by ·Comments Off on Mother! (2017, Darren Aronofsky)

Ingenious, rage-inducing movie, which I wouldn’t like to ever watch again. Jennifer Lawrence is humbly fixing up her beloved poet husband Javier Bardem’s family house while he searches for inspirado, then the house is no longer their own, as random stranger Ed Harris and eventually his wife Michelle Pfeiffer and murderous children move in. Bardem publishes his new work and fans and media flock to the house to meet him, and he welcomes the chaos, while Lawrence is having a baby then trying in vain to keep it from the insane mob. The movie becomes more and more ludicrous, but in a purposeful way, until it loops back on itself. This is all a Metaphor, everyone agrees, but curiously, the critics disagreed on what exactly it’s a Metaphor for. Script by visionary nutcase The Fountain Aronofsky, photography by grimy underlit-interiors The Wrestler Aronofsky, featuring an appearance by Crazed Kristen Wiig.

by ·Comments Off on Storm in a Teacup (1937, Ian Dalrymple & Victor Saville)

Honestly, even just a month after watching 78/52, Vivian Leigh did not look familiar here. I have a Vivan Leigh facial recognition problem. We both enjoyed seeing the young, fiery, sexy version of Rex Harrison, who plays an extremely principled reporter who falls for the daughter of the mayor he’s attacking in print. The mayor is the sort of cartoonishly blinkered rich asshole who finally gets in trouble for ordering the death of a poor woman’s dog. Codirector Dalrymple was better known for his writing, for which he got two oscar nominations the following year.

Poor dogless Sara Allgood, in montage-dissolve against a raging storm:

Rex and Viv:

Mayor Cecil Parker gives his big speech… have I mentioned this is set in Scotland?

by ·Comments Off on Call Me By Your Name (2017, Luca Guadagnino)

At the time I saw this, both movies playing the Ross were oscar-nominated period pieces starring Michael Stuhlbarg. I liked him as the Russian spy, but as an archaeology professor distracted by his work, he didn’t have as much to do here… until the end, when he gives a hell of a monologue and we realize he wasn’t as distracted as he seemed. I wouldn’t have gone to see the lazy sunny movie where the bored vacationing rich kid falls for an older boy but it kept topping critic lists and I loved Guadagnino’s last fast-cutting high-energy vacation movie, so was wondering how he’d play it this time. While nothing much was happening on the seduction front, teen idol Timothée Chalamet dating and dodging local girls, I nerded out over the editing style, still with the attentive cutting but making room for some lovely long takes. Meanwhile, Chalamet finally gets his older boy (Armie Hammer) and runs off with him for a couple days, then returns home a mess… Stuhlbarg monologue, a long stare into the fireplace, and the beauty of the damned thing snuck up on me.

by ·Comments Off on Dawson City: Frozen Time (2016, Bill Morrison)

A treasure trove of film prints, largely of silent movies thought long-lost, were discovered buried in Dawson City, but the films weren’t any good – dramas so generic that Morrison has fun editing together scenes from them, changing the source film with every shot and showing how it still coheres. So rather than spotlight the films on their own merit, we follow the fascinating story of Dawson City, its famous former residents and unfamous locals, illustrating this history lesson with clips from the discovered films and others, and showcasing some astounding glass-plate photography from the era under discussion. And of course we’re not limited to the most well-preserved films – different kinds of decay and destruction are discussed and displayed. Dawson City was a primary Canadian gold rush town, so it’s full of sordid and enterprising stories, and he sidetracks into any exciting bit for as long as it takes. Exciting is relative, though – Bill’s into drawing things out, slowing them down to the wavelength of the great Alex Somers (Sigur Rós) score, my favorite yet in a Morrison movie. What could’ve been a one-hour informational PBS special becomes a two-hour feature, and Katy wanted things to move more quickly.

by ·Comments Off on Weiner (2016, Josh Kriegman & Elyse Steinberg)

He did the dumb thing… and then he did it again and again. An instructive doc, with a camera crew given full access to Anthony’s New York mayoral campaign as he’s recovering from a recent scandal and hit by a new one. It’s also very frustrating because it’s so mired in the scandal that I have no idea why anyone would vote for Anthony, who he is, or why all these poor campaign workers would be working to get him elected. Katy wanted to see this a while back but I was mad at the dude for doing the dumb thing yet again, infecting the presidential campaign his wife was working on (and landing him in federal prison), so we delayed for a year.

by ·Comments Off on The Shape of Water (2017, Guillermo del Toro)

Opens on my birthday, sometime during the cold war. Mute Amelie (Sally Hawkins) lives in the apartment above a reclusive artist (Richard Jenkins) who forges them fake IDs and van decals when it’s time to break her fishman boyfriend out of the government facility where she works alongside Octavia Spencer, but wait, I’m getting ahead of myself. First, blatantly evil U.S. government agent Michael Shannon wants to kill and dissect the fishman, and sympathetic Russian spy Michael Stuhlbarg defies his superiors to save the fishman, all the while nobody noticing that Mute Amelie is having an affair with the fishman, and forgetting that she’s not deaf and can hear all their plans which they are constantly saying out loud.

I was warned by the anti-Guillermo critic contingent, but thought it’d be worth checking out Sally’s dance moves on the big screen, and jeez, does this movie ever have the best production design. Since Doug Jones plays the fishman, can this count as a Hellboy prequel?

by ·Comments Off on The Square (2017, Ruben Östlund)

On one hand, we’ve got the wacky misadventures of a failing museum administrator (Claes Bang), but the movie wanders about, exploring different sides of its themes of altruism, trust and honesty. Essentially, Claes fails the test of the Square completely and repeatedly, while the severe compositions give us Michael Haneke flashbacks and the light vocal music tells us not to take Claes’s plight too seriously.

Also, Elisabeth Moss makes a phone call while a monkey paints its face red, and guest artist Dominic West (among others) gets roughed up by an overcommitted performance artist. Matt Lynch: “This works more than it doesn’t mostly because it’s very funny and feels spontaneous even though it’s almost absurdly schematic and can’t stop bluntly explaining itself.”

by ·Comments Off on Mary and the Witch’s Flower (2017, Hiromasa Yonebayashi)

The first film by Studio Ponoc is also Yonebayashi’s third feature based on British children’s lit, with much of the familiar visual style and same crew members as Ghibli, so it’s more a continuation than anything bold and new. We’d also just watched Castle in the Sky, another movie where a girl with unexplained powers is chased from a floating castle. We played spot-the-reference as Mary finds a flower that turns her into a super-powerful witch, rides to witch school, then gets pursued by the schoolmasters who want to harness the flower’s power to crossbreed animals, or do some Captain America kinda thing, I dunno. It’s all very attractive, and impressive on the big screen, but like its witchy predecessor, it started to feel like we were just watching a kids movie.

by ·Comments Off on Blade of the Immortal (2017, Takashi Miike)

A great swordsman defeats an entire army of thugs who murdered his sister, then is made immortal by an old woman, and this entire backstory only takes up the first twelve minutes of the movie. Miike wasting no damn time with this one, supposedly his hundredth film, though I’d like to see what list they used to calculate this, since IMDB considers Pandoora a movie, and counts MPD Psycho as three movies.

Anyway… fifty years later, the “itto-ryu” is a supervillain samurai clan killing all the dojo heads in the Tokyo, including the parents of this girl Rin, who reminds our man of his sister, so he agrees to take on the gang. Rest of the movie is a series of high-energy fights, one-on-one and one-on-hundreds, against badasses with a variety of weapons. I found Sukiyaki Western Django too tiresomely goofy, 13 Assassins too classy and Hara-Kiri too faithful – this one’s just right.

Our heroes:

Clan leader Sôta Fukushi:

Our immortal hero is Takuya Kimura (Faye Wong’s bf in 2046, voice of Howl, star of two separate movies called Hero), Rin is the voice of Mary, and the fey cult leader starred in As The Gods Will. That leaves all the specialty assassins:

Kuroi Sabato (Kazuki Kitamura of Miike’s video game movie Like a Dragon) wears Shredder headgear, goes down first. Magatsu (Shinnosuke Mitsushima of the next Kore-eda movie) has long spiky hair and a sweet facemask. Shizuma Eiku (Ebizô Ichikawa, main dude in Miike’s Hara-Kiri) is a white-haired immortal who knows how they can be killed (bloodworm poison!). Makie (Erika Toda of the Death Note series) wields a double-edged spear and changes sides, and Shina (Hayato Ichihara, bullied boy of All About Lily Chou-Chou) is a blonde dude who focuses on killing the girl even when the army is attacking. Chiaki Kuriyama (Gogo in Kill Bill) is a government spy with long blonde hair, and Tsutomu Yamazaki (Goro in Tampopo) leads the government army, which needless to say in a Miike film is no better than the murderous cult. With no main-cast crossovers between this and 13 Assassins, it looks like Miike is trying to turn every actor in Japan into a badass killer.

Maatsu:

Makie:

Willow Maclay on her blog:

Miike doesn’t pull any punches as things reach a climax (with a few bloated, unnecessary side plots here and there) frequently zeroing in on Manji’s immortal body as it falls apart, but impossibly perseveres. When Manji finally confronts the man who wronged Rin … he’s barely a man anymore, more zombie than alive, and there is no elegant duel between sword wielding warriors. It is merely an act of execution, a job being completed, and a loss of life. It is with blunt honesty that Miike displays this final dance not as something worthwhile or justifiable, but another violent act in a long string of violent acts that Manji has committed during his lifetime, and some day Rin will die because of his actions.