Favorite Films are new films I enjoyed/admired/left a strong impression on me last month.
Don't worry about the star ratings.
I’m gobsmacked. How does Lubitsch do it, every time?! I fully expected a light screwball comedy, what I didn’t expect as one with such effortless cool and effervescent romance that is beyond magical. Lubitsch says more here with a single crossfade than most auteurs could say with an entire script. Even then, “tonsils.”
Movies are great, y’all!
Oh god I needed this movie.
It is a film that vividly portrays the wonders and hardships of living out west with such an entrancing and immersive sense of time and place. It is both time machine and vivid dream. Though given Kelly Reichardt's track record; honestly, that's about as revealing and original as saying Hitchcock makes suspenseful movies. She does it so effortlessly well, it is practically her signature at this point.
What is unexpected, is to see her…
“Whatever I photograph I always lose.“
It is a story about a man obsessed with recreating the visions of a monstrous creator—for the sole reason being that there was no one else to aspire to—no matter how much harm it causes. It is the grotesque side of auteur theory via pulp confectionary horror. It is like Powell saw the future of filmmaking and this was his gallant attempt to break that cycle. I don’t know if it did more harm than good but I admire the attempt.
"gratuitously appropriate Shakespeare quote"
Often limited by censorship of Old Hollywood, Vincent Price finally gets the opportunity to do some truly deliciously gory Grand Guignol camp. It is absurd, hilarious and often nasty but never not a good time. A near perfect encapsulation of that transition point from classical to modern horror.
Fearless is an overused and misused word in criticism, a cheap label for films and filmmakers that are simply transgressive and occasionally stylish. Like, is it really fearless of Tarantino to make another postmodern, ultra-violent genre flick? No. Fun, but no.
The word should be reserved for filmmakers like Nanfu Wang, who puts a political target on her head, and lays bare an entire history of family tragedy, which results in one of the most heartbreaking, personal, and vital pieces of cinematic journalism of the year.
Essentially a Hallmark Original Movie for the people who actually buy the CDs at Starbucks. A safe as milk dramedy that is predictable all the way down to the casting of Ted Danson as the friendly bartender. Danson and Nick Offerman may be delightful by default, but nothing they do here is as compelling as their TV work in the last five years (let alone their peaks). It is certainly not enough to save this story, which is about as twee and hollow as a Journey album.