A collection of informal movie reviews for the purpose of documenting my thoughts on the films that I watch.
Friday, October 26, 2018
It Follows: David Robert Mitchell
I finally, finally, finally saw David Robert Mitchell's It Follows. It's a fascinating blend of 50s teen monster movies à la The Blob (1958) and The Great Gila Monster (1959), 70s slashers, and, bizarrely, coke-slathered 80s techno-sludge. An unusual mish-mash of aesthetics that somehow works! Mostly. As with so, so many 00s and 10s horror films, it constructs rules and lore surrounding the supernatural which it scrupulously follows to the letter until the third act climax where the rule-book gets thrown out the window so the heroes can brute force the big bad out of their lives. It pissed me off when Gore Verbinski did it with The Ring (2002), it pissed me off when the Final Destination movies did it, it pissed me off whenever the Saw movies ignored the point of Jigsaw's games so it could indulge in more death scenes, and it pissed me off here. If anything, it served to help me appreciate how much more of a masterpiece Jennifer Kent's The Babadook--released the same year--was. It created rules and stuck to them, right down to its inevitable and controversial conclusion. Still, it's a welcome piece of pop-horror. Legitimately amazed it hasn't become a franchise.
Rating: 8/10
Sunday, October 21, 2018
A Star is Born: Bradley Cooper
I simply cannot wait for the arguments I’m bound to have with @lhbizness tonight over this film. pic.twitter.com/yBCBSKY4eo— The Executioner’s Hood (@NateHood257) October 21, 2018
It’s good! Was mystified by some of its creative decisions though, particularly its anxiety to be taken seriously as a Big Kids movie by injecting itself with Scorsese language and full frontal nudity.— The Executioner’s Hood (@NateHood257) October 21, 2018
Also, was disappointed with how the film chickened out from exploring its early theme of how the music industry forces female artists into a pop star mold they don’t force on men.— The Executioner’s Hood (@NateHood257) October 21, 2018
Rating: 7/10Is it the best movie of the year? No. Not even close. But it’s still good. Let’s not even bother with the ceremony and just mail Gaga, Elliott, and “Shallow” their Oscars.— The Executioner’s Hood (@NateHood257) October 21, 2018
Saturday, October 20, 2018
Sombre: Philippe Grandrieux
Watching SOMBRE (1998). Is this movie supposed to be almost unwatchably dark or is there something wrong with my TV or Blu-ray player? Serious question.— The Executioner’s Hood (@NateHood257) October 21, 2018
Also, have I been tricked into watching a softcore porno? Because some of these sex scenes are downright gynecological.— The Executioner’s Hood (@NateHood257) October 21, 2018
You know what’s nonsense? I’ve seen at least six separate women totally buck-ass naked. I mean, not even given a merkin for their dignity. But I’ve yet to see a SINGLE penis!! pic.twitter.com/oT1I6aRfj6— The Executioner’s Hood (@NateHood257) October 21, 2018
So...the only way to “save” the prostitute-killing serial murderer is for the ingenue to sacrifice her virginity to him. Did Lars Von Trier write this?— The Executioner’s Hood (@NateHood257) October 21, 2018
Rating: 3/10Well, that was definitely the kind of 3deep5me "slasher" film a lot of high-brow critics might like. I'm not one of them. I found it ponderous, boring, and misogynist in a manner that didn't interrogate its own misogyny.— The Executioner’s Hood (@NateHood257) October 21, 2018
Errementari: The Blacksmith and the Devil: Paul Urkijo Alijo
I remember growing up, I devoured books about the occult and supernatural. One of them involved monsters from Europe, and it contained one of my favorite bits of demonology: the forces of Satan could be distracted by scattering chickpeas or mustard seeds on a person's roof, as the monsters couldn't help but count them until the wee hours of the morning when sunlight destroyed them. I think Paul Urkijo Alijo's Errementari: The Blacksmith and the Devil might be the first movies I've ever seen that acknowledged it and made it a plot point. Oh, it's a fine little movie, replete with some excellent practical effects and makeup, a delicious Basque folklore tale, and a truly horrifying depiction of hell. But the chickpea method will forever keep it in my memory.
Rating: 7/10
Friday, October 19, 2018
Empire Records: Allan Moyle
Is it any wonder why Allan Moyle's Empire Records is a cult classic for people of my generation? It's the kind of movie that could only have been made in the 90s: a breezy teen dramedy about young people safely ensconced in general economic security who have little more to do then worry about relationships, hang out with their genuinely benevolent employer/father-figure, and glue quarters to the floor. Yes, the film deals with subjects like sexual immaturity, drug addiction, and suicide, but these are clearly depicted as aberrations. This is a world where the only pressing problems are personal ones--the world outside is nonexistent. It also helps that the music rocks and Liv Tyler spends the entire movie in an amazing plaid short skirt that, combined with her long brown hair, informed more about my pubescent interest in girls than I'm willing to admit.
Rating: 7/10
Tuesday, October 16, 2018
Season of the Witch: George A. Romero
The first thing you notice watching George A. Romero's Season of the Witch is how central the rapid-fire editing is. More than any of Romero's other films, the editing seems to be the central artistic crux of the film, disassociating the images into sharpened fragments that predict the climactic montages in Tobe Hooper's The Texas Chainsaw Massacre (1974). It's fascinating to watch and actually makes one look past the dime-store campiness of the props and sets (including a grimoire simply titled something like "Becoming a Witch: A Primer") as its hallucinatory dreaminess imbues everything with a veneer of deliberate artificiality. The problem here is that the interesting bits make up maybe a third of the film. The rest are soul-crushingly tedious scenes of people sitting around in bedrooms and livings rooms talking about this and that, having sex, and smoking pot. And trust me, none of that is as interesting as one would expect from an almost-exploitation film from the early 70s.
Rating: 4/10
Monday, October 15, 2018
Hold the Dark: Jeremy Saulnier
Watching HOLD THE DARK. I completely understand why a LOT of Jeremy Saulnier fans might not like this movie, particularly in light of the wacky hyper-violence of MURDER PARTY (2007) and the nail-biting suspense of GREEN ROOM (2015).— The Executioner’s Hood (@NateHood257) October 16, 2018
But you guys, this movie is right up my alley. Love the harsh, suffocating textures of the Alaskan wilderness and the scorching Middle Eastern desert. Love the understated performances, the muffled dialogue. It all just works perfectly.— The Executioner’s Hood (@NateHood257) October 16, 2018
Rating: 8/10Oh yeah...that barn shoot-out is an all-timer.— The Executioner’s Hood (@NateHood257) October 16, 2018
Sunday, October 14, 2018
Private Life: Tamara Jenkins
— The Executioner’s Hood (@NateHood257) October 14, 2018
One of my favorite little details in PRIVATE LIFE is that it has a soundtrack ripped straight out of a 90s Nora Ephron romcom. It even has Harry Nilsson's "The Puppy Song," the piece that played over the opening credits of YOU'VE GOT MAIL (1998).— The Executioner’s Hood (@NateHood257) October 15, 2018
Rating: 8/10Superb film. Loved its refusal to feel ashamed or abashed by any of the nitty-gritty details of conception and childbearing. It's also so achingly authentic in its emotions.— The Executioner’s Hood (@NateHood257) October 15, 2018
Pontypool: Bruce McDonald
Bruce McDonald's Pontypool might be the most wildly inventive horror film in decades. Why? Because it isn't about what we see--the crux of 99% of all horror films. It's about what we hear. The idea of a viral language that infects people through words, English words, is amazing. But even better than the concept is the execution: framing it as a single-set horror film much like George A. Romero's Night of the Living Dead (1968). But even more than that, making it like an old school radio drama like Orson Welles' infamous War of the Worlds broadcast. It's perfect perfect in every way. And hey, centering the film around Stephen McHattie's amazing voice was brilliant!
Rating: 9/10
Seaman and 207: Sophia Tewa
REPRINTED FROM THE NEWSLETTER OF FIRST PRESBYTERIAN CHURCH OF DEL RAY
Up north in Manhattan, past the Cloisters and Bennett Park, past where the rigid city grid starts to melt and stretch to the right like taffy, there sits a van at the corner of Seaman Avenue and 207th. The signs in the window read “Believe & Repent!” while the windshield declares “Come Out of Religion!” The van has been there in the same spot for five years, never moving, come rain and sleet and snow. Sometimes the two passengers crack the window at night to let air in so they don’t suffocate, and sometimes they keep it all closed tight so passersby won’t spit or throw dog feces at them. But day after day, night after night, Yacahudah Harrison and his wife Danetia Harrison keep their eternal vigil as missionaries for Jesus Christ, preaching for those who will listen, praying for those who will not. When they met in 1994, he was a bodybuilder and she a psychoanalyst. But after a few years Yacahudah read a book by Arthur W. Pink, famed British evangelical, that tore his mind from his life of professional vanity and directed it towards Christ. So together with his wife they left their jobs and set up their impromptu chapel. “They don’t know where to put us, in terms of categorizing,” Danetia wryly murmurs, “they never heard of missionaries in the United States, because we have so many churches and we’re not trying to convert anybody.” And they’re not. If there’s one thing we learn from Sophia Tewa’s documentary Seaman and 207, it’s that Yacahudah and Danetia are not interested in mobbing people in the street and shoving a Bible under their nose. Instead, theirs is a ministry of presence—they give of themselves their time and attention to anyone who comes by. Most of the day they sit in their car listening to audio books of the Bible or roaming the two parks near their intersection, playing chess with the old-timers and waving at the children crossing the street to school. They don’t know where their next meal will come from, they don’t know if they’ll have enough money for gas to keep the engine going and the heat flowing when it grows cold. But they persist. And miraculously, it works. Over and over again we see strangers from the neighborhood come up to their car and tap on their window. Who are you two, they ask? I always see you two here on my way to work, but I never thought to ask. And invariably the topic turns to Jesus. Some of them are struggling Christians hungry for affirmation, some are nonbelievers who want to challenge their theology, and some are people who just want to know who this Christ is they keep talking about. And they always answer. Seaman and 207 is one of the more fascinating portraits of missionary work in some time, in part because while the film clearly admires Yacahudah and Danetia for their efforts, it isn’t afraid to cock an eyebrow of doubt and incredulity towards their odd behavior. It pairs scenes of Yacahudah facing down a belligerent, mentally ill man harassing Danetia with Christian love— “You will never make me hate you,” he bellows—with moments where he has to be restrained by neighbors from physically attacking someone trying to call the cops on them. It zeroes in on the inner sadness of Yacahudah, a convert from the Black Hebrew movement, who still yearns for the Jewish prayers and community for his childhood. Little attention is spared to Danetia and her reasons for going along with Yacahudah in their self-imposed homelessness—but one gets the feeling it may have been reticence on her part, not carelessness on Tewa’s. Still, Seaman and 207 burns and sears the emotions with its simple, earnest portraits of two elderly voices crying out in the wilderness. Few times in modern history has the Church struggled more to connect with the public at large and the prevailing zeitgeist. Partly it’s due to increased scientific skepticism and other socio-economic forces. But partly it’s due to our own failings as a community for Christ. We are too insulated, too myopically concentrated on outdated traditions, ceremonies, and prejudices. But as Yacahudah and Danetia demonstrate, sometimes all you need to do is sit down, meet the world on its own terms, and let it come to you.
Rating: 7/10
I Am Cuba: Mikhail Kalatozov
To read this review, go to: http://www.unseenfilms.net/2018/10/nate-hood-declares-i-am-cuba-1964-nyff.html.
Rating: 10/10
Ash Is Purest White: Zhangke Jia
To read this review, go to: http://www.unseenfilms.net/2018/10/nate-hood-on-ash-is-purest-white-2018.html.
Rating: 7/10
The Ballad of Buster Scruggs: Joel Coen, Ethan Coen
To read this review, go to: https://www.theyoungfolks.com/review/126145/the-ballad-of-buster-scruggs-movie-review/.
Rating: 8/10
They'll Love Me When I'm Dead: Morgan Neville
To read this review, go to: https://www.theyoungfolks.com/review/125764/theyll-love-me-when-im-dead-movie-review-nyff-2018/.
Rating: 7/10
Tuesday, October 9, 2018
Carmine Street Guitars: Ron Mann
To read this review, go to: https://www.theyoungfolks.com/review/125552/carmine-street-guitars-is-a-breezy-look-at-one-of-the-last-true-craftsman-of-greenwich-village-nyff-2018/.
Rating: 7/10
Shoplifters: Hirokazu Kore-eda
To read this review, go to: https://www.theyoungfolks.com/review/126175/shoplifters-is-the-latest-emotional-sucker-punch-from-japanese-maestro-hirokazu-kore-eda-nyff-2018/.
Rating: 8/10
Grass: Sang-soo Hong
To read this review, go to: http://www.unseenfilms.net/2018/10/nate-hood-takes-in-grass-2018-nyff-2018.html.
Rating: 4/10
Monday, October 8, 2018
Lucía: Humberto Solás
To read this review, go to: https://www.theyoungfolks.com/review/125769/the-film-canon-lucia-1968/.
Rating: 9/10
Burning: Chang-dong Lee
To read this review, go to: http://www.unseenfilms.net/2018/10/nate-hood-on-burning-2018-nyff2018.html.
Rating: 7/10
Angels Are Made of Light: James Longley
To read this review, go to: https://www.theyoungfolks.com/review/125555/angels-are-made-of-light-is-a-devastating-look-at-the-struggles-to-educate-the-next-generation-in-war-torn-kabul-nyff-2018/.
Rating: 7/10
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