I’m gradually returning to posting lists like this one even though I missed doing so for the years 2022, 2021, and 2020. This is mainly because there are some movies in each of those other years that I haven’t seen and they’re difficult to access. I don’t want to produce incomplete lists so once they’re posted, they’ll be very belated.
And the movies you see here on this list I haven’t even posted reviews for yet but I eventually will. In any case, I use the Olympic medal standards for how I would rate the movies plus a list of honourable mentions. Here they are:
*
Gold Medals: none
Silver Medals: Anatomy of a Fall (France); Killers of the Flower Moon (USA)
Bronze Medals: American Fiction (US Indie)
Honourable Mentions: Past Lives (US Indie / Korea); The Holdovers (US Indie); All of Us Strangers (UK); The Teachers’ Lounge (Germany); The Taste of Things (France);
**
Outstanding Achievements:
*
Directing: Martin Scorsese (Killers of the Flower Moon)
Screenplay: Justine Triet and Arthur Harari (Anatomy of a Fall); Cord Jefferson (American Fiction) – based on the novel “Erasure” by Percival Everett
Acting: the ensemble cast of “Anatomy of a Fall”
Other: the cinematography, set design, and costumes of “Killers of the Flower Moon”
*
In the next two lists, the movies mentioned were produced in the USA unless otherwise mentioned:
*
Great Old Movies Seen for the First Time in 2023
Sorcerer (1977); The Taking of Pelham One Two Three (1974); My Brilliant Career (1979-Australia); Sweet Charity (1969); Faces (1968); The Bad Seed (1956); Two for the Road (1967-UK); The Wiz (1978); The Love Parade (1929); Rosita (1923 – Silent)
Great Old Movies Seen Again Time in 2023
An Unmarried Woman (1978); Brief Encounter (1945-UK); From Here to Eternity (1953); Pleasantville (1998); Fantasia (1940 / Animated); Treasure of the Sierra Madre (1948); Unforgiven (1992); Network (1976); The China Syndrome (1979); Midnight Cowboy (1969); On Golden Pond (1981); Full Metal Jacket (1987); Ninotchka (1939); To Be or Not to Be (1942)
Fairly Recent Movies
Triangle of Sadness
Carl (Harrison Dickinson) and Yaya (Charlbi Dean) are a young attractive couple and both are models. Yaya is also a social media influencer. Due to their status and beauty, they are invited to join a luxury cruise (for free) where other passengers include the super-rich from various countries some of whom gained their wealth in very unethical ways. Later, certain passengers and staff of the sea vessel end up on an island fighting for survival. “Triangle of Sadness” is an international co-production.
This film has various extended scenes that feel uncomfortable at first but often end up as anything from intriguing to funny (very crude in one case). One such scene includes a wealthy Russian oligarch named Dimitry (Zlatko Burić) making an absurd demand upon the entire staff which is obeyed as the class distinction is very strong within the confined setting.
A puzzling scene involves Dimitry having a discussion with the yacht captain, Thomas (Woody Harrelson). During this discussion, Thomas’ defense of socialism seems preachy and didactic. If writer/director Ruben Östlund were trying to make a point, subtlety would have been more effective. However, there is possibly a twist here. The preacher of socialism (Thomas) happens to be an drunken parasite who has an undeserved privilege of being at the top of a work hierarchy and whose second in command (Paula played by Vicki Berlin) is stuck to do much of his job as well as all of her own. Perhaps, having such a repulsive character preaching a certain ideology is Östlund’s way of rejecting the ideology. But this is more than offset by the remainder of the plot which often skewers the vile hierarchies caused by capitalism. One such vile hierarchy is shown when Paula is leading her subordinates during a staff meeting.
As the film involves a major twist, character development is very fascinating in the final segment. The most intriguing of these changes is in the character of Abagail (Dolly De Leon) who is at the bottom of the socio-economic hierarchy as a staff member of the yacht but whose survival skills place her at the top of the hierarchy on the island. It could be easy to cheer for her except maybe for a certain advantage she grabs rather viciously.
The film ends with one of those moments of “OMG, how could you end it THERE?” with a potential plot twist that we don’t even get to see. But with the chance to create the ending ourselves, this fascinating film still concludes well.
RATING (out of four stars): * * *
*
Moonage Daydream
Produced by the USA and Germany, this documentary highlights the career and life of the legendary British superstar David Bowie. The film mostly focusses on the time period from the early 1970s up until the early 1990s.
As the film begins by recalling the early 1970s, what a truly psychedelic vibe it creates. The era is greatly reflected with a superb mix of animated footage, actual footage (including live concerts) and song recordings. And of course, those special fashions of the early 70s! The unique mixing style continues throughout the film in later time periods and includes excerpts from classic movies.
The scenes of Bowie’s musings of life are often fascinating though some of them could have been edited. During one scene, he seems to be encouraging how life should be for people. From today’s perspective, this might seem inappropriate as it is coming from someone with great advantages and privileges; the average person could never be anywhere close to the life he was living. But it’s important to keep in mind that this was expressed during an era when there was much less distance among the socioeconomic classes than there is now. So, the philosophy seems right for its time period.
In the end, the film seems perhaps a bit long but with its focus on such a fascinating subject, this seems to matter little.
RATING: * * *
*
Decision to Leave
Jang Hae-Jun (Park Hae-il) is one of two detectives assigned to investigate a murder in Busan, South Korea. During the investigation, he becomes infatuated with the murdered man’s wife, Song Seo-rae (Tang Wei) who might also be a suspect in the murder. Further tension is caused by the fact that Hae-Jun is married.
While the two leads give fine performances individually, there is a lack of chemistry between them. It doesn’t help that most of their communication is by text messaging. Texting is probably the way most people communicate in our modern world so in this way, the film is accurate in reflecting real life. But it comes off as dull when used so often in a movie.
Many scenes in the movie are mixed with opposite effects. The film has many scenes that are well directed (by Park Chan-wook) and there are good performances from all cast members as well. There is also a powerful ending. On the other hand, there are many other scenes that are too long and sometimes convoluted and confusing.
A mixed result overall.
RATING: * *
*
Great Old Movies Seen Again
Three Colours: Red (1994 – Switzerland / France / Poland)
Valentine Dussaut (Irène Jacob) is a university student / fashion model in Geneva. She is brought by circumstances to have a connection with a retired judge, Joseph Kern (Jean-Louis Trintignant), who has serious social problems.
Valentine and Joseph have associations with other interesting characters (including a pregnant dog) who together seem to live in an odd, fascinating, mysterious urban universe. The conversations among them reveal shock, mystery, and puzzle-solving which most other films would have revealed by action only. This unique style is one of the film’s many praises. And the continuing connection of the seemingly odd pair is also touching.
A parallel story in the film involves Auguste (Jean-Pierre Lorit), a young law student who is in a very troubled relationship. This is similar to Valentine who is in a difficult long-distance relationship. Valentine has further troubles in her family of origin whose circumstances are less than ideal.
The mix of characters and their circumstances reflect much of life’s yearnings, disappointments, and occasional happy moments with various coincidences and similarities that give the impression that all people are connected. The screenplay (by Krzsysztof Kieślowski, the film’s director, and Krzsysztof Piesiwicz) shows compassion for their very flawed, very human characters.
“Three Colours: Red” is the last of a trilogy that is preceded by “Three Colours: Blue” and “Three Colours: White”. To enjoy “Red”, it is not necessary to have seen the other two except perhaps in regards to the final scene in “Red”. But it is likely best to see them in order any way if you’re like me. Also, I join the consensus that “Red” is the best film of the trilogy.
RATING: * * * 1/2
OUTSTANDING ACHIEVEMENT: Directing by Krzsysztof Kieślowski
*
In the Heat of the Night (1967 – USA)
Virgil Tibbs (Sidney Poitier) is a black detective from Philadelphia who, by various circumstances, ends up in a small bigoted town in Mississippi where he becomes involved in solving a recent murder. He and police chief Bill Gillespie (Rod Steiger), who is racist, have an intense working relationship while trying to solve the case.
This superb film is intense all the way through. Its story has just the right amount of complexity while always being understandable. (If only modern mysteries could have followed this formula.)
The performances of Poitier and Steiger, individually and as an ensemble, contribute greatly to the film’s success. Poitier’s character has exceptional strength, intelligence, and sophistication yet he can distinguish when he can safely use his strength and when he must acquiesce such as an early scene at a train station. During this intense moment, the only weapon he has is a silent glare which he uses perfectly (if looks could kill). As the police chief, Steiger raises his tone when needed but also knows when he must surrender to the detective while still appearing to be in charge.
Another interesting moment is when Virgil is mocked for correctly using the word ‘whom’ in a sentence when most people would have (incorrectly) used the word ‘who’ instead. As an aside, it is pleasant and rare when someone speaks this well even if it is fiction.
Poitier and Steiger have an interesting scene before the fascinating climax where there is almost a bonding regarding the loneliness of their chosen professions. And their final scene, again at the train station, is filled with so many unspoken words that are restrained. A gesture regarding a suitcase speaks volumes especially considering the racist atmosphere that surrounds them.
The two leads are part of an exceptional cast that also includes Warren Oates, Lee Grant, Larry Gates, James Patterson, Quentin Dean, Anthony James, Scott Wilson, and Beah Richards among others. And director Norman Jewison more than ably creates an intense atmosphere that surrounds the thriller. Yet further praise must be given to Quincy Jones for his great score.
RATING: * * * *
OUTSTANDING ACHIEVEMENTS:
- Directing by Norman Jewison
- Screenplay by Sterling Silliphant (based on the novel by John Ball)
- Acting Ensemble
Fairly Recent Movies
Bros
A romantic comedy between two men in their forties in Manhattan: Bobby (Billy Eichner) is an outspoken curator of the new LGBTQ+ history museum; Aaron (Luke Macfarlane) is a lawyer who dreams of being a chocolatier. While the two are not relationship-seeking, their mutual attraction grows.
The humour of this film is its greatest asset: Eichner is hilarious as a mile-a-minute talker firing off some great lines (he’s one of the film’s writers along with Nicholas Stoller, the film’s director). There are also enjoyable museum board meetings that take more than a few fun jabs at victim consciousness among modern activists. Like many other rom-coms, this one includes the conflicts of polar opposite personalities between the two leads. And there’s more enjoyable mockery as the film takes on the dating and sex scenes in the gay world with flawed but funny personalities.
Outside the humour and sharp-tongued sarcasm, there is a warm side to the film (like other rom-coms). For “Bros”, this is best shown during the conclusion with Eichner’s monologue.
An enjoyable film overall.
RATING (out of four stars): * * *
*
My Policeman
Based on the novel by Bethan Roberts, the film takes place in two time periods: in the late 1950s, Patrick (David Dawson) is a museum creator in Brighton, England. He has a secret relationship with Tom (Harry Styles), a police officer who worries about losing his job if his homosexuality is known. Tom becomes engaged to teacher Marion (Emma Corrin) and the three become close friends… for a while. In the late 1990s, the same characters are played by Rupert Everett, Linus Roache, and Gina McKee respectively.
All six actors in both time frames do a great job and the film is directed with compassion by Michael Grandage.
In addition to the main stories, the story inadvertently focuses on what appears to be a contrast between two different planets: life in Britain for gay people in the 1950s vs. the 1990s. This is highlighted in a scene when Roache is at his best when Tom witnesses open affection between a gay male couple in public during the later time frame.
The film might have been more fulfilling if there were more explored about Marion’s character in both time frames. There is also a scene in the 1950s when a secondary character comes out of the closet. The scene seems anachronistic as such information could not likely be revealed so casually during that time period without the fear of losing one’s livelihood . But despite these misgivings, “My Policeman” is a very moving film.
RATING: * * * 1/2
*
Aftersun
Sophie (Frankie Corio) is an 11-year old Scottish girl who lives with her mother. Sophie and her father, Calum (Paul Mescal), who lives in London, travel to a Turkish resort for a vacation together. The film takes place during the 1990s.
This is a very highly acclaimed film that is loved by many so I feel badly about missing out on the enjoyment of it.
The bonding between father and daughter is moving but it doesn’t seem to be enough to sustain the length of a movie. Subtlety is the formula in each scene. There is a lack of plot development which helps most movies maintain interest. And muddled, incomprehensible dialogue is a liability. An exception is a scene in which Calum recalls to Sophie a sad event when he was neglected by his parents. There are signs that Calum has a troubled life but this could have been further explored.
More can be appreciated when knowing important parts of the true-life story of writer/director Charlotte Wells and this is briefly explored by the film’s end. But other directors have done better at using special techniques to make the apparently mundane anything from touching to fascinating. The technique of “Aftersun” is like watching the average home movies of someone we don’t know. In fairness, the two lead actors play well together.
For most, this film was magnificent but unfortunately, I found it to be dull and disappointing.
RATING: * *
*
Great Old Movies Seen Again
The Shining (1980 – USA)
Based on the novel by Stephen King: Jack Torrance (Jack Nicholson) is a troubled writer who accepts a winter job as a caretaker at the Overlook Hotel in Colorado during the off-season. He is accompanied by his wife, Wendy (Shelley Duvall) and young son, Danny (Danny Lloyd) who has psychic abilities. During the stay, supernatural events occur that threatens Jack’s sanity and the safety of Wendy and Danny.
The film’s beginning includes a detailed, extended sequence of the Torrance family settling into the hotel before it officially closes to the public. There are many long shots of the camera following people from behind, leading them in the front with the camera moving backward, or occasionally moving sideways. These lingering shots create a mood to lure in viewers and more or less entrap them before the horror begins. Director Stanley Kubrick deserves kudos for this unique approach.
Nicholson is sometimes over the top but mostly gives a great performance in a challenging role – especially the first time he is seen in a mysterious bar. And his delivery of “Here’s Johnny” is unforgettable. Duvall and Lloyd also give fine performances as people who will do anything to survive.
The supernatural elements in the story are occasionally confusing but overall, the story is thankfully uncomplicated for one with such ambition. With so much going for it including the amazing interiors of the hotel plus a thrilling climax involving an outdoor snow-filled hedge maze, “The Shining” rightly deserves its place among the greatest thrillers ever.
RATING: * * * 1/2
OUTSTANDING ACHIEVEMENT: Directing by Stanley Kubrick
*
Make Way for Tomorrow (1937 – USA)
Barkley and Lucy Cooper (played by Victor Moore and Beulah Bondi respectively) are an elderly couple who lose their home due to foreclosure. Four of their five children live nearby but none can accommodate both of them so they must separate and live in different children’s homes. In their new residences, their presences cause tension. The film is based on the play of the same name by Helen Leary and Noah Leary and the novel “The Years Are So Long” by Josephine Lawrence.
There is so much to love about this film. For one thing, it seems to be a true reflection of life during the time it was released rather than the well-intended escapism created to distract film viewers from the troubles they were experiencing during the Depression. This includes the bold exposure of social-climbing ambition, too much busyness, and the cold indifference to the needs of the elderly. The film exposes ‘family’ in a way that is rare in films of its time period and it’s not a glorious viewpoint. The movie is also pleasantly rare (for any time period) to focus on elderly people in lead roles.
During the separation, Lucy lives with their son (Thomas Mitchell), his wife (Fay Bainter) and shares a bedroom with their teenage daughter, Rhoda (Barbara Reed). The tensions in this situation are often funny and ironically, Lucy seems more appreciated by the family’s maid (Louise Beavers) than by her relatives even though it’s clear they are trying their best. One of the best scenes is a conversation in which Rhoda tries to force Lucy to “face facts”. Lucy’s response, flawed as it may seem, has its own logic for someone in her situation and with Bondi’s great delivery with words from screenwriter Vina Delmar, this ends up as one of the film’s most powerful scenes.
Barkley lives with their daughter, Cora (Elizabeth Risdon) and her husband (Ralph Remley). This situation is sometimes over-dramatized but not enough to lessen the film’s impact overall. Cora’s treatment of her father is monstrous, shrewish and seems unreasonable and too much at times. Luckily, Barkley has a better connection with a neighbourhood shopkeeper, Max Rubens (Maurice Moscovitch) who adds necessary warmth to a very cold atmosphere.
The film is at its best during its last half hour when Barkley and Lucy spend rare time together in New York including the hotel where they spent their honeymoon. Here, the two leads bond beautifully as they do their best to deny impending sadness and doom while doing their best with what time they can spend together. They connect so well that everyone they meet enjoys their presence and charm including one who seems contemptuous of the elderly at first but is believably won over by the pair. The final scene is most powerful and heartbreaking due to its restraint and withheld emotions. This is more truthful than a cathartic outburst could have been. And Bondi’s facial expressions in the final frames are to be treasured.
This film is definitely Chicken Soup for the Soul – ironically as chicken soup is significant in one of the scenes. Director Leo McCarey has created a true treasure here.
RATING: * * * *
OUTSTANDING ACHIEVEMENTS:
- Directing by Leo McCarey
- Acting by Beulah Bondi and Victor Moore
*
Briefly
Great Movies Seen for the First Time
Streetwise (1984 – USA / Documentary): * * * 1/2
The predictions are a result of other award institutions that have also presented awards thus far plus other recent Oscar trends.
For the predicted winners, the levels of strength are noted as follows:
*
(1) unstoppable, almost a guarantee;
(2) front-runner;
(3) ahead in the race but just barely.
*
For the possible upsets, the levels of strength are as follows:
(4) very strong possible upset;
(5) possible upset;
(6) long-shot / dark-horse.
*
And the predictions:
*
Best Picture: (1) Oppenheimer
Best Director: (1) Christopher Nolan (Oppenheimer)
Best Actor: (2) Cillian Murphy (Oppenheimer); (5) Paul Giamatti (The Holdovers)
Best Actress: (3) Lily Gladstone (Killers of the Flower Moon); (4) Emma Stone (Poor Things)
Best Supporting Actor: (1) Robert Downey Jr. (Oppenheimer)
Best Supporting Actress: (1) Da’Vine Joy Randolph (The Holdovers)
Best Original Screenplay: (3) J. Triet & A. Harari (Anatomy of a Fall); (4) David Hemingson (The Holdovers); (6) all other nominees
Best Adapted Screenplay: (2) Cord Jefferson (American Fiction); (5) G. Gerwig and N. Baumbach (Barbie); Christopher Nolan (Oppenheimer); (6) Tony McNamara (Poor Things)
Best International Feature Film: (1) The Zone of Interest; (6) all other nominees
Best Documentary Feature: (1) 20 Days in Mariupol; (6) all other nominees;
Best Animated Feature: (3) Spider-Man: Across the Spider-Verse; (4) The Boy and the Heron
Fairly Recent Movies
Films Released in 2020
*
Ma Rainey’s Black Bottom
Based on the fictional play by August Wilson: in Chicago during the summer of 1927, the legendary real-life blues singer Ma Rainey (Viola Davis) is set up for a recording session prepared by white producers. Among the tensions during the session: the band’s very talented trumpeter, Levee Green (Chadwick Boseman) has ambitions of going solo.
The film uses advantages that that are an improvement on the play version. Editing reduces a long scene that involved a young man with a pronounced stutter doing a recorded intro. And two additional scenes (not in the play) add to the film’s impact. One involved Ma’s late arrival and all the chaos in the journey (in the play, this was only narrated after the arrival); and an extra scene tagged at the end adds to the overall impact regarding the racial tensions referred to in the story.
Another scene that was kept as is was Levee’s narration of his family’s tragic history and racial victimization. Screenwriter Ruben Santiago-Hudson and director George C. Wolfe were wise to keep this scene as it was without using a flashback device despite the scene’s length. Why? Because Boseman was one of those performers who could be riveting even while reading an instruction manual. He is extremely powerful in this scene as he was in another one where he renounces the existence of God. His untimely death shortly before the film’s release caused this brilliant performance to be his swan-song. A great loss, indeed.
Davis is also powerful in many scenes as a manipulative diva who knows her worth. She’s at her best showing Ma’s softer side when elaborating on the existence of the blues.
The dramatic ending might not have been necessary and it also leaves a very depressing feeling. But with so much going for it including costumes, cinematography, and set designs that beautifully recall the 1920s, “Ma Rainey’s Black Bottom” is a standout film.
RATING (out of four stars): * * * 1/2
OUTSTANDING ACHIEVEMENT: Acting by Chadwick Boseman
*
Da 5 Bloods
During the Vietnam War, five black American soldiers bonded. Together, they found gold bars and buried them with the intention of recovering them in the future. Decades later, four of the five friends return to Vietnam to recover the gold.
Occasionally, the film falls into a storyline that has been done before: a collective search for gold that creates tension and mistrust among the searchers (“Treasure of the Sierra Madre” is likely the best example for comparison). But despite the familiarity, the conclusion takes other directions including a fascinating climax co-ordinated by the always reliable Spike Lee who directed and co-wrote the film. Some of the outer-lying sub-stories could have been expanded were it not for the gold hunt main story and still made a great film as well but there is only so much time allowed. The final product of “Da 5 Bloods”, gold story and all, is a grand experience.
Some of the most memorable moments include the tragedies and tensions involving landmines. And the greatest moment is a flashback scene involving Paul (Delroy Lindo), the most troubled and negatively affected of the war veterans; plus Norman (Chadwick Boseman), the only member of the quintet who does not appear in the current time period. This scene perfectly explains the future fates of both characters with a deep spiritual element as well. It is also beautifully acted.
Lee adds further to the film’s impact by concluding with fascinating historical footage with informative histories before the closing credits.
RATING: * * *
OUTSTANDING ACHIEVEMENT: Acting by Delroy Lindo
*
Hillbilly Elegy
Based on the autobiographical novel by J.D. Vance (played by Gabriel Basso and Owen Asztalos in different time periods): J.D.’s early years in Middletown, Ohio are recalled living with a very dysfunctional mother (Amy Adams) and getting needed help from his maternal grandmother (Glenn Close).
Whether in the present tense (when J.D. is in university) or in the past tense (his early teen years in an economically struggling family and community), much of the story is very uncomfortable with repeated scenes of dysfunction without a break. The epilogue includes situations that would have been far less awkward to watch and the film would have been more balanced if such events were included in the narrative rather than just in the final summary.
Yet, the film is still a powerful drama with great performances from Adams and Close so it was worth the watch.
RATING: * * *
*
Great Old Movies Seen Again
Some Like It Hot (1959 – USA)
Inspired by the 1935 French film “Fanfare of Love”: Joe (Tony Curtis) and Jerry (Jack Lemmon) are struggling musicians in Chicago during the Prohibition era in the late 1920s. After unintentionally witnessing a crime, they have to hide by changing their names (and appearances) to Josephine and Daphne and join an all-female band that is on its way to Miami. Once in the band, both are smitten by the lead singer and ukulele player, Sugar Kane (Marilyn Monroe).
This film succeeds greatly as a mix of various genres and excelling in all of them: crime drama, love story, and ultimately one of the funniest comedies ever with many hilarious lines by screenwriters Billy Wilder (also the film’s director) and I. A. L. Diamond. The film also includes a lot of fine music highlighted by Monroe’s singing voice.
Among many things to love, the highlights include Curtis’ female voice plus his ability to play three roles (he also plays a fake heir to an oil corporation in order to woo Sugar); Monroe’s portrayal as someone so lovesick and vulnerable that she is totally unaware of the power of her goddess-like beauty; Lemmon’s hyper-nervous energy and all the trouble that follows including being relentlessly chased by a millionaire named Osgood (Joe E. Brown, also hilarious) who is in love with “Daphne”; the night of tango dancing between Daphne and Osgood plus Daphne’s recall of the events later that night to Joe; and ultimately, the overnight train trip from Chicago to Miami. The train scene has many moments of hilarity and shows Lemmon at his comical best. And its climactic ending is the icing on the cake.
Other performers in this great cast include George Raft as a crime boss, Joan Shawlee as the band leader, and Dave Barry as the band’s manager.
A delight worthy of all its praises.
RATING: * * * 1/2
OUTSTANDING ACHIEVEMENTS:
- Directing by Billy Wilder
- Acting Ensemble
Fairly Recent Movies
The Lost Daughter
Leda Caruso (Olivia Colman) is a middle-aged university professor and translator. While vacationing alone in Greece, she has encounters with hotel staff and other guests while recalling her past difficulties as a young mother. In flashback scenes, her younger self is played by Jessie Buckley.
Colman’s performance is mixed but mostly good. Her facial expressions and vocal tones are powerful but there are too many instances of incoherent muttering.
There is an amazing resemblance between Colman and Buckley so credit must be given to the casting department as well as the performers themselves. But sadly, they are playing an unlikeable character whose oddities are not adequately explained. This is especially true in the current story involving Leda’s connection with a young family who are staying in the same hotel. Without revealing much, her behaviour regarding a certain object indirectly causes torment to a young girl which causes distress to the girl’s family. In Leda’s final scene with the girl’s mother, played by Dakota Johnson, Leda’s chosen words are deliberately insensitive and arrogant – making her character even more loathsome.
There are times that the Johnson character, Nina, seems to have much in common with Leda especially regarding the difficulties of raising a young child. The film might have been more effective if Nina had been given more exposure. The same could be said of the general theme of being overwhelmed by parenthood and the occasional (or frequent) desire to escape it. Taking on such a daring topic is bold but unfortunately, the film falls short of its potential.
RATING (out of four stars): * *
*
Tick, Tick…Boom!
Based on the partly autobiographical stage musical by Jonathan Larson: the musical creator (Larson played by Andrew Garfield) is in the process of creating the musical “Superbia” and faces various ups and downs in life and in the theatre industry while in and out of the creative process. The story takes place in New York in the early 1990s.
Like “Cabaret” (released in 1972), TTB uses a device of songs being performed on stage in front of a live audience which reflect events of the main story interwoven with the story itself. The device works very well.
For those of us who lived through the 90s, the film is a great reminder of things good and bad. The passionate creativity is perfectly on display. But so is the unfortunate rampant materialism and consumerism of the time (which would accelerate toward our current times including phone addictions). This is best on display in some scenes in the second half involving Jon’s friend Michael (Robin De Jesus) who left the creative scene and became successful in the corporate world. One hilarious scene involves a focus group followed by a more profound argument between the two long-time friends which reflect Michael’s past struggle before making an important life change and changes yet to come.
The main story also includes breakout musical scenes. The standouts include “Sunday” (beautiful in many ways) and “Therapy” in which Jon is at a difficult point in his relationship with his girlfriend, Susan (Alexandra Shipp).
Garfield is phenomenal in the main role, perfectly conveying the hyper-stress that accompanies the demands of the creative process, financial difficulties, and conflicts in relationships. His is one of cinema’s greatest performances in recent times. And director Lin-Manuel Miranda guides with the perfect combination of dynamism, energy, passion and imagination – all of them in great supply.
Without giving much away: Larson’s struggles in the creative world, as depicted in this story, might explain what would happen a few years later which adds even more emotional weight to this excellent film.
One of the most under-rated films ever!
RATING: * * * *
OUTSTANDING ACHIEVEMENTS:
- Directing by Lin-Manuel Miranda
- Acting by Andrew Garfield
*
Fire of Love
The lives, marriage, and careers of French volcano scientists Katia and Maurice Krafft are the subject of this documentary co-produced by the USA and Canada.
The film has fascinating biographies of the amazing Kraffts whose apparent callings were to live on the edge of life and to be with each other. And there is amazing footage of their expeditions. These stunning scenes make science exciting when we, the viewers, can actually see what is happening due to great risks by everyone involved to capture the footage. Seeing the footage makes the experience far more exhilarating than reading or hearing about it.
There can be a contrast with emotions felt in the film. The fascination of viewing the volcanic mountains in isolation changes to great concern when seeing the mountains’ close proximity to residential areas. This is evident in segments in Columbia, the Philippines, and near Mount St. Helens in Washington state.
The conclusion is touching and emotional. It also would have been more so if spoilers were not revealed at the film’s start – spoilers at least for those of us not familiar with the Kraffts. Regardless, “Fire of Love” is a very good film.
RATING: * * * 1/2
*
Great Old Films Seen Again
Dog Day Afternoon (1975 – USA)
Based on a true story: on a very hot day in August, 1972, Sonny (Al Pacino) and Sal (John Cazale) are reeling from a very botched robbery attempt at the First Brooklyn Savings Bank. They hold the bank staff hostage as they negotiate transportation to leave the USA.
Pacino’s performance in this film could easily be used as a benchmark. There is so much to love with many special highlights. They include his many energetic scenes walking back and forth on the sidewalk in front of the bank as he is negotiating with the authorities. One of those scenes includes one of the best movie lines that is unlikely to show up on certain “Best Movie Quotes of All Time” due to its profanity. Hint: it follows a police sergeant (Charles Durning) asking Sonny why he has asked him to kiss him. The line is delivered with such Pacino panache that it is likely only this genius could get away with it.
Other scenes include Sonny dictating his will to one of the bank staff (sensitive and touching) and his one-on-one conversations with three different people in his life: his mother (Judith Malina); his wife (Susan Peretz); and his lover, Leon (Chris Sarandon). The latter conversation is rightly praised as one of the film’s highlights. It was very rare at the time for man-to-man relationships to be portrayed seriously without being mocked. The same can be said of the characterization of Leon who has the intention of transitioning to a woman.
Director Sidney Lumet is at his best in this film as well with so much action seemingly taking place in real time. The film’s beginning amazingly captures crowded chaos. And there is even comedy within the high drama. Some of the bank tellers seem to be thrilled at being part of the mayhem and media attention (Penelope Allen plays the head teller and has a few important scenes). In a fascinating way, the hostages bond with their captors.
The climactic powerful final scene, including its build-up, is the perfect conclusion for a perfect film. The cast is great and Lumet’s direction is greatly aided by the editing by Dede Allen.
RATING: * * * *
OUTSTANDING ACHIEVEMENTS:
- Directing by Sidney Lumet
- Acting by Al Pacino
- Editing by Dede Allen
*
Briefly
*
Great Old Films Seen for the First Time
*
Daguerréotypes (1975 – France / Documentary) – * * * 1/2
Lady and the Tramp (1955 – USA / Animated) – * * * 1/2
*
Great Films Seen Again
To Die For (1995 – USA) – * * * 1/2
Fairly Recent Movies
Happening
Based on the autobiographical novel by Annie Ernaux: Anne (Anamaria Vartolomei) is a high-achieving university student in a small city in southwestern France in 1963. Unexpectedly pregnant, she struggles to arrange to have an illegal abortion.
As fashions and décor look contemporary (a deliberate choice by director Audrey Diwan who did not want the film to appear as a period piece), it took a while to realize the time period. It is only known in an early scene where Anne reveals her year of birth.
The film is seen totally through Anne’s eyes and credit must be given to Vartolomei and Diwan for meeting this challenge and getting a powerful result. Some of the key scenes are fully in real time including one where Anne must lurk in the underworld to find what she seeks – a scene that can almost make the viewer feel as much fear and uncertainty as Anne feels.
There are various people problems along the way too regarding lack of support due to great fears in being complicit in breaking the law. This further adds to Anne’s difficulties.
The film’s second half, including various plot twists, was like a thriller. It was that intense. With great film-making mixed with a subject that is more relevant with recent legal changes in the U.S., “Happening” is a very compelling film experience.
RATING: * * * 1/2
*
Petite Maman
Nelly (Josépine Sanz) is an eight-year old living in rural France. After experiencing a death in the family, she meets another girl, Marion (Gabrielle Sanz, Joséphine’s identical twin sister) who is close to her age. During their connection, coincidences seem to imply that Marion and her family have an unusual connection to Nelly.
The film’s beginning is quite touching as the family is grieving the loss of a loved one while also dealing with all the practicalities resulting from death.
The initial meetings between Nelly and Marion are enjoyable at first but later, some of their scenes are long and dull. The other-worldly aspect of the film was interesting at first but there were also times it seemed confusing and vague. But I seem to be an outlier as this film has won a lot of acclaim.
RATING: * * 1/2
*
Judas and the Black Messiah
Based on a true story: in Chicago, 1968, Bill O’Neal (Lakeith Stanfield) is an FBI informant who is coerced to infiltrate the Illinois chapter of the Black Panthers Party with special focus on its chairman, Fred Hampton (Daniel Kaluuya).
It is very tempting and easy to compare this film with “BlacKKKlansman” released just three years earlier. Both films involve individuals fighting against anti-black racism; they take place during the volatile period of the late 1960s and early 1970s; and each involve a primary character acting as a double agent. Despite worthy praises for “Judas” (strong acting, powerful scenes, an eloquent exposure of unspeakable injustice), it comes up rather short compared to the earlier film.
“Judas and the Black Messiah” seems to keep a distance from the characters so their development is limited. Particularly, there is a missed opportunity to delve into the inner conflict that O’Neal would have faced as he was being manipulated to betray other blacks who were working against historical racism. Going deeper would have raised the film to a higher level.
RATING: * * 1/2
*
Two Short Poems
After recently reading a lovely collection of poems by Emily Dickinson, I felt the desire to try to apply Dickinson’s special style with modern-day big city sarcasm. Here are my attempts:
**
Poem 1
*
I see another loud drag queen
Who doth insist on being seen
And heard by everyone.
*
With all that competition, she
Decides to climb the nearest tree
And upstage all who breathe.
*
And when festivities are done,
Her rivals revel in the fun
Of watching her climb down.
**
Poem 2
*
Dear God, I still cannot endure
That which I so much love to hate:
Hearing Torontonians
Speak of the price of real estate.
Fairly Recent Movies
The Hand of God
In the 1980s, Fabietto Schisa (Filippo Scotti) is a teenager living in Naples with his family: both parents and an older brother and sister. The film chronicles the family’s connections with friends, neighbours, and extended family members as well as Fabietto’s aspirations to work in film along with his deep admiration for football great, Diego Maradona.
“The Hand of God” is very ‘Felliniesque’ in the first half which includes many enjoyable short scenes with a good share of whacky characters. While some of the characters occasionally show cruelty toward others, the film cleverly avoids crossing the line into sadism; the people on screen are all intriguing in their own way and there is a lot of humour.
The film’s climax (and a shocking one at that) happens around the middle of the story and while it continues its flow-of-life pace with which it began, the feelings of whimsy and humour are gone and replaced with a strong drama.
As both comedy and drama, director/writer Paolo Sorrentino succeeds on both counts and he is greatly aided by cinematographer Daria D’Antonio especially in scenes involving the architecture of Naples and its nearby bodies of water.
RATING (out of four stars): * * * 1/2
*
Passing
Based on the novel by Nella Larsen: In New York City in the 1920s, two childhood friends are reunited: Irene (Tessa Thompson) is a light-skinned black woman who is married to a black doctor and living in a wealthy Harlem neighbourhood where the couple raise two young sons; Claire (Ruth Negga) has mixed race heritage unbeknownst to her wealthy white husband who is racist. Clare and her husband have a young daughter. Like Clare, Irene occasionally takes advantage of being able to “pass” as white in certain circumstances.
From the film’s beginning, the viewer is set up for a fascinating ride. The superb production values (black and white cinematography, costume and set designs, and sound) are on full display when the reunion takes place in a hotel lunch room. This is shortly followed by an intense scene where a harshly racist comment is made and Irene has an inner-conflicted response to it.
While a lot of the film focusses on Irene’s family life, very little of it is focused on Clare’s. Key scenes occur when Irene is arguing with her husband, Brian (André Holland) about exposing the terrible events of racism in America to their sons. Irene believes the children’s innocence is being harmed while Brian believes this exposure is necessary for their safety. They’re both right but Irene seems oblivious to the fact that her husband and sons cannot ever have the advantage to “pass” as she can.
Clare’s husband (Alexander Skarsgard) appears briefly in three scenes while her daughter is not seen at all. This leaves a very serious gap. There is a hunger to witness the day-to-day life of this family in which very important information is withheld. Hopefully one day, there will be a parallel story written which focuses more on Clare. (This film’s writer/director, Rebecca Hall, would be a perfect candidate for this task.) Despite this gap, the film is powerful regardless.
Thompson does a great job at providing a stable influence for most of the film – that is until her strange behaviour at the beginning of the film’s final scene which makes more sense after the shocking climax.
Viewers of both versions of the film “Imitation of Life” (1934 and 1959 – both highly recommended) would be familiar with the term “passing” which is rarely covered in film, unfortunately. It is great to come back to the theme of this agonizing inner-struggle that would not have to exist without the terrible effects of racism.
There is so much to praise about this film including the journey back to Harlem in the 1920s. It is a fine imitation of life as it was back then filled with charm, elegance, and class. A very good film overall.
RATING: * * * 1/2
*
Scarborough
Based on the novel by Catherine Hernandez: In the titular multicultural district of Toronto, the day-to-day struggles of various families are portrayed with a focus on three children: Bing (Liam Diaz), Laura (Anna Claire Beitel), and Sylvie (Mekiya Essence Fox).
It is easy to feel for many of the characters in the film especially the children whose acting portrayals are powerful particularly Beitel. There is also a lovely performance by Aliya Kanani who portrays Ms. Hima, a hijab-wearing childhood educator who shows genuine warmth for the children.
The many difficulties of the characters are well portrayed but they can also be so realistic to the point that the end effect is bleak and depressing. The film also has a problem in the extremes of the modern woke mindset: every adult white character in the film – no exceptions (and there are many of them) are any combination of stupid, insensitive, and/or downright cruel. The race contempt was clear and lowers what could have been a better film. One particular scene includes Ms. Hina being unfairly chided by a white education supervisor. In modern Toronto’s education system, this is a highly unlikely event which would likely have caused the supervisor to be fired. With less bias and stereotypes, this could have been a better film.
RATING: * *
*
Books
“Michael Tolliver Lives” by Armistead Maupin
San Francisco, mid-2000s: the title character is a gay man in his fifties who co-owns a gardening company and lives with his much younger partner, Ben. Michael must make a visit to Florida to see his family of origin as his mother’s health is deteriorating.
This book, published in 2007, is part seven of a series whose first six books were published between 1978 and 1989. The catch-up of the eighteen-year gap is as fascinating as it would be in catching up with people in real life. While some characters from the original series are mentioned only briefly, it is heart-warming to check in with them. Maupin is such a brilliant writer that his characters seem to be like people we’ve known a long time even if they are fictional. And finding out what happened during the eighteen-year gap is sometimes shocking; quite sad in one case.
The book’s greatest strength, as in the previous ones, is the laugh-out-loud sharp-tongued wit which is rampant. The humour mostly occurs in conversations in short sentences usually between two people; sometimes three. But like the earlier books, the humour is not the only strength. There is also mystery, suspense and occasional shocks.
Some of the shocks come from Michael’s mother, presumably a devout Christian, who has developed different views on certain things while being hospitalized. Another shock around Michael’s family history is revealed by his brother. Yet another comes from Michael himself when he must face a difficult decision by the story’s end. And it’s also fair to say that some of the sex scenes are bluntly shocking as well.
As always, Maupin’s world is filled with a fascinating variety of characters including two transgender people who are two generations apart and share the same household. There are also certain archetypes that Maupin (and others like him) would dislike at a surface level but he is fair to such characters, giving them depth and perspective without dismissing them as stereotypes.
Some of the older characters speak of the yearning for lighter attitudes (and housing affordability) during the 70s and 80s. Their nostalgia can be easily felt by readers who lived through such times.
A wonderful read with wonderful characters.
Before reading this, it is highly recommended to read the series in order before starting this one: “Tales of the City”, “More Tales of the City”, “Further Tales of the City”, “Babycakes”, “Significant Others”, and “Sure of You”.
RATING: * * * 1/2
Fairly Recent Movies
The Power of the Dog
Based on the novel by Douglas Savage: in 1925 Montana, two families are amalgamated into the same household: the wealthy ranch-owning Burbank brothers Phil (Benedict Cumberbatch) and George (Jesse Plemons) plus the Gordon family who run an inn: widowed mother Rose (Kirsten Dunst) and her young adult son, Peter (Kodi Smit-McPhee). Phil’s domineering, bullying personality intimidates other household members.
Jane Campion’s directing and Ari Wegner’s cinematography combine in a way that much of the photography – both interior and exterior – can elevate emotions. And the performances are very rich especially as some of the characters change significantly during the story: bullying Phil shows a kinder, warmer side in the film’s second half as he mentors Peter (a small-framed and effeminate medical student) to develop ranch skills considered ‘masculine’; Similarly, Peter changes as well during the dual character arc which also includes a few surprises; Rose’s character also has an arc but it goes in a different direction: from someone who starts as self-caring and descends into self-destruction. George’s character might be a bit under-developed compared to the others. As someone who is caring but also shows a social-climbing side, the film would have gained with a bit more emphasis on him. But this is a minor complaint.
Without revealing too much, there are some special scenes which also showcase the acting talent: Rose trying to practice a piano piece before a party (and Phil’s unspoken intimidation coming from another room in the house) followed by the dinner party scene itself; a scene in which Phil and Peter are getting closer as Phil reveals details of his past; and an outburst cathartic scene by Phil near the end that shows Cumberbatch at his best.
The ending is fascinating though its lead-up has details that might not be obvious to those of us who are not so scientifically minded. Despite this, “The Power of the Dog” was still a very powerful movie experience. – dbamateurcritic
RATING: * * * 1/2
OUTSTANDING ACHIEVEMENTS: Acting by Benedict Cumberbatch (lead role) and Kirsten Dunst (supporting role)
*
The Eyes of Tammy Faye
Based on a true story: the lives of Tammy Faye and Jim Bakker (Jessica Chastain and Andrew Garfield) are chronicled during their rise to fame as TV evangelical personalities in the 1970s and 1980s and the downfall that followed.
This film is a well-made version of the rise-and-fall narrative. Credit can also be given to its approach. Considering that the people in the film are of a U.S. region and political leaning that are rarely shared by the mindsets of Hollywood and other parts of coastal California, the absence of moralizing condescension is very welcome.
Some scenes stand out. One includes Tammy Faye’s early conflict with Jerry Falwell, an already established televangelist, after meeting him for the first time. Another is a remote televised interview Tammy Faye did with a gay man living with AIDS. For anyone who remembers this time period, this scene is a pleasant surprise considering the contempt of the time from evangelists (including Falwell) toward the gay community with the belief that gay men with AIDS “deserved it”. With the words she uses in the interview, Bakker shows she had a much better understanding of Christian compassion and the Bible than many of her peers did.
Some gaps in the film leave a feeling of incompletion. It would have been more fulfilling to include scenes that gradually show the corruption as it is building. And during the most difficult times, it would have been more interesting to show how the couple’s children were affected. But the film still succeeds with the strength of Chastain’s great lead performance and a solid supporting performance by Cherry Jones who plays Tammy Faye’s mother.
RATING: * * *
*
Don’t Look Up
Dr. Randall Mindy (Leonardo Di Caprio) and his doctoral student Kate Dibiasky (Jennifer Lawrence) and are science experts at Michigan State University who discover that a comet is moving toward Earth and will likely destroy the planet in about six months. They face many difficult obstacles in trying to warn the world of the impending danger.
The film’s first half is a perfect takedown of superficial, self-serving politicians and media personalities. The fact that media “experts” are more concerned with the scientists’ presentation skills than their message and expertise is par for the course for our modern world. Ditto for the negative treatment of truth-tellers. Editor Hank Corwin and director/writer Adam McKay also display several clever montages during the first hour or so.
At about two-and-a-quarter hours, the film loses impact near the end as it could have been more compact. The second half is burdened with too many subplots and ideals that dilute the film’s impact before its conclusion. But as a metaphor for the call for attention to climate change along with satire, there are many enjoyable moments in the film.
The stellar cast also includes Meryl Streep, Cate Blanchett, Mark Rylance, Timothée Chalamet, and Jonah Hill. PS Be sure to watch the final credits to the very end.
RATING: * * 1/2
*
Great Old Movies Seen Again
Bob & Carol & Ted & Alice (1969 – USA)
Bob and Carol Sanders (Robert Culp and Natalie Wood) are a well-off California couple who gain a new outlook and perspective on life after attending a New Age weekend retreat. Their enthusiasm is not shared by their long-time, close friends Ted and Alice Henderson (Elliott Gould and Dyan Cannon).
This charming film is blessed with a great screenplay by Paul Mazursky (also the film’s director) and Larry Tucker. There are many hilarious moments and funny lines that always keep the film entertaining while also revealing experimental attitudes that were new at the time. While these attitudes have gentle fun poked at them, there seems to be a compassionate attitude that is shown to every character.
The movie’s two final back-to-back scenes are the most memorable. The first of them is pivotal (I dare not use the word ‘climactic’) as a conclusion for all that the main characters have experienced up to that point. Yet, it is the final surreal scene – accompanied by a beautiful hit song of its era (“What the World Needs Now is Love”) – that is ultimately sublime. It involves a touching ‘what if’ scenario that potentially stays with the viewer well beyond its completion.
“Bob & Carol & Ted & Alice” well represents its era culturally and creatively. While the California of that time (or anywhere else, for that matter) no longer exists, it’s truly enjoyable to temporarily return to that great time period even for just a couple of hours. And the quartet of actors are great in their roles.
RATING: * * * 1/2
OUTSTANDING ACHIEVEMENT: Screenplay by Paul Mazursky and Larry Tucker
*
West Side Story (1961 – USA)
During two days and two nights in a rough part of Manhattan, Tony (Richard Beymer) and Maria (Natalie Wood) fall in love at first sight but there’s a big problem: each are associated with opposing rival gangs who hate each other.
This film was previously reviewed in my blog on August 28, 2021. And much has changed since then including the rating below.
The love for the songs and the dance numbers are unchanged and likely eternal. High praise can also be given to the film’s unique intro and its final credits. And the dramatic ending is perfectly timed. It lingers just the right amount of time before moving to the credits.
Previously, I had criticisms of the lead performers but not so this time. Beymer may not be up to par in the rumble scene (he doesn’t seem like an ex gang leader) but he is fine in all others. Wood is at her very best in the dramatic final scene. And there is more appreciation of Rita Moreno in this seventh viewing. While Maria (Wood) is singing “I Have a Love”, Moreno’s facial expressions show she is gradually being convinced of what she is hearing; this is one of those times it is important to watch the listener at least as much as the speaker (or singer). Moreno’s subsequent scene at a drugstore is even more powerful.
And those songs that live forever. Among the best: “Maria”, “Tonight”, “America” (especially for the dancing), “Something’s Coming”, “Somewhere”, and “I Have a Love”.
One of the best ever.
RATING: * * * *
OUTSTANDING ACHIEVEMENTS:
Directing by Robert Wise and Jerome Robbins
Songs by Leonard Bernstein and Stephen Sondheim
Choreography by Jerome Robbins
Dancing Ensemble
**
Briefly
*
Great Old Films Seen for the First Time
Paper Moon (1973 – USA): * * * 1/2
*
Great Old Films Seen Again
Who’s Afraid of Virginia Woolf? (1966 – USA): * * *
OUTSTANDING ACHIEVEMENT: Acting by Elizabeth Taylor