by ·Comments Off on Homecoming (2005, Joe Dante)

“They told us there was a threat to America, but the weapons of mass destruction weren’t there.” I survived an endless difficult work day, and learned that Donald Rumsfeld had died, so this felt like the right movie to watch (though The Limits of Control was considered).

Thea Gill is a “constitutional scholar” (right-wing talking head) and Jon Tenney is a campaign reelection consultant whose boss is a conniving Robert Picardo (in his tenth Dante movie). When dead soldiers begin returning from the grave, seeking only to vote against the current administration, these three try to spin the news to their advantage, angering the soldier zombies. Our spin-artists’ buried family secrets rise along with the zombies, leading to panic and death for all. It’s all wickedly well written and blunt as hell, a quality I was attuned to having just discovered an intriguing letterboxd list called “Garish, Unpleasant &/or Heavy-Handed Movies: A Worthy 21st Century Approach.”

by ·Comments Off on Subject to Review (2019, Theo Anthony)

Really very uninterested in tennis, so of course when I sign up to Metrograph they are showing tennis films, centering on William Klein’s doc The French. I watched Wes Anderson’s intro to that, then moved straight to this mid-length (or long-short) followup to Rat Film, very much a precursor to the electronic surveillance of All Light, Everywhere – what is observable and provable, either by man or by camera/computer, etc.

Then Katy and I watched a beautiful copy of Broadway by Light, and I meant to follow up with the Canadian/Chinese table tennis doc by Marcel Carrière, but instead rewatched Perfect Fifths.

by ·Comments Off on Cowboy Bebop: The Movie (2001, Shinichiro Watanabe)

It wasn’t until I finished the series that I found out there was a movie, oh boy. The gang is back together, so who knows where this takes place chronologically. Terrorists have a sort of Dreamcatcher/Prometheus plot to grow the nanobots up in the water supply, killing the world, and only our heroes can put the pieces together in time. The movie’s focus on sub-Garbage 90’s technopop music or visual fx is never impressive, but the compositions and characters always are.

by ·Comments Off on A Fuller Life (2013, Samantha Fuller)

The first couple and last couple minutes of this doc are Sam Fuller’s descendants giving embarrassing performances. Everything in the middle is ace – a well-cast group of sympathetic actors and directors performing excerpts from Sam’s autobiography, illustrated with clips from Sam’s wartime film reels and photography and feature films. I’ve already read the autobio and seen all the pictures, and I think Sam’s just the coolest, so I was glad to review the highlights. Especially nice to see Constance Towers for the first time in decades.

Joe Dante:

by ·Comments Off on Harold Lloyd x3 (1921)

Among Those Present

Watching three Lloyd shorts from the same year, and this one opens with the best bit, wealthy-looking Harold exposed as a coat-check guy wearing a guest’s fancy clothes. A witness to the incident offers to get Harold some glad rags and take him partying with the swells, for obscure reasons, leading to riding and hunting antics and cute rich girl Mildred Davis. After this complicated setup, the second half is just Harold pantsless, running away from various animals. Mildred’s parents are very good – James Kelly had been in all of Chaplin’s Mutuals, and Aggie Herring was in the Jackie Coogan Oliver Twist and, uh, Suicide Squad.

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Now or Never

Now Mildred is the maid of a neglected kid with rich parents, but it’s the day she’s supposed to meet the boy she knew years ago, and they are both having transportation issues. Harold has wrecked his car, rides underneath a train car, then Mildred gives him the kid and boards… a different train? Doesn’t matter, they end up together, most of the movie devoted to the stupid kid being naughty-cute.

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I Do

Animated segments! Harold and Mildred are finally married in this one (and soon IRL), walking around with a baby carriage full of wine (aha, prohibition). Then the movie goes downhill, taking care of horrible kids that aren’t theirs again, and Harold’s fairly incompetent in this one.

Newmeyer and Roach made these, as would be expected.

by ·Comments Off on Blind (2014, Eskil Vogt)

A Cannes Fortnight screening. This sounded like a stalker thriller from the description, but it’s one of those really good Stranger Than Fiction writing movies, the story and perspective always shifting. Includes both the wheelchair mom and the dad who caught fire in Thelma, and reference to the 2011 Norwegian terror attack. Vogt’s second film just debuted, and I don’t know much except that Blake didn’t like it (Blake doesn’t like anything) and that Vogt is 2 for 2 on good posters.

Listening to Kool Thing:

by ·Comments Off on Baron Prásil (1962, Karel Zeman)

Zeman’s followup to Invention for Destruction is another absolute wonder. Actors filmed b/w and composited somehow with variously tinted objects and backgrounds. Still don’t know how this was done – saving the making-of doc for after I watch the dinosaur feature.

The story opens with astronaut Tony landing on the moon and discovering the Baron (Munchhausen), who calls him a moonman and takes over the narrative (I don’t think Tony speaks in the first half). Baron returns them to Earth, but a fantasy version, the jet planes in the opening scene replaced by flying monsters.

They rescue a kidnapped princess from a sultan, she falls for Tony, and the Baron spends the rest of the movie trying to convince her that he’s more impressive that boring old Tony (true). Along the way they jump their horses off a cliff, create a tobacco smokescreen to confound the sultan’s fleet, get swallowed by a whale and scooped up by a giant bird, ride a cannonball, escape from prison and return to the moon via rocket-propelled castle tower, all in about half the runtime of the Gilliam version.

by ·Comments Off on My Twentieth Century (1989, Ildiko Enyedi)

Twin girls in Budapest grow up separately, both end up dating a thin-faced Tesla-type character (Nostalgia star Oleg Yankovskiy). Lots of appealing birth-of-cinema and -electricity stuff.

From my notes:
– She tries to bomb the minister at the cinema
– They go to the zoo and the monkey narrates a flashback
– Stars and electric lightbulbs whisper to each other

Dorota Segda as Dora:

Dorota Segda as Lili:

Oleg:

by ·Comments Off on The American Sector +4 (2020, Courtney Stephens & Pacho Velez)

I got a (cheap!) Metrograph subscription to watch this, with accompanying shorts and a live Q&A, already paying dividends. Velez & Stephens traveled and filmed in 16mm whenever they had time over the past five years, aiming to shoot all the sections of the Berlin Wall on display in the USA. Clearly a lot of thought went into editing and sound design, and instead of a rigorous Benning approach, they take each wall location on its own terms and include chance encounters with locals, forming a kind of meditative Profit Motive road movie / snapshot of America in a breezy 70 minute package.

This guy in Suwanee seems cool:

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Mr. Yellow Sweatshirt (2017, Pacho Velez & Yoni Brook)

A pleasing top-down angle on the subway turnstiles, where among the general bustle an extremely minor drama unfolds when a yellow sweatshirted fellow’s card won’t let him through. Can’t decide whether to root for Mr. Sweatshirt or be mad at him for holding up traffic.

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Perfect Fifths (2020, Courtney Stephens)

“All stability is temporary.” Narrator named JJJJJerome, unseen except his hands, is a philosophical piano tuner. Focus on piano, with pictureboxed (interlaced) cutaways to construction scenes, soft piano soundtrack. I don’t know if the beach scenes were supposed to be visual analogies for the talk about time intervals, but it really worked for me, mad bonus points for the inclusion of pelicans.

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Mating Games (2017, Courtney Stephens & KJ Relth)

I’ve been using tags to quietly keep track of movies that feature cat tossing or bird tossing, but it’s apparently time for a girl tossing category. Slow-mo home movies of bodybuilders and gymnasts showing off at Los Angeles beaches in the 1950’s/60’s, set to music.

Muscle Beach seems like an intimidating place – reading online that Danny Trejo used to hang out there, while downstairs my dad is watching Grindhouse. Seeing all the girl tossing through the lens of this movie’s title makes human existence seem head-spinning.

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The Starting Line (2017, Pacho Velez & Nicole Salazar)

Official USA/Mexican border crossing and surrounding area on the day Obama’s presidency ended – vague talk on the TV news, but normal daily life on the ground.