2022 Movie Log: January

14th: Harry Potter and the Half-Blood Prince – David Yates (2009)
I’m starting to think that I should have two reviews for these films. Only a year ago, I rewatched Half-Blood Prince and gave it a good review. I knew then that the film didn’t stand up to the source material. Still, Half-Blood Prince is my favorite Harry Potter book. By extension, there’s a lot to like in the movie. That, more or less, would be review #1. Review #2 would then evaluate how the film works as an adaption of the book. And in that regard, this film is abysmal. Let me start by saying that I understand some of the changes these movies have to make. To perfectly adapt these novels would be impossible. However, my biggest frustration with this film is that the changes Yates and his team make seem to be for no reason. I honestly can’t believe some of them. Honestly, they remove all of the subtlety that makes this novel so extraordinary. What’s left is a fine film that, if you dig deep, doesn’t really make much sense.
Grade: C

15th: The Power of the Dog – Jane Campion (2021)
Some people are considered great filmmakers for a reason. The amount of information Campion conveys just with scenery, body language, and music is otherwordly. That she’s able to take this information and play it against the audience’s expectations is masterful.
Grade: A-

17th: The Lost Daughter – Maggie Gyllenhaal (2021)
This is a hell of a debut. Gyllenhaal clearly understands performance. The way she’s able to capture Coleman is remarkable. I think what impresses me most is how viscerally this film is able to present turmoil that’s wholly internal and emotional. That was my biggest concern going into a Ferrante adaptation, and it ends up being a strength of the film.
Grade: B+

21st: France – Bruno Dumont (2021)
This reminded me a lot of Armando Iannucci and something like VEEP. It’s a cold, satirical, unfeeling view of politics and life. What particularly interests me is the way this film centers on human feeling. The film circles around and around an idea of catharsis. Léa Seydoux’s character seems determined to achieve it. The close-up shots of her crying are brilliant. And yet, it seems like the film’s mission is to deny her any moment of transcendence.
Grade: B+

22nd: Talk to Her – Pedro Almodóvar (2002)
Maybe my favorite Almodóvar film to date. I honestly can’t pinpoint what makes it so brilliant. There is something in each scene that is so compelling. Reminds me a bit of David Lynch in that way. It’s one of the rare movies I would have watched if it kept going for another two hours.
Grade: A-

24th: Tie Me Up! Tie Me Down! – Pedro Almodóvar (1989)
Almodóvar is one of a kind. On paper, this shouldn’t work. And yet, in this director’s world, it’s perfect. I’m still unsure exactly how he makes these films work. I did notice in this film that he seems to anticipate and subvert the audience’s reaction to a character at every turn. Ricky, Marina, and Lola are all different from the characters you’d expect.
Grade: B+

Author: Samuel

Big fan of TV, movies, and books. Even bigger fan of maniacally recording my thoughts on them in the desperate and inevitably futile attempt to keep them in my memory forever. View all posts by Samuel