant. It doesn’t bother me that they made Beth the youngest because Margaret did such a fabulous job as Beth. I loved all other scenes, her relationship with Jo and Mr. Lawerence in particular. This is the only version I’ve seen where the sisters buy Marmee gifts with their 1 dollar bill, and I liked how it was a surprise and quite moment. The actress who played Marmee was amazing and Aunt March cracked me up. I didn’t care for Laurie in this version either. And like I said with the 2017 mini series: they really needed to have an actress play young Amy. Elizabeth did a really good job, don’t get me wrong, but she definitely seemed way older. The hot Italian actor as Fritz was sure an interesting choice. I wish they would’ve just made Fritz Italian and just changed his name slightly (I believe Greta made Fritz French in her version since Louis Garrel is French), and I also wish he could’ve been in the movie more! Since he was close in age to June I just wanted to see them on screen more. Yes he doesn’t look one bit like Fritz in the book, and call me shallow, but I honestly don’t care in this version. Back then - and sadly to this day - Hollywood cares about looks. That’s why I love Mark Stanly as Fritz in the 2017 because he physically is Fritz. But still...anyways I am going slightly off topic.

So. The 2018 modern adaptation. This should have either been a Hallmark movie or a Netflix movie. This movie should have never been released theatrically and that’s why it bombed horrible. I mean it bombed horribly in a lot of aspects and areas, but it does have some great scenes! It’s all in the detail. They have their castle’s in the sky for one. All of Jo’s plays and the Pickwick society and how it changed to be of a platoon. I just love the attic scenes in this movie. I also love how Jo is writing fantasy stories and a fantasy novel and it’s sad that she can’t be taken seriously because there are great fantasy novelists! Tolkien, JK Rowling, G RR Martin for example. That really bothered me. I do like how Fritz is an actual professor at a university and becomes Jo’s editor and mentor, how that develops into friendship, but to me the romance aspect of their relationship falls flat somewhat. I like how they had a younger Amy and an older Amy, but I honestly got confused at first because there were younger versions of all the sisters (and it’s unbelievable that three of them would look the same with the 13 year gap). This version did a flashback style so it will be interesting to see how Greta did hers. The editing for this movie was all over the place and chaotic. I didn’t like Lucas as Laurie one bit, I get how they would go to parties but I hated those scenes (it was a good wake up call for Meg though). Beth fell short in this movie and so did Amy to an extent. You don’t really get to know John Brooke, or even their Marmee all that much. And really, Marmee? In a modern adaptation they should’ve just stuck with Mom. I did like how Jo buzzed her hair off in support of Beth (there is a good graphic novel that came out recently that’s set in the modern world and there are few similar choices. There’s also a book called Meg and Jo - Amy and Beth will come out later next year - that makes some interesting choices to say the least when adapting the novel into modern times. Anyways...), and how they had their father over seas in the army. I honestly need to watch this movie again to really critique it, but I honestly think it could’ve been a great movie...the script needed more rewrites, it needed a director who knew what they were doing, a better editor, and honestly some better actors. The potential was there, it has it moments, but it fell.

To conclude this rather blog like post (and kudos to all who have read the whole thing) I will take just a little bit on my views on Louisa herself and Greta’s version. Louisa didn’t want to write a book for children, and when she did she wrote a semi-autobiographical novel that she leaves on a cliff hanger. In my mind she meant to continue the story, but she wanted to see what the reader’s thought. She did put the story out of her mind for awhile, until the book had to go into reprints and she got hounded with fan mail and fans in general. Yes she didn’t want Jo to marry because she herself never did (from what I’ve read she did have one sided crushes and probably a few second romances that didn’t last long, but she also never saw herself as desirable; she comes across to be as maybe being aromatic asexual, demisexual, or bi). She was a bit of Germanophile, along with Europe in general, and that’s why from the first few pages of LW there’s German everywhere. Which this means that Friedrich Bhaer was probably planned in one way or another. Louisa never wanted Jo to be with Laurie because they were close like siblings and loved each other that way. Laurie thought himself in love with Jo, but Jo does bring up good points: they would quarrel and end up being unhappy because he honestly didn’t like her scribbling. Amy makes Laurie grow up and those two match each other perfectly. Fritz is a perfect match for Jo because he treats her like an equal, he helps with her writing, and she gets to be apart of a society she loves.

I have been relieved from my fears (for the most part) about how Fritz will be portrayed and the Jo/Fritz romance. We do meet him right away since we start in the present before going back and forth between past and present until the timelines match up. Greta is the only person to adapt the New Year’s Dance, which I am really excited to see. I haven’t been told if Fritz’s nephews are mentioned or seen. I know he gives her advice, but not if he teaches her his language (which I assume to be French in this version), that they do get into a fight, and that he comes to court her at her house. I was worried the umbrella proposal scene was going to be changed, but I’ve been told it’s in and it’s romantic. And then there’s Amy/Laurie! I am so glad that this relationship seems to be fully developed. I can’t wait to see everyone as their character and how Greta did the back and forth.

I am worried though about a few things: how if one isn’t familiar with the story they get confused at first with the back and forth, some of the costume choices, the acting in certain scenes, some scenes or moment being cut or condensed for time because this is a movie not a mini series, and I just wish that Fritz - Louis - could’ve been in the trailers more with more promotion. I understand why...at least Louis understands his character. Greta mentioned something that Fritz basically had to be a prize to be won and oh boy: no one is a prize to be won. And putting a lot of Louisa into Jo...I’m worried about that. Sure the 1994 version had a Louisa quote that Jo’s says about voting, but this seems like it might be too hammered in. I guess once I see the film I will finally know (and write my review and thoughts), because I can read all the critic reviews, interviews, Q and A’s I want but it’s up to me on whether or not I’ll like it or love, and I sure hope I’ll love it.

The is the end. Thanks for reading. Let me know your thoughts.

#little women

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lodelss · 4 years ago

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Soraya Roberts | Longreads | May 2020 | 10 minutes (2,564 words)

Lynn Shelton was the kind of artist no one asked for, but the only one you really wanted. The kind of person who was so good — so empathetic, so altruistic, so honorable — her work couldn’t help but be good in all the same ways. But in the face of what film became — a monstrous inequitable monopoly — she played too kind, too female, too independent, too old. When Shelton died suddenly on May 15 at only 54, from a blood disorder no one knew she had, artists more famous than her surfaced one after the other to remember her flawless reputation, critic after critic to fawn over her career. It was so familiar, all those people so quick to praise in private but almost never in public, until, you know, it kind of doesn’t matter anymore. The reality was that Shelton had made eight films, directed countless television series, and still had to audition for jobs even when she knew the people giving them. The reality was that she had to work in TV to pay for the work she really wanted to do. The reality was that people in the industry knew her name, but no one outside of it did. “The main reason women make inroads in independent film is that no one has to say, ‘I pick you,’” she told The Los Angeles Times in 2014. “I’m not pounding on anybody’s door. I’m just making my own way.”

As existence increasingly became exhibitionism, Shelton made being a private success — being a good person making good work — more valuable than being a public one. Which is why I loved her more than any other artist around. Because it wasn’t just about loving her films, it was about loving her as a filmmaker, as a woman. Because, somehow, over two decades, she was always pure independence — fervent, uncompromising, relentless and humble, humble, humble — despite the constant pressure to be otherwise. To me, she was the only kind of artist to be.

* * *

If I met Lynn Shelton, I don’t remember it. I probably saw her and would have undoubtedly come across her name more than a decade ago, in the summer of 2009, when I interviewed actor Joshua Leonard about her third film, Humpday. It irritates me that I can’t remember. She was at the very least on the fringes of mumblecore, a no-budget indie film movement which really got going in 2005 with The Puffy Chair, Mark and Jay Duplass’ $15,000 parent-funded road trip movie. These films were hipster-style verité, with mix-and-match personnel and, according to Film Journal International, a “highly naturalistic feel, a fascination with male/female relationships and low-fi production values.” Originated by writer-director Andrew Bujalski (Support the Girls), the movement also established the Duplasses, triple-threat bros with their fingers in every indie pie — from Jeff, Who Lives at Home to Amazon’s panegyrized series Transparent — and Joe Swanberg, the guy behind Netflix’s Easy. It was less of a vehicle for women. Even the It Girl.

In 2008, about a decade before she became GRETA GERWIG, I profiled Greta Gerwig for a now-defunct magazine called Geek Monthly. She and Swanberg had co-everything’ed the long-distance relationship drama Nights and Weekends. (As it happens, Shelton, who started out as an actor before it began to feel like “an exercise in narcissism,” appears briefly on screen though I don’t mention her in the interview.) I somehow addressed mumblecore’s gender divide while missing Shelton’s two features, We Go Way Back (2006) and My Effortless Brilliance (2008). “It can really feel like boys[’] town,” Gerwig confirmed at the time. She mentioned being broke, despite her omnipresence on the mumblecore scene: “There have been nights where I sit and stare at the wall and say, ‘What am I doing? What’s going to become of me?’” She was 24.

Shelton was 43. Maybe that’s why I missed her, along with the rest of the world. Even the oldest mumblers, the Duplasses, were several years younger than her. Shelton had taken a while to get into film, the same way it took me a while to get into writing. She started acting in theatre, then studied photography before moving into experimental film, editing, and documentary. “I just did not have the confidence to do it,” she told The New York Times in 2009. “And then I had to find a backdoor way in.” Shelton was intimidated, just like I would be intimidated, but the pull landed her there anyway, as it did for me. She joked that her version of film school took two decades. It sounded familiar, that long way around. The way she finally gave herself permission also sounded familiar — through a female artist, Claire Denis, who was almost two decades older than her (I was more promiscuous about my idols). “I thought: ‘Oh, my God. She was 40 when she made her first film,” Shelton told the Times in 2012. “I thought it was too late for me, so in my head was, ‘Oh, I still have three more years.’” I’ve had this exact thought about writing: that it took me too long to get here, that I’m past the point of it being worth it. You may find that many artists — many women artists, who, if they weren’t actively discouraged from pursuing art, weren’t actively encouraged, either — have had this exact thought.

Shelton beat Denis by a year. Her first movie, We Go Way Back, is probably her most autobiographical, perhaps because she had just come from the world of documentary. It follows a 23-year-old woman (Amber Hubert) as she floats through life, acting in a theatre production she doesn’t really feel and doing men she doesn’t either, until she unearths a series of letters to her disconnected adult self from her confident 13-year-old self (Maggie Brown). This specter, her own past, helps her find her way back (so to speak). Shelton has said she herself had a similar trajectory, a trajectory familiar to so many women, where she started out with all this bravado and, slowly, bit by bit — as she became a woman, as her body changed, as society encroached — she lost it. It reminds me of all those typewriters I got as a child, all the writing I knew I would do, until I suddenly felt not good enough to write, not smart enough, not allowed enough. When Shelton got some semblance of her confidence back, she was already 39. And it showed. Though she was skirting the edge of mumblecore, her films just felt more baked than the others on every level, from screenplay to soundtrack: more considered, less flip (less male?). They weren’t sentimental romances; the relationships were more complicated, the dialogue funnier. Her films weren’t self-serious, they were mature. They were about people making messes and then cleaning them up.

It makes sense that in an industry that prefers men, Shelton’s third film, Humpday, about “two straight dudes, straight balling,” would be the one to get attention — it won the Special Jury Prize for Spirit of Independence at Sundance in 2009. As she herself says exasperatedly in the film, in which she plays a polyamorous boho den mother-type, “Boys. Fucking boys.” By that point, three years into the career she took so long to get to, Shelton had already settled on the formula that served her best, one that reflected the realism of life through the realism of her characters. She molded the movies to her muses, most of them men, from Mark Duplass (Humpday) to Josh Pais (Touchy Feely) to Jay Duplass (Outside, In). She limited the set to a small crew, cut down the takes, and shot with many of the same people (including musicians — do yourself a favor and listen to Tomo Nakayama’s “Horses” from Touchy Feely) in her drizzly home state of Washington, before sculpting it all in the editing suite.

That she worked so organically, so modestly, from the place she grew up — not New York, not L.A., not some soundstage — was part of the whole thing. It wasn’t about careerism (repulsive), it was about her doing her best work. As for the money, if Shelton wasn’t funding her films through her own television work (she has said she only really felt professional after she directed Mad Men in 2010, while being named executive producer on Hulu’s Little Fires Everywhere last year was a whole new level of arrival) it was through grants and fundraisers, with the crew paid through a profit-sharing system. When no one was getting money, at the very least they were getting warm meals. As Shelton told Anthem magazine two years ago: “I want to create this emotionally safe environment as much as possible for [the actors] to take the risk of opening up their hearts and their faces and their eyes.”

This is the opposite of how art is made now, where everything is about money — huge studios, huge budgets, huge concepts, huge stars. Mid-budget films, which thrived in the indie boom times of the nineties, the most formative films for me and for the last Gen-Xers, the ones that started to sputter in the aughts when Shelton came around, have virtually vanished. What passes for mid-budget now has no less than $10 million behind it and a marquee name slumming it for cred. The few earnest indie directors left, like The Rider’s Chloé Zhao, are snapped up for superhero content — even Shelton was in early talks around Black Widow. I can’t imagine a Marvel movie by Shelton and I’m not sure I want to, but I would still see it. I would see it because she made it.

Shelton’s plots were not high concept; they were barely plots at all. Which is just how I like it. I like my movies with nothing going on: just people living their lives. Maybe it’s my processing speed — even the simplest plot can be hard for me to follow — or maybe it’s being the kid of psychiatrists. Shelton always said she wasn’t the smartest person in the world, but she was fairly sure she had pretty high emotional intelligence. She was the daughter of a psychologist. Her interest was in tangled relationships, often with multiple family members involved, and the discomfort that emerges from within them. “I’ve always been that close observer of human behavior,” she told Slant last year. “I feel like the thing that makes humans human are their flaws.”

The scene that touched me most in a marathon re-watch of Shelton’s eight films was in Touchy Feely — neither my favorite of her films nor the one featuring an actor I particularly like, which proves how skilled she was with performers. Ellen Page, playing Jenny, a sheltered, existentially morose twenty-something, sits on on a couch opposite her aunt’s oblivious boyfriend (played by handsome indie regular Scoot McNairy), staring at his lips, laughing tightly, nervously, her eyes bigger than the whole room. With no music, and just the two of them, side by side, quietly talking late at night in a dingy apartment, Jenny’s lust is so powerful it’s practically a third character and her words, as though overflowing from her loins, come out almost despite her: “Have you ever wanted to kiss someone so badly that it hurts your skin?” Yes. Right now. This isn’t cinema, it’s a conduit for intimacy. Which maybe says more about me than I want it to. But I have a feeling this approach — slow, humane, in no way prescriptive or showy — is what led so many critics to dismiss Shelton. That scene, and Shelton’s movies as whole, remind me of a quote from Before Sunrise, a movie made by a man, but as collaborative in spirit: “I believe if there’s any kind of God it wouldn’t be in any of us, not you or me but just this little space in between.”

My favorite Lynn Shelton movie is Laggies. I’ve probably seen it ten times. It’s the story that gets me. Which is the same reason Shelton made it, the only movie she did not have a hand in writing (Andrea Seigel is the screenwriter). It’s about a 28-year-old woman (Keira Knightley) having a quarter-life crisis, a woman who in the end describes herself as a snake carrying around her dead skin — old life, old relationship, old friends. Until she can shed all of this (will she?) she is in “this weird in-between place,” eventually befriending a teenager (Chloë Grace Moretz) and falling for the kid’s dad (Sam Rockwell), who is not unlike her. “You know, I never anticipated still having to find a place where I fit in by the time I was an adult, either,” he says. “I thought you automatically got one once you had a job and a family. But it’s just you, alone.” God, yeah. You don’t see much of this on screen, the female midlife crisis, though you do see a lot of the male version. And that sucks. Shelton refers to it as floating, but to me, when I have experienced it, it feels more menacing — like you have no tether, like you’re one of those astronauts who becomes detached from that shuttle cord and disappears into the black. Shelton questioned whether she was selling out by making a movie someone else wrote, a glossier movie than usual, starring real life celebrities. But she couldn’t resist the story in the end, a story that essentially defined her. “She doesn’t know what she wants to do but she knows what she doesn’t want to do, which is to fall in lockstep with this conventional timeline of what quote-unquote adults are supposed to do and that all of her friends around her are doing,” Shelton told The Georgia Straight in 2014. “I’ve tried to do things on my own terms and it took me 20 years to get to doing what I’m doing so I really relate to that prolonged journey of self-discovery.”

* * *

“I’m sorry,” one of my best friends said when I told him Lynn Shelton had died. I’ve never had someone I know respond that way when someone I don’t has died. “I wouldn’t normally say that,” he explained, “but I know how you feel about Lynn Shelton.” It’s true that I didn’t know her, but I knew her films, and the two were inextricable. Just like her and Marc Maron, her creative partner and her partner in life. Maron was Shelton’s last muse. She made Sword of Trust for him, a film in which he plays Mel, a pawn shop dealer, who is brought a sword by a couple that supposedly proves the south won the Civil War, which they collectively sell to a pair of loony right-wing conspiracy theorists. Shelton appears as Mel’s ex, a woman with whom he fell into drug addiction and whom it is clear he still loves but can’t trust. But it’s Maron you can’t take your eyes off, maybe because it’s him Shelton can’t take her eyes off. As he said on his podcast, “I was better in Lynn Shelton’s gaze.” Everything was. When Shelton was walking around, it meant that, despite how bad it was, the world was still a place where a woman could be an artist, a woman could be a woman, on her own terms. What Denis did for Shelton, she continued to do for me. I don’t want to think of what her death means for film, but I know for me, as a woman, as an artist, it makes the world a whole lot harder to bear.

* * *

Soraya Roberts is a culture columnist at Longreads.

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thejoeydavis · 7 years ago

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Movies of 2017

Every year I write down all the movies I watch and compile it in a long year-end list like this one. Since mid-2016 I’ve used letterboxd.com to keep track of dates and ratings but in 2017 I started recording where I watched each film too (got the idea from Silver Screen Fiend by Patton Oswalt; his list is 4 years and hundreds of movies long). This is about 12,000 words long and it took me a few days to write (and a month to edit apparently) so I don’t really expect anyone to read this all the way through but there are top/bottom 10s and honorable mentions at the bottom if you just want the highlights. Also y’all know these are just my opinions right? Feel free to discuss movies you also saw last year or maybe even give some recommendations if you want to. My watchlist is about 500 movies long and I’m always adding to it. Thanks for reading and I’ll see you in a year.

116 movies in 2017

January – 11

February – 5

March – 3

April – 4

May – 8

June – 10

July – 12

August – 15

September – 17

October – 6

November – 9

December – 16

1/1 – Hell or High Water (2016) – 8 – Home (Ridgecrest) – Directed by David Mackenzie – Written by Taylor Sheridan – Dirty, gritty, and full of brotherly bank robbing, Hell or High Water is a thrilling and morbid look at the lower class rural communities that America is leaving behind and the lengths to which some will go to provide for their families. The line between good and bad is muddled as the exploited seek to take back from the exploiters and as the law (Jeff Bridges) slowly closes in on them. Really exciting and moving film with great performances all around. Highly recommended if you liked Sicario (the darker and more thrilling version of this movie, also written by Taylor Sheridan) or if you like the atmosphere and/or flavor of crime unique to the American Southwest.

1/2 – Frances Ha (2012) – 10 – Home – Directed by Noah Baumbach – Written by Noah Baumbach and Greta Gerwig – One of my top 5 films ever and contender for coziest film of all time, Frances Ha is arguably Noah Baumbach’s magnum opus. This film has been both praised and criticized for its mumblecore-esque dialogue, “quirky” characters, and the seemingly meandering plot in its 86-minute runtime. To enjoy this you really need to be able to empathize with the plight of these privileged white kids in their late 20s as they try to find direction in an inherently directionless time in life. It’s not a film for everyone but it’s everything to the people for whom it resonates. It seems to have a permanent stay on Netflix too so check it out if you have an hour and a half to spare. Also it has Adam Driver playing a privileged art kid living in Manhattan.

1/10 – La La Land (2016) – 9 – Cinemark Lancaster – Directed by Damien Chazelle – Written by Damien Chazelle – “Jacques Demy for the digital age.” If you like LA, golden-age Hollywood musicals, theatre, jazz, Ryan Gosling, and/or Emma Stone then you’ll like this movie. The non-musical parts tend to drag a bit, especially toward the last half of the film, but it’s amazing that movies like this still get released (even if it’s just a huge love-letter to Hollywood).

1/12 – Spirited Away (2001) – 9 – Home – Directed by Hayao Miyazaki – Written by Hayao Miyazaki – A classic that oozes with charm and has some of the best world-building and character designs I’ve ever seen. It receives a lot of praise and deserves every bit of it.

1/13 – Blue Ruin (2013) – 8 – Home – Directed by Jeremy Saulnier – Written by Jeremy Saulnier – An amazing and gruesome thriller from the same guy who made Green Room. If you get tired of protagonists seemingly always knowing what to do or only encountering minor setbacks placed there simply because they need to be there then I feel like you’ll like this movie. The revenger must often deal with obstacles he creates himself and that’s where much of the tension and excitement comes from (but don’t take my word for it since I haven’t seen it in a year). Is very good film though.

1/16 – Prisoners (2013) – 8 – Home – Directed by Denis Villeneuve – Written by Aaron Guzikowski – A slow burn suspense thriller about Hugh Jackman’s daughter being kidnapped and Jake Gyllenhaal having to find her. This movie is extremely fucked up and it could’ve been amazing if not for some parts toward the end that feel rushed. It’s definitely worth your time though, everything by Villeneuve is.

1/17 – Ratatouille (2007) – 8 – Home – Directed by Brad Bird and Jan Pinkava – Written by Jan Pinkava, Jim Capobianco, and Brad Bird – Probably my favorite Pixar movie. The music, voice acting, designs, writing, etc are all great obviously since this is pre-shitty Pixar (though hopefully the slump is over what with Coco’s success and Incredibles II coming soon).

~Spring Semester 2017~

1/22 – Raiders of the Lost Ark (1981) – 10– Oak (Chico home) – Directed by Steven Spielberg – Written by Lawrence Kasdan, George Lucas, and Philip Kaufman – The best Indiana Jones movie and arguably the greatest action/adventure film of all time. Hell, it’s one of the greatest movies of all time. The pacing (understandably) takes a hit after the basket chase and no one remembers the u-boat scene but otherwise it’s perfect.

1/22 – Indiana Jones and the Temple of Doom (1984) – 7 – Oak – Directed by Steven Spielberg – Written by Willard Huyck, Gloria Katz, and George Lucas – The worst of the original Indy trilogy but still good. Darker than Raiders but somehow cheesier than Crusade, and that’s not even mentioning the casual racism, although you could definitely argue that it’s being racist to satirize the serials of the 1930s. Or maybe it’s just racist because it was the 80s.

1/23 – Silence (2016) – 8 – Cinemark Chico – Directed by Martin Scorsese – Written by Jay Cocks, Shûsaku Endô, and Martin Scorsese – This movie is long and completely joyless; a two and a half hour slog of Christian missionaries being tortured and killed in horrific ways that make you question faith and the lengths to which some will go to do what they believe is right, no matter the suffering it may cause. This film is great because it’s Scorsese but don’t expect good vibes.

1/25 – Split (2016) – 5 – Cinemark Chico – Directed by M. Night Shyamalan – Written by M. Night Shyamalan – Terribly overrated, depressing, and lame. If you do decide to see this, make sure you watch M Night’s good movies first since this is a sequel and the “twist” of this one is basically a huge fuck you to anyone who didn’t. James McAvoy was amazing but it’s pretty much the only worthwhile thing about this.

2/9 – Frances Ha (2012) – 10 – Nord (old Chico apartment) – Directed by Noah Baumbach – Written by Noah Baumbach and Greta Gerwig – Fun fact, this was my most watched movie in 2017.

2/9 – Captain Fantastic (2016) – 8 – Nord – Directed by Matt Ross – Written by Matt Ross – There are pacing issues but this movie is a solid 8/10. Wonderfully heartfelt performances, lovable characters, and a beautiful story. The poster makes it look like a Wes Anderson / Little Miss Sunshine rip off but it’s not that at all. Definitely check this one out.

2/10 – 20th Century Women (2016) – 9 – Pageant Chico – Directed by Mike Mills – Written by Mike Mills – Oh wow I love this movie. So so so so good. This coming of age story is about Annette Bening, Elle Fanning, Greta Gerwig, Lucas Jade Zumann, and Dr. Manhattan living in Santa Barbara in the late 70s just living their lives. It’s nostalgic and it’s beautiful and please see this.

2/15 – Superbad (2007) – 8 – Nord – Directed by Greg Mottola – Written by Seth Rogen and Evan Goldberg – A true classic. I watched this for the first time on an iPod Nano in 2008 and had to be real sneaky about it because I knew my parents wouldn’t let me watch it. Definitely a defining film of the 2000s and one that’ll be remembered fondly.

2/15 – Knowing (2009) – 5 – Nord – Directed by Alex Proyas – Written by Ryne Douglas Pearson, Juliet Snowden, and Stiles White – This movie combines an interesting premise with some seriously disturbing disaster visuals and a not-the-worst performance from our boy Nic Cage. I actually really enjoy this movie and aside from pacing/writing issues and a questionable ending it's not even that bad.

3/12 – Kong: Skull Island (2017) – 5 – AMC Disneyland – Directed by Jordan Vogt-Roberts – Starring Tom Hiddleston, Samuel L. Jackson, Brie Larson, John Goodman, and John C. Reilly – This movie is a total schlock-fest and it’s fun as hell. Super fun action, cool creature designs, a dope setting, and John C Reilly is a god among men. On the flip side, the first 20 minutes kind of suck, the pacing is INSANE, the characterization is terrible, and the love-story was half-assedly shoehorned in but if you like over-the-top ridiculous bullshit then you’ll fucking love this movie because that’s all it is.

3/17 – Hot Rod (2007) – 7 – Home – Directed by Akiva Schaffer – Written by Pam Brady – One of the best comedies of the 2000s. Legitimately hilarious and super well written. Cool beans.

3/19 – Midnight in Paris (2011) – 5 – Oak – Directed by Woody Allen – Written by Woody Allen – I used to love Midnight in Paris but upon re-watch I noticed there are really just a few excellent scenes surrounded by terribly lazy writing. I love the themes and the depictions of the modernists but the writing is typical phoned in Woody Allen bullshit. Woody Allen retire bitch.

4/1 – The Life Aquatic with Steve Zissou (2004) – 9 – Nord – Directed by Wes Anderson – Written by Noah Baumbach and Wes Anderson – Starring Bill Murray, Anjelica Huston, Cate Blanchett, Willem Dafoe, Owen Wilson, and Jeff Goldblum – Gets better every time I watch it. It’s definitely up there with Anderson’s best even though Grand Budapest or Tenenbaum usually overshadows it. Wonderful soundtrack.

4/2 – Get Out (2017) – 8 – Cinemark Chico – Directed by Jordan Peele – Written by Jordan Peele – Relevant, funny, and poignant; This only gets better on re-watch because the script is tight as fuck and there are small things that only make sense in hindsight. Also I never realized before but there’s a very good reason the protagonist is a photographer and the thematic significance of black bodies also can’t be ignored. A very well written movie and I can’t wait to see what Jordan Peele has in store for the future.

4/6 – The Discovery (2017) – 5 – Oak – Directed by Charlie McDowell – Written by Charlie McDowell and Justin Lader – The worst Black Mirror episode you could possibly imagine: very interesting premise with a terribly flawed execution. Really it’s just boring and that’s the worst thing it could be. Also why is Jason Segel in this?

4/17 – The Autopsy of Jane Doe (2016) – 4 – Nord – Directed by André Øvredal – Written by Ian B. Goldberg and Richard Naing – The first hour was enjoyable and suspenseful but by the end I really didn’t give a shit. Very meh and wastes Emile Hirsch and an ok premise.

5/9 – Guardians of the Galaxy Vol. 2 (2017) – 6 – Cinemark Chico – Directed by James Gunn – Written by James Gunn – Back in May people were saying this is better than the first Guardians and I have no idea what movie they watched because this is blatantly awful in comparison. 80% of the action scenes are fun and engaging but the other 20% are I-want-to-go-home levels of boring. The emotional moments were certainly much better than the first but the jokes are much worse BY FAR. “Haha nipples haha turds hahaha trash panda huehuehue.” The jokes that land are hilarious but when they fall flat they fall hard. The pacing of this thing is baffling as well with short periods of insane action and long periods of nothing but failed emotion baiting and baby groot being a fool. I sleep. I do think the plot was more interesting than the first and Yondu’s story was awesome but this could have been much better. It wasn’t, but it definitely could’ve been.

5/12 – Don’t Think Twice (2016) – 8 – Oak – Directed by Mike Birbiglia – Written by Mike Birbiglia – Starring Keegan-Michael Key, Gillian Jacobs, Mike Birbiglia, Kate Micucci, and Chris Gethard – This is about a bunch of improv comics struggling with their failures and insecurities in the failing Brooklyn improv scene while one of their troupe makes it big and joins the cast of SNL. I don’t want to say anything else because there’s not much else without spoilers but you should watch this if you like comedy/comedians/improv. Pros: Written by Mike Birbiglia. Cons: Lena Dunham cameo.

5/20 – Possession (1981) – 10 – Pageant Chico – Directed by Andrzej Żuławski – Written by Andrzej Żuławski – This movie is completely insane and it fucking rules. It’s impossible to articulate anything about this movie because it’s a totally evil and fucked up cosmic horror film that relies on atmosphere and makes less sense the closer you look at it. I highly recommend this film but be prepared to leave with a ton of questions and no answers at all.

5/21 – Prometheus (2012) – 6 – Nord – Directed by Ridley Scott – Written by Jon Spaihts and Damon Lindelhof – People give this movie too much shit. I loved this back in 2012 and thought the idea of the engineers creating humanity then coming back and trying to kill them was very interesting. 5 years later I’m not totally sold on the execution but the characters are great despite their stupidity and the premise is a fun exploration into the Alien universe. I re-watched this in preparation for Covenant thinking it would be necessary but no it didn’t matter at all.

5/23 – Alien: Covenant (2017) – 5 – Cinemark Chico – Directed by Ridley Scott – Written by Jack Paglen, John Logan, Dante Harper, and Michael Green – “I’ll do the fingering.” This movie is ridiculous. The first 45 minutes or so are great and harken back to a time when Ridley Scott movies weren’t synonymous with schlocky garbage, but then it devolves into typical thoughtless action-horror. Don’t expect any questions from Prometheus to be answered and don’t expect any questions from this one to be answered because by the end of the film nothing matters. Fassbender is far and away the best part of this and the action is really cool if you don’t think about it. Really, both Prometheus and Covenant are good movies if you don’t think about the things that make them bad. Like at least they’re entertaining.

5/24 – I Don’t Feel at Home in This World Anymore (2017) – Nord – Directed by Macon Blair – Written by Macon Blair – Starring Melanie Lynskey and Elijah Wood – A fun Netflix original by Macon Blair, the protagonist of Blue Ruin and Nazi dude in Green Room. This almost seems allegorical in how it depicts those who do violence, those who oppose violence by any means necessary (even going as far as to commit violence themselves), and those who oppose violence regardless of intent or justice. It’s shot pretty well and it’s good to see Elijah Wood and Melanie Lynskey back together again (Over the Garden Wall).

5/24 – The Iron Giant (1999) – 9 – Nord – Directed by Brad Bird – Written by Ted Hughes, Brad Bird, and Tim McCanlies – A classic and a cornerstone of my childhood. One of the best animated films of all time hands down. RIP John Mahoney :(

5/27 – Alien (1979) – 8 – Nord – Directed by Ridley Scott – Written by Dan O’Bannon and Ronald Shusett – I need to watch Alien again because I feel like other people see more in it than I do. It’s great but it’s underwhelming and I expected more from it (didn’t affect my rating). It’s better than the new films but something about it didn’t work for me I guess. I’ll watch it again in 2018.

~Summer~

6/2 – Pirates of the Caribbean: Dead Men Tell No Tales (2017) – 5 – Ridgecrest Cinemas – Directed by Joachim Rønning and Espen Sandberg – Written by Jeff Nathanson and Terry Rossio – I didn’t hate this movie. Weird pacing in the first half, the plot was much looser than previous Pirates films, and the actual climax with the mcguffin was terrible BUT there were some really cool sequences and great locales/sets. I’d venture a guess that most of the budget for this went to the sets and Johnny Depp. There are really no surprises here and if you liked any of the other Pirates movies you’ll probably enjoy yourself. It’s better than the previous two. Also that one shot with the stars on the island was incredible.

6/3 – Wonder Woman (2017) – 6 – Ridgecrest Cinemas – Directed by Patty Jenkins – Written by Geoff Johns, Allan Heinberg, Zack Snyder, and Jason Fuchs – The best DCEU film and a cool WWI film but there are MANY problems. Regarding the good; this movie had fun characters, the whole beginning part on the island looked beautiful, and Gal Godot and Chris Pine are wonderful. I also rather liked the first half or so. As for the bad—there’s a lot of it. The framing device is god-awful, the CGI is laughably bad, there’s an HOUR of exposition upfront in which nothing happens, an entire German battleship disappears after they kill 30 guys on the beach and is never brought up again or explained, there’s an overuse of slow mo making the CGI look even worse, every shot off the island (even the ones in broad daylight) look like they were filmed through limo tint, and the third act is a mess. But the biggest problem I have with this film is that Diana never learns from her mistakes and is almost too naïve to be likeable. She’s doing her own thing the whole movie trying to get to Ares specifically and then when the third act comes we realize oh none of it even mattered and Chris Pine is the one who actually saves the day. DC is straight up incompetent.

6/5 – The Void (2016) – 4 – Home – Directed by Jeremy Gillespie and Steven Kostanski – Written by Jeremy Gillespie and Steven Kostanski – Cool Lovecraftian themes, some awesome practical creature effects and designs, and seriously disturbing imagery marred by a boring script and wholly uninteresting characters. This could’ve been good if the cosmic horror elements were fleshed out more but this movie is pretty lame as is.

6/6 – Chris Chan Documentary – 6 – Home – Directed by Josh L (Sachumo) – Written and Edited by Josh L (Sachumo) – Christian Weston Chandler (known as “Chris Chan��) is a 33 year old high-functioning autistic internet celebrity/punching bag known for his “countless anti-social episodes and traumatic events in his life. From public outbursts to assault of property and people, these events have eaten away at his very sanity.” I first learned about Chris Chan through memes and people doing impressions of his distinctive voice but I later learned about the man, the meme, the legend and became curious to find out more as many who discover him do. Chris is basically what happens when those with autism or other mental disabilities don’t receive the help they need at an early enough age and then discover the Internet where they find themselves at the mercy of a population disconnected from the consequences of their actions. Chris is probably most well known for his creation of Sonichu, an OC character that is a hybrid between Sonic the Hedgehog and Pikachu, but he’s probably equally well known for engaging with the trolls who have harassed him for well over a decade. If you’d like to learn more about Chris Chan I recommend checking out this movie, the Chris Chan Documentary: https://youtu.be/bXjnakAlF-s or this Down the Rabbit Hole episode about Chris: https://youtu.be/5IPtLvxO8hs OR the best version; the Chris Chan Lecture: https://youtu.be/vFOIauPQ5XI

6/19 – It Comes at Night (2017) – 7 – Christiana Cinemark Newark, DE – Directed by Trey Edward Shults – Written by Trey Edward Shults – I love the concept of the audience only knowing as much as the characters; it gives the film a sense of immersion you don't get with other horror suspense films. Despite that I don't think this lived up to its potential so it was a bit disappointing imo. They could've done more with it but for what it is I think it's completely fine. I don't think it's fair or sound to judge a movie based on expectations vs. result so I won't do that here but I think they could've gotten away with a little more plot. I'll probably never watch it again but I enjoyed it and would recommend it fur sure, especially if you like what a24 has released previously.

6/19 – Independence Day: Resurgence (2016) – 2 – Hockessin, DE – Directed by Roland Emmerich – Written by Dean Devlin, Roland Emmerich, Nicolas Wright, James A. Woods, James Vanderbilt – This movie sucks so bad I purged it from my brain.

6/20 – The Mummy (2017) – 3 – United Artists Philly – Directed by Alex Kurtzman – Written by Christopher McQuarrie, David Koepp, and Dylan Kussman – I didn’t hate this movie but I did get bored around the second or third round of expository monologue. Tonally inconsistent and, at times, what seemed like an inexplicable combination of two different movies. There were the parts about the Jekyll SCP-esque society for containing evil, which I thought was pretty cool, but then there were the parts about the actual mummy, which I couldn’t have cared less about. I think everyone did a fine job here with what they were given except for Jake Johnson whose delivery was ridiculously terrible for some reason lmao

6/29 – Life (2017) – 4 – Home – Directed by Daniel Espinosa – Written by Rhett Reese and Paul Wernick – Starring Jake Gyllenhaal, Rebecca Ferguson, and Ryan Reynolds – I literally just wrote a list as I watched so here are the most important thoughts I guess: the score is extremely generic, some really dodgy CGI in places, the characters are idiots, I got bored and looked at the time and there were still 45 minutes left oh god, they refuse to kill the alien even when they have the chance, and my final thought was “glad I didn’t pay money to see this.” I also said “I liked when Calvin smacked into the door like a cartoon.” Haha that part was good. Still better than The Cloverfield Paradox.

6/29 – Crimson Peak (2015) – 8 – Home – Directed by Guillermo del Toro – Written by Matthew Robbins and Guillermo del Toro – The sense of place and atmosphere in this film is remarkable. Some seriously spooky imagery and ghost design and the camera work is delicious. Love the sets, love the performances, and love the genre. Goddamn that’s some good shit right there.

6/30 – The Beguiled (2017) – 9 – Arclight Hollywood – Directed by Sofia Coppola – Written by Thomas Cullinan and Sofia Coppola – Starring Colin Farrell, Nicole Kidman, Kirsten Dunst, and Elle Fanning – Incredible sound design, cinematography, atmosphere, tension, and performances. Most shots could be framed and hung on the wall and every scene had such a thick sense of place you could reach out and grab it. Worst thing were some of the accents at times but god damn everything else was near perfect. It’s downright disgusting how slept on this movie was.

7/3 – Cars 3 (2017) – 7 – Ridgecrest Cinemas – Directed by Brian Fee – Written by Robert L. Baird, Daniel Gerson, Kiel Murray, Bob Peterson, Mike Rich, Brian Fee, Ben Queen, Jonathon E. Stewart, and Eyal Podell – Here’s my letterboxd review from the day I saw Cars 3: “Never thought I'd be able to empathize so well with anthropomorphized cars. Uh so I really enjoyed this movie and it's much better than Cars 2. Glad they toned town the Mater involvement and when they did include him his jokes landed pretty well so he was actually fun in this one. The pace was lightning fast for the first act but the 2nd and 3rd were pretty good and the climax was pretty intense even though I knew exactly what was going to happen. This movie looks fucking incredible and some of the shots looked close to photorealistic. The lighting especially was so fucking choice dang. Can u tell I love Pixar movies?”

7/6 – The Thing (1982) – 10 – Home – Directed by John Carpenter – Written by Bill Lancaster and John W. Campbell Jr. – Arguably one of the best horror films of all time and a personal favorite of mine. Practical effects are life. It’s just perfect. The second watch later this year has more info about it so read that one too.

7/9 – Despicable Me 3 (2017) – 6 – Ridgecrest Cinemas – Directed by Kyle Balda and Pierre Coffin – Written by Ken Daurio – This was fun. The animation looked pretty good and Trey Parker was pretty hilarious in every scene he was in, although I couldn't help my cynicism and notice how transparent some of their decisions for this installment were. Dr. Nefario is frozen in carbonate because I'm guessing they couldn't get Russell Brand again and they included a ton of 80s stuff to cash in on the whole stranger things / 80s nostalgia craze. Even with these things in mind they still wrote a more than coherent plot around it so whatever I won't fault them even though they weren't very subtle about it. There were 2-4 separate plots going on at any given time but it worked because it kept the movie flowing well. The minions were ok but they didn't do much. Pacing was pretty good and I was surprised to find out it was only like 1h25m. If you liked the other ones you'll like this one.

7/10 – The Big Sick (2017) – 8 – Ventura Downtown 10 – Directed by Michael Showalter – Written by Kumail Nanjiani and Emily V. Gordon – Starring Kumail Nanjiani, Zoe Kazan, Holly Hunter, and Ray Romano – Fucking incredible. I used to love comedy—I still do but I used to too—and if you love comedians like I do then you will probably love this film as well. Kumail's story is hilarious as it is heartbreaking and it completely subverts the romantic dramedy format that Apatow films are known for. Someone recently criticized Apatow films for running about 20 mins too long and I definitely felt that with this one too (less so on rewatch). Still works even if it feels a bit overlong. Anyway yeah throw all your fucking money at this film. Stories like these deserve to be told and, most importantly, seen. 1000 congrats to Kumail and everyone else involved.

7/14 – Aliens (1986) – 7 – Home – Directed by James Cameron – Written by James Cameron – I really don’t know why Alien is such a successful franchise. The first Alien is great, Aliens is good but not great, and the rest are shit in comparison. I can barely remember anything about this movie and this isn’t even the first time I’ve seen it. Perhaps it is not for me. All I can remember is Bishop’s knife trick (WHAOOOOOOAOAAOOHHH WHAOOAOAOAOHHHHHH WHHHHOOOOOOOOOOOAHHHHHHHHHH) and Newt saying “they moostly come at night,, moostly”

7/15 – Baby Driver (2017) – 7 – Ridgecrest Cinemas – Directed by Edgar Wright – Written by Edgar Wright – Overrated. The deaf representation, synchronized soundtrack, and performances are great but this is the weakest film Edgar Wright has done imo. The pacing is weird and it doesn’t always make sense given the character motivations and also Kevin Spacey is in a movie called baby driver. Kinda forgettable in hindsight.

7/17 – The Big Lebowski (1998) – 10 – Oak – Directed by Joel Coen – Written by Joel and Ethan Coen – Starring Jeff Bridges, John Goodman, Julianne Moore, Steve Buscemi, and Philip Seymour Hoffman – A lot of people don’t like this movie and I feel like it’s because the comedy is derived from the characters instead of actual jokes and gags. These people are hilarious and the characterization is absolutely incredible so by the end of the movie you should be completely on board with the chaos that is the Big Lebowski. Absolutely masterful writing and directing because it’s the coen bros.

7/18 – Friday (1995) – 5 – Oak – Directed by F. Gary Gray – Written by DJ Pooh and Ice Cube – Starring Ice Cube and Chris Tucker – This was the first time I watched Friday and now I know where all the annoying piece of shit kids in middle school got all their references. This movie is pretty funny though so I don’t blame em.

7/20 – The Green Inferno (2013) – 3 – Oak – Directed by Eli Roth – Written by Guillermo Amoedo and Eli Roth – This gets worse every time I watch it so why the fuck do I keep watching it. The only thing this movie has going for it (if you can even say that) is that the gore is legitimately fucked up. Honestly this movie would work pretty well if it went the dark and gritty Cannibal Holocaust route but it’s just so ridiculously stupid and tonally inconsistent.

7/22 – Dunkirk 70mm IMAX (2017) – 10 – Ontario 22 – Directed by Christopher Nolan – Written by Christopher Nolan – What I’d imagine a perfect movie looks like. Maybe it’s because I saw this in 70mm IMAX but this film is incredible. It doesn’t feel like it should be but it really is that good. The biggest complaint I’ve seen about this has been about the lack of characterization, which is very obviously not the point of this movie at all and shouldn’t be taken into consideration when critiquing it. The characters are not the point. You don’t need a lull in the action where 5 people gather around a campfire and talk about their lady back home like every single other shitty melodramatic war movie since the beginning of time. This isn’t Saving Private Ryan; it’s fucking Dunkirk. It’s a mad dash through land, sea, and air to survive. It’s tense, it’s moving, and it’s pure suspense and thrills from start to finish. One of the best movies of the year no doubt about it. Seeing it in IMAX was a revelation.

7/23 – Enemy (2013) – 8 – Home – Directed by Denis Villeneuve – Written by José Saramago and Javier Gullón – This movie is crazy. Just watch it without looking up anything about it I promise it’ll be better that way. And make sure you pay attention from start to finish to get the best experience because there’s tons of symbolism (spiders and webs etc). I’d think this would get better on rewatch if the first viewing wasn’t so insane.

7/29 – Dunkirk 70mm IMAX (2017) – 10 – Regal Hacienda Crossings 20 – Directed by Christopher Nolan – Written by Christopher Nolan – It was even better the second time.

8/1 – The Prestige (2006) – 9 – Oak – Directed by Christopher Nolan– Written by Jonathan Nolan, Christopher Nolan, and Christopher Priest – Even though I rated Dunkirk higher I’d say this is Nolan’s best work. Everything has a purpose and everything is important. “Are you watching closely?” Only complaint is that there’s something about this that feels cheesy but that might just be a Nolan thing.

8/2 – Spider-Man 2 (2004) – 6 – Oak – Directed by Sam Raimi – Written by Alvin Sargent and Stan Lee – Not nearly enough Spider-Man in this Spider-Man movie. Also it’s cheesy as hell because 2004.

8/3 – Jackass: The Movie (2002) – 6 – Andrew’s House – Directed by Jeff Tremaine – Written by Jeff Tremaine, Johnny Knoxville, and Spike Jonze – Like it or not, jackass is culturally significant and a perfect snapshot of the MTV crowd in the early 2000s. This is my childhood and I’m happy the newer generations are still watching this stuff.

8/4 – Mattress Man Commercial (2003) – 8 – Home – Directed by Paul Thomas Anderson – Starring Philip Seymour Hoffman – A comedic short featured on the 2-disc DVD of Punch-Drunk Love, released in June 2003: https://youtu.be/fkeLGisUHtc

This is actually a parody of this original mattress man commercial: https://youtu.be/Fsro18nP3mg

8/7 – The Treasure of the Sierra Madre (1948) – 8 – Home – Directed by John Huston – Written by John Huston and B. Traven – Starring Humphrey Bogart, Walter Huston, and Tim Holt – Great movie about greed and humanity. It’s no wonder Paul Thomas Anderson named this as an inspiration for There Will Be Blood. Kinda slow but worth it in the end. Required viewing as far as Bogart movies go. I don’t remember it very well to be honest.

8/8 – Gangs of New York (2002) – 7 – Home – Directed by Martin Scorsese – Written by Jay Cocks, Steven Zaillian, and Kenneth Lonergan – Daniel Day-Lewis is amazing in this, Leo is alright in this, and Cameron Diaz—well I guess my question is, can you recast someone’s part in a 15 year old movie? I heard great things about Gangs but it really didn’t live up to the hype and felt very dated, which is something we’re going to be seeing a lot of from late 90s/early 2000s films as time goes on. I have the book but I still need to read it. I absolutely love stuff about the history of Manhattan.

8/9 – Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) – 10 – Home – Directed by Stanley Kubrick – Written by Stanley Kubrick, Terry Southern, and Peter George – The best performance(s) from Peter Sellers and without a doubt one of my favorite endings of all time. If you haven’t seen this yet then you’re missing out.

8/9 – Clapping for the Wrong Reasons (2013) – 8 – Home – Directed by Hiro Murai – Written by Donald Glover – Starring Donald Glover, Trinidad James, Danielle Fishel, Flying Lotus, Abella Anderson, and Chance The Rapper – A surrealist short film by the renaissance man himself, Donald Glover. It follows a day in the life of ‘The Boy,’ a character Donald Glover created for his rap persona Childish Gambino to go alongside his 2013 album “Because the Internet.” The haunting cinematography by Hiro Murai, director of Atlanta, and the score by Gambino create an atmosphere that I fucking can’t get enough of. Also Gambino and Chance the Rapper have a pushup contest and you can watch the whole film here: https://youtu.be/Z_bONLcE8IA

8/10 – Casablanca (1942) – 10 – Home – Directed by Michael Curtiz – Written by Julius J. Epstein, Philip G. Epstein, and Howard Koch – There’s a reason Casablanca is regarded as one of the greatest movies of all time and has somehow remained in the pop culture for over 75 years. A beautiful and moving film that’s more relevant than you think. vive le france, vive la démocratie.

8/11 – Annabelle: Creation (2017) – 4 – Ridgecrest Cinemas – Directed by David F. Sandberg – Written by Gary Dauberman – Hot take: both Annabelle movies are hot garbage. The script is laughably bad, the directing is ok, and the last act was exciting enough to be enjoyable. I like how it tied into the Conjuring universe but the writing was so bad that I honestly felt like I could write a better script and that’s not good. Also I kept forgetting this wasn’t Insidious. At least possession cures polio.

8/16 – Twilight Zone: The Movie (1983) – 6 – Oak – Directed by Steven Spielberg, Joe Dante, John Landis, and George Miller – Written by George Clayton Johnson, John Landis, Richard Matheson, and Rod Serling – Starring Albert Brooks, Vic Morrow, John Larroquette, John Lithgow, Dan Aykroyd, Scatman Crothers, and Rod Serling – I had to include that all-star cast. I think I’m biased because the Twilight Zone is a huge part of my childhood and continues to be, mostly through New Years marathons and Netflix background streaming, but I enjoy this movie quite a bit. Twilight Zone the show is amazing. The movie is fine. John Landis is a murderer.

8/17 – Paths of Glory (1957) – 9 – Oak – Directed by Stanley Kubrick – Written by Humphrey Cobb, Stanley Kubrick, Calder Willingham, and Jim Thompson – Starring Kirk Douglas – I watched this on a whim at 2 am and it was great. Also I didn’t know Kirk Douglas was in this movie until I looked it up afterwards.

8/18 – Chinatown (1974) – 9 – Oak – Directed by Roman Polanski – Written by Robert Towne – Starring Jack Nicholson, Faye Dunaway, John Huston, and Roman Polanski – Chinatown is extremely good and the history behind it is actually pretty interesting. I occasionally listen to a podcast called ‘You Must Remember This’ all about Hollywood history in the 20th century and one of the episodes centering around Roman Polanski talks about Chinatown and its production quite a bit. The original script was written by Robert Towne, was 180 pages long, and had a different ending but Polanski cut down and reordered the plot then changed the ending, causing Towne to leave the project. This is also Polanski’s reluctant return to American film after the Tate murders of 69. Roman Polanski die bitch.

8/20 – Watchmen (2009) – 8 – Oak – Directed by Zack Snyder – Written by David Hayter, Alex Tse, and Alan Moore – Watchmen was the last film I watched before the fall semester started and it caused me to have the first of many existential crises/breakdowns that would continue up to the end of 2017. Moral of the story this was not a good way to start the fall semester but Watchmen is fucking awesome. The graphic novel is even better but I still appreciate the film. Can’t wait to watch the Extended Director’s Cut in 2018.

~Fall Semester 2017~

8/21 – Operation Avalanche (2016) – 5 – Oak – Directed by Matt Johnson – Written by Josh Boles – Starring Matt Johnson, Owen Williams, and Jared Raab – I heard about this from YourMovieSucks.org I think and it was ok. I fell asleep watching it like 3 times so I don’t remember it well enough to talk confidently about it but I remember the ending was underwhelming. It’s basically about these filmmakers in the 60s who learn that the US is probably going to lose the space race to Russia so, after seeing Kubrick’s front projection technology, they’re hired to fake the moon landing for the US government. Super interesting premise but flawed execution. They actually shot the NASA scenes on location after they told them the equipment was for a student documentary.

9/1 – Apocalypse Now (1979) – 10 – Oak – Directed by Francis Ford Coppola – Written by John Milius, Francis Ford Coppola, Joseph Conrad, and Michael Herr – Starring Martin Sheen, Marlon Brando, Robert Duvall, Frederic Forrest, Laurence Fishburne, and Harrison Ford – What the fuck even is Apocalypse Now. This movie feels like a comedy in spots and a shadowy fever dream in others and it all somehow works. Either Coppola is a genius or the editors are. I still need to watch the documentary about the making of this (Hearts of Darkness) but I’m sure it’ll end up on next year’s list and that question will be answered.

9/2 – Indiana Jones and the Last Crusade (1989) – 8 – Oak – Directed by Steven Spielberg – Written by Jeffrey Boam and Menno Meyjes – Starring Harrison Ford, Sean Connery, Denholm Elliot, Alison Doody, and River Phoenix – Mitch I finally got to finish watching the OG Indy trilogy; it only took 8 months. This is my favorite Indiana Jones movie because it balances the serious with the fun/cheese really well. Technically speaking, Raiders is the best Indy movie hands down but it isn’t quite as rewatchable as Crusade imo and Temple is insanely dumb and annoying in comparison. Crusade hits that sweet spot, making it one of those movies that I always need to sit down and finish if I see it on TV.

9/3 – There Will Be Blood (2007) – 10 – Pageant Chico – Directed by Paul Thomas Anderson – Written by Paul Thomas Anderson and Upton Sinclair – One of my favorites of all time and arguably one of the best movies ever made. This film is literally perfect. Thrilling, dark, and evil, Daniel Day-Lewis disappears into the role of Daniel Plainview and Paul Dano gives an incredible performance as Eli. Goddamn this movie is so good I’m so happy I got the chance to see it in the theater this time. Paul Thomas Anderson is my favorite director and everything he touches is a masterpiece.

9/8 – It (2017) – 5 – Cinemark Chico – Directed by Andy Muschietti – Written by Chase Palmer, Gary Dauberman, Stephen King, and Cary Fukunaga – I was expecting a horror movie because they marketed this as a horror movie but it is not a horror movie. It tries to be a dozen different 80s films and fails at being any of them. Complete tonal disaster. Is it a raunchy comedy? Is it a horror film? Oh no it’s Stranger Things! Wow John Hughes! 1980s! Do you remember the 1980s? They were over 30 years ago now isn’t that crazy? Buy tickets to our movie.

If this was billed as a dark comedy I would’ve liked it more but when it’s actually a lame horror film with no tension or effective scares then how could it not be disappointing? To be completely honest I would have walked out about halfway through if I hadn’t seen it with friends. The praise this movie received is honestly baffling to me; it’s a total piece in every department except for Finn Wolfhard making dick jokes.

9/10 – The Room (2003) – 1 – Clay Theater San Francisco – Directed by Tommy Wiseau – Written by Tommy Wiseau – I HIGHLY recommend seeing this in the theater at a midnight showing because I have never laughed harder in my entire life and I would do it again in a heartbeat. I knew I had to see this again to prepare for The Disaster Artist but a midnight screening is the only way to experience this movie. Tommy Wiseau is an inspiration to us all.

9/12 – Grave of the Fireflies (1988) – 10 – CSU Chico Ayres 106 – Directed by Isao Takahata – Written by Akiyuki Nosaka and Isao Takahata – They screened this as part of the University Film Series at Chico and boy is it sad as fuck. The story is told in an unconventional way and it’s extremely effective. High recommend but don’t expect to do anything afterwards.

9/14 – mother! (2017) – 8 – Cinemark Chico – Directed by Darren Aronofsky – Written by Darren Aronofsky – BALLS TO THE WALL INSANITY HOLY SHIT. I had an absolute blast seeing this in the theater because I had NO idea what to expect and wow this movie really delivered on blowing my expectations into orbit. Sure, Aronofsky is pretentious and his knowledge of allegory could be summed up by a one-word 72-pt font bold synopsis that reads, “HAMFISTED.” Sure, there’s an extremely unnecessary and possibly disturbing part for women that occurs towards the last half. Sure, this is just a weird but not-boring adaptation of Rosemary’s Baby. Sure all these things, but this movie is fucking insane and there’s much more to this than “loll bible allegory.” There are at least TWO other extended metaphors you could reasonably interpret from this story and that’s the main reason why this isn’t a pretentious piece of shit.

9/16 – Night of the Living Dead (1968) – 8 – Oak – Directed by George A. Romero – Written by George A. Romero and John A. Russo – I wrote my last long post about how influential and amazing this film is because it really is that good. In a vacuum this is probably a 6 or 7 out of 10 but considering what it did for the horror genre it deserves an extra star or two.

9/16 – Dawn of the Dead (1978) – 8 – Oak – Directed by George A. Romero – Written by George A. Romero – This is what people describe when they think of a zombie apocalypse, or at least this is what most people envision; locking yourself in a mall or store with everything you’d ever need and waiting/fighting it out. The sheer joy the characters experience as they scavenge the stores and slap the shit out of some zombies is super relatable and everyone is extremely likeable. With some legitimately hilarious moments and a few genuine scares, Dawn is a solid entry in the Dead franchise. Side note: I love that the Romero Dead films are very critical of capitalism. Gives me the warm fuzzies.

9/17 – Paris, Texas (1984) – 10 – Pageant Chico – Directed by Wim Wenders – Written by Sam Shepard and L.M. Kit Carson – One of the most beautiful films I’ve ever seen. The colors, the shot composition, and the acting—my god what an incredible movie. I was lucky enough to catch a screening of this at the Pageant in Chico but unfortunately it was a rather sad occasion since Sam Shepard and Harry Dean Stanton both passed within 2 months of this screening. Shepard was my favorite playwright and he will be sorely missed. Also a lot of the highway scenes are shot along the 395 and you can even see the old Kramer Junction Astro Burger looking exactly the same in 1983 as it does now. RIP Harry and Sam <3

9/19 – Day of the Dead (1985) – 9 – Oak – Directed by George A. Romero – Written by George A. Romero – Ok I thought the first two Dead movies were good but this is be far my favorite. It feels much more focused that the first two and is probably the best example of realism in the trilogy. In the first two there were many moments where the characters seemed like they were almost trying to be caught by zombies but in this one the survival feels much more natural. The enclosed setting, with its tight hallways and small underground rooms, makes for deaths that feel inevitable rather than forced. And the practical effects dude, holy shit. I thought The Thing had great practical effects but wow this movie is gruesome. It almost makes me regret calling the gore in Dawn of the Dead “gnarly.” The gore in Day of the Dead makes the gore in Dawn of the Dead look like the gore in Night of the Living Dead. This movie kicks ass.

9/19 – Embrace of the Serpent (2015) – 8 – CSU Chico Ayres 106 – Directed by Ciro Guerra – Written by Ciro Guerra and Jacques Toulemonde Vidal – This was part of the University Film Series at Chico and tells the story of a “life-transcending friendship” between Karamakate, a lone Amazonian shaman, and two scientists 40 years apart who both go into the jungle looking for a rare psychedelic plant to help them. Filmed almost entirely in black and white, this was a hard look at the disappearance of the indigenous culture at the hands of industrialization and religion. It’s really depressing to think about all the stories lost to time because of greed but these are the kinds of stories that need to be told to make people aware of that fact.

9/21 – The Texas Chain Saw Massacre (1974) – 10 – Oak – Directed by Tobe Hooper – Written by Kim Henkel and Tobe Hooper – One of the best horror films ever made. Absolutely oozing with death and grit—the unknown actors, detailed sets, and somewhat naturalistic way of shooting create a feeling of realism not present in many other films. It just feels fucking evil and a lot of that comes down to the atmosphere since the story is quite simple. If you haven’t seen it then you need to. It’s required viewing for horror fans.

9/24 – Kingsman: The Golden Circle (2017) – 3 – Cinemark Chico – Directed by Matthew Vaughn – Written by Matthew Vaughn and Jane Goldman – The first Kingsman was an enjoyable parody of Bond films but this one was essentially a parody of the first Kingsman. In other words, THIS MOVIE FUCKING SUCKS HOOOOLY SHIT. They just stopped caring; they really don’t give a shit anymore. From the ps2 game cutscenesque CGI to the fucking claw machine sports stadium prison thing seriously what the fuck is this garbage. The suspension of disbelief needed to enjoy this movie is impossible to attain and I just don’t know why this exists. How is the audience supposed to care about anything when you’ve literally cured death? They removed all stakes from this movie just to get Colin Firth back and then spoiled his return in all the marketing; it’s just baffling. [Extremely Stefan voice] this movie has everything; cartoon car chases, vaginal walls, Chekhov’s Elton John, Republican claw machines, heroin overdoses, and Channing Tatum reprising his role as Magic Mike for ¼ of this 8 minute screen time. Oh hey did you see that bar fight scene from the first one? Get ready to see that about 5 more times but boring. Oh hey did you like the doin-it-in-the-butt joke from the first one? Well you’re in luck because this is just as lowbrow but for the entire film! Fuck this movie and fuck Matthew Vaughn for creating this cancerous waste of money and time. I pray to any and every deity that we will never see a Kingsman 3.

9/26 – Psycho (1960) – 9 – Oak – Directed by Alfred Hitchcock – Written by Robert Bloch and Joseph Stefano – Wow! What a reveal. I wish this hadn’t been spoiled by pop culture because this would’ve been such a fun ride to follow. Knowing all the twists dampens the effect but by god the direction is incredible. Hitchcock truly is a genius filmmaker. The way the events unfold is so satisfying.

9/27 – Invasion of the Body Snatchers (1978) – 8 – Oak – Directed by Philip Kaufman – Written by W.D. Richter and Jack Finney – Legitimately terrifying. The way it’s shot makes it feel like the movie knows something you don’t and the genuinely upsetting imagery and sounds throughout make this such a weird and surreal journey. The practical effects are awesome and the ending is insane. Definitely the best Body Snatchers adaptation.

9/29 – Ingrid Goes West (2017) – 5 – Pageant Chico – Directed by Matt Spicer – Written by David Branson Smith and Matt Spicer – Starring Aubrey Plaza, Elizabeth Olson, O’Shea Jackson Jr, and Wyatt Russell – A total takedown of social media culture. Ingrid is an extreme example of how social media normalizes over sharing and voyeurism, allows for and encourages total curation and bastardization of self-image, and how it rewards mental illness. It’s a numbers game and Ingrid is #killingit. Jk but I found the commentary in the first half to be especially effective and hilarious. It’s just so ridiculous but horrifyingly relatable—like Spring Breakers for social media but not as good (and if you didn’t like Spring Breakers then this movie is better if only because it’s not nearly as esoteric). Worth a watch if ur millennial scum like me.

10/1 – The Fog (1980) – 6 – Oak – Directed by John Carpenter – Written by Debra Hill and John Carpenter – I had no idea this was a ghost pirate movie. Felt like it had potential that it failed to reach by being so small scale and just kind of lame in general. Sorry if ghost pirates aren’t lame to you but this really didn’t leave a lot to the imagination once the threat was revealed and the scares were okay at best. It was good for what it was. Felt kinda Goonies tbh.

10/4 – The Thing (1982) – 10 – Oak – Directed by John Carpenter – Written by Bill Lancaster and John W. Campbell Jr. – Jesus Christ look at Kurt Russell’s fucking hat. Something unusual about this film is that we learn how the thing works pretty much immediately after it becomes known. In fact, we learn quite a bit about it. The establishing shot is a UFO crashing and we get the burned thing at the Norwegian station. After the kennel scene we learn the thing digests beings, absorbs them, then imitates/transforms. They discover the actual UFO then find out the thing can absorb and imitate from a single cell—spelling certain doom for all living things on earth if left alive. Really the horror in this film is so effective because the characters aren’t idiots. They learn a considerable amount about the thing (thereby establishing rules) but it doesn’t really help them survive. Plus, it’s damn near invincible. These elements plus the practical effects easily carry this into top horror films of all time territory. But seriously what’s up with Kurt Russell’s fucking hat

10/13 – I Love You, Man (2009) – 8 – Oak – Directed by John Hamburg – Written by John Hamburg and Larry Levin – I love this movie, man. A seriously underrated and endlessly quotable late 2000s comedy about bro-love and jamming to Rush. Hell yeah.

10/14 – The Texas Chain Saw Massacre (1974) – 9 – Pageant Chico – Directed by Tobe Hooper – Written by Kim Henkel and Tobe Hooper – I got to see this in the theater and holy shit I HIGHLY recommend it.

10/19 – Pi (1998) – 5 – Oak – Directed by Darren Aronofsky – Written by Darren Aronofsky, Sean Gullette, and Eric Watson – This is Darren Aronofsky’s debut film and it’s extremely weird and unsettling. Fitting that a story about losing your mind trying to predict the future using math and numbers would make you feel like you’re going crazy while watching it. It’s worth checking out next time it shows up on Netflix if it sounds interesting or if you like other Aronofsky movies like Requiem for a Dream or mother!

10/21 – Suspiria (1977) – 8 – Pageant Chico – Directed by Dario Argento – Written by Dario Argento, Thomas De Quincey, and Daria Nicolodi – This movie is odd. The lighting is absolutely astounding, the music is legitimately awesome, the actors are bad, the dubbing is TERRIBLE, but it all works because it’s a horror film and all these elements make it feel like a movie from another planet. Horror-fantasy done marvelously right. Can’t wait to watch more Argento movies. Seeing this in the theater was a revelation.

11/8 – Blade Runner: The Final Cut (1982) – 8 – Oak – Directed by Ridley Scott – Written by Hampton Fancher, David Webb Peoples, and Philip K. Dick – A marvel of production design. It took me a while to get through this because it’s so slow (not a bad thing) but it’s absolutely worth it for the beautiful world, bleak yet cozy atmosphere, and one of the best ending monologues ever put to film. If you’re going to watch it, make sure you watch the Final Cut even though Ridley Scott is a total hack and insists on undercutting the very themes that make this movie great by inserting scenes to entertain fan theories that came after the fact. Luckily, even Ridley Scott can’t ruin this. He can ruin everything else he touches but he can’t touch Blade Runner. (I would like to clarify that Ridley Scott is a great visionary and director, just a bad storyteller)

11/8 – Blade Runner (2049) – 9 – Cinemark Chico – Directed by Denis Villeneuve – Written by Philip K. Dick, Hampton Fancher, and Michael Green – Move over Toy Story 2, this is the best sequel ever made. I had always heard great things about Blade Runner so on November 8th I decided to watch Blade Runner and 2049 back to back on the last day it was in the theater. On this very rainy day I put BR: Final Cut on, after it was done I went to a local ramen place and ate noodles while looking out into the neon-lit street, then I went to the theater for a 2.5+ hour sequel that I had only heard great things about. Even with moderate to high expectations and a very unfortunate bathroom break I was completely blown away. Denis Villeneuve is one of the best directors working today and Roger Deakins does some of his best and most creative work on this movie. Just fucking incredible (because Ridley Scott wasn’t involved). If you’ve seen Blade Runner you NEED TO SEE THIS MOVIE. It’s so so so so good and I can’t wait to see it again.

11/10 – Boogie Nights (1997) – 9 – Oak – Directed by Paul Thomas Anderson – Written by Paul Thomas Anderson – Starring Mark Wahlberg, Burt Reynolds, John C. Reilly, Julianne Moore, Thomas Jane, Heather Graham, Philip Seymour Hoffman, William H. Macy, and Don Cheadle – Had to include the cast again because look at the sheer talent Paul Thomas Anderson is able to attract. One of my favorite films of all time and absolutely incredible for only being PTA’s second film, Boogie Nights is a true masterpiece in every sense of the word. Everyone is great in this—even Mark Wahlberg, though maybe that’s because he plays an inexperienced actor with an inflated ego. Even though it feels too long I wouldn’t have changed a thing.

11/14 – Spider-Man: Homecoming (2017) – 8 – Oak – Directed by Jon Watts – Written by John Francis Daley, Jonathan M. Goldstein, Erik Sommers, Chris McKenna, Christopher D. Ford, and Jon Watts – The first half is my favorite spider-man movie by a considerable margin. There are a ton of flaws and feels overlong in the second half but Vulture is a great villain and everyone is great. This is what a spider-man movie should be.

11/21 – Lady Bird (2017) – 9 – Ventura Downtown 10 – Directed by Greta Gerwig – Written by Greta Gerwig – The best coming-of-age film because it’s such an honest depiction of life in your late teens told through a series of disjointed, chronological vignettes. It’s just extremely good and I don’t know what else to say. I guess I could say: Greta Gerwig? More like Better Greta Oscar.

11/22 – Thor: Ragnarok (2017) – 8 – Ventura Downtown 10 – Directed by Taika Waititi – Written by Craig Kyle, Christopher Yost, Stephany Folsom, and Eric Pearson – This movie is hilarious. Taika Waititi absolutely steals the show in every scene he’s in and this is clearly the best marvel movie since Guardians of the Galaxy. Just pure fun from start to finish.

11/23 – Planes, Trains, and Automobiles (1987) – 8 – Ojai – Directed by John Hughes – Written by John Hughes – I’ve been wanting to watch this on Thanksgiving for years now so I’m glad I was finally able to because now I know where all those references came from.

11/24 – Three Billboards Outside Ebbing, Missouri (2017) – 8 – Century Riverpark 16 – Directed by Martin McDonagh – Written by Martin McDonagh – I really liked this initially but some people made some pretty good points that I can tell will definitely sour this on rewatch. I bought it the first time but I don’t think I’m going to be able to the second time. It’s definitely tone-deaf (makes sense since it wasn’t written by an american but takes place in the american south) but I’ll need to watch it again to comment accurately on it and update the rating. I really liked this when I saw it though and it’s one of the better movies of the year if you don’t think about the characterization. I do think the “real people don’t talk this way” argument is fucking stupid though.

11/30 – The Boss Baby (2017) – 2 – Oak – Directed by Tom McGrath – Written by Marla Frazee and Michael McCullers – 100th movie of the year! Lmao this movie is bad and the protagonist Tim is a piece of shit. The kid has a perfect family life with his 3 stories, 4 hugs and 5 ego strokings every night and then he acts the fuckin fool when boss baby comes around and his parents have to,, idk,, take care of a fucking baby?? Like first of all, imagine being a kid with a broken family and being so excited to see your biennial movie in the theater and the first thing you see is this spoiled-ass kid with the most obnoxiously perfect life ever depicted. I had a pretty great family life and I felt shitty watching this so I can’t imagine what most kids seeing this would think. Then when boss baby literally strolls up to the house, Tim gets extra hella buttmad over dumb bullshit and it makes him the most incredibly unlikeable character like why is he the protagonist.

Absolutely nothing in this movie makes sense and it’s batshit insane. They were too cheap to 3D animate like half the dream sequences in the first quarter of the movie, instead using a hybrid 2D/3D drawn style that changes styles between each sequence, so I was always confused what was real and what was actually happening. You’re led to believe that there’s a modicum of reality outside of the dream sequences but then the boss baby shows up and he’s definitely real and wearing a suit for real so like this universe completely blurs the lines between subjective and objective but ONLY SOMETIMES and just expects you to accept that the movie is written like shit.

Also there’s a ton of boss baby ass in this movie. No one asked for implied anal penetration in the first ten minutes and no one wants to see some boss baby powder ass-slap bullshit or a puppy muzzle-deep inside the boss baby’s asshole while he’s wearing the skin of a dog. NO ONE ASKED FOR THIS. Then the pacing is so baffling that I literally thought the movie was going to end and it was only HALFWAY OVER. It’s lightning fast until about 30 minutes in when it skrrts to a slow crawl. There are two finales, a pedophile in a dog costume, a plan to distribute hundreds of immortal puppies all over the world by literally throwing them from a rocket, and references (steals from) lord of the rings, every Pixar movie, raiders of the lost ark, and minions. Then the movie just sort of ends with boss baby and Tim becoming gay dads before setting up a Boss Baby Lady sequel. Also the pedophile steals a baby. Also also the music was done by HANS ZIMMER.

This movie,,,,,, is extremely bad but it was so funny (often unintentionally) so I’d recommend it if you want to laugh at a ridiculous kids movie. I won’t fault a children’s film centered around a talking baby in a tiny suit for being ridiculous but I will fault it for being totally incoherent and needlessly stupid when other animated films manage just fine.

12/6 – The Dark Knight (2008) – 8 – Oak – Directed by Christopher Nolan – Written by Jonathan Nolan, Christopher Nolan, and David S. Goyer – This is probably the best Nolan Batman movie but it definitely has the problems present in most Christopher Nolan movies. Tonal inconsistencies and plot holes galore but “it’s a comic book movie so whatever.” The last half gets kind of muddy and I’m wondering if an 8 is too high but it’s arguably the best Batman film ever made and it definitely has the highest highs of the Nolan Batman trilogy so whatever.

~Winter~

12/17 – The Disaster Artist (2017) – 6 – Cinemark Chico – Directed by James Franco – Written by Scott Neustadter, Michael H. Weber, and Greg Sestero – The only good things about this are James’ performance as Tommy Wiseau and the little lines from the Room peppered throughout this to show that Tommy is just as wacky as the Room’s script would lead you to believe. Uninspired camerawork and a plot that doesn’t begin to do the actual story justice. In the end this exists as nothing more than a bitter reminder that we will never get a proper Disaster Artist adaptation. Why James Franco, why?

12/19 – Call Me by Your Name (2017) – 9 – Arclight Sherman Oaks – Directed by Luca Guadagnino – Written by James Ivory and André Aciman – One of the most beautiful films I’ve ever seen. Romantic, heartfelt, honest, and it has not one but TWO Sufjan Stevens songs.

12/20 – Star Wars: The Last Jedi (2017) – 5 – Ridgecrest Cinemas – Directed by Rian Johnson – Written by Rian Johnson – As far as technical achievements go, The Last Jedi is awesome and it looks incredible. All the action is fun and intense as hell and it’s enough to keep most people from realizing how poorly written this movie is. Even the coolest space battle can’t save this from being a failure in creating tension or making sense on the most basic of levels.

I originally had a LONG and scathing review but it was really mean spirited and I don’t feel comfortable posting it so I’ll just say I liked it when I saw it but the plot, dialogue, writing, and editing fell apart the moment I started thinking about it. The plot of this movie only works because the characters are written to be complete idiots and every conflict is so contrived that nothing matters. There’s no stakes and no tension because Disney Star Wars movies NEED to have quippy dialogue that undercuts all dramatic tension because they think it’s a marvel film. Because of this, the First Order is a non-threat who aren’t taken seriously at all. In the first 6 movies we were supposed to fear the Empire and the Sith and the dark side but every time any Rebels die in this we have BB-8 zipping around like a fool to remind us to not give a shit about any of this because it doesn’t matter. None of the decisions any of the characters make matter and the entire Finn and Rose plot happens for no reason (and SPOILERS, gets everyone killed because of their stupidity, which they don’t learn from or reference ever again because nothing matters). I honestly think Rian Johnson should have gotten past the first or second draft of the script before he started filming but hey, what do I know. It’s full of plot holes, anachronisms, and cringe dialogue and it’s just a badly written. It’s too bad you can’t judge the quality of a film based on how “fun” it is.

On the flip side; Kylo Ren, Rey, Luke, and Poe actually had character arcs and everything involving them was great and the lightspeed jump scene was the coolest shit even though it was completely unearned. Overall a deeply flawed film that’ll probably get retconned in the very near future what with its relative box office failure and the impending bomb of Solo. Call me crazy but maybe placing one of the most anticipated movies from one of the most well known franchises into the hands of a single dude wasn’t a good idea. It’s certainly a mistake Disney won’t make again.

12/22 – La La Land (2016) – 9 – Home – Directed by Damien Chazelle – Written by Damien Chazelle – I love this movie.

12/22 – Bright (2017) – 3 – Mike’s House – Directed by David Ayer – Written by Max Landis – “There’s boring, there’s bad, and then there’s ‘Bright,’ a movie so profoundly awful that Republicans will probably try to pass it into law over Christmas break” –David Ehrlich. Paper-thin premise that attempts to set up the logical extension of “what if medieval fantasy but modern” without thinking for more than 5 seconds about what that kind of universe would actually look like or the major implications therein. It’s formulaic, predictable, and fails terribly at trying to comment on racism but it was super entertaining and fun to mock with friends so I give it a 3/10. Max Landis retire bitch.

12/23 – Coco (2017) – 8 – Ridgecrest Cinemas – Directed by Lee Unkrich – Written by Adrian Molina, Matthew Aldrich, Lee Unkrich, and Jason Katz – Wow Coco is so good! A major return to form for Pixar and I definitely almost cried. Definitely see this ASAP.

12/23 – The Meyerowitz Stories (2017) – 8 – Oak – Directed by Noah Baumbach – Written by Noah Baumbach – Starring Adam Sandler, Ben Stiller, Dustin Hoffman, Emma Thompson and Grace Van Patten – This movie was great. High recommend if you like Noah Baumbach or Woody Allen type movies or want to see Adam Driver say, “SUCK A DICK OH GOD” and Adam Sandler yelling, “just let me eat my FUCKING BANANA.” One of the best Netflix Originals by far.

12/24 – The Peanuts Movie (2015) – 7 – Home – Directed by Steve Martino – Written by Bryan Schulz, Craig Schulz, and Cornelius Uliano – This movie is delightful and stays true to the art style of Peanuts while using 3D animation in a fun and innovative way that looks beautiful. Solidly enjoyable despite the contemporary pop songs that will date this horribly in years to come.

12/24 – Zodiac (2007) – 8 – Home – Directed by David Fincher – Written by James Vanderbilt – I can’t believe it took me this long to see Zodiac. Solid film with solid acting and a solid story. Gyllenhaal, RDJ, and Mark Ruffalo were great and if you haven’t seen this I highly recommend it just because it’s David Fincher and it’s kind of required viewing at this point.

12/26 – The Shape of Water (2017) – 8 – AMC Thousand Oaks – Directed by Guillermo del Toro – Written by Vanessa Taylor and Guillermo del Toro – This was not at all what I was expecting and that’s a really good thing. Color is a big part of this so pay attention to that and make sure to see this when you can. It’s kind of cheesy (as all Del Toro films are) but it comes off as stylization, which makes it more than tolerable.

12/27 – Phantom Thread 70mm (2017) – 9 – Arclight Hollywood – Directed by Paul Thomas Anderson – Written by Paul Thomas Anderson – Starring Daniel Day-Lewis, Lesley Manville, and Vicky Krieps – The score is beautiful, the performances are great (as if there were any doubts), and for the most part I didn’t know what the hell was going to happen but I liked how it panned out. My heart was pounding during the climax and I’m happy we’re seemingly getting more of the PTA lovers-linked-across-space-time stuff. I’ll definitely need to see this again next year. My only complaints were that there weren’t enough tracking shots and not enough giant cowboy hats. (It gets even better on rewatch holy shit it’s SO good the second time)

12/29 – Jumanji: Welcome to the Jungle (2017) – 6 – Ridgecrest Cinemas – Directed by Jake Kasdan – Written by Chris McKenna, Scott Rosenberg, and Jeff Pinker – This movie was pretty fun. If you’re wondering, it’s completely its own thing aside from the name and it really translates well to a video game. I’m delighted this wasn’t a total piece of shit tbh. Also very thankful for the surprise cameo that could have easily been spoiled by the marketing but wasn’t. That’s super rare.

12/30 – Wind River (2017) – 8 – Home – Directed by Taylor Sheridan – Written by Taylor Sheridan – Someone told me this movie sucked when it came out so I never saw it in the theater and I regret it now. This movie is good but real fucked up so be prepared. Like a modern western but in Wyoming and by the same guy who did Sicario and Hell or High Water. It deals with the stealing of native lands as well, which is extremely underrepresented in films (hmmm I wonder why).

12/31 – The Lego Batman Movie (2017) – 7 – Home – Directed by Chris McKay – Written by Chris McKenna, Erik Sommers, Seth Grahame-Smith, Jared Stern, and John Whittington – This movie looks amazing! The first half is noticeably better than the second but it’s really good and all the meta-humor is fun. It’s definitely not as good as the Lego Movie but it’s pretty alright.

12/31 – World of Tomorrow Episode Two: The Burden of Other People’s Thoughts (2017) – 8 – Home – Directed by Don Hertzfeldt – “It was not its fault it was an insect; an incomplete creature without any backup copies. All of its experiences are gone forever. We can never know them. If there is a soul, it is equal in all living things. We all cling to the same brief, flickering windows in the infinite darkness... except for clones. Clones are better.” This was just what I needed to end 2017: a thoughtful look at consciousness, memory, and the burden of being alive and searching for relevancy. 2017 was a year of reflection so hopefully 2018 brings more contentedness and less depressive nihilism.

Top 10

1 – Blade Runner 2049

2 – Lady Bird

3 – Phantom Thread

4 – Dunkirk

5 – Call Me By Your Name

6 – The Beguiled

7 – Coco

8 – The Shape of Water

9 – The Big Sick

10 – Get Out

Bottom 10

107 – Star Wars: The Last Jedi

108 – Alien: Covenant

109 – The Mummy

110 – Pirates of the Caribbean: Dead Men Tell No Tales

111 – Life

112 – Bright

113 – The Discovery

114 – Annabelle: Creation

115 – Boss Baby

116 – Kingsman: The Golden Circle

Honorable Mentions: Frances Ha, The Life Aquatic with Steve Zissou, Spirited Away, Possession, The Thing, The Big Lebowski, Dr. Strangelove, Casablanca, Chinatown, Apocalypse Now, Paris Texas, Texas Chainsaw, 20th Century Women, Enemy, The Prestige, The Treasure of the Sierra Madre, Watchmen, There Will Be Blood, mother!, Day of the Dead, Suspiria, The Room

2014 – 92 movies

2015 – 124 movies

2016 – 77 movies

2017 – 116 movies

Final thoughts: This year I did relatively well, watching 39 more movies than last year. Depression killed my motivation to watch things and then I was extremely busy with school in October so I wasn’t able to do some of my intended short term goals like watch a movie every day in September or 31 horror films in October. My goals for next year are to watch even more (shooting for 150 but we’ll see) and to start knocking out a considerable number of old movies on my watchlist since I tend to watch newer things. As far as taste goes I’m a total pleb but it’s mostly because I gravitate towards easily accessible films, which skews modern. I didn’t get around to a bunch of movies released this year like Kedi, Logan, Raw, The Blackcoat’s Daughter (it was okay, also not released in 2017), The Little Hours, A Ghost Story, Good Time (good movie, NOT a good time), The Florida Project, The Killing of a Sacred Deer, The Square, Murder on the Orient Express, Justice League, or I Tonya (it was okay) but I’m sure I’ll get around to em in 2018.

Thanks for reading and follow me on twitter, insta, or letterboxd @thejoeydavis

#movies of 2017 #movies #film #list #joey davis #joseph davis #joe davis

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