2020 Movie Log: August

2nd: A Beautiful Day in the Neighborhood – Marielle Heller (2019)
For how recognizable Tom Hanks is, it’s remarkable how quickly I forgot this was him. Watching him in this movie really feels like watching Mr. Rogers. It’s as if they made a film about Mr. Rogers with Mr. Rogers just stepping in as himself. Why this is, I’m not sure. Perhaps it’s because Mister Rogers’ Neighborhood is so engrained in my childhood psyche that seeing this figure again just brings me back to that place, even if it’s an actor in the red sweater. Perhaps it’s because Tom Hanks largely has the same public image as Mr. Rogers. As Lloyd says in this movie, he’s “a living saint.” Whatever the reason, it’s hard to remember another biopic in which the actor was so perfectly suited to the role. And not just in the way they look or speak, but the external forces surrounding it. As I said, you don’t have to buy in that Tom Hanks is this man. In this film, it’s just Mr. Rogers. Talking about the film to Gioia (who for some maddening reason refuses to watch it), I realize how corny I make it sound. And it kind of is. On paper, this film is about a cynical magazine reporter who is assigned a profile on Mr. Rogers. As he struggles to find the real Mr. Rogers (who, as it turns out, is really just his public persona) he works through his own personal traumas. And yet, for some reason, the film works. It doesn’t feel like an empty, fluffy movie. I think it’s because the film never shies away from the fact that life is really hard. This movie (like Mister Rogers’ Neighborhood) doesn’t try to cover that up. It tackles it head-on. And in doing so, it makes Fred Rogers’ approach to life all the more inspiring. This is not someone who is profoundly different from any of us. In the film, his wife refutes Lloyd’s “living Saint” comment for this very reason. Mr. Rogers is exceptional because of how he handles the things all humans experience. If I have any complaint about the film, it’s that on brief occasions, the film struggles when it focuses solely on Lloyd. This is not his, or Matthew Rhys’, fault. In fact, I thought one of the best aspects of the film was how it views Mr. Rogers through Lloyd’s eyes. But Mr. Rogers’ is the star of the film and the film doesn’t always have its footing when he’s out of the picture.
Grade: A-
A Beautiful Day in the Neighborhood – Marielle Heller (2019)

3rd: Jojo Rabbitt – Taika Watiti (2019)
I was surprised to find how much I liked this movie. Obviously, that’s a back-handed compliment, but I really was quite skeptical of this film. While I admire Watiti’s work (What We Do in the Shadows in particular), I was dubious of a farcical movie about Nazi-era Germany. And to be clear, I think anybody who takes issue with a film that focuses on the plight of a 10-year-old fanatical Hitler Youth member has a fair point. But I did find this movie to be really quite sweet. I couldn’t help but think of it in the current climate of the United States. I think a film like this really speaks to how easily people can be corrupted and brain-washed into believing and espousing terrible things. It’s hard not to look at Jojo and hope that there are people in America that could have the same arc that he has by the end of the film (you know, broadening their horizons and violently kicking Hitler out of a window). One of the things that I think could get lost in this film is how well-made it is. For as much as Watiti kind of feels like an underdog director, he has worked in Marvel. And the filmmaking reflects that in the best way. There are really brilliantly choreographed sequences, long-tracking shots. Even something like the opening Hitler / Beatles montage works really nicely.
Grade: B+
Jojo Rabbit – Taika Watiti (2019)

3rd: Rear Window – Alfred Hitchcock (1954)
What can I say? This is a flat-out classic. I’m in awe of it. It’s a perfectly told, executed, bottled story. I have no idea how Hitchcock pulls it off. I think the highest praise I can offer is that it has an incredible concept and yet that concept never feels forced. You know going into it that this entire movie takes place in one location, and yet it never feels strained because of it. The fact that Hitchcock adds in a compelling personal narrative for L.B. and Lisa on top of a perfectly told murder plot is another feat in itself. Really, just amazing stuff.
Grade: A
Rear Window – Alfred Hitchcock (1954)

7th: Battleship Potemkin – Sergei Eisenstein (1925)
For the foreseeable future, I am going to try to watch as many of the classic, foundational movies that I haven’t seen as I can. This is pretty much at the start of the list. It’s a battle film that was highly influential. Apparently, it is Charlie Chaplin’s favorite film ever. Some of these older films can feel like homework. Which, how could it not. At this point, a film like this is more of a historical achievement than entertainment. I mean it’s literally 95 years-old. I will say that this film is still very watchable, and quite entertaining at parts. The scope and the scale of something like this super impressive. I’m glad I watched it.

7th: Bringing Up Baby – Howard Hawks (1938)
It’s funny that as much as I have praised Battleship Potemkin for being so good for its time (which it is), Bringing Up Baby is made only 13 years later and it might as well exist in a different universe. For one, there’s talking. But more than that, there’s a narrative that could exist in a film made today. There are even movie stars. Bringing Up Baby doesn’t feel like a historical artifact. Not only does it feel like a movie, it feels like a great movie. It’s so lively, funny, well-acted. I suppose things do get a bit derailed by the third act. But everything resolves itself nicely. And the first two acts are as funny as anything made today.
Grade: A-
Bringing Up Baby – Howard Hawks (1938_

8th: Psycho – Alfred Hitchcock (1960)
It’s a miracle I hadn’t had this movie spoiled for me. I did know that the famous shower murder occurs early in the film. So I guess it wasn’t completely unspoiled. But I was blissfully unaware of the major twist in the movie in which Hitchcock reveals Norman Bates’ mother to be the skeleton, and Bates to be his murdering mother. I couldn’t stop smiling. It’s so good! This is the second time that a Hithcock twist has surprised me even when I was expecting it. I had almost the exact same experience watching The 39 Steps. I thought it was a great movie but felt like there was some missing piece. Then, one last twist is revealed and you realize how perfect the film is. It’s absolutely masterful. I can’t wait to keep watching more of his work.
Grade: A
Psycho – Alfred Hitchcock (1960)

9th: Singin’ in the Rain – Gene Kelly & Stanley Donen (1952)
This was a really fun film to watch. The music, the dancing, and the performances are all remarkable. It’s like the most big-time Hollywood production I can ever remember seeing. And there is real power in that. Unfortunately, a few aspects of the film have aged poorly. Mainly that the entire plot is centered around dragging an untalented actress and culminates in a publicly-staged humiliation of her. I also could have done without a few of the musical numbers. Particularly the pointless “Moses” or the 7-minute “Broadway Melody Ballet.” But when this movie works (which it mostly does) it’s absolutely dazzling. It’s always fun watching something like this and realizing how many iconic images and scenes you already know. It’s the mark of a true classic.
Grade: B+
Singin’ in the Rain – Gene Kelly, Stanley Donen (1952)

11th: The Big Short – Adam McKay (2015)
I hadn’t seen this since it was in theaters. At that time, my whole takeaway was how strange this film was with characters breaking the fourth wall and celebrities making cameos to explain what we were watching. I believe I used the word “meta” a lot. Five years later, the film doesn’t seem quite as groundbreaking as it did then (though it is certainly unorthodox). What jumped out to me the most was just the power and conviction in its message. It strikes me as almost the embodiment of Steve Carrell’s entire character. I can’t lie, I just totally buy into it. It’s a message I believe in and it’s really well told. What more could you want?
Grade: A
The Big Short – Adam McKay (2015)

11th: Arrival – Denis Villeneuve (2016)
This is another movie that I hadn’t seen since it was in theaters. At that time it absolutely blew me away. I thought the script, and particularly the twist were just masterful. After re-watching it, I still feel that way. This might honestly be my favorite sci-fi movie. I just find the approach to be so interesting. I love that the film really seems to think through and address what would happen if aliens landed here. What would be the steps in communicating with them? What would the global response be? What would the public response be? They’re not the flashiest question, but I think they lead to a far more interesting movie. I also just think this film looks amazing. The way the aliens are presented especially is really cool. I love how their language looks. To be honest, I really only have one gripe which is that the climactic line “Do you want to make a baby?” still sucks. Besides that, what a film!
Grade: A
Arrival – Denis Villeneuve (2016)

12th: The Searchers – John Ford (1956)
I hated this movie while I was watching. It seems so fucking racist and just despicable. A whole subplot involves Marty unwittingly buying a Comanche wife and then kicking her because she doesn’t understand him. We don’t see her again until she’s found murdered, and the two comment that she didn’t deserve that. Now, reading about this film, it seems as if its intentions were maybe better than I presumed. I think most critics hail this as one of the greatest films ever made because it tries to depict a more accurate climate of the west. One that’s infected with brutal crimes and blatant racism. Even if that was the goal, the execution leaves something to be desired. If John Wayne’s portrayal of Ethan as a hard-nosed racist is supposed to demystify the west, I don’t think he should be the hero of the movie. I don’t know, there are some aspects I do admire about the film. You can infer a whole relationship between Ethan and Martha (and presumably that Debbie is Ethan’s daughter) without any dialogue suggesting it. That’s pretty cool. The same goes for some of the iconic shots the movie uses. Particularly when Ethan returns to see his family’s house burning (hello Star Wars). Unfortunately, all of this is clouded for me by the fact that this movie is racist as fuck. I hope we stop considering it a classic.
Searchers, The – John Ford (1956)

13th: On the Waterfront – Elia Kazan (1954)
What an incredible film! It’s so energetic, so compelling. The community of dock workers is so vividly portrayed. I would guess that this movie is as thrilling to watch now as it was back in 1954. Not all classics are like that. At the center are the performances. Marlon Brando is the star but the supporting cast is great too. Eva Marie Saint, Karl Malden, and Lee J. Cobb each more than hold their own. One of the things that really struck me about this film was the intensity of these performances. It’s something akin to the melodramas of the 30s or even a movie like Rebel Without a Cause. But something in this film makes these performances feel so real and life-like. Not purposely over-blown like in those other films. Perhaps it’s just the gritty nature of this dock community? Whatever it was, it really works for me.
Grade: A
On the Waterfront – Elia Kazan (1954)

14th: Vertigo – Alfred Hitchcock (1958)
The greatest movie ever made? According to the British Film Institute, it is. It is certainly worthy of consideration. Like Hitchcock’s best films, Vertigo is an intricately weaved mystery. The way Hitchcock unfolds plot is really just awe-inspiring to me. I don’t know how he does it. Obviously, I’m aware that he’s the master of suspense. But even with that title his films still always manage to surprise me. What else does this film have going for it? The two lead performances by Jimmy Stewart and Kim Novak are fantastic. The locations, costumes, sets, and colors are amazing too. Especially compared with Rear Window which is all in one location, or with Psycho which is shot in black and white. There are some truly iconic shots here. Kim Novak standing beneath the Golden-Gate Bridge, the crazy dream sequence at the end of the 2nd Act, and the Vertigo effect shot are all unforgettable. Having said all that, I am surprised this has become the film Hitchcock is most well-regarded for. Don’t get me wrong, I think it’s a brilliant film and can certainly believe it’s one of his best. But something about this one felt more sprawling to me than his other films. Perhaps it is a result of this one being more ambitious? Still, I think I might prefer Psycho or Rear Window. Films that are much smaller in scope, but more tightly packaged than this one.
Grade: B+
Vertigo – Alfred Hitchcock (1958)

15th: A Day in the Country – Jean Renoir (1946)
I’m not even sure this is really a film. It’s just 40 minutes and was left unfinished. Still, for these 40 minutes, it’s hypnotic. There’s something so lively about this set of characters. It’s not what I anticipated at all. I expected this to be more of a romantic, humanistic portrait of a trip to the country. More of a landscape film. The characters in this film are comically inept, oblivious, devious, whatever you want to say. They’re characters, not people. And still, in just 40 minutes, Renoir is able to put them in a story that flies by. It’s funny, it’s charming. I’m not sure the ending totally comes together. A romantic tryst has to come and go, and then years must pass afterward, all in a couple of minutes. Whatever the case, I’m excited to see Renoir’s work in a full feature.

15th: Police Story – Jackie Chan (1985)
I am not a huge action fan. Still, this was incredibly fun. It’s really about as good of an action film as I’ve seen. Even the plot and stakes are pretty well executed. And the stunts are unbelievable. It’s actually insane to think about how he might have made this movie. There are unfortunately some gags and jokes that have not aged well. It’s really unfortunate because the film doesn’t need them anyway. Besides them, it’s compelling, funny, and endearing.
Grade: B+
Police Story – Jackie Chan (1985)

16th: Inside Out – Pete Docter (2015)
This is the type of film that’s so funny, so clever, and so well-done that I don’t really know what to say. The way the film works as its own fantasy/adventure story and also as a framed allegory for human emotions is so impressive. I know a lot of it is puns (train of thought, etc.) but still, that the whole film works is just massively impressive to me. There were parts of this movie where I was afraid that this was all I might get. Not that that’s a bad thing. But I think Pixar films can, at times, feel so well-oiled that they lack a human element that puts them over the top. In other words, it’s such a well-run studio that nothing they produce will ever be below a B+, but I’m not sure how many of their (especially later) films really reach an A either. Luckily this one was able to break through that. Of course, there were the expected water-works. It’s not a mistake that sadness is the hero of the film. But I also found myself really wowed and delighted by some of the comedy. In particular, any scene with Fear just slayed me. I’m not sure this film rises to the very top of my Pixar list, but it certainly is close.
Grade: A-
Inside Out – Pete Docter (2015)

16th: The Princess Bride – Rob Reiner (1987)
The Princess Bride has to be close to the top for movies I was most ashamed to say I had never seen. I don’t know how I really missed it. I think it was rented for me once when I was sick and somehow I just never watched it. Well, no-more! I have watched it. Unfortunately, it didn’t quite rise to the level I was expected. I think that just has to be years and years of hearing about it and knowing so many quotes from it. It’s not bad by any means. It’s really charming and funny. I understand why it’s many people’s favorite movie. Alas, I think I just missed the chance for it to be mine.
Grade: B-
Princess Bride, The (1987) – Rob Reiner

17th: Career Girls – Mike Leigh (1997)
This movie is objectively good. It’s warm, funny, sincere, and sad. In other words, a Mike Leigh film. He understands people and relationships better than any filmmaker I can think of. Is this movie great? It probably depends on the viewer. To me, the answer is an unequivocal yes. Mike Leigh makes almost exactly the films I want to see. So even something like this, which feels a bit minor compared with his masterpieces like Naked or Secrets & Lies, still dazzles me. I thought the movie was really funny. I was moved to tears at the end. I thought the way he captured these girls’ friendship was beautiful. And more than anything, I just love watching the performances he gets in his films. They’re always unbelievably good. They feel so real and so raw. God, I just love Mike Leigh.
Grade: A
Career Girls – Mike Leigh (1997)

18th: McCabe & Mrs. Miller – Robert Altman (1971)
This was quite a bit different from what I expected. It is much smaller and more focused than Altman’s other major works like Nashville or The Player. It takes a while to sink into. In fact, I found the first act of this movie to be almost unbearably slow. There’s little dialogue. The dialogue we do get is obfuscated by Altman’s approach in which characters rarely speak above the surrounding noise. And in general very little is happening. We watch as McCabe comes into town and slowly begins setting up an enterprise. Luckily, all of these things are intentional and important. Altman is using this time to introduce the reader to this town. To a cast of players and places. When Mrs. Miller arrives in the second act, the movie takes off. It’s funny and charming. Altman called this an anti-western. I half agree with him. The opening is slow by any standard. It crawls compared to a “normal” Western. Moreover, McCabe is certainly not very heroic. Incompetent would be a closer description. He doesn’t come to save the town. His drunken actions are the very thing that puts it into danger. Yet, the last half of this movie unfolds pretty standardly. The entire third act is a shootout in which McCabe only succeeds through his wits. It’s brilliantly done, but I would hardly call it subversive.
Grade: B+
McCabe & Mrs. Miller – Robert Altman (1971)

23rd: Vera Drake – Mike Leigh (2004)
There is nothing I can really pick out that this movie does wrong. It accomplishes exactly what it sets out to do. Moreover, it tackles abortion. Not exactly the easiest subject to handle. I found the film to be almost unbelievable moving for its first half. I think it’s as good as anything Mike Leigh has made. By no means does the film fall off after this. In fact, I’d bet that some people admire the film particularly for its second half in which Vera is arrested and the family has to come to grips with her controversial service. There is a stretch of about 20 minutes in which Imelda Staunton delivers a breathtaking performance all without saying much of anything. It is purely through her pained expression. One that we’ve seen completely transformed from her chipper demeanor at the beginning of the film. And while I think Staunton absolutely steals the show, every performance in this film is brilliant. His characters are played with such warmth and humanity. It’s what sets Mike Leigh’s films apart. I’ll say it again, there is nothing I really would change about this film. Still, I suppose the almost traditional nature of its plot (again one that is well-executed) sets it slightly below my favorite Mike Leigh films. I think I just tend to appreciate his works when they’re a little more sprawling and messy.
Grade: B+
Vera Drake – Mike Leigh (2004)

27th: The Short & Curlies (short) – Mike Leigh (1988)
I don’t think I could love a short anymore. This film is so outrageously funny. I could watch David Thewlis tell one-liners all day. They definitely went a much darker direction with Naked.

28th: Life is Sweet – Mike Leigh (1990)
I believe this is the first Mike Leigh film I had ever seen. Either that or Meantime. I had remembered and recommended this one for its warmth, it’s quirkiness, and its affirmation of life. The qualities I seem most drawn to in any of Leigh’s films. And those are all there. What I forgot were the layers of trauma and grief that emerge in the second half of the film. Whoops! Ironically, it’s these qualities that I think most strongly emphasize the warmth in this film. The film is a portrait of a quirky but positive and relentless working-class woman (Alison Steadman). In the first half of the film, her positivity just seems to be an eccentricity. The way she and her husband (Jim Broadbent) cackle throughout the movie is an amazing touch. As the film moves forward and we come to see her daughter’s own identity not as an eccentricity but as a product of trauma and grief, Steadman’s relentless positivity changes meaning. We see it not as an identity but as her response to the cruel and unrelenting nature of life. We see that she is someone who is facing a meager and hard existence and meeting it with as much life and power as she can muster. I cannot emphasize how life-affirming this film is. Laying this all out there, it seems heavy-handed. Yet what really works about this film is how subtle Leigh makes these points. As powerful as the message is, we never lose track that the most important parts of the film are the people expressing it.
Grade: A
Life is Sweet – Mike Leigh (1990)

30th: All or Nothing – Mike Leigh (2002)
Easily my least favorite of Leigh’s films so far. And still, it wasn’t bad! I particularly liked the ending. My issue with this film is solely just how bleak it is. A matter of taste. This film is hard to watch. It feels relentless up until the final two or three minutes. Just briefly, you have one young woman who becomes pregnant and then is violently rejected by her abusive boyfriend, you have another young woman who feeds off the insecurity of her two alcoholic parents and pursues this same abusive boyfriend, you have a mentally ill young man who stalks around the courtyard before carving this girl’s first initial into his chest as a demonstration of his love, you have a young woman who works a dreary job as a maid at a nursing home and is subject to the unwanted sexual advances of a much older man, and then you have her brother who aside from being violent and unruly has a heart attack. And this doesn’t even touch on the real emotional center of the film which is the collapsing marriage of this boy’s, and his sister’s, parents. Ay, ay, ay. Listing it all out it’s impressive that this film is watchable. Again, I think it comes back to Leigh’s underlying feeling as a filmmaker. He is with these people, not against them. And to be fair, the film does end on its lightest note. It seems like this family has become bonded and may be repaired by the boy’s heart attack. It’s hard to feel certain that this change will last, but for now, it’s a much-needed reprieve.
Grade: B-
All or Nothing – Mike Leigh (2002)