Mixed feelings here about this psycho-biddy defining film. A tour-de-force performance, never to be forgotten, by Bette Davis seems weighted down tremendoubsly by one of the stiffest performances in memory from a wheelchair and bed-ridden Joan Crawford. Full of electric moments that really do give the film a totally unique life, but those moments never seem to be quite hitting on all cylinders, particularly due to some wobbly direction by Robert Aldrich and score that's about as in your face emotionally as scores get. Still, there's nothing quite like Baby Jane.
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El Topo 1970
In 1970, El Topo had to have been quite the heavy ride. It still is, but we can't help but feel like it's a film that stood out more in 1970 than it does now. Jodorowsky's meticulous approach to the craft of filmmaking is admirably on full display. Still, blended with absolutely bat-shit insane imagery that makes little to no sense whatsoever, El Topo never quite elevates itself to something that feels above a child yearning for attention through some psychedelic shock.
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That Obscure Object of Desire 1977
A hard film not to watch through the lens of a post #metoo world. It's either the least misogynistic film of all time or the most. We leaned more toward the latter. That Obscure Object of Desire is a Buñuel film with none of the surrealism that he's known for, one of the most pathetic lead characters in cinema history and a pretty ballsy conceit of casting two women in the same role.
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Cinema Paradiso 1988
Imagine Martin Scorsese as a Sicilian boy working in the projection booth of his local movie house with a surly old projectionist showing him the ropes and you've got the key ingredients for what makes Cinema Paradiso's engine purr.
A love letter to classic Hollywood told through the eyes of a quaint Sicilian village, Cinema Paradiso tugs at all the right heart strings and the result is a film so overflowing with life that it's nearly impossible not to fall in love.
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