Showing posts with label 7/10. Show all posts
Showing posts with label 7/10. Show all posts

Tuesday, December 25, 2018

Hearts Beat Loud: Brett Haley


Capping of this Christmas by watching Brett Haley's Hearts Beat Loud. My, but this film sure is comfy. Ted Danson works the bar, the only music that exists is hipster indie, all the sunshine is gentle and happy, and Nick Offerman's ASMR-purring voice suffuses all. It's delightful. This movie is also a blatant fantasy. A struggling small business owner being friends and possibly lovers with his landlady who's eager to help him keep his shop (located in prime Brooklyn real estate)? A "band" hitting it big with one song on Spotify? But that's fine; it's okay for some films to be breezy, happy sits where everything turns out okay because nothing much was actually threatened in the first place. Would definitely watch this film again on a chilly, rainy day while wrapped in a blanket with a cup of hot cocoa.

Rating: 7/10

Saturday, December 22, 2018

Aquaman: James Wan


Saw James Wan's Aquaman. I can’t remember the last time I saw a live-action superhero film I thought was legitimately beautiful. The scene of Arthur and Mera flare-diving into the trench might be the most hypnotic image in a blockbuster since the Godzilla parachuting scene. My crowd gasped.
Unfortunately the story is as pedestrian as they come. It feels like the second part of a trilogy stuck on fast-forward: lots of blunt force expository world-building, bland characterizations, comedic banter that felt half-hearted even for the superhero genre. But it doesn’t really matter? The world-building might be the best of any superhero film. I’d buy an art book breaking down all the different kingdoms. Plus, the fight scenes are AMAZING. The Sicily rooftop fight is an all-timer for the genre. It’s not as good as Wonder Woman, but it’s still great. I’ve always said that DC made more interesting movies than Marvel. The problem is they’ve only recently started to be GOOD ones. This one is the latest move in the right direction.

Rating: 7/10

Wednesday, December 19, 2018

Happy as Lazzaro: Alice Rohrwacher


So...Happy as Lazzaro. That was interesting. I'm a cold hard sucker for European class dramas, and for the first half it looks like Alice Rohrwacher dropped a Holy Fool from a folk story into a colorized Dovzhenko film. It's clear Rohrwacher is trying to make some commentary on European class and society, but she kind of shoots herself in the foot by making Lazzaro's fellow sharecroppers almost as cruel as their landlords in the first half. Maybe it's a statement on the human condition? And but the fairy tale overtones, specifically the wolf motif, detract from that somehow by elevating it to the realm of fantasy. It's a beautiful, well-acted film, and I can't say there was ever a point where I wasn't enjoying it on a scene-by-scene basis. But as a whole it leaves me with nothing but a giant question mark.

Rating: 7/10

Jia Zhangke, A Guy from Fenyang: Walter Salles


To read this review, go to: https://mubi.com/notebook/posts/a-touch-of-jia-zhangke.

Rating: 7/10

Islam & the Future of Tolerance: Desh Amila, Jay Shapiro


To read this review, go to: https://www.theyoungfolks.com/review/127755/islam-the-future-of-tolerance/.

Rating: 7/10

Saturday, December 1, 2018

Ralph Breaks the Internet: Rich Moore, Phil Johnston


I like Ralph Breaks the Internet exponentially more than the first Wreck-It-Ralph film from 2012. The main reason is that it doesn't pretend to be a Ralph movie when in actuality it's a Vanellope von Schweetz with an unusually long prologue. This is a buddy film where Ralph and Vanellope embark on a quest, learn about the world, and most importantly, learn about each other. What truly surprised me was how clever and smart the third act was, particularly with its explicit observations on self-destructive behavior and the fact that sometimes friends grow apart and that can, in fact, be a good thing. Plus, the scenes with the Disney Princesses stole the show. I want an entire movie of nothing but them getting into shenanigans.

Rating: 7/10

Sunday, November 25, 2018

Can You Ever Forgive Me?: Marielle Heller







Rating: 7/10

Saturday, November 24, 2018

May the Devil Take You: Timo Tjahjanto


To read this review, go to: https://www.theyoungfolks.com/review/127414/may-the-devil-take-you-is-a-satisfying-gruesome-tribute-to-haunted-house-chillers/.

Rating: 7/10

Wednesday, November 21, 2018

Widows: Steve McQueen


In some alternate reality, Steve McQueen’s Widows would be a tight, schlocky 85-minute 70s thriller, helmed by some second-string director with a fourth-string budget, destined for a crepuscular half-life of midnight revivals and wistful blog retrospectives. Instead, it’s a languid, measured 10s prestige noir with murderer’s row of Hollywood A-listers in front of and behind the camera. It might masquerade as a heist film about a group of widows pulling off a job after their husbands are all killed in a robbery-gone-wrong, but this is a steely-eyed interrogation of a city. That city: Chicago, microcosm of America—den of racial disharmony, economic disparity, police brutality, and less-than-good people forced to do worse-than-bad things. McQueen has stated that the film was his dream project for years, and there are many scenes where he unleashes his inner adolescent, conjuring scenes of pulpy excess and brutality. (Usually these come at the hands of Daniel Kaluuya as a ruthless mob enforcer with an dizzying repertoire of ways to humiliate, torture, and kill targets. A scene where he executes two lazy henchman while making them beatbox is bowel-drainingly chilling.) But McQueen has the instincts of a painter, not a clockmaker, and effective thrillers need the talents of the latter, not the former. And while he may mimic Michael Mann’s need to excavate the psychological interiors of his players, McQueen has none of Mann’s equally obsessive drive to construct gripping set-pieces. The central heist is treated like a bit of unfinished business late in the third act, taking no more than five minutes in which time one character is shot, two killed, and four betrayed. But unlike other directors who would’ve made the suddenness and brutality of the sting some nihilistic point about fate or human nature—consider the anti-climactic yet Shakespearean denouement of Martin Scorsese’s The Departed (2006)—the heist feels brief because McQueen appears to have cared little about it. But his unflinching examinations of gender and race makes us forgive this, especially considering his fastidious craftsmanship. Few directors know better where to put the camera and when and how to move it; and one tracking shot of a bickering politician’s car driving the one mile between desiccated projects and a palatial planned community on the same street is worth any number of thrilling heist scenes by lesser directors.

Rating: 7/10

Thursday, November 15, 2018

A Little Wisdom: Yuqi Kang


Yuqi Kang's A Little Wisdom moves at the rhythmic of monastic life itself. Slow, meditative, measured, it regards the young boys, particularly the two precocious brothers at its core, at a Nepali Buddhist monastery as they play and fight, grow and learn. Actually it's mostly the fighting and playing--but that's the point. Instead of fully separating the boys from the world of sin, the monastery seems to have created one on a micro level, one they must navigate on their own. We realize this is a microcosm of the world in a Buddhist sense—full of pain, suffering, cruelty, but the truth (the Buddha way) surrounds them, if only they can see past the illusion of childish things. It's a nice film. A bit long an unfocused, though.

Rating: 7/10

Monday, November 12, 2018

Pyaasa: Guru Dutt


Watched Guru Dutt's Pyaasa (1957) on Mubi. Watching this, I'm reminded that non-Satyajit Ray cinema from the Indian subcontinent is one of my most embarrassing blind spots as a critic. I wish I was more familiar with classical Bollywood modes of storytelling and of genre syncretism. This is a brutally cynical romantic melodrama that occasionally veers into wacky comedy, particularly a number of shtick pieces involving an over-eager street masseur. It flagrantly mixes tone and technique, too. There's a suicide attempt at a bridge at night that feels ripped from German Expressionism. Elsewhere, there's a dream sequence between two lovers that looks consciously modeled after classic Hollywood musicals à la Astaire/Rogers. My modern Western film lens tells me I should be leery of the plot which boils down to a misunderstood male genius getting supported by a hooker with a heart of gold. But it feels like there's a specifically Indian cultural context I'm missing. Again, I can't help underscoring just how nasty and cynical this film is. There's a plot where two brothers plot to keep their brother--the hero--locked in an insane asylum so they can profit off his poetry (long story). That's something out of a Von Trier film.

Rating: 7/10

Exit: Karen Winther


To read this review, go to: http://www.unseenfilms.net/2018/11/nate-hood-on-exit-2018-doc-nyc-2018.html.

Rating: 7/10

Decade of Fire: Vivian Vazquez, Gretchen Hildebran


To read this review, go to: http://www.unseenfilms.net/2018/11/nate-hood-ponders-decade-of-fire-2018.html.

Rating: 7/10

Grit: Sasha Friedlander, Cynthia Wade


To read this review, go to: http://www.unseenfilms.net/2018/11/natehood-on-grit2018-doc-nyc-2018.html.

Rating: 7/10

Saturday, November 10, 2018

Wild Guitar: Ray Dennis Steckler


Watching Ray Dennis Steckler's Wild Guitar (1962). This movie is a delicious dope-hit of early 60s style-for-style's-sake pulp. It might have intended to be a B-movie, but it's ten times smarter and cooler than it thinks it is. The whole scene of Arch Hall Sr. talking to his small army of taste-making teenagers is more cynically nasty than any number of smirking movies about the evils of the Man, man. And you know? Arch Hall Jr.'s music ain't that bad, either. Blue-eyed rockabilly polished to a glaring sheen that loses none of its pop catchiness. Well, everything except "Vickie" which sounds like a bleary-eyed NyQuil ballad played at half-speed.

Rating: 7/10

Monday, November 5, 2018

Suspiria: Luca Guadagnino


Someone on twitter once said that Dario Argento’s Suspiria (1977) didn’t really have a story, plot, or characters. Instead, it was a film of architecture—of somnambulants wandering its labyrinthine dance studio, discovering rooms and corridors that can not and should not really exist. If this is true, then Luca Guadagnino’s remake is a film of dance—of ecstatic movement and rhythm, of limbs stretched and torn this way and that to unheard drumbeats from before the dawn of (wo)man. Guadagnino and cinematographer Sayombhu Mukdeeprom have created a filmic space where the camera becomes a dancer itself, swirling in a ceaseless pas de deux with the performers as it dollies and tracks, zooms and whip pans even in moments of relative stillness. It echoes one of the story’s central ideas: that movement is an expression not just of self, but an invocation of the very forces of nature. By overindulging in stylistic camera flourishes that would make a film student blush, Guadagnino appears to be invoking the full force of cinema itself in this stunningly realized maximalist phantasm. Trading Argento’s fever-dream colors for washed out Brutalist palettes and his steady succession of gory kill centerpieces for, at most, only three moments (though excruciatingly prolonged ones) of explicit carnage, this remake seeks to transform the original film into a political fable set in 1977 Berlin, transforming the central witch coven from an army of wicked demons to a thinly veiled metaphor for post-Nazi Germany. Does Guadagnino succeed? Not precisely. His pretenses towards venerating the rebirth of a pre-patriarchy woman’s cult in the wake of the Holocaust as anathema to a national zeitgeist perforated with political violence and social upheaval have the effect of gendering Nazi war crimes—and political instability itself—as inherently masculine, erasing German women of wartime culpability. At best, this was a simple miscalculation on Guadagnino’s part, a moment of a talented director biting off more than he could thematically chew. But at worst, it’s disturbingly regressive and reactionary. Still, the film’s missteps are outnumbered by its wonders, chiefly in its back-breaking choreography (unlike the original, this one contains a good deal of actual dancing), razor-wire tension, and marvelous performances. I, for one, would not be surprised if Tilda Swinton became the first person in history to be nominated for Best Actress, Best Actor, and Best Supporting Actress for the same movie.

Rating: 7/10

Sunday, October 21, 2018

A Star is Born: Bradley Cooper


Rating: 7/10

Saturday, October 20, 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

Sunday, October 14, 2018

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