Good things: Holly Hunter, the backstage insult-humor camaraderie of the comedians.
Bad things: Mac laptops don’t make the startup sound when you’re simply waking them from sleep/screensaver mode. The sound guy on this film must be a Windows loyalist.
Watched at the Grand, which lost some business over their bad picture, broken air conditioner, condescending staff, sound bleed, slow lines and stupid lobby signage – next weekend I went to the Alamo.
Second movie I watched this week where the lead girl is told at the end to not look back. Some obvious parallels with other Ghibli movies – the romantic lead boy who transforms into a flying creature to work for/against wickedness (Howl’s Moving Castle), living dust sprites (My Neighbor Totoro), the lead girl nervous because she’s moving to a new house in the country, kooky/friendly old folks, villains who are maybe not so evil really, and fantastical beasts galore – like a Ghibli’s Greatest Hits thrown into a giant bathhouse. The greatest.
Wacky creature-buddy movie that gets dark fast and stays that way, with some bizarre character choices and a variety of clashing tones. I never got on board with the unreal look of the superpigs or the horrible overacting of Jake Gyllenhaal, and it’s the second time in a year that I’ve wondered why Tilda Swinton needed to be playing identical twins. Enjoyable movie when it focuses on the lead girl and her dumbfounding meetings with Paul Dano’s Animal Liberation Front (was ALF supposed to be a joke, or did nobody tell Bong about the cat-eating comedy connection?), and the mixture of Korean and English languages works well, including a good mistranslation plot point. I guess most importantly, the emotional heart of the thing, Mija and Okja rescuing a baby from the superpig death camp, is extremely strong.
Some points that are applicable to these times we live in: the company led by Two Tildas is tricking the public into eating genetically modified superpigs by claiming they’re “all natural” (and the public mightn’t care much either way, cuz they taste so good). The company is using city police as a private security force to brutally beat the law-breaking but nonviolent activists. And we get the plot device where the good guys expose the corporation’s misdeeds by broadcasting their hidden-camera recordings to the horrified public at the end, but in this movie it’s not clear that it makes any difference – the company changes leadership from one looney CEO to another, and the superpig-slaughtering machinery continues uninterrupted.
Cowriter Jon Ronson made Stanley Kubrick’s Boxes, is British, so I suppose he might also have been unaware of Alf.
Three great actors (Nicole, Kirsten, Colin) plus Elle leading the up-and-comers. Colin is an enemy soldier brought to their boarding school for medical help, then as he recovers his strength, things get increasingly tense until he plays an ill-advised trick on Kirsten, and the women murder him with poison mushrooms.
Lovely movie, great twisted fun. I have few deep thoughts, because my post-film reverie was interrupted by the sight of a guy wearing a Battlefield Earth t-shirt – the novel, not the film.
Would like to play the soundtrack a couple times then watch this again. Editing videos to the beat of pop songs is something I do all the time, but somehow I never see it done to this extent in a Major Motion Picture – and especially not to Jon Spencer Blues Explosion songs. So this was sheer delight until the plot started catching up in the second half – it’s not the increasing darkness I mind so much as there being so much plot in the first place.
Ansel “Baby” Elgort (Divergent trilogy, fake Carrie remake) is the driver, working with crazed criminals including Jamie Foxx, Jon Hamm and Eiza González (From Dusk Till Dawn: the TV series) for big boss Kevin Spacey. Baby falls for Lady Rose Lily James and tries to get out of this criminal life, but they pull him back in. Buncha musicians in minor roles, some dodgy character moments, but it’s all done with such panache.
Sin-Dee is back on the L.A. streets after a month in jail, finds out some new girl has been fucking her man/pimp James Ransone (Ziggy from The Wire s2) and goes on a rampage looking for either of them, enlisting her friend Alexandra for help.
The color and lighting in this movie is unusual – I guess it was shot on consumer equipment and tweaked in post. But the motion is different too, and I couldn’t figure out why until I looked through the screenshots I grabbed while watching… there’s almost no motion blur. Even when people are walking rapidly, which they usually are, every shot is crisp. So it’s an arresting-looking movie that starts out very annoying (every other word is “bitch”) then gets increasingly engaging and wonderful until it finally ends anticlimactically, with one of the lead characters (an Armenian cab driver named Ramzik) shamed in front of his family. Sure, he shouldn’t have been sneaking off from family holidays to have sex with transsexual prostitutes, but given that the movie’s other main characters are all transsexual prostitutes, that’s not the moral lesson I was expecting.
Family crisis at the Donut Time:
Baker made four previous features and a TV series, and has a new one out this year getting great reviews.
Catching up… I watched this three weeks ago, and the only note I took says:
Unfun intellectual/political word games
Obviously it’s a complicated (if unfun) movie, so a one-line review will not do. This is where my lack of biographical knowledge on Godard (and lack of interest in 1960’s politics) holds me back, because this feels like an escalation of ideas about consumerism and radicalism and societal ills from 2 or 3 Things and Weekend… but it also feels like a parody, its characters deluded comic-book Mao radicals. This doesn’t seem right, since the ideals of our main characters seem similar to Godard’s own, in his later, more boring works.
Feels like we spend forever in the primary-color apartment with young commies Jean-Pierre Leaud, Juliet Berto (her first year in film) and Anne Wiazemsky (star of Au Hasard Balthazar the year before). But there’s also an assassination attempt, a guy exiled from the group, suicide, some fun self-reflexivity, and an endless train conversation with a philosophy professor. Literature references abound, apparently, and name-dropping of Katy’s favorite theorists.
Played Venice the year Belle de Jour won, tying China is Near for a jury prize.
Anna Karina (between Vivre Sa Vie and Alphaville) tells her classmate Sami Frey (Thérèse Desqueyroux, a couple William Klein movies) that her employer keeps cash in the house. She starts dating Sami’s friend Claude Brasseur (the younger Brasseur in Eyes Without a Face), who hears about the money, and the three plan (barely) a heist. Thanks to Arthur’s big mouth, some armed criminal relative finds out and intercepts them, then Anna and Sami escape following a deadly shootout. But the movie’s not about what it’s about, it’s about how it’s about it.
Another rewatch from 2003, a pre-blog year when I watched a ton of movies that I now barely remember. My belly is a table.
First time rewatching this since 2003.
A warmup for Playtime, toying with modern technology and living/working spaces ill-suited for the decidedly unmodern Mr. Hulot. At his sister’s house, sound is made by electric gizmos, and at Hulot’s, it’s made by aiming a sunbeam at a caged bird.
Sidetracks follow neighborhood dogs and schoolboy pranks. At the end the dad bonds with his son in a small way, at the expense of having Hulot sent away, and the dogs again take over the film.
On of my favorite gags, the women talking to each other but facing the direction the path dictates:
Won the oscar over Big Deal on Madonna Street, and won a jury prize at Cannes the year of big winner The Cranes are Flying. So many blu-ray extras and reviews of this… a good one: Matt Zoller Seitz for Criterion.