Calvary (2014)
dir. John Michael McDonagh
I wrote a proper review of this which will be
published online over at Wicked Local on
Friday. But I think this may just be one of the best films of the year, my
second favorite I’ve seen so far, only surpassed by Under the Skin.
Brendan Gleeson is proving to be one of the finest actors working today. Here he pulls off an astounding balance between being a strong, toughened priest with the wisdom to lead his flock (if only they would listen to him), and being emotionally vulnerable and privately frightened. As Sunday draws nearer he becomes increasingly erratic, knowing that he may very well die.
Brendan Gleeson is proving to be one of the finest actors working today. Here he pulls off an astounding balance between being a strong, toughened priest with the wisdom to lead his flock (if only they would listen to him), and being emotionally vulnerable and privately frightened. As Sunday draws nearer he becomes increasingly erratic, knowing that he may very well die.
I don’t have too much to add that’s not already in
my full length review, so I’ll just close by saying that I really need to track
down McDonagh’s first film, The Guard.
After seeing Calvary I need some
more Brendan Gleeson in my life.
Gentlemen
Prefer Blondes (1953)
dir. Howard Hawks
dir. Howard Hawks
Watched this on a whim while browsing through
Netflix, and while it has its slow points, it’s a ton of fun. I wouldn’t be the
first to point out Marilyn Monroe’s magnetism. It’s not even that she’s
gorgeous, it’s that there is something about her very presence, the way she
carries herself which instantly draws your eyes towards her. Even in a movie
like All About Eve, where she spends
much of her screen time standing in a circle listening to other characters,
your eyes still shift towards her.
This was also the first Jane Russell movie I’ve
seen, although apparently she had a relatively short career. She does a spot-on
Monroe impression at the end.
Generally, the film shines during the musical
numbers. The set design during Diamonds
Are a Girl’s Best Friend is breathtaking. The pure red background coupled with
the human candelabras, which seemed ripped straight out of a Cocteau film, make
for one of the finest numbers I’ve ever seen in a film musical.
Finally, I love the kid. He’s got this deadpan that
reminds me of when David Lynch acts. Everything he says is pure gold. His interaction
with Monroe when she’s stuck in the porthole is one of the film’s high points.
Pinocchio
(1940)
dir. Hamilton Luske & Ben Sharpsteen
dir. Hamilton Luske & Ben Sharpsteen
Rewatch. Last year I thought it would be fun to go
through every movie in the Disney Animated Canon. Well, I watched Snow White, never wrote the piece I was
going to do on it, and then forgot about the project. I finally decided to keep
it going, at the least so I can have a better understanding of Disney, given
that everybody my age is still obsessed with them.
I haven’t seen Pinocchio since I was a kid, and I was pleasantly
surprised by it. The first half hour is a bit slow; the film takes its sweet
time setting things up. But once it hits Pleasure Island it really hits on to
something. Unlike a lot of the Disney stuff I remember, it doesn’t force itself
into magical realism. I respect that willingness to get strange.
The Monstro sequence is the best part of the film by
far. Beautiful ocean animation that really makes the whale feel like a force of
nature. It has an impressionist touch to it that elevates the scene from simply suspenseful to iconic.
An
Evening With Robin Williams (1982)
dir. Don Mischer
dir. Don Mischer
Been slowly working my way through a lot of Williams
stuff in the wake of his death (as I’m sure a lot of others are as well. This
is the first stand up special of his that I’ve seen, and sadly I was a little
disappointed. Maybe it’s because I watched it by myself, and live comedy is
always better enjoyed with other people. But I think a lot of his jokes were
dated. Stuff about cats and dogs that may have been funny in 1982 feels like
old hat now.
There are highlights though. His imaginary
conversation with his soon-to-be-born son is a lot of fun. And his bit about
cocaine had me laughing. I also really admire his stage presence, and his
ability to do something like grab a woman’s coat and just start riffing with
it.
The best part of the special is probably the framing
device, in which Williams plays a grungy street vendor who meets himself after
the show. They leave the concert hall and the street vendor looks up and says “You know Mr. Williams, what's right is
what's left after you do everything else wrong. Ain't that a bitch?” It’s a
really tender moment to cap off a night of frantic improv.
Enemy
(2014)
dir. Denis Villeneuve
dir. Denis Villeneuve
Hoo boy. I watched this a few days ago and it has
stayed with me. I was feeling worried when Gyllenhaal started trying to track
down the man who looks just like him. It seemed too much like the dime a dozen “mindfuck”
movies from the early 2000s (think Identity).
But once he finally meets his doppelganger it goes above and beyond.
I hate to compare surreal movies to David Lynch but
it really is in his shadow. I think it would make for a perfect double feature
with Mulholland Dr., given that they
both cover a lot of the same themes.
Dark
Star (1974)
dir. John Carpenter
dir. John Carpenter
Poor acting, bad story, unfunny script. But my god
is it gorgeous. It has that homegrown aesthetic, but you never see colorful lighting
in professional films like you see here. Maybe Mario Bava, but that’s about it.
It works best during the quiet ambient moments, which would go on to become
Carpenter’s strong suit.
It’s worth a watch as a curio to see where Carpenter
and Dan O’Bannon got their start, but on its own it’s not that tight. Still, it’s
astounding to think that just four years later Carpenter would be making Halloween, and a year after that O’Bannon
would give us Alien.
Night
of the Living Dead (1968)
dir. George A. Romero
dir. George A. Romero
Rewatch. Saw this at a midnight screening on a
scratched up 35mm print and I have never had a greater appreciation for the
film than I do now. I already loved it, but this viewing really drove home to
me how much of a masterpiece it is.
The editing during the more action and horror
oriented scenes is top notch. Beautiful camera work, stunning sound design. I
completely forgot the horrible screaming that overlays Helen’s death (that
scene is like Romero’s version of the shower scene from Psycho, but he owns it and makes it his own).
It’s a story about how our inability to cooperate
will damn us. They had the ability to survive, but the combination of pride and
fear killed them all. Were it not for Harry’s antagonizing and his cowardice it’s
possible they could have made it through the night.
I also noticed that the shot with Romero’s director
credit is a close-up of an American flag, panning over to Barbara and Johnny’s
car driving through the cemetery. A subtle moment that was always hiding in
plain sight.
No comments:
Post a Comment