Dandy Cat

Always chasing that cozy feeling of being snuggled under a heap of warm blankets in a cold room. Trying to watch every movie ever. Also trying to find cats to pet. 😻

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    Letterboxd Diaries—April 2021

    • The Sisters Brothers: Between the sibling bickering and the unsettlingly realistic violence is a tale of love and sadness. Love for your brother, both by blood and found. Sadness for lost opportunities and half-realized dreams. All this is done under the guise of a western and it’s an engrossing magic trick that the filmmakers pull off. (★★★★)
    • Kong: Skull Island: The best thing this film has going for it is the glorious, beautiful cinematography by the talented Larry Fong. He elevates a fairly weak story to respectable heights. Otherwise, it’s hard to connect to any of the characters, save for John C. Reilly’s excellent Hank Marlow. Samuel L. Jackson is one-notey and there’s not a lot going on between Brie Larson and Tom Hiddleston. It’s got thrilling moments, but not a lot of heart. (★★★)
    • In a Valley of Violence: It’s fascinating to watch a film that’s so derivative of works from other directors. Ti West, director of this one, definitely thinks of himself as Quentin Tarantino making John Wick. That’s not necessarily a bad thing, but this one never tries to be anything more than its influences. I think the cast did a fine job with the script they were given. The dog murder was extremely tough to watch, though, and lessened my enjoyment of the film. (★★★)
    • The 39 Steps: I haven’t seen many Hitchcock movies yet, but every time I have the opportunity to see one I feel delighted. This film was one of his early, British-era films, and by all accounts, remains one of the strongest films in his filmography. I had a delightful time watching it. Robert Donat and Madeline Carroll made for an excellent pairing. They played off each other so well. (★★★★)
    • Godzilla: King of the Monsters: As the third film in this new, I don’t know, “Titans” series, this one had less substance than either 2014’s Godzilla or Kong: Skull Island. It sure had a lot of stylish monster battles, though. It featured a plot with a very Thanos-esque motivation of wiping out a large portion of the world’s population so that the planet can “heal.” Ultimately, its reliance on destroying cities over telling a better story made this one less effective than Avengers: Endgame. (★★★)
    • Sound of Metal: This is one of those films that I feel utterly grateful to have seen. It’s a film to luxuriate in, even as it dwells in depths of despair at times. The towering performances from both Riz Ahmed and Paul Raci are going to stick with me for a long time. They both deserve every single accolade they receive for their beautiful work on this film. (★★★★½)
    • The Man Who Knew Too Much: Harrowing, weirdly humorous in places, and brisk as hell. This film tells the story of a kidnapping and the lengths that parents will go to return their child to safety. Peter Lorre gives a memorable performance as the said kidnapper. He brings a gangster attitude to his role, making him seem more menacing than the character otherwise would. This guy doesn’t care what it takes to accomplish his assassination mission, even if it means killing an innocent girl to do it. (★★★½)
    • The Long Kiss Goodnight: Next time I’m just going to watch The Bourne Identity and follow that up with La Femme Nikita. I think that would make for a far better time, and it would basically be the same movie. Except, you know, way better. (★★½)
    • Soul: When Joe falls through away from the Great Beyond, through endless black and white depths, and comes out into the Great Before, I was awestruck. No other movie I’ve seen this year caught my attention and admiration as firmly as this one did. What followed that opening sequence was a touching story that shows there’s more to life than just chasing a dream. If you spend all your days in pursuit of something intangible, you may wake up one morning wondering how you missed living your life. (★★★★★)
    • Mortal Kombat: Mortal Kombat is supposed to be a tournament. There is, however, no tournament held at any point. The film contradicts itself from the very start. What follows is nonsensical, not thrilling, and messy. What a shame that so much money was spent on creating a film that’s an utter bore from beginning to end. It’s clearly the first in what will most likely be a series of Kombats, mortal or otherwise, so at least there should be more of this nonsense in the future to look forward to. In the meantime… Man, this movie was bad. Just unpleasant all around. (★½)
    • Rebecca: I thought this one was going to be more of a ghost story. To my surprise, it turned out to be a tale of unrequited love and murder. It’s dressed up as a troubled romance between two people. Laurence Olivier has skeletons in his closet like you wouldn’t believe, and Joan Fontaine is the poor woman who has to bear the brunt of his past. In the background is the titular Rebecca, who, despite being long dead, continues to torment all who live and work at the Manderley mansion. Whether it’s with the new love between the main characters or the old love still held by the understandably severe Mrs. Danvers, there’s angst and turmoil. It’s a classic for a reason, and still as entertaining as ever. (★★★★½)
    • Shoplifters: How could anybody be ready for the gut punch this film surprises you with at the end? I know I certainly wasn’t expecting things to go the way they did. I thought this was just going to be a simple story about a family of shoplifters who fall under some hardship. While it is that, there’s a lot more happening under the surface. It’s too good to give away. What has stuck with me the most is the moment one of the characters shares with the young girl who has only known apathy and abuse. She hugs the girl close and says that love isn’t violence. Love is a hug freely given, and it lives in your heart. (★★★★½)
    • Godzilla vs. Kong: Somehow the filmmakers found a way to stretch a thirty-minute story into a two-hour smash fest. This was nothing but destruction porn. What I found worse to endure was the frequent pain inflicted on the titular characters. And for what reason, ultimately? Godzilla was a savior of humans. Kong was a savior of humans. They should have some interesting common ground. It would have been far more interesting to have had Mecha-Godzilla be the thing they team up against from the start. Well, who cares about any of that nonsense? Let’s instead use a human-caused misunderstanding between them as an excuse to have them beat each other nearly to death. Cruelty, now that’s entertainment! These Titans are maybe too forgiving of the species that keeps trying to murder them. (★★)
    • Collective: You ever watch a film that feels like it’s on simmer nearly all the way through? You know something is building underneath you, but you’re not sure what it old be, and why are you starting to feel warmer than usual. This film uses its entire running time to tell what amounts to four separate stories: the tragedy of a catastrophic fire that took the lives of many young concertgoers, the journalists who uncover the governmental corruption that led to the deaths of many more victims, the minister of health who took on the role after his predecessor was ousted, and a young, badly scarred woman learning to live again after the tragedy. These stories wind around each other, each giving more information to the entire story. By the end, what everyone has gone through turns the simmer into a boil that quickly escapes the confines of the pot, leaving you gobsmacked at how corrupt a government can be, and how quickly it can spread its disease throughout an entire country. (★★★★)

    Total movies watched: 14

    Compared to last month, I’ve seen far fewer movies. Seems I spent more of my time watching tv shows. I may not be able to record those on Letterboxd, but I still had a good time watching stuff in April.

    Be sure to follow me on Letterboxd! 🎥

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    Title Card: The Fountain (2006)

    The title card for the film, The Fountain.

    The Fountain was written and directed by Darren Aronofsky. It was released in 2006. The film was produced by Protozoa Pictures and New Regency. The title card is a shot from the film with no discernible title designer.

    Spanning three disparate times and places in the universe, The Fountain tells the story of conquistador Tomás Verde who has been tasked by his queen, Isabella, to find the Tree of Life. It’s located deep in Mayan territory, and she believes it will be the key to saving her kingdom. It also tells the story of Tom Creo, a modern surgeon who is desperately trying to find a cure for a brain tumor that’s ravaging his wife, Izzi. The third story is that of Tommy, a futuristic space traveler who is guiding a tree toward a dying star. He believes that its magnificent explosion will bring back his long lost love. Hugh Jackman plays all three versions of Tom, and Rachel Weisz plays his counterpart.

    By this point in my life, I’d seen Aronofsky’s previous film, the disorienting, beautiful, and despairing Requiem for a Dream. I don’t think I’d ever seen something so full of style and confidence. How remarkable that it was only his second full-length film! When The Fountain came out, I knew it was something I had to see. I’m still shocked, all these years later, that it didn’t do very well, and is seen as one of his weaker works. I still believe that many of its detractors weren’t ready for its winding narrative, or that it demanded critical viewing and not just simply blank witnessing.

    I could hardly walk out of the theater after I saw it; I may have instead stumbled out into the bright sunlight. It filled my head with so many impossible questions. I was in complete awe of the production and the performances. Imagine my surprise that its budget amounted to what the industry now affords to a small independent film. It’s still something that gives me chills as I watch it. It asks such huge questions, like to what lengths would you go to save the people you love and how do you view your purpose in this world? It demands a lot of you.

    This one has gained a quiet, yet passionate fan base. It deserves more, and I implore you to watch it with an open heart. 🎞

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    If the Oscars keep going the way they have been, then this might be my favorite broadcast ever. I love the intimacy of it, as well as the laidback atmosphere. Facing serious restrictions, they’ve found a way to make it fun. 🎥

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    Title Card: Soul (2020)

    The title card for the film, Soul.

    Soul was written by Pete Docter, Mike Jones, and Kemp Powers, and was directed by Pete Docter and Kemp Powers. It was released in 2020. The film was produced by Walt Disney Pictures and Pixar Animation Studios. The title designer was Laura Meyer.

    A down on his luck jazz musician named Joe Gardner, voiced by Jamie Foxx, gets the opportunity of his lifetime. He’s invited to play in The Dorothea Williams Quartet, and would have been able to if he didn’t immediately fall into an open sewer and die. But he doesn’t want to miss out on his big break, so he escapes the “Great Beyond” and falls again into the “Great Before.” Joe is mistaken for a mentor to the new souls in the Great Before and assigned to the incredulous Soul 22, voiced by Tina Fey. At that time, he has no luck in helping them find a passion. With the help of the eccentric soul, Moonwind, voiced by Graham Norton, Joe locates his body back on Earth, but accidentally takes 22 along with him. Instead of returning to his body, 22 lands in it, and Joe inhabits the body of a nearby cat. The pair need to find a way to get Joe back into his body before his big show that night.

    Gosh, there’s a lot that goes on in this film. It’s hard to keep the synopsis condensed. Suffice it to say, this film has a lot of depth. It is 100% worth seeing. I was enamored of Onward, Pixar’s other 2020 film, so I was hopeful that Soul would be able to match the bar that the other one set. After watching it, I can say that Soul is undeniably the better film, and I loved Onward. I may not be a jazz musician, but I think anyone, especially those with an artistic inclination, can relate to both Joe and 22. We’re all looking for our purpose in life. We’re all looking for our calling. The lucky ones are able to find it. Those who can help others find their calling are truly special people. My goal in life is to find the satisfaction that Joe achieves at the end of this film. Do I need to be rich and famous? No. I mean, I wouldn’t mind being rich, but that’s not what’s going to make me happy. Feeling content with my life, and being able to inspire others, is a journey worth going on.

    I’d love for you to take a look at the opening sequence.1 The combination of music from Trent Reznor and Atticus Ross2 with the stark, black and white animation gives it a chilling, lonely, awe-inspiring feel that completely took me aback. Witnessing this instantly sold me on the movie. I had to rewatch this bit several times. I was thrilled to be seeing a true piece of art. 🎞

    1. In 720p resolution, unfortunately. Sorry about that, but you’ve got to take what YouTube gives you, I guess. ↩︎

    2. Along with the great Jon Batiste. However, his work doesn’t appear in the opening sequence. ↩︎

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    ‘Mank’ Wins Top Honor at ASC Awards

    Just an incredibly well-deserved win for Erik Messerschmidt. This guy has been blowing me away lately. You can check out a load of shots from the film over at Filmgrab. 🎥

    UPDATE: He won the Oscar for Best Cinematography, too! Good for him.

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    Title Card: How to Steal a Million (1966)

    The title card for the film, How to Steal a Million.

    How to Steal a Million was written by Harry Kurnitz and directed by William Wyler. It was released in 1966. It was produced by World Wide Productions and was distributed by Twentieth Century Fox. The main title design was done by Phill Norman.

    The film gives us the wonderful pairing of Audrey Hepburn as Nicole Bonnet, the daughter of an art forger, and Peter O’Toole as Simon Dermott, a charming burglar. Nicole’s father is lending a much-lauded Cellini Venus statuette to a local art museum but unknowingly agreed to have this piece inspected for authenticity. Should this happen, his fraud would be found out, ruining his life and work. Following an unsuccessful robbery attempt at Nicole’s home, Simon agrees to help her steal her father’s statue before his livelihood can be put at risk.

    I would call myself a pretty unabashed Audrey Hepburn and Peter O’Toole fan,1 but my experience with their films is startling in its meager size. Sure, I’ve seen Charade and Venus, but that’s about as far as it goes. I desperately need to see more of their work. When my wife suggested watching this one, I was intrigued. How could you not be with a title like that? I didn’t know how much fun I would have watching this one. Truly, it was a blast. A nice and breezy caper is sure to please anybody who watches it. Throw this duo of actors together, and it’s impossible not to have magic. This film may be the reason why I end up seeing a lot more of their work, and for that, I’m also grateful for it. 🎞

    1. Although, what is there to possibly be embarrassed about? They’re absolutely wonderful performers. ↩︎

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    I’m always curious to know if people rate movies and tv shows based on their perceived quality of the production or how much they enjoyed what they watched. I don’t think those are the same metric. 🎥📺

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    I finished watching Sound of Metal yesterday, and it’s still stuck in my head. What a truly remarkable performance by Riz Ahmed (and Paul Raci, too). They deserve all the awards. 🎥

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    Justice League Screenwriter Chris Terrio Is Super Pissed Off ↗

    The more I read about what went on with the making of Batman v Superman: Dawn of Justice and Justice League, the more I’ve come to understand how misguided Warner Bros. has been about their understanding of the characters in those films.1 Likewise, how inept they have been in crafting coherent stories that are worth telling.

    Before Joss Whedon was brought in to rewrite and direct Justice League, Chris Terrio had written the script. It was his words that were being filmed by Zack Snyder and his crew. After Snyder’s exit from the film, the whole thing went off the rails, leaving Terrio behind and feeling frustrated.

    In an interview with Anthony Breznican, writing for Vanity Fair (in what appears to be developing into his beat),2 Terrio has some strong feelings about how things went:

    The 2017 theatrical cut was an act of vandalism. Zack may be too much of a gentleman to say that, but I’m not.

    He’s got well-considered opinions to back this up. He’s not just mindlessly pissed about how things with both films turned out. Seems that Warner Bros. just doesn’t understand the necessities of storytelling:

    I was proud of the [Batman v Superman] script when I completed it, but it turns out that when you remove the 30 minutes that give the characters motivation for the climax, the film just doesn’t work. As we learned from the two versions of Justice League, you can’t skip on the character and think the audience will give a shit about the VFX. That stuff was later restored in the extended version.

    None of this is surprising to read. Since Justice League came out in 2017, it’s been clear that there’s a fundamental problem with how Warner Bros. handled the making of the film:

    When the movie was taken away, that felt like it was some directive that had come from people who are neither filmmakers nor film-friendly—the directive to make the movie under two hours, regardless of what the movie needed to do, and to make the colors brighter, and to have funny sitcom jokes in it.

    Contrast that to his approach to Batman v Superman:

    I came into it thinking the only way that this could work is as a fever dream or as a revenge tragedy. I thought, How do we create a story in which Bruce Wayne is traumatized by the war of Krypton coming to Earth, and in which he enters into this kind of madness? He becomes Captain Ahab, and he won’t listen to saner voices, like Alfred, for example, who are telling him to just see reason. He’s a man possessed.

    This is clearly someone who understands the motivations and nuances of the characters. He knows what it takes to write a good story. It’s just a shame that his role will always be subservient to studio heads and money people who think they know better:

    These [investor] guys were in charge because they controlled the money at the very top of the pyramid. They were making big decisions—not the film executives we’re talking about, but Wall Street guys. One guy, who I can only describe as the man who Central Casting sends you when you’re trying to cast Douchebag #1, pulled me aside and started telling me how to write Batman.

    There’s a lot more that can be quoted in this article, but this is a good primer. It’s a fascinating interview that’s worth reading. I’ve always enjoyed Snyder’s vision for these characters. Now, I’ve also come to understand that he’s not the one who’s been the issue with the films. If they’re not your particular cup o' tea, that’s fine. If you want brighter, more comedic, less serious superhero movies, then watch a Marvel film. However, not all superhero films have to be copies of, say, Iron Man. They can be darker visions like Snyder’s have been. He’s been consistent in his storytelling and love for the characters he’s bringing to the screen. Unfortunately, his work appears to be hamstrung by those working above him.

    It’s a damn shame that Warner Bros. isn’t run by people who understand the films they’re making. 🎥

    1. You can read past posts about this subject here and here. ↩︎

    2. Apple News+ link ↩︎

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    It’s a truly sad day for the movies. It’s been announced that the ArcLight Cinemas and Pacific Theatres won’t be reopening, and possibly for good. I’ve only been to the glorious Cinerama Dome a few times, but it was always a special experience. 🎥

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    Speaking of AT&T and its acquisition of Time Warner, and therefore also HBO, the whole deal has always disappointed me.

    On the one hand, HBO Max has done well for AT&T. It got 4.1 million new signups in its first month of existence, which is nothing to sneeze at. Even more impressive is that it’s accomplished this while demanding $15 a month, making it one of the most expensive streaming services available. By all accounts, it’s a big success for AT&T. No doubt it was helped along by the COVID pandemic; when we’re all stuck at home, it helps to have excellent and fresh programming to consume.

    The decision to premiere feature films that otherwise would have been theater exclusives on the service was another boon for them. Sure, it upset many people involved with both the entertainment and theater industries, but their objections were never going to sway business daddy AT&T. Until HBO Max starts losing money, nothing will deter them from their present course.

    On the other hand, HBO as we knew it before the acquisition is gone and will likely never return. The blame for that lies entirely on the shoulders of AT&T’s CEO, John Stankey.1 In an incredibly detailed and well-researched CNBC article, Alex Sherman details the rocky process of this acquisition. The article boils down to this quote from a former HBO executive:

    If HBO stood for anything, it was making a product for the customer, not the advertiser. It’s not as though John is unpleasant. He doesn’t throw stuff. He just knows much less about television than he thinks and won’t be debated.

    Is Time Warner and HBO’s acquisitions by AT&T good for business, or at least the business of AT&T? Undoubtedly. This opens up a bevy of new revenue opportunities, which will, in turn, make the bottom line of the telecommunication giant look great. However, I don’t believe this will improve the quality of the content that’ll appear on HBO Max in the coming years. HBO was doing just fine without AT&T’s heavy, leading hand before the acquisition. You can expect the familiar HBO quality to get watered down as AT&T spreads the focus to areas that have never mattered to past HBO. In an interview with Jillian Morgan at Realscreen, executive vice-president of original non-fiction and kids programming, Jennifer O’Connell, says:

    There is a ton of weight on unscripted… We’re doing dating, we’re doing social experiments, we have competition shows, we have really big competition shows… That is an area that, for example, our colleagues at HBO, they are not necessarily in that space so deeply, so it’s very rich, very fertile ground for us to dig into.

    There’s nothing necessarily wrong with unscripted programming. It’s enormously popular for a reason—people flock to those shows in droves. However, it was never HBO’s area of interest. AT&T doesn’t care about that history. It cares about making money, and there’s a lot of money to be made in unscripted, non-HBO style content.

    If you’re looking for a future replacement for HBO, the service that’s making the strongest play is Apple TV+. Netflix has become flooded with content that’s aimed at appealing to the broadest number of viewers. A service like Hulu has an advertising-supported pricing tier, meaning their content is ultimately beholden to other entities. Disney+ has shown that they’re interested in telling unique stories, but they’re doing it off the springboard of their massive library of previously made content.

    The only service out there that’s charting a unique course is Apple TV+. They’re walking the HBO path of debuting movies and shows that will, over time, grow to be a body of impressive work that’s all their own. They’re going to stumble along the way—even HBO was never perfect—but they’ll catch themselves and improve on their mistakes. They’ve invested too much money already to just ditch all their hard work. I’m looking forward to seeing where they’ll go.

    It’s just a damn shame about HBO.

    UPDATE: From a 9to5Mac article published on April 13, 2021: Apple TV+ features the highest-rated content of any streaming service, study says. Seems like Apple TV+ is already beginning to deliver on my estimation of it being the new HBO.

    1. I’m going to put aside the baffling issue of a telecommunications company deciding to purchase a visual media company for now. Nonetheless, it’s a strange pairing. Should the quality of the content available on HBO Max begin to degrade, surely this business arrangement will be the culprit. ↩︎

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    Title Card: The Fall (2006)

    A man enshrouded in thick and heavy steam with the title card of the film, The Fall, shown next to his head.

    The Fall was written by Dan Gilroy, Nico Soultanakis, and Tarsem Singh, and was directed by Tarsem Singh. It was released in 2006. Radical Media and Absolute Entertainment produced the film, while Roadside Attractions distributed it. The title design was done by Stefan G. Bucher and John R. Waters. The main title typography was done by Stefan G. Bucher and 344 Design.

    The film stars Lee Pace as a hospitalized stuntman named Roy Walker, who is bedridden in early 20th century Los Angeles. While in the hospital, he meets a young girl recovering from a broken arm named Alexandria, played by Catinca Untaru. He takes a friendly liking to her and spins her a fantastical tale about five mythical heroes. Her youthful imagination allows us to witness Roy’s story as he tells it. However, Roy is in a bad way, and between tellings of his story, convinces Alexandria to steal morphine pills from the hospital. He wishes to end his life. Thankfully, that doesn’t pan out for Roy, and he’s willed by Alexandria to tell her the full, wonderful story.

    This film’s heart, its story, the beauty of its production design, costume design, and cinematography, are all unlike anything that’s ever been set to film. The entire title sequence is itself a masterwork of storytelling and filmmaking. It exists in its own microcosm within the film. In it, we see a large group of locomotive workers attempting to lift a horse out of a river beneath a railroad bridge. It does not appear to have any direct connection to the rest of the story. Instead, it sets a time and place, along with a unique mood. It’s shown in black and white, slow motion, and accompanied by Beethoven’s Symphony No. 7 in A Major, Op. 92: II. Allegretto. Watching it, we understand that we’re entering a world of hardship and backbreaking work. There will be no modern conveniences. No mobile phones or television or internet. It’s a tough world where rescuing a horse from a river requires a band of sweaty, yelling men and a freaking train. Color-wise, it’s quite the contrast with the rest of the film, which is shown in brilliantly saturated hues of many colors. This title sequence is a wonder.

    In fact, it’s so remarkable that you must watch it. This title sequence is a compelling short film in its own right. 🎞

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    Ray Fisher Opens Up About ‘Justice League,’ Joss Whedon and Warners: “I Don’t Believe Some of These People Are Fit for Leadership” ↗

    I first made reference to this problem in a previous post. That one dealt more with the thoughts I was having about separating art from the artist, but it’s still a good primer.

    On April 6, The Hollywood Reporter released this lengthy story that delves further into the heaps of bullshit that actor Ray Fisher has had to deal with concerning the production and aftermath of Justice League. It’s a fine read. What I find unpleasant is that Fisher is still engaged with this fight with Warner Bros., and how much he’s having to defend his own grievances and actions. There appears to be a lot of disbelief over his side of the story, as if he’s a person who would willingly risk the ruination of his acting career just to stick it to some film industry execs. And for what? Out of spite? Boredom? Please.

    Isn’t it far more likely that Fisher is telling the truth, and Warner Bros., Joss Whedon, Jon Berg, and Geoff Johns are now scrambling to cover their asses for fear of public backlash and losing future employment? This story is continuing to develop, but I believe this latter scenario to be the truer one. 🎥

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    Letterboxd Diaries—March 2021

    • I Care a Lot: I found it difficult to reconcile my appreciation for the appearance and strong direction of this film with my distaste for its monstrous characters. I get it—not everyone’s a perfect person. But who is there to connect with when its two main characters are such evil assholes? (★★★)
    • On the Rocks: It could have easily slipped into mediocrity if it weren’t for the two towering talents of Bill Murray and Rashida Jones. These two together bring such life to the film, and ignite such curiosity in me. It was a delight and made me think of (and miss) my dad. (★★★★)
    • Promising Young Woman: Gosh, is there anyone better than Carey Mulligan? I don’t think so. She’s been amazing in everything I’ve seen her in. This was an intense and engrossing revenge thriller. I’m very interested in what director Emerald Fennell has in store for the future. (★★★★)
    • Borat Subsequent Moviefilm: Maybe I wasn’t in the right frame of mind for this to work for me? Maybe I needed to be back in my early 20s, like I was when the first one came out? Whatever the case, I didn’t find this enjoyable. I did think Sacha Baron Cohen and Maria Bakalova put in phenomenal work, though. (★½)
    • Lilo and Stitch: Well, Stitch is just the most adorable thing ever. And this was a fun film to watch on a lazy weekend. The story had some depth. While I never felt like the stakes were too high, it still offered some good thrills. (★★★½)
    • Lady Bird: Wow. Talk about a phenomenal experience. It’s easily one of the best films I’ve watched so far this year. I’m sad I didn’t watch it when it came out, but I’m so happy I got to it now. Every single person was amazing in this. Saoirse Ronan, Laurie Metcalf, Tracy Letts. I have a special place in my heart for Lois Smith’s Sister Sarah Jones character. Greta Gerwig is simply astounding. (★★★★½)
    • My Cousin Vinny: This was such a fun movie! Why in the world was this the first I’ve ever seen it? I’m adding this to my list of films that I’m definitely going to watch again sometime in the future. Also, Marisa Tomei absolutely earned her Oscar for this one. She was phenomenal. (★★★★)
    • L.A. Story: Having lived in Southern California my entire life, I can say, with absolute certainty, that everything in this film was 100% true and accurate. I also had a lot of fun watching this one all the way through for the first time. It was way more slapstick-ey than I thought it would be, but it was still a nice story about finding love in an unusual way. (★★★★)
    • Yes, God, Yes: You’ll breeze through this one, that’s for sure. It clocks in at a brisk 77 minutes, including credits, so it’ll be over before you know it. I don’t think it’s a bad film. I do feel like they clearly stretched the original short film to its breaking point, and yet it’s still too slow. Natalia Dyer, from Stranger Things fame, was as wonderful as ever. (★★★)
    • Spider-Man: Far From Home: Definitely not nearly as good as the first of the Tom Holland Spider-Man movies, but a fun time nonetheless. I appreciate that we’re finally getting a Peter Parker that feels a bit truer to his comic book persona. They’re having fun with these films, at least, and that’s always fun to experience. (★★★★)
    • The Treasure of the Sierra Madre: Very much a tragedy of Greek and Shakespearean proportions. It’s not just a western and not just a story about trying to find your weight in gold. What’s shown here is a near-total descent into madness, and how it affects everything around you. Talk about an impressive movie in every regard. (★★★★★)
    • A Fish Called Wanda: I had a decent time watching this film, but it didn’t seem to have the magic touch with me that it does with so many others. Perhaps it was the constant cruelty done to Michael Palin’s character. Maybe it was Kevin Kline’s boorish, unpleasantly over the top acting. It wasn’t bad. It was okay. (★★★½)
    • Cherry: This was undeniably well-acted and directed. Tom Holland and Ciara Bravo were so committed and they elevate this movie. Unfortunately, the story is about a man who destroys all that he touches. His wife is nearly ruined a couple times. He nearly forces his friends into his crimes. The bank tellers he robs? Surely they’re going to experience some PTSD after being held up at gunpoint, but his own troubles are the only thing that matters. (★★★)
    • Zack Snyder’s Justice League: Damn, I was impressed with this film. It’s undeniable that it still has its issues, but they paled in comparison to the impressive storytelling that was on display. The original cut of this film suffered because of its reliance on spectacle. It lacked character development, motivations, and heart. With its expansive running time, Zack Snyder’s version was able to turn a very shaky story into something that I would love to see again as soon as possible. I want to witness more auteurism in superhero films. More of this please, DC! (★★★★)
    • Deadpool: I love a fresh take on the superhero genre, and this one provided that for me in spades. While it may have relied on the tried and true origin story we’re all familiar with, the character of Deadpool and Ryan Reynolds’s performance elevated the film to a wonderful height. This is not the first time I’ve seen this film, but it still feels fun and fresh. (★★★★½)
    • Butch Cassidy and the Sundance Kid: What else can be said about this film, aside from its a classic. A classic for a dang good reason. Newman and Redford together on-screen is always a dynamic combination. I wish they’d done more together. I’d forgotten just how tense a good portion of this film is. The two of them being chased for as long as they were kept me worried for them. (★★★★½)
    • Portrait of a Lady on Fire: There are few more beautiful looking movies that came out in 2019. Heck, this one may still be the most sumptuous looking of the whole bunch. That alone would be a fine achievement, but the visuals are accompanied by a lovely and heartbreaking story of hidden love. This film won some major awards at the Cannes Film Festival, among many others, and it deserves every single one of them. This is a staggering work. (★★★★½)
    • Unicorn Store: What a delight, and a strong showing from Brie Larson as a director. There are some issues with the story. Bits of the plot don’t get fleshed out nearly enough, and that’s a shame. I’d like to have learned more about the actual Unicorn Store. Still, it’s a breezy film that has a lot of genuine heart. It’s a nice way to spend some time. (★★★½)
    • WandaVision: This was more of a limited series, but it’s on Letterboxd so why not? The inventiveness of this story made up for its less unique final episodes. I think it was a great way to stretch this particular genre. Elizabeth Olsen and Paul Bettany give excellent, heartbreaking performances. (★★★★)
    • Godzilla (2014): This is a far better Godzilla movie than everybody gave it credit for when it came out. It’s not the best Godzilla movie, but it’s still entertaining. It might be the best looking Godzilla film out there, save for it being an extremely dim film. Heck, cranking up the exposure of the whole film even a little bit would have probably brought my ranking up to four stars. (★★★½)
    • Superman/Batman: Apocalypse: The story was mostly nonsensical, not to mention kind of boring. This felt like a slog to get through. The whole pretty Superman character design was strange, too. This one earns its meh. (★★½)
    • Deadpool 2: This sequel continues to bring the heart and humor that the first film was chock full of, and I’m grateful it didn’t suck. It feels like one of those rare follow-ups that introduces new elements to the story, but doesn’t go overboard with it. We get Cable, we get X-Force, and we get Julian Dennison, but we still have all of the stuff that made the first film such a fun revelation. (★★★★)
    • The Wild Bunch: I can see why this film has achieved the status it has in film history. There’s a lot happening here that’s revolutionary and compelling. However, I found the whole thing a little overlong and plodding in some places. I love its energy when it has some, but there are long stretches that don’t add much to the story or characters. I think it’s a good film, but I don’t know that it’s a great one. Maybe I just need to watch it again. (★★★★)
    • A Million Ways to Die in the West: This was a silly film all the way through, and it should never be taken for anything serious. Lower your expectations for this and you’re sure to have a fun time. It relied too much on its self-referential humor for my tastes, but it was decent overall. (★★★)

    Total movies watched: 24

    Be sure to follow me on Letterboxd! 🎥

    ∞

    Title Card: The Great Beauty (2013)

    A wide city shot of a rooftop party happening in the foreground and the rest of Rome in the background. The words, 'La grande bellezza,' appear over the city.

    The Great Beauty (or La grande bellezza, as it’s originally known) was directed by Paolo Sorrentino and released in 2013. It was produced by Indigo Film, Medusa Film, Babe Film, Pathé, and France 2 Cinéma. The main titles supervisor was Francesca Di Giamberardino.

    The film stars Toni Servillo as theater critic, Jep Gambardella. Turning 65 and learning of the death of his first and greatest love is a complete shock to his system. Now feeling without purpose, he ventures out into Italy, and away from the vapid parties he once frequented as nothing much more than a socialite. He meets people, hears their captivating, sometimes painful stories, and finds the inspiration and drive to create again.

    Since first seeing this film when it was released by The Criterion Collection sometime around 2014, I’ve continuously been awestruck by its storytelling and beauty. Paolo Sorrentino’s exquisite writing and direction, couple with the brilliant camerawork of cinematographer Luca Bigazzi, is truly something special. I try to get everyone I know to watch it. I’m not of the age or status where I can see myself reflected in the character of Jep, but his search for truth, beauty, and lost creativity is something that can rightly be called universal. This film won the Oscar for Best Foreign Language Film at the 86th Academy Awards in March, 2014, and deservedly so. There was no other film released that year that better examines what it means to search for meaning in life, and then feel the satisfaction of finding it.

    Criterion did a nice interview with Paolo Sorrentino around the release of this film, in which they talk about his history with and love for movies. It’s a quick watch and fun to hear from a modern master about his filmmaking inspirations. 🎞

    ∞

    Since watching Zack Snyder’s Justice League, I’ve been happy to read up on any news story regarding the long road that the film took to becoming a thing we could all enjoy. It’s a fascinating tale that’s recounted in a Vanity Fair article by Anthony Breznican titled, The Justice System (Apple News+ link). It was a pleasure to read about the groundswell of support Snyder and his version of the film received. Doubly so since his reason for leaving the production was because of the tragic death of his daughter. I can’t think of another director who’s been given the incredible opportunity he was given.

    I think he knocked it out of the park.

    However, there’s another story that’s been needling me since reading this article, and that’s what actor Ray Fisher, who played the character of Cyborg, had to say about working with director Joss Whedon. By his account, the experience was deeply negative and painful. Since the production for what would turn out to be the theatrical cut of the film ended, Fisher has made public accusations about the mistreatment he was subject to by Whedon, Warner Bros. co-president of production Jon Berg, and former DC Entertainment president and chief creative officer Geoff Johns. On July 1, 2020, Fisher tweeted:

    It’s all so damn terrible. I’m sorry that Fisher had to endure to that mistreatment, and has to continue to fight for his own withheld justice. I hope he gets it sooner rather than later.

    The accusation against Whedon has led me to ponder on the idea of “separating art from the artist” and how damn hard that can be to do. I enjoy the tv show Firefly, and its accompanying follow-up film, Serenity, very much. They’ve brought me joy in the past, and I continue to have fond memories of those stories and characters.

    But it was created by someone who may have leveled significant abuse toward an actor in Justice League. Turns out that may also be just the tip of the iceberg with him. To purchase any copy of Firefly or Serenity now would be supportive of the man. It would tell the Hollywood powers that be that there’s continued interest in his future employment.

    Likewise, I have absolutely loved some Kevin Spacey movies. The Usual Suspects is a masterful film,1 but following the allegations aimed at him, I feel hesitant to give it any more of my time. Roman Polanski has made some monumental and important films, but his grotesque past has made me falter at the thought of supporting his work by watching them. In a more recent example, I liked watching Silicon Valley, but Thomas Middleditch appears to be a malevolent asshole.

    And yet, Whedon’s not the only person who was involved with Firefly. There were hundreds of other cast and crew members who brought it to life. Loads of people made The Usual Suspects, and it continues to be an influential film for good reason. Silicon Valley had its own group of committed people making it, and it had its moments of levity. That’s always something we can use more of in our lives.

    Filmmaking is not done in a vacuum—there are many others for whom my dollars would support. A film is not created by just its director. Does refusing to watch Firefly or The Usual Suspects hurt the good people involved with those productions in some indirect way?

    I may be completely wrong in thinking there could be any reason to continue watching media that’s created in part by heinous people. I invite that criticism because it’ll help me learn to be better. On the other hand, I appreciate the perspective that Brynley Louise takes in the Film Daily article I linked to earlier in this post:

    It’s hard to hear accusations like these when you follow someone’s work. Trust us, we aren’t going to stop watching the original Toy Story just because he helped write it. However, this doesn’t mean Whedon needs to be praised as a good person just because he’s worked on some of popular culture’s favorite shows and movies.

    I don’t know if there’s a definitive answer to the question of “is separating art from the artist an acceptable act?” It may all come down to personal choice, and that no feeling in this matter is incorrect.

    Still, it’s a puzzle I’m working on… 🎥

    UPDATE: The Hollywood Reporter has published a story wherein they interview Ray Fisher about the details of his accusations. I discuss that article in this follow-up.

    1. Albeit one directed by Bryan Singer, a man who’s piling up sexual assault allegations by the bucketful. ↩︎

    ∞

    I came away from watching Zack Snyder’s Justice League feeling impressed. It was quite the feat to get this one made the way it was.

    Now, after reading about Snyder’s vision for sequels, I’d love to see them finish this grand story. There’s no reason not to do them. 🎥

    ∞

    Title Card: The Man Who Knew Too Much (1934)

    The title card for the Alfred Hitchcock film, The Man Who Knew Too Much.

    The Man Who Knew Too Much was directed by Alfred Hitchcock and released in 1934 by the Gaumont-British Picture Corporation.

    The film stars Leslie Banks and Edna Best as the parents of a young girl, played by Nova Pilbeam. The couple become wrapped up in a plot to assassinate a European head of state when a militant group, led by Peter Lorre, kidnaps their daughter.

    This title card was immediately striking, and it ended up being the reason why I thought it would be fun to start a series about them. In this one, there are at least six, and most likely more, different typefaces being used throughout, but it never appears distracting. It’s packed with information, but none of what’s written distracts the eye away from the title of the film. “The Man Who Knew Too Much” is written in a unique, stylized typeface and slashes across the screen in an aggressive curve. The rest of the text is shown in plain, unassuming serifs (save for the bit about how it was recorded at the bottom). It’s impossible not to focus on the title—it grabs at you.

    (Be sure to contrast this title card with the one used in the 1956 remake of this film, also by Alfred Hitchcock.)

    Also worth watching is the fascinating video from The Criterion Collection about this film’s restoration. Technical director, Lee Kline, narrates the story about their long journey to create a version that looks as if it was just made yesterday. 🎞

    ∞

    I haven’t gotten to several of the Oscar nominees yet because most of them are very heavy, and I’ve been desiring comedies lately. At this point, I really need to see:

    🎥

    ∞

    The nominees for the 2021 Oscars have been announced, thus starting my anticipation for one of my favorite events of the year. I haven’t seen all of the nominees yet, but it looks like a good assortment of films, as well as a growing and welcome amount of non-white talent. 🎥

    ∞

    Letterboxd Diaries—February 2021

    • Onward: This one’s probably thought of as a “lesser” Pixar film, but I thought it was heartfelt and a lot of fun. They’re able to do that like no one else. (★★★★)

    • The Good Liar: A heist-drama for the older crowd (of which I count myself amongst). I could watch Helene Mirren and Ian McKellen play off each other all day. (★★★½)

    • Avengers: Endgame: This one is as thrilling, engaging, and affecting as it was the first time I saw it. This time I got to enjoy it with my wife, and even she enjoyed it nearly as much as I did. (★★★★★)

    • In & of Itself: I fell into the hype around this one and I’m glad I did. I had no idea what it was going to be going into it, and I think that’s the best way to watch this magical (in many ways) performance. (★★★★½)

    • A Hidden Life: This should really just be required viewing for everybody. I didn’t know the story of Franz Jägerstätter and his family before watching it, but my life has improved in great ways since. (★★★★★)

    • An American Pickle: I think I appreciate the technical accomplishment of this film more than I do the story. It was okay—not that funny, but not painful to watch. (★★★)

    • The Little Things: This might have been Jared Leto’s most appropriate role. Did he even have to act at all? (★★★)

    • WALL•E: I don’t think WALL•E will ever get old for me. It’s an evergreen film that never fails to move and delight me. (★★★★★)

    • What If: Or The F Word, I guess? Can’t make the MPAA blush, so I guess the original had to go. I wish I had seen this one when it came out. Mid-20s me would have loved it. (★★★½)

    • Heavy Metal: This film was certainly of its time and clearly made by a bunch of guys. It was more entertaining than I thought it would be, but I doubt I’ll be remembering it too fondly. (★★½)

    • Spider-Man: Into the Spider-Verse: I can’t say enough great things about this, the best animated film of the last decade. It breathes fresh life into the character of Spider-Man, and shows that another adaptation doesn’t have to be tiresome or stale. (★★★★★)

    • The Girl with All the Gifts: I’d call this a halfway decent adaptation of a halfway decent novel, although the novel had a slightly better ending. The entire concept is fascinating and has echoes of Richard Matheson’s I Am Legend. (★★★½)

    • By the Sea: Aside from this one being far longer than it needed to be, I don’t understand why it was received so poorly. My best guess is that it felt like an old French film, appropriate considering its setting, and people just aren’t used to that anymore. (★★★★)

    • 6 Underground: I had more fun watching this movie than I had any right to, and I place that honor squarely on Ryan Reynolds’s shoulders. Was the story and the editing great? Nah, but that’s what you should expect when you start a Michael Bay film. This was just a fun way to spend some time. (★★★½)

    • Loving Vincent: A relatively simple story makes way for a truly astonishing work of art. The entire dang thing is done in oil paintings. I was invested and wowed in this film the entire time I was watching it. (★★★★½)

    Total movies watched this month: 15.

    I really like Letterboxd, and I think you might enjoy it, too. You should sign up for it if you haven’t already. It’s a great and friendly, movie-based social site. If you’re new or old to it, you should definitely give me a follow on there. 🎥

    ∞

    I’m working on the show notes for an upcoming episode of More Movies Please! We talked about Terrence Malick’s, A Hidden Life. It’s been a couple weeks since I watched the film, but I still can’t get it out of my mind. Once again, Malick made a beautiful, important film. 🎥

    ∞

    Damn. This one sucks. Christopher Plummer was a phenomenal actor. He was in Beginners, one of my favorite movies ever, among many other great, important films. I’ll miss him a lot. 😢

    ∞

    I watched Top Hat with my fiancée on Sunday for my More Movies Please! podcast. Talk about a fun, delightful, and hilarious movie. Fred Astaire and Ginger Rogers are always on another level. 🎥🍿

    ∞

    I watched Sweeney Todd: The Demon Barber of Fleet Street again for my More Movies Please! podcast. I have a newfound appreciation for that outstanding, violent, emotional film. I thoroughly enjoyed it. 🎥🍿

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