2020 Movie Log: November

Fish Tank – Andrea Arnold (2009)

1st: Somewhere – Sofia Coppola (2010)
This movie is kind of an enigma to me. I really liked it! I’m drawn to it for reasons I can’t fully explain. It’s not that I think this movie is bad by any means. It’s not. But it is slow. There’s not much to it besides whatever is happening internally with Johnny. It seems to me that this movie shouldn’t work unless there’s an emotional payoff. It seems like this movie should hinge on the viewer having an emotional reaction to Johnny and his relationship with Cleo. And I just didn’t. And yet, as I keep saying, I liked this movie a lot. A lot of it was really funny. Stephen Dorff and Elle Fanning were both phenomenal. Visually, it’s stunning. It might be my favorite looking Sofia Coppola movie. 
Grade: B+

6th: Borat Subsequent Moviefilm – Jason Woliner (2020)
I really can’t even remember the first Borat film. It came out when I was 14 and I haven’t watched it since. That being said, I was pretty skeptical about this sequel. Honestly, I ended up watching it just as much for the Giuliani scene as anything else. In the end, I thought the movie was pretty good! It’s often funny. It’s exceptionally stupid. What more could you ask for?
Grade: C+ / B-
Borat Subsequent Moviefilm – Jason Woliner (2020)

7th: The Bling Ring – Sofia Coppola (2013)
The Bling Ring is way better than I anticipated. Although, to be fair, I was anticipating a disaster. It’s always listed as Sofia Coppola’s worst movie. People seem to have a lot of issues when Emma Watson is cast in anything. I’m not trying to say this movie is great or anything. It probably is Sofia Coppola’s worst film. But she’s a great director. This film still looks and sounds amazing. I don’t think Emma Watson is bad or even distracting. I think most of the other actors are really good. Where this doesn’t work for me, is just the story. And it’s a true story so I don’t even know what you’d do about that. It’s a movie about Hollywood, celebrity, and a group of exceptionally spoiled kids. I don’t know. I’m not sure there’s a world in which I would ever love this film. It’s a story that I just don’t care about. But I can’t really pick out anything wrong with it. It reminds me a bit of the types of minor films someone like Steven Soderbergh makes. It seems like Sofia Coppola took a chance on a story that doesn’t really work, but she still makes a decent movie out of it.
Grade: C+ / B-
Bling Ring, The – Sofia Coppola (2013)

7th: A Very Murray Christmas – Sofia Coppola (2015)
Apparently it’s Sofia Coppola week here. Thank you, On the Rocks and The Big Picture podcast for inspiring me. This isn’t even really a movie. Whatever it is though, I loved it. It’s so funny. It’s really warm. I love all the performances. I think the story is way more clever than it has a right to be. There’s a traditional Christmas story arc to it, even though it is already pretending to be a staged Christmas special.
Grade: Christmas Tree Emoji

9th: First Cow – Kelly Reichardt (2019)
I have now seen every Kelly Reichardt feature film. She’s just as elusive to me as ever. First Cow features all of her trademark filmmaking techniques. It’s a methodical, slow-building, human story set against the American west. I actually think the closest comparison to this movie is a film by another director, Robert Altman. Specifically, McCabe & Mrs. Miller, a film that is set in the same time, similarly slow-building, and works as an “anti-Western.” And like McCabe & Mrs. Miller, I do like First Cow quite a bit. I think this may even be Reichardt’s most beautifully-shot film. In terms of story and pace, I think I prefer Old Joy, a film that seems more suited to Reichardt’s contemplative style. Still, First Cow isn’t far behind and I imagine it’ll only grow on me as time moves forward. It strikes me as they type of film that didn’t blow me away at first, but I’ll find myself thinking about a year from now.
Grade: B
First Cow – Kelly Reichardt (2019)

12th: Citizen Kane – Orson Welles (1941)
I enjoy watching the classics. That’s why I try to keep up with various collections of them whether it’s Sight & Sound, AFI, or the Criterion Collection. But even when I enjoy these films, it’s often as much from a historical perspective as an entertainment one. In other words, I’m watching them in a different way than I would, say, a movie from 2020. And that’s okay. I think it’d be silly to try and compare the heists in Rififi to Ocean’s Eleven. They’re not just different films, they’re from different universes of movie making. What I’m trying to say is that I remember watching Citizen Kane and thinking of it as the first classic that I enjoyed as much (if not more than) I appreciated it. It’s so good! Re-watching it, that sentiment still holds up. Still, I was struck by how regimented it is. A news reporter talks to various people and we flash back to those points in time. Its approach feels like it should be gimmicky. And yet, it works flawlessly. To be honest, I’m having a hard time pinning down what specifically works so well about this story. Perhaps it’s that we know the end from the beginning? That we know the fall of this powerful man is inevitable? I think the film’s other attributes are far easier to point out. Welles and the cast are magnetic. The look and feel of the film is iconic. But something about the story perplexes me. Maybe it’s just that? That for as old as Citizen Kane is, and for as rigid as it is in structure, there’s still a mystery to its story. That I could re-watch this film in 2020, and still be thinking about what it means. 
Grade: A
Citizen Kane – Orson Welles (1941)

14th: Beau Travail – Claire Denis (1999)
I don’t think I can start anywhere except with the ending. It’s incredible. It almost makes the entire movie for me. And to be clear, I enjoyed the movie before that. Really, I spent the first 30 minutes or so trying to puzzle out what all of Galoup’s memories mean. But then the movie hooks you. And it’s not with plot or stakes. The tension between Galoup and Sentain is certainly there, but Denis lets it simmer in the background. It really serves more as backdrop to the activities of the legionnaire. So I spent the rest of the film just enjoying the vibe while we watch Galoup’s memories of his troop. It reminded me a bit of Everybody Wants Some!!, another film that centers the physical activity and interactions of a group of hyper-athletic young men over traditional stakes or narrative. And then of course, there’s the ending. It’s so strange, so delightful, and so perfect. I can’t think of many endings that are more surprising and yet still suit the film perfectly. What an achievement. 
Grade: A
Beau Travail – Claire Denis (1999)

18th: Dazed and Confused – Richard Linklater (1993)
We ended up watching this after attending a Zoom discussion with Richard Linklater and Melissa Maerz discussing her new oral history about the film. I (foolishly) wasn’t really anticipating watching the movie afterwards. But after listening to a 90-minute discussion about it, how could you not? Upon re-watching it, it is stunning. It is almost infuriatingly good. It’s funny, Dazed has never been my absolute favorite Linklater film (I’ve kind of leaned toward the Before series) and Linklater said the same was true for him. He thinks he’s made films that are technically better and that this one recalls a particular time of career frustration amid dealing with a big studio for the first time. But whether or not it’s my (or Linklater’s) favorite of his films, it is probably his greatest. If I’m being completely honest, I think it might be the greatest film ever made. Sure, you can argue for Jaws, Vertigo, The Godfather, or Stalker. But Dazed is really the purest distillation of my favorite type of movie. Re-watching it, I was almost moved by the pure joy I was having from watching it. And I don’t find anything in the film particularly moving. I wish I could critique this film more artfully. One of the things I appreciated hearing in the discussion is that while this is a movie that looks and feels effortless, it certainly wasn’t. Linklater worked hard on the script. He worked hard on the casting and the production. He fought a lot with the studio to achieve his vision. And yet, when it comes to thinking critically about it, I’m turned to mush (or the Chris Farrelly interview show). Honestly, every moment I was watching I was just saying “that was awesome.” So what can I say? I love all the characters. I love how rapidly they are introduced. I love how quickly Linklater is weaving these stories together. I think the dialogue is flat-out incredible. To some extent, I think I could capture the sense of a hangout movie. But it’d be so boring compared to Dazed simply because I couldn’t write the dialogue Linklater does. Almost every observation, however stupid, mundane, or seemingly pointless, is incredible. Occasionally, it’s profound. I love the moment when it turns to night and all the lights in this town come on. I love the music queues. I love the performances. Boy, I really just love this movie.
Grade: A
Dazed and Confused – Richard Linklater (1993)

19th: School of Rock – Richard Linklater (2003)
I LOVED this movie when I was a kid. Even before I knew who Richard Linklater was. And I’d have to imagine that even if this movie works for adults, 11 is still the best age to see it. But this movie does hold up. I found myself really appreciating Mike White’s script this time through. It’s not particularly subversive or surprising. As you’ll see from the beats, this movie’s outline is about as industry-standard as it gets. But the story works so well between these major beats. It’s one of the best examples of big studio filmmaking that I can think of. One of the things Linklater discussed in the Dazed and Confused discussion is that for Dazed he really had to compromise on aspects of his vision. Originally, it was supposed to be a much more conceptual, more heady movie. Perhaps even in line with the Before trilogy or Waking Life. To some extent, I think the concessions he made in Dazed make it a much better movie. I think the opposite is true here. Even with a good script, School of Rock could have gone badly with the wrong director. It features mostly child actors, the plot is unbelievable, the protagonist is literally committing a crime. It really could have been unbearably cringey or cheesy. I think the fact that Scott Rudin (and whoever else produced this film) went with Linklater makes this work. He’s able to inject so much enthusiasm and genuine life into the film. And all without making it overbearing. It’s the rare perfect marriage between a big studio and an indie director. And while I think School of Rock is definitely a major studio movie, it’s this little independent streak that really sets it apart.
Grade: B+
School of Rock – Richard Linklater (2003)

20th: High Fidelity – Stephen Frears (2000)
I kind of think this is an incredible concept and a pretty average movie. I don’t know? Perhaps I’m being too hard on it. My main issue, I suppose, is just with how much of an asshole the main character is. But I think the film certainly captures that him, and his friends, are snobs and losers. I don’t think the film views him as this great guy by any means. And I think, for the most part, the music queues are pretty good in this. It feels like the types of music and discussions that would exist in this world. Also, pretty sweet that Bruce Springsteen was in it.
Grade: B-
High Fidelity – Stephen Frears (2000)

21st: Sing Street – John Carney (2016)
I can’t recall if I’ve written about this film before on here or not. If I have, I think my takeaway would hopefully be the same. I like it a lot! It really should be too earnest and cringey for me to handle, but Carney does an amazing job of pushing this sweetness as far as it’ll go without become saccharine. I think he’s really smart in emphasizing the darker aspects of this world. For as much as this is a fun movie about teenagers forming a goofy band, the film also details failing marriages, abusive relationships, and economic strife. It’s this balance that lets you buy so fully into the story and especially the end. I also think Carney’s talent as a playwright is on full display. It’s really an amazing script. Again, it’s not the type of screenplay that’s particularly subtle or subversive. But it does everything so well and so efficiently. We meet our main character, like him right away, get stakes for the movie, and are off. It’s this type of work that allows you to pull off the flourishes in the movie: the costumes and the songs. There is one major flaw in this movie though, and that’s that the band’s songs get way worse as the movie goes on. I kind of think with like two more hits, this movie is almost perfect.
Grade: B+ / A-
Sing Street – John Carney (2016)

21st: Yes, God, Yes – Karen Maine (2019)
I feel as though I like this movie way more than I think it’s good. And it’s not really that I think this movie is bad either. But it feels so thin. I think the setup is great. I think the humor in it is delightful. Really, the reason I like the movie as much as I do is from how funny it is. But I do think there’s something missing. I kind of feel like the end is a huge cop-out. Everything just sort of resolves nicely without any real struggle. And it’s not that I needed a huge emotional moment either. I guess I just expected something surprising or subversive at the end and it wasn’t there.
Grade: C
Yes, God, Yes – Karen Maine (2020)

22nd: Chocolat – Claire Denis (1988)
Man, every Claire Denis film I watch is so different. I can’t think of another director with such a varied filmography. And that’s not to say there aren’t constants. I think it’s clear she has a meditative, hypnotic style of filmmaking. Many of her films deal directly or indirectly with colonialism and its legacy. And she seems interested in how individuals act as part of a collective body. Whether that’s an officer in the French Legionnaire, a father and daughter in an apartment complex, or an officer’s wife in this movie. This movie really is a startling portrait of life in colonial Cameroon. It reminds me of some of my favorite movies in that there’s not a ton of plot. But unlike most of those films, this is not a “hangout” movie. Even without plot, there is plenty of tension. I just think Denis does an amazing job at confronting the viewer on these issues of colonialism without explicitly making a statement. It feels like a nice pre-curser to White Material in that way.
Grade: B+

23rd: Me and You and Everyone We Know – Miranda July (2005)
What a weird fucking movie. I kind of loved it. There are some parts that I question more than others. The Heather and Rebecca storyline was a little rough. I guess I was just uneasy about that entire arc being about their sexualization. But uneasy does not mean bad. And July seems to be capturing a truth in these people’s lives, however uncomfortable it may be. After watching this film, I do trust her with these storytelling decisions. The highlight of this movie is Robby. His story is one of the funniest things I’ve every seen. It was so perfectly done. I especially just loved him copying+pasting in the online chat. What else can I say? I think the score and general filmmaking is really well-done, especially for as weird and low-budget as this movie is. Perhaps the film stretches on a tad too long? But generally I think July earns it with how great so much of the movie is.
Grade: A-

24th: Boyz n the Hood – John Singleton (1991)
This was one of the bigger films I had never seen. And to be honest, I didn’t realize it was going to be this dark or heavy. I threw it on expecting it to be a mainstream-ish blockbuster movie. It’s really not. This is a movie that focuses on capturing life more than traditional plot or stakes. Which isn’t to say those don’t exist in the movie, but they feel secondary. I read that Singleton modeled some of this movie after Stand By Me and I think that’s an apt comparison. Although, I will say again, I think Stand By Me relies on traditional plot a lot more than this film. In that movie they’re on a mission to find a body. Here, it’s not clear what the major tension is besides Tre and his friends trying to make it through life in the hood. But that’s more than enough for me. I’m kind of blown away by how well this movie did. I’d have to imagine this is the most successful movie in that hangout / slice of life type of genre. And to be clear, these are all things that I like about this movie. But even if this isn’t your favorite genre or type of movie, there’s still so much to hold on to. The performances are incredible. I was mesmerized by Laurence Fishburne in particular. The number of major actors Singleton gets is so impressive too. I think this was the breakout movie for Cuba Gooding Jr., Ice Cube, and Regina King. That’s pretty amazing. I think the biggest testament to this movie, especially given that it’s set in such a distinct place and time, is that it holds up incredibly well. It’s amazing that 30 years later, the rest of the country is finally catching up to some of the points Singleton was making. I think it’ll remain a classic for that very reason.
Grade: A-
Boyz n the Hood – John Singleton (1991)

26th: The Last Waltz – Martin Scorsese (1978)
The greatest concert film of all time is either this or Jonathan Demme’s Stop Making Sense. I don’t know that any others are particularly close. What’s funny or perhaps ironic about this fact is that each of these films present overly-rosy, largely-fictional renderings of the bands they highlight. This is a little more baked-in with the Talking Heads in Stop Making Sense. So much of that film, and the performance, is drawing attention to the fact that these things are staged. The setlist and performances are rigidly pre-arranged. In true post-punk fashion, the Talking Heads are commenting on the nature of concerts themselves: that they’re not organic. Still, Stop Making Sense can’t help but hide quite a bit: that these performances were not collaboratively planned and agreed on, that David Byrne was actively trying to get the others to quit the band, or even that he was furious at the idea of a Tom Tom Club song in the movie. So perhaps in a very round-about way, The Last Waltz is more honest? Not that the movie is “honest,” but unlike the Talking Heads, this depiction of The Band isn’t trying to comment on the nature of art or performances in any meaningful way. It’s just trying to pretend that the members of The Band still get along and are just calling it quits because it’s time. Not because, you know, they couldn’t stand each other and Robbie Robertson wanted a film to depict him as the musical architect during their swan song. To be honest, I really don’t know what to make of The Last Waltz given all the information surrounding it: that the guest musicians were all coked-out of their mind or that Levon Helm actively hated Scorsese, Robertson, and the film. In a way, I kind of think it makes the “message” in the movie all the more powerful. Intentionally or not, what Scorsese seems to capture in The Last Waltz is the sheer greatness of this music. So perhaps the fact that these performances are still this incredible given all the background drama, makes that message even more resonant.
Grade: A

26th: Happiest Season – Clea DuVall (2020)
Man, I feel like a real grinch for not liking this movie more. I love the cast, I love the idea, I love Clea DuVall. But I think this movie is pretty spineless. It really seems to exist just for reasons outside the film. And I suppose that’s not necessarily a bad thing. To have a Christmas movie centered on lesbian characters is long overdue. I just can’t help but feel that this is the only thing keeping this movie going. Not, you know, the story or stakes in the film. What I would guess is actually my main issue with the film is that I probably just don’t like these types of hallmark-y Christmas movies. Everything in this movie just seems so contrived, unnecessary, and unbelievable. But I’d imagine that’s the case with like, A Christmas Prince. To really boil it down to one example, I do not think Abby should end up with Harper in this movie. She’s actually the worst. But you can’t really make a Christmas movie where the couple doesn’t get together, can you? Oh well. As long as people feel seen and represented by it, I hope this movie is a success for everyone involved.
Grade: C-
Happiest Season – Clea DuVall (2020)

27th: The 40-Year-Old Version – Radha Blank (2020)
Finally! A good movie in 2020. I’m sure there are more than a few out there but this is certainly the best one I’ve seen. I loved everything about it. It’s incredibly funny, moving, beautifully shot, and totally unique. I think the biggest takeaway has to be Radha Blank. From her wikipedia page, it looks like this was really her breakthrough. It’s hard for me to think of a stronger debut in recent memory. I already can’t wait for whatever she does next. There are maybe a few minor things that didn’t fully work here. I think it’s a little long at the end? But honestly, she could have made it 30 minutes longer and I still would have dug it. What a film.
Grade: A-
40 Year Old Version, The – Radha Blank (2020)

28th: Fish Tank – Andrea Arnold (2009)
I added this film to my list because Arnold supposedly falls in the lineage of Mike Leigh and Ken Loach. And it is fairly easy to see the similarities (at least with Leigh, I don’t think I’ve watched any Loach films yet). This film concerns the lives of ordinary, working-class British people. Moreover, the film is definitely more concerned with the emotional well-being of its characters than any grand plot or journey. However, I do think Arnold grounds this film in more overt stakes and a more traditional arc than Leigh typically does. There is a clear main tension in this film: whether or not Mia’s mom’s boyfriend, Conor, will act on his attraction to the 15-year-old Mia. By Mike Leigh standards (perhaps with the exception of Naked), that is a horror movie. And this movie is unbelievably tense at parts. It’s almost unbearable to watch in certain scenes. What I think is truly amazing about all of this, is that Arnold never strays from the realism that associates her with people like Leigh and Loach to begin with. Everything that happens in this movie feels like it’s happening organically. Which, again, is horrifying. It’s an unbelievable feat of filmmaking. The only other thing I’ll say, which I’m not sure really connects with any of the above, is that the ending is an all-timer. One of the best I’ve watched in a while.
Grade: A
Fish Tank – Andrea Arnold (2009)