by ·Comments Off on Pompei: Below the Clouds (2025, Gianfranco Rosi)

A wrecked movie theater where they project Pompei-related films (but not color ones)

The fire department answering callers after earthquakes, all wanting to know if Vesuvius is exploding.

Archaeologists and grave robbery investigations, a ship unloading tons of grain from Ukraine.

Another lovely doc with gorgeous photography by Rosi, who would probably not be amused that I chose his movie for a double-feature with the Paul W.S. Anderson. How did the city name lose an “i” in the intervening decade?

by ·Comments Off on John Lilly and the Earth Coincidence Control Office (2025, Almereyda & Stephens)

Altered States: the documentary. Lilly invented the isolation tank, did psychedelic drugs, got naked, and “regressed through generational time.” He survives experiments with dolphins, the US government, hollywood, LSD, and the isolation tanks, only to go insane on ketamine (“hourly injections of ketamine inspire increasingly apocalyptic visions”). Besides Altered States, works based on his studies include Ecco the Dolphin, Day of the Dolphin, Holy Mountain, and probably parts of the Hitchhikers Guide series.

I’d hoped this would be more formally exciting, some kind of Experimenter storytelling with Invention vibes, but it’s more a traditional doc (with archival footage, talking head interviewees, and clips from related works) covering their shared interests in oddball scientists and American un/popular history.

Lilly may have been a wealthy weirdo dolphin torturer whose science wasn’t so scientific, but per Filmmaker:

One of Coincidence Control’s clear takeaways is that universal reverence for dolphins and whales, and how their preservation became a stand-in for caring about the environment as a whole, is a direct and uncomplicatedly laudable part of Lilly’s legacy.

by ·Comments Off on Magical Mystery Tour (1967, The Beatles)

This collection of TV music videos with a loose framing story seems more like first-take/b-roll mess. Is it for kids? Was it influenced by The Monkees? They probably explained briefly in Anthology how this turned out so badly, and I already forgot.

At least each song gets a different visual treatment and some are nice (like the color-filtered mountainscapes over an instrumental song) and not just over-literal imagery (showing policemen in a row for the line “policemen in a row”). And at least during the awful narrative parts (Ringo squabbling with his aunt on a bus) we get nice symphonic versions of early band hits.

Have they been watching Kenneth Anger? Paul does his best silly walk. Ridiculous striptease with the Bonzo Dog Band. I don’t know if people back then knew who Mal was, but after you’ve seen Get Back it’s impossible not to notice him in every scene here. The anonymous veteran co-director was poor old Bernie Knowles, DP of The 39 Steps, now working with DP Richard Starkey.

by ·Comments Off on Nirvanna the Band the Show the Movie (2025, Matt Johnson)

“This is going to be a copyright nightmare. If you’re watching this in theaters, thank your lucky stars.” Annoying handicam fake-doc transforms into a very good Back to the Future ripoff. Narratively goes through great lengths only to loop around itself and accomplish nothing. I laughed for five straight minutes during the CN Tower lightning rod sequence.

Calum Marsh:
It didn’t surprise me to realize that this movie was largely built around unused webseries footage, because they have so much footage and in fact entire scenes and episodes of content that wound up on the cutting room floor. It’s such an incredible, inefficient method of working but it’s the only way to get stuff this good, and it’s a veritable goldmine when combined with their team’s compositing and VFX work, which is peerless at this budget.

–
The Chronology of Water (2025, Kristen Stewart)

A new feature of this blog: bonus sub-post about the 130-minute movie I watched for 15 minutes before getting annoyed or exhausted and putting on a genre film of decent length. Seems very well put together, a fragmented narrative with striking images and upsetting music loops, also seems like a trauma/abuse story that I don’t wanna endure for another 115 minutes, hence Nirvanna. Josefina called it “a better Lynne Ramsay movie than the one Ramsay released that same year.”

by ·Comments Off on Anaconda (1997, Luis Llosa)

Watched at the bar on mute, this appeared to be quite bad.

The director was a real 90s Guy, starting out with Erik Estrada and David Carradine then breaking through with Tom Berenger and Billy Zane. The editor did Miller’s Crossing and the DP did Jaws, but the writers did Turner & Hooch and Legal Eagles, and the lure of dodgy CG and a crazed Jon Voight as the villain dragged this down. The entire cast would make quick recoveries (Out of Sight, Three Kings, Heat Vision & Jack, Mr. Jealousy, Titanic, etc) and this movie would be forgotten, certainly not to receive a sweaty 2025 comic semi-sequel starring a bunch of comics I used to like.

by ·Comments Off on All You Need Is Kill (2025, Kenichiro Akimoto)

Remake of Edge of Tomorrow. The lines and colors are all neat, and especially Rita’s hair – her overall character design is better than Tom Cruise’s. It’s anime, which means angsty teens are saving the world while wearing battle armor, but first Rita has to figure out why she’s caught in a time loop, getting killed by Jim Woodring creatures every day. Halfway through she meets fellow looper Kenji (was Russian Doll based on this?), who will eventually absorb the enemy alien and sacrifice himself. Everything magically works out in the end, because this was a kids movie and I had no business watching it.

by ·Comments Off on No Direction Home (2005, Martin Scorsese)

Scorsese tests us by opening the movie with a harsh version of “Like a Rolling Stone,” Dylan’s voice never sounding worse. Then it develops into one of the few good rock docs, by not singlemindedly focusing on a particular artist but bringing in his influences and surroundings, making an artistic portrait of an era. Great editing by his usual rock doc collaborator David Tedeschi, skips around in time and makes it work.

Animals *and* birds??

“You can’t be wise and in love at the same time.” For almost an hour he’s not even a folkie yet, so this is closest to the Velvet Underground doc that goes deep into their roots and skims their actual popular career. Then it ends before his ’66 motorcycle crash, only a year after Going Electric. Present-day Joan Baez steals yet another rock doc.

by ·Comments Off on The Tale of Silyan (2025, Tamara Kotevska)

People who watch movies for the human drama, the “empathy machine” people, are the overwhelming majority in the arthouse realm, leaving us bird people to scan every title and plot description for some sign of avian life and not bird-as-metaphor. Once a decade we hit absolute gold, and coincidentally the same month H Is For Hawk came out, right around when I was watching the egret of Alamar, this incredible crane movie popped up. This is what the cinema could be: vague stories featuring doc footage of storks eating frogs, and by that measure the greatest movies would be this and The Enigma of Kaspar Hauser.

That said, there’s much time spent on non-crane activity, as the movie contrasts fallen corrupted human economic life with timeless biological bird life. Priced out of farming, a Macedonian man spends his time helping an injured stork.

by ·Comments Off on Angel (1937, Ernst Lubitsch)

Why does Herbert Marshall do so much walking in this? Besides being very good at walking, he’s an important rich person with neglected wife Marlene Dietrich (shortly after her great Sternberg run), ditching her for work events in the same way as Ray Milland in The Big Clock but with much more charm than Ray. There’s a love triangle in Paris facilitated by Madame Pittypat, and Marlene starts secretly dating her husband’s old army buddy Melvyn Douglas. Melvyn is hunky and all, but extremely elegant people belong together, so the marriage is saved.

Senses of Cinema:

As much as any film made under the Production Code, Angel dares to challenge the ready-made conventions of vice and virtue, good and evil, light and dark on which mainstream Hollywood entertainment has traditionally been based. It is subversive cinema of the most glittering and highly polished order – and all the more radical for being produced on a lavish Paramount budget.