This post is a kind of diary entry. I want to take note of all the films I've seen in the last week-and-a-half, and observe just how decent if not great they all were. It's the beginning of the good time of year for me. The time when solid movies become presented ones. Besides, there are far better things to do than sit inside all day. Right? Wait a minute.
Thursday, October 15.
"Bright Star" A-. See lower entry on that one.
Friday, October 16.
"Berlin 36" B.
"I repeat, do not look up the skirt on the left..."
Susan Sontag more-or-less diagnosed my problems as a simple case of "fascinating fascism." In other words, her essay elaborated, in part, why I gravitate towards fascist imagery in films and pop culture. This film only further fed the monkey. But that therapy is for another day.
A historical document of the Nazis rigging the '36 Olympics by putting a seventeen-year-old boy in the women's high jump. TV-movie dramatic at times, the film presents a great look at not only the biggest failures of the 20th century (Ze Nazi party), but at an odd time with awful practices in getting Olympic medals.
Monday, October 19.
"A Single Man" A-.
"Why yes thank you. I am rather dapper."
I just can't comprehend or get into "Mad Men" for the life of me. "Watch the first five episodes and you'll get into it!" everyone says. Yeah, same goes for all shows.
But, in 99 minutes, first time director and fashion designer Tom Ford nails that same era. 1962. A professor mourning the loss of a long-time partner, contemplates suicide on a fateful L.A. day. An optimistic tragedy set against the great paranoia of the Cuban Missile Crisis. Oh, and Colin Firth's subdued, sublime lead performance? It almost makes you forget a decade of post-Bridget Jones pussywhipping.
Wednesday, October 21.
"Where the Wild Thigs Are" C+.
"No, I don't need any TP. I am wild..."
And Spike Jonze makes another flick beyond his grasp. Unique concepts, creative execution and decent taste somehow just don't add up in this dirt-clod adaptation. Jonze has such talent for visually stunning videos and shorts, yet his movies almost always never get beyond their own gimmicks and tricks. "Wild Things" only perpetuated that trend. Could be called "Muppets go Emo." No I am not hard on Spike. Shut up.
Wednesday, October 21.
"Black Dynamite" A.
"..."
Arguably, the funniest film of 2009. A pitch-perfect satire/spoof of the blaxploitation genre, it falls in line with "Death Proof" as a sublimely postmodern movie. Complete with visible boom-mikes, crappy kung-fu, Curtis Mayfield music and my new favorite film line of the year:
"You diabolical dick-shrinking motherfuckers!" - Black Dynamite
A perfect spoof of a long forgotten genre, as well as a nice satire of the hypocrisies that those movies perpetutated, "Dynamite" was dynamite.
Thursday, October 22.
"A Serious Man" A.
"You ears are burning."
Right in the middle of the Coen Brother spectrum, "A Serious Man" is both a hysterical geek show ("Raising Arizona") and a masterfully crafted parable ("No Country for Old Men"). A labor of love from the Brothers, it pits Larry Gopnik, Minnesotan math professor and semi-schmuck, against the cosmos. Never has a man been so familiarly, domestically punished, and yet we watch with anticipation and anxiety. Just what the Coens would want. A great boost from "Burn After Reading."
Saturday, October 24.
"Antichrist" No grade.
"A hint for the squeamish."
I honestly don't think a grade is applicable to this film. You've read about it. You've more than likely heard about it. And there is no similar take on this film. But, I suppose, here is mine: A Bergman-esque, Brechtian, "Shining"-like glance at the horrifying self-destruction of a couple after the tragic loss of their small child. Enthralling, appalling and just too fascinating a film to miss out on, "Antichrist" really deserves a look. Even if you're just titillated by the gonzo Cannes P.R. business.
Bonus: Friday the 23rd, I saw "Ghostbusters" as a 1984 print, on the big screen. It's still my all-time favorite film. No jokes now. There were tons of new details I noticed this time — Rick Moranis' funny face, the small background details — which made it absolutely worthwhile. And this time, it had an odd time-travel effect, likely due to the old theater and old print. So, it was like seeing it when it first came out, which was way cool. So, in short: Bustin' made me feel good.
"A couple of crappy blog capsules?"
