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Love on the Run 1979
Insubstantial, and almost televisual, the most striking thing here is that Leaud is probably the most like himself and the least like Doinel of the whole series, as if, at the end, he's finally escaped the character.
Like a lot of late entries in a series that run over decades, the call backs to the earlier films feel a little false, and make the film feel slight, as if it needs to draw on earlier, better films, for power or…
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Jules and Jim 1962
On first watching, the jumping around and stylistic playfulness can mask how deeply sad the film really is. Catherine's fundamental restlessness, and Jules' inability to walk away makes a disaster of their marriage, and ruins their lives. Yet Truffaut keeps it 'light'. On a second watch, I think that lightness somehow makes the whole thing worse.
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Thunderbolt and Lightfoot 1974
I suppose you could see the lack of clear sense of character, plot, or logic as revolutionary but honestly in 2020 it just feels like bad screenwriting. The film has some striking compositions, and Bridges has a certain kind of compelling charisma, but overall it feels too loose, scenes barely connect, and nothing seems to matter except the ending which feels like a spurious attempt to add depth to a story that has otherwise basically felt airless. Maybe it’s meant…
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Ocean's Eleven 2001
This will always be one of my favourite films - Soderbergh applying far more wit and style, and with a lighter tough, than the best of the genre. Somehow totally of its era as well, in a way that isn’t embarrassing - which for the 2000s is hard to do - Wong Kar Wai being a good exception. The sequels are nothing compared to this, but I’ll happily watch this every year.
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