2021 Movie Log: November

1st: Harry Potter and the Sorcerer’s Stone – Chris Columbus (2001)
On the one hand, this movie got almost everything right that it needed to. The cast, the set, and the score are about as good as you can do and ultimately help make the rest of the series work. On the other hand, this film is not very good and is extremely silly to watch. My favorite part from this viewing was how Madam Hooch dives out of the way once Neville has lost control of his broom.
Grade: C

4th: Safe – Todd Haynes (1995)
I had always seen this movie touted as one of the best films of the 90s. Because of that, it ended up being far different from what I was expecting. Typically, a movie with that reputation would have some major twist, revelation, performance, etc. Safe, instead, is a fairly reserved movie. Julianne Moore’s performance is undoubtedly good, but, like the rest of the movie, it’s quiet. Again, this is an atmospheric, slow-burn type of film. My friend Wills made the comparison to a Don DeLillo novel. I think that’s right. All of which is to say that I was initially a bit puzzled by it. It just wasn’t what I was expecting. But I did end up liking it quite a bit. And honestly, the further I’ve gotten away from the movie, the more I’ve found myself thinking about it.
Grade: B+

11th: Harry Potter and the Chamber of Secrets – Chris Columbus (2002)
The least successful film in the series. It also happens to be the longest one. I think those are correlated!
Grade: C-

14th: The Grand Bizarre – Jodie Mack (2018)
It took me three tries to sink into this movie. I’m glad I finally did. This belongs to a genre of film that I just don’t have the tools or language to critique. Still, I can try to make a few points. 1. It’s enormously impressive. 2. I did enjoy it! 3. There’s an almost hypnotic/meditative quality to watching it. 4. The score/soundtrack was as important as the images to me.
Grade: B

14th: Fat Girl  – Catherine Breilliat (2001)
There are not many films left that still shock me. This one did. At every turn, Breillat subverts your expectation of this movie. From the start, the film presents itself as a household drama about two sisters. Even the music reinforces that idea. And while I obviously love movies like that, they are a bit clichéd. But that’s not what this film is. Instead, it keeps evolving. It moves into something more biting. We see that there’s a sharp sense of humor. Breillat is doing something more interesting with the dynamic between these sisters than the movie’s title suggests. After that, the film becomes almost unflinching. I don’t know how else to describe a scene in which one sister pretends to be asleep while her 15-year-old sister is coerced into sex by a much older man. Not to mention how much nudity is presented in this assault. And then the last act, and especially the finale, is entirely something else. It is an explosion of all of the ideas and themes hinted at throughout the movie. I’m honestly just amazed by it. I can’t wait to check out Breillat’s other work. 
Grade: A-

15th: Leave No Trace – Debra Granik (2018)
I’m surprised this didn’t receive more attention when it came out. After watching it, it’s almost exactly the type of prestigious yet approachable movie that the Oscars consistently reward. In fact, if there was a film this reminded me of, it was reigning best picture winner, Nomadland. That all sounds a bit negative, but I did quite like this movie. What elevates it in my mind are the two lead performances. I don’t think this movie works nearly as well without Thomasin McKenzie or Ben Foster. I particularly like how reserved they are in these roles. There isn’t any explosion or big speech. Instead, you feel the movie through their body language. Perhaps that’s why this wasn’t a big awards winner? Even so, I think it makes for a better film. 
Grade: B

19th: Harry Potter and the Prisoner of Azkaban – Alfonso Cuarón (2004)
The best film in the series by a mile. I’d also argue that it’s the most important. While the first two Harry Potter films aren’t unwatchable, they’re not particularly captivating. Azkaban, on the other hand, is the first movie to really capture how special the series is. I’d also guess that it’s the first of these movies that could prompt a viewer to read the series for the first time. Maybe ironically, it’s the first HP movie to take significant liberty with the source material. There are a few instances in which I think that’s a mistake, particularly when it comes to cutting out the Marauders. But overall, it feels as though Cuarón is committed to making this the best film possible, even when that means straying from the book. 
Grade: A-

20th: The French Dispatch – Wes Anderson (2020)
Wes Anderson is extremely good at making movies. Like the rest of his work, the French Dispatch is dazzling to watch. I think it includes some of the best images he’s made to date. That being said (and I hate to do this), I did not feel this movie at all, which is a first for me when it comes to him. I’ll have to revisit this. Hopefully, I was just in a bad mood or something.
Grade: B

25th: That Thing You Do! – Tom Hanks (1996)
Man, I feel like this already belongs in my pantheon of comfort movies. I had so much fun watching it! In many respects, it’s a pretty simple story. Where I think this movie shines is in its execution. For any film about a band, its success will largely depend on the music. After all, that’s the whole buy-in. To believe in the band, you need to believe in their music. This movie uses a clever approach for that buy-in. Because the film is about a one-hit-wonder in the 1960s singles-era of pop music, it only has to nail one song. And it does! I think it’s legitimately one of the best movie songs I’ve heard. Hanks is remarkable at capturing the excitement of this moment. Like I said at the top, it’s just thrilling to watch. 
Grade: B+

26th: Maggie’s Plan – Rebecca Miller (2015)
I’m thankful to live in a world in which a movie featuring Ethan Hawke, Greta Gerwig, Bill Hader, and a Springsteen singalong could fly under my radar. Considering that information, I assumed this movie was probably pretty mediocre. I actually think it’s pretty good! It reminds me a lot of Noah Baumbach’s more acerbic films. After all, it’s full of pretentious, manipulative academics. Maybe it’s not for everyone, but it worked for me. 
Grade: B-

26th: Desperately Seeking Susan– Susan Seidelman (1985)
Holy moly. I don’t know if I’ve been more transfixed by someone than Madonna in this movie. And I don’t even like Madonna. But Seidelman does an amazing job at capturing her in this film. It’s a great argument for centering more movies around people who look great on screen. Besides that, I’m not sure how much this movie has going for it. It’s incredibly convoluted. You can poke holes through almost every piece of the plot. I’d guess some of that is intentionally done. Still, I had difficulty gauging precisely what I should make of this film. So even despite my fascination with Madonna, I have to say I was pretty underwhelmed. 
Grade: C

28th: Band Aid – Zoe Lister-Jones (2017)
My favorite thing that can happen when watching a new movie is to find a director or performer who seems to connect with your sensibility on a deep and personal level. A few months ago, I had that same feeling with Cooper Raiff and his film Shithouse. There just seemed to be something about what Raiff was doing that resonated with me. I feel the same way about Zoe Lister-Jones and this film. What surprised me a little is that this is a small indie comedy. I don’t think it’s intended to change your life. It’s a charming, funny and clever movie. Still, something about it really worked for me. It may just be the excellence of the filmmaking and performances. Whatever the case is, I’m glad I stumbled upon this movie. I can’t wait to see what else Lister-Jones does.
Grade: B+

28th: How it Ends – Zoe Lister-Jones, Daryl Wein (2021)
It’s official! I have a new favorite filmmaker/performer. There’s something that Lister-Jones is doing that really resonates with me. I love how strange this film is and yet how little of that strangeness is explicitly acknowledged. I feel like this is the type of film I would try to write (obviously, this version is better). Plus, what could be better than that Sharon Van Etten cameo? 
Grade: B