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C'est arrivé près de chez vous (1992)
The hardest satire I've ever seen - the French are nuts
Wow. It's been a while since a film shocked me in any sense, but this one certainly had it's moments. The satire runs so deep and hard in this film that there are multiple scenes where I cannot even view it as satire - it just feels like cruel, sadistic filmmaking, but in the most artistic sense possible. This might be the hardest satire ever put to film.
Everything is cohesive and done with a crystal clear, over-arching vision. Though the movie is promoted as dark comedy, I found it impossible to laugh at a solid 50% of the sequences that other freaks might find funny, as they are so insanely harsh both thematically and in delivery. "Over the top" is one way to describe this film, but that's not enough. It is absolutely designed to offend, and it will. It requires an immense suspension of disbelief, but in a manner that sneakily causes you to become part of the film's entire point, as you grow more numb to people being killed like flies as the movie goes on. While the heavy scenes were effectively heavy, I did find many of the more comedic scenes to be HILARIOUS. There was a lot of absurdity to crack up at throughout this movie, there's just even more entirely bleak stuff.
There are also meta elements that add a strange element of realism to this otherwise unbelievable experience. For example, lead actor Benoit Poelvoorde (who puts in a phenomenal performance by the way) involved his real parents and his real grandmother, though they had no idea the true nature of the film they were involved with during the filming of their sequences. Their naivety radiates through the screen in their scenes. These fine details, which only your subconscious may pick up on, make all the shocking sequences that much more hard-hitting.
One thing is for sure and that's the fact that Man Bites Dog exists in a messed-up world entirely of its own. There is only one way to visit this twisted place and that is by watching this film. The French are frickin' nutso, man.
I Used to Be Funny (2023)
Above-average mumblecore (revival)?
I USED TO BE FUNNY is an above-average mumblecore offering starring Rachel Sennott. Considering how quickly Rachel Sennott has blown up since the confusingly popular BOTTOMS has come out, it almost feels like she owed someone a favor doing this movie. While the movie mostly feels marketed as a comedy, the film itself primarily exists in the realm of heavy-handed drama, and when they do try to infuse comedy, it rarely lands. While the plot is pretty unique and ambitious for this kind of film, it also somehow felt a bit misdirected. On that note, there are certain movies (and often books) that you can consume where you feel almost certain that this story is primarily just something that its writer straight up went through and decided to turn into a feature length media offering - this is 100% one of those movies. My gut tells me that the writer simply went through all of this herself, and decided to tell the story, perhaps primarily because the combination of things feels so specific that it doesn't seem like someone would pair these two themes together any other way, namely the standup comedy details with the nannying plot points. The subject matter isn't interesting enough for someone to focus on without having been through it in reality, I feel, and sadly, it's not quite interesting enough as a movie either. While Sennott's performance is the strongest thing about the entire movie, with it being as dynamic and enjoyable as hers generally are, it doesn't fulfill in many other ways in the end - the only other thing I really found enjoyable in the end was its ambition. Worth watching once for (divine lordess) Sennott fans - not sure who else.
Crumb (1994)
Solid gold
I can see why this documentary was revolutionary when it dropped in the early 90's. It's hard to believe that Robert Crumb and his brothers are actually real. They are the epitome of living cartoon characters. It's insane. I know Crumb himself has his batch of problematic views, and perhaps it's because my father was such a twisted guy, but I felt very at home watching him, his family, and his romantic partners express themselves throughout this entire experience. And, though I was only loosely familiar with Crumb's work previously, you can now consider me a legitimate fan of his, and someone I wouldn't hesitate to call a source of inspiration, and I felt that way by the time I was about 1/3 of the way through this movie.
I very much feel like this may have help set the tone for the most legendary dark comedies of the mid to late 90's to be produced, with films like Welcome To The Dollhouse, Happiness, Gummo, etc. This film feels like an ultimate dark comedy, though it's real...it's an anomaly. The only thing I can even think to compare this to is American Movie, but this is a lot darker. Legendary stuff. All with a curiosity towards the history of transgressive art absolutely need to see this. Also, Ghost World fans! Same director. Crumb comes highly recommended from me!
Thelma (2024)
The most endearing movie of 2024, BY FAR!
Thelma is, without a doubt, the most endearing movie of 2024. By far my favorite lighthearted offering of the year.
We are blessed to have such a wonderful film experience fully fronted by 93-year-old silver screen angel June Squibb. She is in nearly every scene. I have loved June Squibb ever since her role as Jack Nicholson's wife in Alexander Payne's highly underrated dark comedy masterpiece, About Schmidt, from 22 years ago, and she was already playing a far-in senior citizen back then! You must also watch About Schmidt if you have never seen it. Real Nebraska hours. So amazing she's still hitting it at 93! Squibb's charm levels are OFF THE CHARTS.
Fred Hechinger adds much value to the film as Thelma's grandson who can't quite get his life together as a young adult, so his only focus by default is watching over his meemaw. He is highly believable in this role, and his character offers a large amount of charming, nuanced humor. Richard Roundtree also adds tons of heart to the film, ending up as some odd sort of fellow senior citizen sidekick to Thelma. Parker Posey makes everything better (one of my favorites ::heart eyes::) and Malcolm McDowell even shows up for a very fitting sequence!
This is a lighthearted comedy but it also turns into a buddy movie and even a bit of a thriller. It hits in almost every way it aims to, and you can watch it with anyone... your kids, your grandma, or by yourself. I may have related to this film on an extra level because the main plot point is relevant and something that may own grandfather fell victim to at one point - senior citizens getting scammed into sending money to con artists whether it be through phone calls or emails, etc - this happens a lot in reality! It's a sort of reprisal naivete that seems to creep in when people get old. Real stuff.
So much heart in this wonderful film. HIGHLY RECOMMENDED.
Anora (2024)
Fully worthy of the hype - a new classic
The hype surrounding Anora is colossal, and it delivered.
I had no idea what to expect going into it, aside from combining all three of Sean Baker's other movies in my head and thinking maybe it will be somewhere in the middle of all of them (The Florida Project, Red Rocket, and Tangerine - all great movies by the way, and all about sex workers). It had some similar tones and focuses, but otherwise Anora was a new beast of its own. I will say that towards the meat of the film, it got WAY more Safdie Brothers than I was expecting! A lot of people yelling over each other for a very long time! Very tense!
The movie sort of moves in three acts, as many great films do. I was getting the feeling towards the beginning it was going to feel a bit like Boogie Nights in structure, and I would say that that was pretty spot on. You have your party, your conflict, and your conclusion. Without saying too much about it, I will say that the ending made the entire movie for me, and my girlfriend agreed. You have a 2-hour experience that is mostly funny and mostly riveting, that all feels a little pulpy while still offering a lot of very on-point details on the sex work experience, but it all feels for-fun until you get to the ending. Rather than an ending that wraps things up nicely in a pretty little bow, it's an ending that unties the bow, and opens the box, and leaves you with the RAW reality of it all. I was a bit in awe taking in the very specific energy of the packed room as the silent credits hit and people very slowly began making their way (very quietly) out of the auditorium.
Mikey Madison is fantastic as Anora. Seeing the ads for the film, I expected a bubbly, sweet girl - but she plays a hard, sassy, hustler who is VERY New York City, and it was a pleasant surprise. Anora is a mostly likable character, but not always, and that only adds to her humanity and the overall realism and complexity of her functionality as a main character. You will experience a rollercoaster of ups and downs with her, and the depth feels very real. She is also extremely HOT and there's ALOT of SEX in this movie.
The whole cast is fantastic, but new faces Mark Eidelshtein and Yura Borisov make the strongest imprints as capable actors who deserve much more casting in the future. Eidelshtein stole the show as the most believable rich boy on a rampage ever, and Borisov's nuanced presence was loud AF without the need for many words.
I definitely think this is one of Baker's two finest films thus far, perhaps his best, and one of the best films of 2024. It's really great to see how well this movie is doing. The house was totally packed on a Monday night at 9:30 PM, and I hear it's opening weekend numbers were some of the highest this year. This is the kind of original, sincere, relevant filmmaking that needs to be seen, celebrated, and supported, and it's a joy to see it happening. I'm excited to see Mikey Madison's career bloom after this, and can't wait for more from Sean Baker.
The Strange Thing About the Johnsons (2011)
The epitome of sadistic filmmaking
A24 really saw this and thought "we need to give this man millions of dollars. He is the future of horror"???
Well, I wouldn't have seen it in this, but...they were right. And that gives me hope.
This is one of the more psychotic short films I have ever seen, and it's almost entirely in the "WHY would he MAKE THIS?!" sense, which I don't often feel when it comes to any movie with merit (and this one definitely has merit).
Admittedly, this feels much PULPIER than his other films. Much more exploitation. It sits in with BEAU IS AFRAID a lot more than it does with MIDSOMMAR or HEREDITARY, but the humor is buried WAY deeper than it is in Beau Is Afraid. I think the majority of viewers will feel that they should not be laughing at this film, or that there is nothing funny about it...but, it's honestly hard to do anything other than laugh at it.
The acting and directing are both pretty ace, but the writing, though written well, is pure absurdity. This is quintessential sadistic filmmaking. Ari Aster is truly a psychopath, and though I'm a much bigger fan of his feature length films, this certainly expanded my AWE for him even further.
The Substance (2024)
Somehow, a B-movie is the most popular movie in America in 2024 - it's a miracle
This is the film I'd been waiting for most all year long, and I would say that it did fulfill my expectations. I had checked out writer/director/Frenchie Coralie Fargeat's previous breakthrough film, REVENGE (2017), which was a completely over-the-top, ultra-violent revenge thriller that felt like what you would get if you took the energy of the darkest Hard Summer Festival EDM tracks and adapted them into a horror-ish film. I don't think I've seen any other noteworthy films that felt so "EDM-drenched", outside of maybe Harmony Korine's SPRING BREAKERS; the main difference being that Korine did it in an entirely tongue-in-cheek way, while Fargeat's "living dubstep" vibe feels primarily sincere - typically I would think this would be a bad thing, but somehow with Fargeat it works and feels very right - perhaps it's one of those things that only a French person could get away with.
Once I heard how intense The Substance was supposed to be, and how many people "couldn't handle it" at its initial screenings, along with the synopsis, intriguing cast, and seeing who the director was, I felt very certain the world was about to have something of great note in its hands. I must say that I am a bit surprised just how many people seem to be in love with this movie, when it's so extreme. To me, it mostly blends Extreme French Horror with pure exploitation and, of course, body horror, but in the bigger picture, what it really feels like is the epitome of a B-movie that somehow managed to get made and widely released with an A-list cast and A-level production value. Of course, for me, these are all wonderful things. I'd say this is the greatest B-movie to be released since MANDY in 2018, and it joins a very small group of contemporary B-movies which manage to transcend all elements of cheapness that make most B-movies precisely that, and win over a larger audience.
It seems obvious to say this is an entirely unexpected and astonishing comeback role for Demi Moore. Who would have imagined an A-list actress gone for so long would make her return to the big screen after raising multiple daughters and having her legendary husband turn to a vegetable, in the most extreme and disturbing movie to see a wide release in years? I mean, at times The Substance almost feels like a BASKET CASE sequel. It has to take a lot to mentally commit to something like this. While I think the Oscar nod talk I've heard mentioned around her performance is a bit of wishful thinking, I do find her performance entirely worthy of celebration - she pulls no punches, and, man, her character goes deeper into an abyss than 99% of film characters could ever dare. While her performance was grade A, I would say that only Willa Fitzgerald's performance in Strange Darling is one that reaches a level worth noting above everyone else, this year. Considering Margaret Qualley is one of my favorite actresses overall at the moment, her involvement had me stoked from the start, and added much to enjoy throughout the entire film. Her umbrella of films is quite fascinating at this point, just as it's fascinating that she is allowing herself to become this staple of some sort of frighteningly hyper-sexual archetype. It's funny how her mom freaked out over how "crude" Drive Away Dolls was at the beginning of the year, then her dad was on his way to see Kinds of Kindness with a group of friends, and she told me him to turn around and not watch it. Can you imagine how they felt when they watched The Substance?!?!?! I think one of them might implode. This is probably her most lascivious role yet, aside from maybe SANCTUARY - though I'm a massive fan of the majority of her roles, I've gotta say SANCTUARY still takes the cake as her finest performance, but she is unabashedly diving headfirst into near-pornographic territory in The Substance, and it's very wild. Dennis Quaid was also perfect in this.
Without spoiling anything, I've enjoyed how polarizing the final act of this film has been. While some have said that it was the only part that didn't work for them, a greater quantity have stated the final act is precisely what elevated the film to be a new favorite for them. To me, the final act is exactly what the movie needs. While it was absolutely not what I was expecting, tonally, I welcomed it with a massive smile (while trying not to be fully removed from the finale as my girlfriend ran out of the auditorium amidst an anxiety attack during the ultra-violent "chase scene", and stayed outside for the last 25 minutes of the film). While I found the first 2/3 of the film to be rather repetitive in structure, it's not a bad thing as I believe that is how this story needed to be told. Much like Enter The Void, it is more of an experience you must live (or survive) through, rather than simply a story you are being told in chapters. The final act really breaks the formula up, and wraps things up in a glorious blast of hyper stimulation that is not often seen in movies this century. And, it really shines a light on how much nuanced humor is meant to be underlying through the majority of the movie that precedes it. I could never refer to this as a dark comedy - it is far too brutal for that, but it definitely has plentiful elements of humor. It really is quite a singular film; while the closest I could get to anything is like combining all of Frank Hennenlotter's movies (Basket Case, Frankenhooker, Brain Damage, and Bad Biology) with old school Cronenberg (The Fly, Videodrome, eXiSTeNz), but honestly, even that can't quite encapsulate what The Substance "has done". The only way one can understand what The Substance has to offer is by seeing it.
Strange Darling (2023)
Willa Fitzgerald just became a legend in my book
I think this is my favorite movie of 2024 so far. It has A LOT of strengths. Almost everything about it is STRONG, but being real about this, what really brings this movie to the TOP, is that lead actress Willa Fitzgerald, who I had otherwise never heard of, delivers the most impressive, iconic, and simply riveting acting performance I have seen this year. As the movie went on, I was more and more impressed by her, and by the ending credits, I was just about moved to tears.
As far as the style of the film, 10-15 years ago I would have said this vibe is a little tired and overplayed, but at this point it is wholly refreshing and satisfying. Due to the use of sequences played out of order, and well, a lot of over-the-top violence, it did remind me a lot of classic Tarantino films more than anything, but absolutely NOT in a bad way. Between 1995 and 2010, there were a lot of people "trying to do Tarantino" but a lot of it felt uninspired. This, on the other hand, is a vicious, no-frills thrill ride through and through, brimming with plot twists and sporadic surprises, and while it's simpler than most Tarantino movies, it still feels like it exists out of passion for film as a format, and wholly to entertain its audience above all else.
On that note, this is definitely a risky movie to put out in this day and age, for a multitude of reasons. It goes a few places that are certain to "divide audiences". Nowadays, people expect almost all "good movies" to exist "for a reason" and to be making some kind of statement. Perhaps this is because outside of superhero movies, franchise money grabs, and the garbage factory known as contemporary American horror, we aren't offered much in the theatrical film arena that exists for sheer entertainment anymore. Strange Darling is a rare gem in the pile this year, especially considering it even made it to wide theatrical release when it stars two no-name actors and a no-name director.
Outside of the relatively unknown, the familiar names were MUCH welcomed. Legends Ed Begley Jr. And Barbara Hershey add the much welcomed and intelligently placed humor to the film when they appear, but it was 90's wonder boy Giovanni Ribisi (Phoebe's brother in Friends) that I was even more shocked to see - though it wasn't his face, it was his name during the closing credits - he was the Director of Photography! What a phenomenal job he did!
As I said, this movie is absolutely going to divide audiences. But, it is my opinion, that this is one of the best movies of the year, and precisely the type of underdog theatrical release that we need to be supporting in order to conjure more original filmmaking in America while we still can! Everything about this rips! So much fun. Kyle Gallner's subtle Tom Hardy'isms were a blast, and Willa Fitzgerald is now a legend in my book. This is destined to be a CULT CLASSIC. Go see it!
Alien: Romulus (2024)
The epitome of fan service, but it ROCKS
Pure fan service but also grade-A entertainment.
This is the first Alien film that has taken all of the collective lore and aesthetics and simply re-used it rather than trying to do something innovative with its story. But, for those not looking to be challenged or surprised, for those who simply seek tense, gripping action with as many xenomorphs and face-huggers as possible, this film is a dream come true. While it lacks in creativity, it absolutely delivers in every other way. Director Fede Alvarez understands how to use tension very well, which is now very clear through the consistency of his films (Don't Breathe, and Evil Dead (2013), before this).
I actually found the beginning of the film to be one of its strongest suits, as it sets its own world and its character's stories up in a very tightly knit and classic-feeling manner. It got me excited for the rest very quickly, but once they get into the ship it goes into fan service mode the rest of the time. The middle of the film is the only section that feels slightly redundant at times, like okay we've seen this before, we can guess what's gonna happen, but it's never boring. It's always very entertaining. Then you get to the final 30-40 minutes and it's just over-the-top and electric, it's theatrical value cannot be denied. It is an immensely fun movie to see in the theater. A lot of the sequences have big, big video game boss battle energy, and I am entirely here for it. We don't get much of that in movies these days. Not anymore.
While the whole cast did a sufficient job, there is only one cast member who truly stood out, and that was the wonderful David Jonsson as our lead's cyborg brother, Andy. Wildly impressive, dynamic, and endearing performance by this legend. I hope to see him in a lot more film and/or TV in the near future. Cailee Spaeny did a fine job carrying the film, otherwise.
While it's not breaking any ground AT ALL, it is one of the most purely entertaining movies I have seen come out this year. Fully worth seeing in the theater and fully worthy of all the praise.
La bête (2023)
The most intriguing film of the year
This is easily the most intriguing film I have seen in the last year, and certainly the biggest headtrip.
First and foremost, I must confess that this is the first time in a very long time where I 100% needed to Google an "ending explanation" after the movie was finished. In fact, it might be the only time I truly felt the need to do so. I even rewatched the last 20 minutes again the next morning, trying to make more sense of it, but I still had no idea! If the movie had all felt like empty nonsense, I would consider this a bad thing, but up until its ending, I felt entirely intrigued by and impressed with ALL of its themes and scenarios. So, in this case, I fully respect how puzzling the ending was.
The Beast takes you a lot of different places. So many, in fact, that you will likely ask yourself several times, "How did we get here?!". I went into the movie knowing nothing about it, so having to determine myself that these characters were each "more than just a character" was part of the fun (I determined that was a way I could word it which would avoid spoiling it for you). You'll spend the first act getting to know the characters, and later you'll be like "Wait, do I know this person? Who is that person...actually? What is happening?!" It's THAT kind of movie, and I loved it.
Both of the film's brilliant leads, Lea Seydoux and George MacKay (1917, etc), carry it wonderfully, fusing it with heavy amount of nuance and psychological complexity. By the end of the film, you feel like you've been through something like a full ayahuasca rebirth with each of them. BIG bonus points for throwing Dasha Nekrasova into the mix for a couple of scenes, a surefire way to add to the overall unease AND allure. Double bonus points for all the bizarre "future dolls"!
It's hard to say more about this other than if you enjoy puzzling, surrealist films you absolutely must see this. The first film that comes to mind, and honestly one of the only comparable ones that I can think of, is David Lynch's MULHOLLAND DRIVE. Much like that, this movie is absolutely not going to be for everyone. You've got to want to feel like someone is sticking a couple fingers into your brain and twisting around. And, man, how did they manage to make that internet fortune teller in the final act SO SCARY????? Actress Marta Hoskins laid down legendary vibes!!! So spooky!!! I was finishing this movie at like 3:30 AM and the final act is the spookiest part. I was like "Am I going to be able to sleep after this?!"
Fascinating film. This is my first dose of director Bertrand Bonello. I hear his other films are intriguing in a similar regard. Now, I'm excited that I have more of his works to consume! Excellent!
Beast (2017)
A masterclass in nuanced acting
I scrolled down expecting to see numerous 10-star reviews, but I should have assumed, most cases in which I find a movie to be truly masterful, it goes misunderstood or under-appreciated by the majority.
When Jessie Buckley appeared as one of the leads in I'm Thinking of Ending Things, i immediately wondered "who is this interesting person that maestro Charlie Kaufman chose to front his new movie, and where did she come from?" At least a couple of people said "Beast". I have remembered ever since, and recently it appeared on Amazon Prime, so it was time.
BEAST is a masterful showcase of acting, particularly by both leads Buckley, and the very underrated Johnny Flynn. I was first introduced to Flynn through EMMA (2020), a movie in which the only thing I really took away from is what a capable actor he is. But here, both of them shine on a level I have not seen in anything else. Astonishing performances; as dynamic as acting gets and bursting at the seams with nuance. Throughout the film, they both display immense levels of polarity, at times being wholly tender, and others being wholly frightening. And within that, their chemistry together is unstoppable; the whole film it's a quiet stick of dynamite, and you can feel how soon it's going to explode. The supporting cast are all great as well. The mother played by Geraldine James specifically stood out to me as well, just a revolting presence every time she showed up on screen. Pure heinousness in her eyes.
Now, this is a psychological thriller that absolutely does not spell everything out for you. You'll need to run with your gut and trust your instincts. After the first act, you'll be thinking "Well, no matter how this plays out, it seems predictable", but, that's incorrect, because as it will show you, it's not so much "who did it", but rather "how and why". The second half of the film is full of so many unexpected, intricate turns, and each just seems to be digging you deeper into a grave plot as you watch. You'll also need to be accepting of surrealism because there are a fair share of sequences that may throw you "off" if you're not. I feel that they could have ended the movie about 10 minutes earlier and it would still be a masterpiece, but the ending they do tack on works just as well.
This is a pretty dark experience with a lot of genuine bleakness at its core, but its fused with enough heart and romance to flesh it out into a crucial movie viewing experience. The acting, writing, and directing are all performed at an immaculate level. I know it won't be for everyone, but to me it's a masterpiece. I'm fully on board with both Buckley and Flynn for as long as they decide to keep acting.
The Sweet East (2023)
A muse is not enough
This is exactly the TYPE of movie I feel we need more of now, so I really wanted to like it, but sometimes that is not enough. I was originally drawn to this film by mere way of its casting and a few blurbs I'd read about it, making it out to be some indie wonder. The tastefully selected cast is primarily made up of actors who have broken through more recently like Ayo Edebiri and Jacob Elordi, obscure pseudo-celebs like Gibby Haynes and Andy Milonakis, transgressive underground NYC filmmakers like Betsey Brown and her brother Peter Vack, and no-names, and that alone spoke volumes to me.
When I started watching the movie, I discovered that it was directed by the DP of Good Time, one of my favorite movies of this entire century. With the tone and pacing of the first 15 minutes, I really thought I was going to love this movie. It moves quickly, barreling through people and places, almost faster than you can keep up with as a first-time viewer. The style of cinematography has a certain raw value reminiscent of 90's/2000's stalwarts like Harmony Korine or Larry Clark, or more modern films that also channel that energy like the wonderful American Honey. There is value in the believability of youth that is portrayed in this film's early segments - the true energy of college age kids going wild together is captured. Then, we hit the opening credits, which are also mystifying in their own way. Lead actress Talia Ryder lip syncs to a whimsical fairy-tale esque ballad while gazing at herself in the mirror - it is then that it becomes clear that Ryder will be the focus of the film, and it doesn't seem like a bad thing as she is gorgeous.
However, things change after the title card. The pace slows down to more of a butter churn for most of the remainder of the film, and the structure shifts into a rather familiar, and in this case, somewhat redundant, and aimless one. "She's on an aimless adventure and everyone wants her", would be the easiest way of summing it up. This is a structure I've seen so many times before, but most of the other ones I've consumed had a lot more meat on their bones. Talia Ryder is angelic, looks like a model in the most traditional sense, and is totally likable, but her character has more arc and depth in the first 15 minutes then she does throughout the entire rest of the movie, so sadly, eventually, fixating on her SO MUCH does lose its steam in this case. There's not enough character depth in the writing to justify the infatuation that the camera seems to have with her. More humor really would have helped give this movie wings to fly, but I rarely found it to conjure chuckles or leave you with any memorably witty dialogue. On top of this, half of the male characters who appear all seem to have the exact same personality - they all want to flex obscure historical tales and philosophies endlessly - this is funny for a few minutes but after some time, it's like "ok, yeah, we get it...what else?". Simon Rex is actually the king of this energy in this film, and leaves one of the most lasting impressions, almost returning to the vibe of his most recent celebrated role, Red Rocket, in which he portrays characters with arguably pedophilic tendencies. The rest of the male characters simply portray danger or un-trust, one-dimensionally.
As you could assume based off of the rest of this review, the journey goes nowhere. It only feels more aimless as it goes, and ends extremely abruptly. I really like what they were GOING for with this movie, but I just don't think it adds up to anything at all. Even as a tribute to the east coast in general, as it presents itself to be, it doesn't seem to hold much merit for viewers. It has flashes of brilliance but never more than flashes. Even some of the music choices are especially delightful, like putting a choice Minimal Man song over the ending credits, but those count as flashes.
Of course, I could be wrong, but this feels like the EPITOME of a case where the filmmaker chose Talia Ryder as a muse, and just wanted to make a film revolving around her (hence the "camera's obsession" with her throughout the entire film), yet struggled to find a story with any real purpose, inspiration, or cohesion, and maybe even knew that, but had an opportunity to make a movie with this cast, and did it any way. They also used this as a vehicle to have Ryder say "retarded" as many times as possible - the R-WORD is back, baby! Maybe this will be some magical experience for some teenagers or college-age kids, but as a 40-year-old artist, it left me wanting a lot more.
Welcome to Me (2014)
Satire done wrong
I really want to like it because it's a "dark comedy" about a mentally unwell woman played by Kristen Wiig (who is generally great) who starts her own public access show and basically just wants to talk about dog circumcision on the air for literally no reason. On paper that sounds like pure gold - totally my kind of movie - but, unfortunately barely any of the satire or jokes really hit, and it's really just kind of a toneless mess the entire time. I give it a 5/10 for being so singular, but I would not recommend it to anyone.
This was actually recommended to me by a wild punk dude from San Jose who was raised by lesbians, and I generally agree with his tastes, but this one was way off.
Keetje Tippel (1975)
An immensely underlooked gem - classic Verhoeven
This feels quite a bit like a spiritual sequel to one of my favorite movies of all time, which I also perceive as perhaps the most underrated movie I can think of, Paul Verhoeven's debut feature film, Turkish Delight. This is also directed by Verhoeven and has the same two leads, the iconic Rutger Hauer in some of his earliest roles, and the utterly beautiful and charismatic Monique van de Ven. I guess there's a bit of a swap as Hauer is the main character in the previous, while van de Ven is most certainly the main character in this.
I expected less from this hardly-referenced second offering from Verhoeven, considering it's never even spoken of, but the combination of van de Ven's electric allure with that of Verhoeven's provocative, fast-paced directing keep this film riveting through every sequence. On paper, you'd think it might be a slow-burner, but it hardly ever feels the part. In summary, it's quite a simple film - a poor girl who is the eldest child in her extremely impoverished family seeks more out of life, and slowly, through recognizing the power of her own allure, amongst other things, she begins connecting with people who are a little bit richer, or a little bit more powerful - and so she makes her sporadic journey into higher society rather suddenly. Of course, one can only "pretend" to be something for so long...
If you're watching for Hauer, you'll find much more within his performance in the other early gems of Verhoeven (Spetters is another great one...I've yet to watch Soldier of Orange - That's the last of Verhoeven's Dutch classics remaining for me), but this film is absolutely worth watching regardless. There are bundles of intriguing, stylish, innovative, and very memorable sequences scattered throughout it. Specifically, one featuring a giant vat of intimidating green liquid, and one where many people are being shot in a dark alley!
All of Verhoeven's Dutch classics are more than worth exploring. This is no different. Fully on par with Spetters and The 4th Man. I love Paul Verhoeven films - he's truly one of the best that cinema ever had.
Walkabout (1971)
Breathtaking, beautiful, melancholy, comforting - a masterpiece
This was so special. Such a unique and beautiful film.
Nicolas Roeg has always been one of the most up-there directors for me. I grew up with his The Witches as one of the most rented VHS tapes from the video store by my sister and I. Over and over, we would watch it and we would never grow tired of it. Revisiting it as an adult, I realized that it not only held up, but was leaps and bounds above the majority of "children's films". I miss the "children's horror" boom of the late 80's and early 90's, and still find that The Witches is the greatest film ever made within the sub-genre. After that revisit, I began exploring the rest of Roeg's filmography and became a huge fan of every single movie I watched (with the exception of Track 29 - what a stinker in the pile). One more of his films would fully blow my mind, and that was Don't Look Now (from 1973). I'd say that, The Witches, and Eureka are my 3 favorite Roeg films, but now this one sits up there snuggly with Eureka.
I didn't expect to recognize cast members from this out-there movie from so long ago, but both leads were already special to me. I'd recently had beautiful Jenny Agutter stand out to me in my first viewing of sci-fi masterpiece Logan's Run, and here in her breakthrough lead role, her presence is very strong and she is breathtaking. Even more unexpected was to recognize David Gulpilil, whom I was introduced to through his unforgettable role as "Christopher Sunday" in the final season of the groundbreaking surrealist TV series, The Leftovers. I remember seeing that he passed away in the last couple of years, and upon seeing posts about him, it made me curious about his history. Well, it turns out that his history began with this movie. He has an astonishing presence as the Aboriginal boy who helps the stranded leads survive after being lost in the desert. It works because he was an ACTUAL "First People" in reality, so all the hunting, dancing, etc, are legit. Noting this, considering that the film is otherwise rather graceful, it does feature a very large amount of animal brutality, as creatures of the outback and hunted and slaughtered consistently throughout the movie. It was making me flash back to Italian video nasties such as Cannibal Holocaust and Mondo Cane, though the difference here is that those films are generally considered staples of distaste/trash cinema, while this is considered a film of pure taste. It creates an extremely unique juxtaposition of vibe and energies, slightly melancholic but comforting at the same time, just as I'm sure the lead character's experience following Gulpilil's character would be in actuality.
I very much enjoyed the whimsical music score, which is sort of typical 70's film music, with flutes and strings, etc, but it's one of my favorite sounds - not many approaches are failsafe to be so beautiful and emotive.
Considering Walkabout's rather straightforward plot, the film features far more dynamic in its story's progressions, environments, and side characters than I expected. There are many sequences that I absolutely was not expecting to see in this film, and I've never really seen anything quite like it. This movie changed the world upon its release, where it was a huge hit everywhere except in Australia. It helped some of the world perceive Aboriginals differently, humanizing them for many people, but it also pulled Gulpilil out of nature and into a Hollywood lifestyle, which eventually damaged him greatly as it did to so many people. This is a legendary movie - see it.
Kinds of Kindness (2024)
About as intriguing as a film can be
I absolutely loved this madness. I will say right off the bat, if you're one of those people who needs "answers" with your films, then you may just want to avoid this one altogether because it hardly exists within the rules of reality and all of its "conclusions" require interpretation.
Three tales featuring the same cast playing different characters are woven together only loosely through a strange archetypal type of man referred to as "R. M. F." - part of the fun is trying to determine what connects these three stories together, and why. Your guess is as good as any (LOL). Making a film this abstract is always a risk, but when you're a visionary filmmaker with as much creativity and wit as Yorgos Lanthimos, and you've got a cast this immaculate, it becomes nearly impossible to fail. Every member of the cast brings immense dynamic from tale to tale, with this film featuring probably my favorite and the most versatile and accomplished performance from Jesse Plemons ever. The same goes for Emma Stone at least in regards to versatility, riding the immense coattails of the groundbreaking TV series The Curse, and of course her Oscar win for Poor Things. Margaret Qualley is much welcomed in her array of roles, subtle but striking at the same time. Willem Dafoe is the only one who plays 3 characters that are much more similar to one another... but I feel that this is intentional, as he is always playing some sort of "father". There are some unforgettable sequences with Dafoe here, per usual, but ones that truly stand out among all of his prior appearances.
On the subject of fathers, this movie is tonally much more comparable to Lanthimos's DOGTOOTH and THE KILLING OF A SCARED DEER (two films with very strong focus on fatherdom), than it is his most recent POOR THINGS or something easier to swallow but still brilliant like THE FAVOURITE. It is very heavy on its looming sense of dread, and though most of it is packed with extremely dry, extremely nuanced humor, the bleakness greatly outweighs the comedy. And, it has some truly disturbing sequences that enter horror territory! Tons of medical scenes! As the movie progresses, it slowly veers away from comedy and further into cryptic darkness. It was also reminding me a bit of Paul Thomas Anderson's INHERENT VICE at times - only the most bizarre.
This is truly my kind of film. It will give you a lot to talk about, and a lot to think about, unless of course you're the type of person who has no interest in dreams whatsoever? There are many dream sequences throughout this film, often feeling a bit Lynchian. It feels like an extra layer of...something, noting that a movie that already feels like a dream all the way through, is packed full of dream sequences within it. While many will walk away frustrated that "it doesn't make any sense", those who appreciate having the walls of their mind expanded will find much value in this nearly-3-hour epic which is clearly rich with metaphor, yet never makes it fully clear what those metaphors really are. Loved it.
Ragewar (1984)
Impressively disjointed - how did they even...
One of the flimsiest, most disjointed, most nonsensical movies I have ever had the pleasure of watching.
I wanted to give it a 4 or 5 out of 10 simply because the level of absurdity it presents during the first half makes you want to give it more credit, however, its special brand of brain-numbing beats you down so hard that by the time you get to the second half you just want it to end, but somehow its 80 minute runtime feels like 2 and a half hours.
We've all seen anthology films that include 3 or 4 stories in a movie's runtime work relatively well, but whoever decided 7 would be okay in an 80 minute movie was wildin' out. Each of the 7 segments are LESS than 10 minutes long, meaning that literally none of them are long enough to establish ANYTHING that makes a lick of sense. There are barely 2 scenes in this entire film that actually feel connected in any relative sense. Maybe auteurs like Peter Greenaway can get away with that when they drop movies like Prospero's Books, but this ain't Greenaway, this is Charles Band!
On that note, I really wanted to like this because it feels like Charles Band going full bore and trying to include everything that makes Band (and later, Full Moon Features) precisely what they are. But, it's simply too much. None of it works when you include too much.
I think I was drawn to this because someone said it was the closest thing to a live-action NES game they'd ever seen. While that might be true, it does NOT make the viewing worth it! I much prefer Charles Band's finest work from two years after this, TROLL, featuring the debut appearance of Elaine Benes, prancing nude through the mysical forest! Everyone should see TROLL!
MaXXXine (2024)
It's a turd painted neon & wearing sunglasses but it's got Mia Goth, so
I despised X and adored Pearl. After seeing the trailer for this, I had a feeling this one would float somewhere in the middle, and that's precisely how it went down for me. By way of the trailer alone, I thought the movie looked terrible, but I held some faith because I was under the impression that Mia Goth helped co-write this film, as she did with Pearl, however, when the opening credits played through, it ended with the dreadful "Written and Directed by Ti West" with no sign of any co-writing by Goth, and I feared I was fully doomed.
Perhaps it's because of all the negative feedback I ingested before going to see it, but I actually found MaXXXine to be much more fun than expected. Many people are claiming Mia Goth is "underutilized" here, and while it's not one of her most riveting characters or performances, it should not be a prerequisite that each character she plays has to "out-intensify" the previous one. While her performance is far more subdued than say Infinity Pool or Pearl, she still gives a thoroughly strong performance here and is the only real thing keeping this film as engaging as it is (that's mildly).
It's an odd one to sit through though, primarily because on the surface it seems like it has a lot to offer, but you may find yourself having a hard time staying "in it" by the time you get to the second half, as I did. The movie has some really over-the-top gore sequences, stronger dialogue than expected which is generally performed very well by the tasteful cast, and plenty of visual stimulation in general. But on the subject of visual stimulation, a lot of the aesthetics are actually also one of the worst parts of the film. Rather than feeling like it actually takes place in the 80's, it feels like a parody of the the 80's by someone who has never actually consumed much actual 80's media, and definitely wasn't there for it. The aesthetics feel more synthwave than they do actual 80's, and it's purely corny. Another example is the carved pentagrams on the murder victims - this feels straight out of a 12 year old's mind. The movie is not campy enough to work as a gem of that subgenre (like Pearl) and too corny to work as a genuinely disturbing offering. It also doesn't help that the general plot is just about non-existent, outside of the protagonist's broad mission. There is hardly a story, and the film hardly moves. And then, the ending feels like a tacked-on afterthought.
Director Ti West uses a lot of decorations and baiting to pull people into theaters, to compensate for the fact that he doesn't have a good movie, and, hey, it got me too. Nearly everything about the movie is flair with no guts. It barely matters that Goth's character is "a pornstar", and though the extreme gore sequences gave me a good laugh, they too feel like colorful paintings on top of what is a turd at its core. But beyond the fact that it is a bad movie, it is a somewhat refreshing and weird release in an era where 90% of horror films are carbon copy vomit. At least it tries to be something original, it just happens to kind of suck in the end, but it is bound to end up having some sort of strange cult following, as long as people keep watching movies, and especially in lieu of being part of Mia Goth's filmography, who will absolutely be a highly regarded actress for the rest of our lives.
Miracle Mile (1988)
Far from typical 80's fare - powerful & unforgettable
This movie...is crazy. I suppose I've never seen anything quite like it. I expected it to be pretty hokey, and it definitely is at times - I mean it's super "80's feeling", but by the end of the film, it transcends it's era-specific elements and really surprises you with the powerful way it decides to wrap itself up.
The film pretty much gets heavier as it goes, and by the final half hour, you might be surprised how effectively emotional the experience is. Of course, there are a lot of fun small details that let it also exist as a "super 80's" gem, such at Brian Thompson's musclebound gym lord helicopter pilot character, the general look of love interest Mare Winningham's character, and a lot more, but as I said, it's definitely more than just more 80's fare.
I can't say I'm super familiar with lead Anthony Edwards from any of his other roles, but he does a phenomenal job of holding everything down in this film, choosing love over everything in the light of a potential apocalypse. At times, you feel like he may be insane, at other times, you feel like he may be the smartest man on earth with the biggest heart.
This is a must-watch for any 80's completist, but also something that every true cinema fan should see, in general. It had plenty of unexpected curves throughout it's progression, and only got better as it went. I think my absolute favorite part was seeing horseshoe-haired actor Kurt Fuller in his absolutely psychotic role, who I'd known my entire life as "that really weird but cool guy who works at the radio station in Wayne's World" - his character in Miracle Mile is so strong and so memorable, it's undeniable, and things elevate VERY QUICKLY WITH HIM! Amazing!
Missing (1982)
Impressively bleak, progressive, and effective thriller
Major standout film. Got to watch this thanks to Criterion Channel letting the wonderful synth pop lordess Danz CM curate a "Synth Scores" film playlist, which included this thanks to its Vangelis score, which of course is phenomenal, especially its main theme. All 3 leads in this bring so much life to this film.
While I found the first half hour to be the most intriguing, intense, and engaging part of this movie, it does round itself out nicely in the end, making it a near-masterpiece, if not a full-on one. The first half hour follows some young American journalists covering a coup d'etat (a term I was unfamiliar with previously) in Chile, and does a very impressive job of displaying just how terrifying it can be in reality to be a foreigner in a dangerous country during a dangerous time in history. The dread and tension are incredibly high and effective. Then, of course the titular theme occurs and one of our characters goes missing. The rest of the film involves his wife and his rather stubborn father who don't get along very well at all coming together to try to find him. While at first the volatility between them is rather frustrating (I believe it's intended to be), the bond that develops between and the way they change together throughout the film is what gives the entire meat of the movie it's greatest strength. Finally, in the final act, we receive a powerful ending that is the ribbon that ties this whole masterful package together, and I will just say that it does not pull any punches.
Heavily recommended for anyone looking for a fantastic vintage thriller that exists on the bleaker, more realistic side of things and might even teach you a thing or two about the history of Chile and corrupt government activity in general.
Deck of Cards (2022)
A film experience unlike any before
A film experience unlike any before.
Gregg Turkington's DECK OF CARDS tells a historical tale that somehow previously slipped through each and every one of our school textbooks and documentary collections up until this point. Profound beyond belief, DECK OF CARDS tells the true story of how we humans as we know ourselves nearly missed out on knowing how a deck of cards works, entirely.
While the writing and directing are equal parts challenging and and innovative, it's Tim Heidecker's dual performance as both Special Agemt JJ Denecker and the Jack of Cards that brings down the house in a walloping showcase of esteemed talent. Must be seen to believe.
Asparagus (1979)
A masterpiece of feminine energy, cryptic nostalgia, and psychedelia
A short but sweet masterpiece of obscure feminine energy, a cryptic sort of nostalgia, and psychedelic art from another planet.
The opening sequence is about as close to the opening sequence to Shrek as you are gonna get (the only good part of Shrek). It won be right away with that title card...
I kind of wish I would have known about this when I was a 19 year old stoner. I feel like it would have been one of my favorite things to turn on over and over again when my friends and I were hanging around in the basement at my mom's town house while taking bong rips.
The art style is equal parts beautiful and nightmarish. The jagged movements feel like those of bad dreams, yet the content is mostly pleasant, colorful, and otherwise calming on the surface.
While the first half reminded me of what it felt like to be a young child at an aunt's house, I wasn't sure what to take of the second half. I took no thematic purpose from it, yet I thoroughly enjoyed it in all its weirdness. In the end, I don't even know what the asparagus itself represents, and I love it that way. I've never seen anything quite like this. It is entirely worth your 18 minutes. I will definitely be revisiting it in the future.
Furiosa: A Mad Max Saga (2024)
Like the best DLC in film format ever
Furiosa is a wholly worthy sequel to its groundbreaking predecessor, Fury Road. While it does not break new ground, what it does do is offer 2.5 hours of more on-par material that goes unmatched by any other movie ever made, outside of Fury Road. Typically, simply making more of something while hardly offering anything "challenging" would be a big no-no to me when it comes to the film world, but when what you're making more of is hands down the greatest blockbuster film of this entire CENTURY thus far, it comes much welcomed.
Much like Fury Road, the entire last 2/3 of the film consist of blistering non-stop action. Typically, contemporary action films bore me to death, but these Mad Max films put 90% of other action films to shame, because they feature consistent innovation, between the physics of what's occurring, to the character and weaponry design, and so on, it is an electrifying ride that moves with a lightning pace all the way through. You will hardly feel the 2.5 hour run time.
I always wanted to like Anya Taylor-Joy, but her early films and performances often disappointed me. However, from Emma and on, she has continuously been better and better in every movie I have seen her in. I was especially fond of her in The Northman, The Menu, and Last Night in Soho. She did a PHENOMENAL job with this role, and yes, she looks bad ass too. Chris Hemsworth fills out the movie nicely as a villain who provides the film it's only comedic relief (aside from maybe SCROTUS AND RECTUS when they first introduce themselves, LOL), while being equally despicable. It's a nice change of pace for Hemsworth and he is great in this position. I was unfamiliar with actor Tom Burke but he also adds some very strong character and moments to the movie.
I've been seeing a lot of press about how much this movie has "bombed", but the press needs to stop ignoring the fact that ticket prices have skyrocketed to ABSURD levels this year, and people are struggling to get by as it is - THAT is why people aren't going to the theater. It has nothing to do with the movie, or people's tastes, in my opinion. We almost didn't go last night cuz we couldn't find a theater playing this movie for less than $23, but I'm glad we bit the bullet and went, because it's about as riveting and satisfying as a movie theater experience gets. If you are going to spend the money to see only ONE movie in the theater this year, THIS IS THE ONE IT SHOULD BE.
All of Us Strangers (2023)
A profoundly powerful masterpiece
When people say things about movies like "this isn't a movie, it's a feeling" - this is the epitome of the kind of movie they are talking about.
If I had seen this last year, it absolutely would have been on my Top 10 of 2023, if not my Top 5.
Andrew Scott and Paul Mescal have ASTRONOMICAL chemistry in this, and I mean that in a MULTITUDE of ways. This is my first impression of the very hyped Paul Mescal as an actor, and from his first minute of dialogue I was entirely sold. Drastically charming with a very unique demeanor and sense of humor, and, if he ISN'T GAY in REALITY, then this film shows that he is ONE TALENTED ACTOR. As a straight man, I have no fear or shame in saying that the sex scenes in this are HIGHLY STIMULATING - perhaps it's because I could feel that it was "working" on my girlfriend who was watching with me, but the passion between these two men did NOT feel like a work of fiction - I will just say that. It's wonderful to see Andrew Scott getting such a ball rolling - he's always been a very standout person to see on screen, but ever since that priest role in Fleabag he's really broken through, and this is without a doubt the most astonishing performance I've seen by him - the emotion he is able to resonate through expression in this film is on a very high level.
The soundtrack is fantastic (great new wave songs).
The film keeps you guessing. What is real and what isn't? After we finished squeezing each other and letting our tears drop all over each other throughout the entire ending credits, it left us with a lot to discuss, and every element, even if we weren't fully sure what they represented, felt deeply powerful and beautifully tragic.
I had heard that All of Us Strangers was a really heavy film, and it absolutely is. While the ending was mostly beautiful and comforting to me, my girlfriend found it to be deeply sad, and overall, found the film to be "maybe the saddest movie she has ever seen". It feels immensely personal, and somehow strikingly "real" though the entire film functions very far outside of reality. It's a hard experience to put into words other than: IT IS A PROFOUND MASTERPIECE.
The Fall Guy (2024)
Making "meta" cringe
The last 3 movies I've seen have been "meta" (the other two were I Saw The TV Glow, a singular masterpiece, and American Fiction, an admirable film). Is meta becoming that trendy? I think it is. In fact, I think for the first time I've witnessed, meta is becoming cringe. This is the movie that is causing the whole idea of a meta film to cross a line, and make it totally lame. In my life time, some of the meta films released have been some of the most unique and mind-bending films that have been created (Being John Malkovich comes to mind first), but The Fall Guy is, at its core, brainless popcorn garbage.
This feels like watching a Deadpool movie but without the superhero costumes. It's not nearly as funny as it wants to be. It does not function well as a comedy. Yet, it is also far too corny to allow any real tension to build during its countless action sequences. You can't take any of these characters or the film's events sequences seriously, therefore you do not care if or when they might get hurt. I saw the majority of the twists coming before they occurred. I hated the soundtrack - I probably wouldn't get along with whoever did the music supervision; a lot of bad, unfitting songs are used. This movie did not need to be over 2 hours long.
The first act moves too quickly and the interactions between characters are far from believable, the second act feels almost entirely aimless, while the third act does manage to deliver consistent base-level action film entertainment. Though his performance is nothing to write home about, it is fun seeing Aaron Johnson playing such a torqued-out villain. While Gosling and Blunt are charismatic enough to keep the movie as mildly entertaining as it is, neither of them shine, while brit Hannah Waddingham actually steals the show as the slimy film producer.
All the post-release press about "America asking for more original films and then not supporting them when they come out" in light of The Fall Guy's release, is really quite comedic after seeing it. They seem to be ignoring the fact that "an original script" alone is not enough - the movie also has to be GOOD, but I would straight up call The Fall Guy a BAD MOVIE. It feels almost identical to watching a Marvel movie, tonally, and as far as I'm concerned, THAT is the LEAST refreshing thing one can possibly consume in the form of feature films in 2024.