2023 Movie Log: February

1st: The Fly – David Cronenberg (1986)
Feel like there was a big missed opportunity for Geena Davis’s character to tell Brundlefly to “buzz off!” Other than that, can’t remember the last time a movie made me this attracted (to Geena Davis), repulsed (by Brundlefly), delighted (by Brundlefly), nauseated (by Brundlefly), or hungry (for candy bars). Almost as if Cronenberg saw the internet coming and knew we’d spend hours watching pimple popping and ingrown hair extraction videos.
Grade: A

2nd: Dead Ringers – David Cronenberg (1988)
Oh to be that lady slow dancing between two Jeremy Irons…
Grade: B+

5th: Black Narcissus – Emeric Pressburger, Michael Powell (1947)
Man oh man, I have not been this blown away by a movie in some time. Especially compared with my film friends, I would say pre-1960s film is somewhat of a blind spot for me. There are, of course, many “early” films that I do love. But on the whole, even with noted classics, some of these films can, while being magnificent and worthwhile and rich, feel a bit like homework. Again, this is my own bias. I’m sure many people would find like 1970s Mike Leigh or Taiwanese New Wave to be homework to them. All of that is to say, however, that Black Narcissus, even as an early film, is in a whole other category for me. I’m not sure I’ve seen anything dating back 70+ years that actually feels not on par with more modern film, but in fact, better and more captivating than anything being made today. In all honesty, I don’t know if I’ve ever seen a film this technically flawless. The costumes, the sets, the cinematography, the performances, the staging, and especially the technicolor (ugh!) are just mesmerizing. And this, by the way, is all from a home viewing in the middle of the day. I can’t even imagine seeing this in film on the big screen. I suppose now that is my own divine mission!
Grade: A

8th: Deep Red – Dario Argento (1975)
I lack the background, insight, or even language to really write about Giallo critically. In fact, I think this is only my third Giallo viewing and each of these films has been an Argento (previous viewings were Suspiria and Phenomena). Still, this much I can say. I love visual style and tone, I love the way Argento moves his camera throughout scenes with these perfect reveal, I love that these movies probably have some real insight or offer a subversive lens to view sexuality, psychology, and violence, and yet to a layman like me, these films are mostly fun and campy. Oh! And I fucking love Goblin. Keep shreddin’ brothers.
Grade: B+

10th: The Red Shoes – Emeric Pressburger, Michael Powell (1948)
Okay! So apologies in advance for sounding like Mr. first day at film school but 1. I went to a semester of film school and they didn’t show me this! and 2. I mean, come on! This freakin movie. Most of what I said in my Black Narcissus review holds true here. First and foremost, I am just astounded by the production. Has any film ever looked this good? It’s almost hypnotic. When they show the actual ballet for 20 minutes, it’s so magnificent that I almost lost track of the main narrative just to follow the ballet within the film. I also just have to say Anton Walbrook, man oh man. Like an all-time performance to me.
Grade: A

12th: I Know Where I’m Going! – Emeric Pressburger, Michael Powell (1945)
Tonally this was a bit of a change-up for me after The Red Shoes and Black Narcissus. Still, even in a smaller story without that brilliant technicolor, there’s still plenty to be wowed by. The opening credits, the train montage, and especially the whirlpool sequence are just unbelievable. Tbh it makes me want to change my whole approach to film just to focus on making these elaborate stages and painted backdrops. There’s something magical in the “construction” of it all. I must say I was slightly disappointed at the beginning of this film that it wouldn’t be as visually gorgeous as the technicolor films, and then like the 7th-billed character shows up and she’s casually the most beautiful woman I’ve ever seen. Wonder what she’s up to these days 🤔
Grade: B

13th: The Life and Death of Colonel Blimp – Emeric Pressburger, Michael Powell (1943)
Possible disclaimer for this review: This is a British film about the British military and empire made during World War II, which makes me wary about some of the messaging in it. That being said, in just a few interviews after watching the film, I learned 1. That this film originates from a serial comic about a bumbling inept Colonel and 2. Powell and Pressburger not only gave up British funding and support for refusing to alter/censor parts of the script, but also lost their chances at knighthood for moving forward with the project. Which makes me think that the aspects of the film I may have initially questioned are probably much more intentional, subversive, and generally chill than I thought.
Non-Disclaimer Review: This film as a piece of art is so masterful that I likely could have moved past much of the historical messaging even if it isn’t/wasn’t completely chill anyway. The Red Shoes and Black Narcissus are both impeccably made films, but in each, the clear focus of the film is visual. Colonel Blimp still looks amazing, and I would be silly to say it’s lacking in anything from a technical or craft standpoint. Still, I think the focus in this one is clearly on narrative and storytelling which it does as well as any film I’ve seen. Honestly, the only thing that surpasses the writing in the film are the performances of its three leads: Roger Livesey as Clive Candy, my new favorite actor Anton Walbrook as Theo, and Deborah Kerr (playing three separate parts at the age of 21!).
Grade: A

15th: A Matter of Life and Death – Emeric Pressburger, Michael Powell (1946)
Can’t help but wonder how much more popular Led Zeppelin could have been had they titled their song “Escalator to Heavenly Courtspace”
Grade: B+

16th: Au Hasard Balthazar – Robert Bresson (1966)
If I had been Marie, this would’ve turned into John Wick
Grade: A-

17th: The Trial of Joan of Arc – Robert Bresson (1962)
There’s something I really enjoy in how tactile Bresson’s work is. There’s something almost process-oriented in his staging and camera work. Making a historical drama centered on real transcripts suits his style so well. That being said, I need someone to explain the French obsession with Joan of Arc to me. Between this and Dreyer’s film, I can appreciate the filmmaking but like, what am I missing in this story?
Grade: B-

18th: Watermelon Man – Melvin Van Peebles (1970)
An outrageous movie in 2023, I can’t even imagine what it was like seeing this in 1970. The fact alone that this was a major studio comedy boggles my mind. I am clearly not the right person to talk to about what this film means for Black cinema or as a precursor to the blaxploitation movement, but as a film, I really fucking enjoyed this. The first half or so feels like an absurd SNL skit, the second half I’d argue is almost transcendently great.
Grade: B+

18th: Boogie Nights – Paul Thomas Anderson (1997)
PTA is one of my favorite filmmakers in large part because of the precision and control he has as a director. I love all of his films, but for me, something like The Master is basically the platonic ideal not just of PTA’s filmography but of cinema as a whole. For that reason, I’ve always had a hard time defining my love for Boogie Nights in the scope of his work. The narrative of the film is one in which the characters and the plot spiral out of control. That’s clearly intentional. Still, there’s something about this movie that’s the least precise of PTA’s films. It’s long and often messy. It’s the only film of his in which there are scenes and sequences I think could and maybe should have been cut. It’s based in part off a mockumentary he made in high school and there are parts, especially in the second half of the film, that truly feel closer to an SNL skit or This is Spinal Tap than any of his other films. But even though those aspects are seemingly at odds with what I love about PTA, they end up just endearing me to this film more. For all of the grand and meticulously staged sequences in films like There Will be Blood, The Master, or Phantom Thread, is there anything as glorious as Alfred Molina singing along to that fucking mixtape?
Grade: A-

18th: Sweet Sweetback’s Baadasssss Song – Melvin Van Peebles (1971)
The impact and legacy that this film has for the independent film movement, Black Cinema, and the birth of blaxploitation cannot be understated. Still, it’d be foolish to loose sight of the fact that this movie, as a piece of filmmaking, even 52 years later, is maybe the most insane thing I’ve ever seen.
Grade: B+

21st: Get Out – Jordan Peele (2017)
This movie is a miracle. Almost every aspect of it is just brilliantly executed. I know Peele wrote the script himself, and obviously had a pretty complete vision for what he wanted to execute, but in lesser hands this film is a bad satire with a clever idea. As a movie watcher/wannabe critic, my brain often defaults to comparison, which I sometimes fear is reductive. That being said, what excites me most about Get Out upon a rewatch is the way in that Peele is able to take the construct of a Hitchcock film and just perfectly bend it to this story. Again, to be clear, Peele is his own director and this film his wholly original, but I really admire the way it plays with an existing genre and those tropes.
Grade: A

23rd: Don’t Play Us Cheap – Melvin Van Peebles (1973)
Easily the most enjoyable of the Van Peebles films I’ve seen so far. To that point, the music basically stands on its own. As in, I’ve already listened through the accompanying album twice this morning. It’s really hard to capture the energy of stage play on film, which I think is the most impressive thing this film pulls off. The talent and charisma of the cast is totally captivating.
Grade: B+

24th: Climax – Gaspar Noé (2018)
My first foray into Gaspar Noé! Apparently, this is among the least fucked up movies in his filmography? There’s a lot about his approach that, on paper, is just not for me, dog. I am just not a huge fan of artists whose main focus is to provoke the audience. That being said, I thought this was a pretty solid film! In fact, the second half, once everything starts spiraling, is what I liked most about it. Whatever his intentions were with making this, the horror aspects felt pretty undeniable to me.
Grade: B+

24th: Irreversible – Gaspar Noé (2002)
1. Went to see the “Straight Cut” of this movie and the theater just played the original version? 2. At said screening, my friend (who for the record invited me!) was the only female at an almost sold-out showing. Great stuff, Mr. Noé. 3. Once again, this is a movie that every part of my brain is telling me I should hate, and yet, I just kind of think the filmmaking is too good to completely let it go. Not trying to say that a great eye or talent excuses making something in bad faith, but it at least makes me hesitate before condemning the movie. 4. Having seen it now, feel like the “Straight Cut” would be way more unbearable. Jesus Christ.
Grade: B+

25th: The Birds – Alfred Hitchcock (1963)
Makes me wonder if this was one of the first “modern” disaster movies? It’s been said many times before, but Hitchcock’s decision to not explain why the birds are attacking really makes this movie. I’d be interested to dig more deeply into some of the psychological undercurrents running through the film (and whether those things are more or less fleshed out in du Maurier’s story): What’s up with the characters’ ages, What’s up with the mommy issues, etc.
Grade: B+

26th: Marnie – Alfred Hitchcock (1964)
Good golly there’s a lot going on here. I should probably just go ahead and check out some books/criticism on Hitchcock. Out of the films of his that I’ve seen, this feels like the most difficult one to categorize. It’s strange and messy, so much of it hinges on getting the viewer to the final explanatory scene, Sean Connery doesn’t even bother trying an American accent. For me, I think this film pairs really nicely with The Birds. Both are films that I would rate as being very good, but outside the top-tier of Hitchcock films. Moreover, both are films that I think are much more interesting to talk and think about than to watch.
Grade: B+

27th: The Bird with the Crystal Plumage – Dario Argento (1970)
My favorite Argento? It’s kind of amazing how fully formed his filmmaking style and vision was even in his first feature. I particularly love how concise the film is. There’s hardly a wasted moment and yet there is still every bit of humor, style, perversion, and misdirection that one gets from his later films
Grade: B+